October 2, 2015 ‐ February 27, 2017
For Pueblo people, governance is integrated into all aspects of conscious living and depends upon maintaining balance among all living things in the Universe. Yet three successive colonizing nations have tried to redefine our way of life and right to exist on our own terms. In 1864, the U.S. Government Superintendent of Indians for the territory of New Mexico, Dr. Michael Steck, presented ebony canes to each of the 19 Pueblo Governors as part of confirming the Pueblo land patents and as a symbol of their relationship with the U.S. The canes were modeled after those given by the Spanish in 1620 and those given by the Mexicans in 1828. Today these canes are passed through the line of succession of Pueblo Governors and their staff.
The Original Instructions explores sovereignty, governance and leadership from a Pueblo worldview, while reflecting upon the history and symbolism of the Lincoln canes. The exhibit also looks at the evolving nature of Pueblo ingenuity, perseverance and resilience and our right of existence from a Pueblo perspective.
June 5, 2015 ‐ October 11, 2015
How have modern Pueblo artists worked within tradition and outside of it? What distinctive styles of visual storytelling have they developed? What genres and mediums have they chosen to represent their vision? Visionary Concepts: Genres of Pueblo Art, spotlights Pueblo artists that have found a unique way to depict pride in culture and tell a story of cultural perseverance. It is also an exploration of genres and styles of Native art that are difficult to classify.
Visionary Concepts: Genres of Pueblo Art offers an exclusive opportunity to see paintings, drawings, lithographs and other two‐dimensional works from the IPCC’s vault, many that have never before been seen by the public. With work from well‐known Pueblo artists like Pablita Velarde, Geronima Cruz Montoya, Jose Rey Toledo and Charles Lovato alongside overlooked treasures from lesser known artists, the exhibit is a diverse and inspiring survey of modern Pueblo art and modes of storytelling.
April 10, 2015 ‐ October 11, 2015
An exploration of works in paper and clay and how unique two art forms—lithography and black‐on‐black pottery—are linked by color. For more than 200 years, lithographic artists and printers have used grease based materials to put their images on stone and metal plates. The art of lithography is known for producing a deep velveteen black that is not found in other printing processes. Like Pueblo pottery, lithography depends upon water and as an art form is organic and sometimes unpredictable. Black‐on‐black pottery was pioneered in the early 20th century by potters Maria and Julian Martinez, who perfected a reduction firing process that produced a rich black hue. The beautiful black vessels they created breathed new life into Pueblo pottery and brought worldwide attention to the form.
The show features recent donations to the Indian Pueblo Cultural Center’s collection and many prints and pottery that have never before been seen by the public. Includes work from Charles Lovato (Santo Domingo), Diane O’Leary (Comanche), Carl Gorman (Navajo), Ed Singer (Navajo), Kevin Red Star (Crow), Maria and Julian Martinez (San Ildefonso), Preston Duwyenie (Hopi), Rose Gonzales (San Ildefonso).
Through October 11, 2015
The Indian Pueblo Cultural Center’s ongoing exhibition exploring the history of the Albuquerque Indian School and the realities of the Indian boarding school experience. Includes rare archival photographs and the first‐person perspective of students and teachers.
Through September 30, 2015
The Indian Pueblo Cultural Center’s ongoing exhibition looks at how the policies and laws of other governments have affected Pueblo communities. This moving history reflects upon the resilience of the Pueblo People in the face of challenges and includes historical and personal perspectives from Pueblo tribal members.
This powerful exhibition showcases the career of Ohkay Owingeh photographer and traditional artist Larry Phillips, Sr. One of the first Native artists to practice photography, Phillips offers a compelling portrait of the Ohkay Owingeh way of life, giving vivid representation to scenes of prayer, song and dance passed down through generations. His images of Ohkay Owingeh dancers tell a story of the living culture of his People, the role of prayer in Pueblo life and how the beat of the drum connects them to the earth and all living things.
Spanning Phillips’ career as an artist, the exhibition documents his early years developing film in the Museum of International Folk Art’s darkroom and his nearly four decades as a traditional artist making ceremonial objects such as headdresses, lightning sticks and rattles. Now as Lieutenant Governor of Ohkay Owingeh, he balances his creative pursuits with responsibilities to his people. Including photographs, paintings and ceremonial objects, the exhibition shows Phillips’ passion for the Ohkay Owingeh way of life and offers a brilliant look at this unique living culture.
