Current & Upcoming Exhibits
January 15, 2020 - January 30, 2021
Learn more about the relocation or “employment assistance” program that brought many Pueblo people out of the pueblos and into the cities at IPCC’s newest exhibition. Enjoy personal stories from those who experienced relocation and see the far-reaching effects of this federal program, posing questions about its merit and outcomes.
Many of our people live in the cities as a direct result from the relocation program. Post a picture and share your story on Instagram with the hashtag #PuebloRelocated to have your story shared here.
Posts are added daily.
This exhibition highlights Pueblo Women and their contributions to maintain Our way of life. From Our ancestors who started the path and established our values, to historical women who have laid a foundation of culture and community, ending with women today who continue to pave the way forward in our communities and beyond. Learn about the great work begun and continued by many great women coming from our 19 Pueblo communities and how their work impacts our communities and society today.
Radon Daughter exhibition is by artist De Haven Solimon Chaffins (Laguna, Zuni)
De Haven’s work for this show is focused on her research and personal connections to the Jackpile Uranium Mine in Laguna. While the mine is closed today, she has seen its continued effects on the people and land of Laguna Pueblo.
Amanda Beardsley’s work is influenced by Indigenous history, reading books, watching cable as a kid with cousins, childhood memories, graffiti, and everything Hello Kitty.
Opened March 8th, 2019 - Closed January, 14th 2020
Robert Dale Tsosie is an award-winning Picuris and Navajo stone carver and multimedia artist whose latest body of work takes us through a historical journey analyzing outside Puebloan influences and personal reflections that affect indigenous communities’ struggle and perseverance.
2019's theme, Continuing My Culture, was selected to complement our Indigenous Wisdom curriculum as well as the exhibition Ours: The Zia Sun. It is vital to continue our Pueblo culture by passing down traditional knowledge to the next generations and by celebrating our Pueblo identity. Our youth are our future and this year we invite students to think critically about their role and responsibility in the survival of our culture.
February 22, and running through November, 24 2019
Yet, do we know the true origin of the Zia symbol and its original meaning? This exhibit that includes community contributions will take you through the journey of the symbol’s origin in Zia Pueblo to its commodification that continues to grow in popularity, analyzing the question of ownership.
“Because the Zia sun has become a symbol of community and identity, we want to invite everyone to be involved,” says IPCC’s Curator of Exhibitions, Rachel Moore (Hopi). “We want the community to share their images and objects and be part of the exhibit, then come see it and learn more about this symbol that holds such great importance to our Pueblo people.”
People who want to contribute photos can submit their entries at www.IndianPueblo.org/OurZia or by using #OurZia when posting to Instagram or Facebook. Submissions of Physical objects is now closed.
For more information, or to inquire about lending an object, please contact Rachel Moore at email@example.com or 505-724-3564.
*Now Open October 6th 2018
All of us here at the Indian Pueblo Cultural Center (IPCC) welcome you to the exhibition, At Our Center: Selections from the IPCC Family.
Our center opened in 1976 with a vision to be a central place for Pueblo culture to be preserved, and a gathering place for people to learn and share in our way of life.
IPCC’s permanent collection has continued to grow for more than 40 years as we preserve our Pueblo material culture. It is with great pleasure that we bring out some pieces from the heart of our collections for you to enjoy. Each item in this exhibit was handpicked by a member of our IPCC family.
Over the years our center has grown and thrived because of the love, care, and passion of all those who have passed through our doors. It is this love and passion at the core of each of our employees who have built and expanded IPCC to what it is today.
We are made of many operations – some you see as you walk through the campus, and some you do not. Through this exhibition we hope you will build a better understanding of our operations that bring you all the great experiences you will have during your visit, and see the many connections our diverse staff have to IPCC, the culture, the mission, and the land that is home to our pueblos.
January 4, 2019 (Located in the We Are of This Place: The Pueblo Story exhibit)
Ricardo Caté of Santo Domingo Pueblo features his newest work tackling current events, presenting the effect and influence his comedic cartoons have had on Native communities, starting with his experiences with the Dakota Access Pipeline, and carrying through to today’s news headlines.
March 30 - December 2, 2018Bob Chavez (1915-2003) is a self-taught artist from the Pueblo of Cochiti. He dedicated his life to teaching and inspiring students passing thru St. Catherine’s Indian School in Santa Fe. This exhibit features not only his own artwork but the work and experiences of the students that passed through his realm of influence.
Open Now-August 5, 2018
One story is only the beginning of many stories. From ancient symbols to living voices, this exhibit explores the importance of storytelling, how it has evolved over time, and ways in which storytelling shares our Pueblo values.
November 11, 2017 - March 4, 2018
Experience the complete collection of first edition prints by famed Santa Clara Pueblo artist Helen Hardin in her show “Spirit Lines: Helen Hardin Etchings.” While Hardin achieved fame over a decades-long career as a painter, in the last few years of her life she turned her attention to a newfound passion, copper plate etchings. In total she produced 23 plates from 1980 to 1984 before succumbing to breast cancer at age 41, and “Spirit Lines” brings together all 