Thunderbird Jewelry from Santo Domingo Pueblo was created and developed during the Depression era, a time of struggle when materials were difficult to purchase. Traditional art was changing in many ways, driving the Santo Domingo Jewelers to become very resourceful. They began producing thunderbird motif necklaces with applique` mosaic style techniques. This style became one of the most unique and sought‐after jewelry formats of that era. Few Thunderbird Jewelry pieces from this era are still around today which makes them even more desirable.
The Thunderbird Jewelry Collection of the Indian Pueblo Cultural Center Museum has over 70 pieces that includes necklaces, pendants, and earrings. This collection was donated by Martine Lovato (Santo Domingo Jeweler) on behalf of his late wife, Rita Lovato. Rita collected her Thunderbird Jewelry pieces, over the years while married to Martine.
Rita was from New York State and early in their relationship she represented Martine’s work around the world. It was Rita’s wish that her entire collection go to a worthy museum, so it could be shared with others. With the help of Martine and his family, and in the memory of Rita, we are honored to present their entire their Thunderbird Jewelry collection as part of this special exhibition.
Featuring the striking retablos created by renowned santero Charles M. Carrillo. This body of work is part of the Indian Pueblo Cultural Center's permanent collection, and it is our pleasure to showcase the retablos in a new installation.
Pueblo, Hopi and Navajo Artists are represented in this exquisite pottery collection that explores the relationships between the artist, collector, and the art.
"Gathering the Clouds" is an exhibition of Pueblo textiles and pottery that expresses the deep interconnection between Pueblo spirituality, art and nature. Our intention in exhibiting these beautiful collections is not only to share the genius of the artists who created them, but also to share with the viewer the power and significance of the "Gathering of the Clouds" – the calling upon the elements of earth, air, fire and water to bring all that is essential for life in the Pueblo world.
A collection of Zuni map art paintings depicting the Colorado Plateau as a cultural and sacred landscape, rather than simply a physical entity.
October 5, 2012 ‐ March 28, 2013
A banner exhibition from the School for Advanced Research (Santa Fe, NM) that examines the art and history of moccasin‐making among southwest Native tribes. To Feel the Earth was made possible through the generous support of the Anne Ray Charitable Trust.
May 25, 2012 ‐ August 31, 2012.
Young artists from Santo Domingo Pueblo created this beautiful exhibition in response to seeing the play Po'pay Speaks, If Corn Dies, We Die, written and performed by Robert Mirabal of Taos Pueblo.
In 1680, Po'Pay, a charismatic Ohkay Owingeh Pueblo leader, directed a rebellion from Taos Pueblo that drove the Spanish from what is now Colorado, Arizona and New Mexico. Several years in the planning, the revolt depended on secrecy, coordination and a fast, secure system of communication. Some 25 Pueblos were involved, covering a fair portion of two states – Arizona and New Mexico. In August of that year, runners set out from Taos Pueblo to as far away as the Hopi Mesas to the west, some 400 miles. The runners carried offerings of corn and knotted cords to be left at each Pueblo along the way. By untying a knot each day, the conspirators were assured of a simultaneous uprising.
May 25, 2012 ‐ August 31, 2012.
An exhibition by award winning sculptor, Kathleen Wall from Jemez Pueblo featuring clay figures, digital photography and video representing many different tribes throughout North America, including the Pueblos of the Southwest.
As a clay artist from an extended family of potters, sculptors and artists, Wall is of Jemez Pueblo, Laguna Pueblo, Anishnabe and Anglo descent. In this exhibition, Wall explores the meaningful connections of ancestry. She said it is her desire is to honor the ongoing traditions and cultures of Native Americans while acknowledging the many different tribes and cultures that form her own identity.
One aspect of the exhibition examines Wall’s extended family, which is tied to the Gila River Pima tribe in Arizona. Wall has crafted out of clay, a traditional basket made by the Gila River Pima tribe. Six forms made of clay representing women of the Gila River Pima tribe perform their traditional basket dance. Each figure stands approximately 33” tall. Wall’s connection to the Pima tribe comes through her mother, Fannie Loretto (a Jemez Pueblo potter of note) who is married to a Pima tribal member. Wall’s exhibition also features traditional clay pottery with superimposed photographic images fired onto the outer wall of the pot.
Through January 31, 2009
The cultural and physical landscape of Walatowa comes alive in this exhibition featuring the works of six renowned sculptors from the Pueblo of Jemez. The works featured in the exhibit include bronze, clay and stone sculptures created by award‐winning artists Estella Loretto, Clifford Fragua, Laura Fragua‐Cota, Adrian Wall, Joe Cajero, Jr. and James A. Vigil. Amy Johnson, curator said, "The exhibition portrays the strong connection of each artist to the ever‐evolving creative process, their homeland and the spiritual realm."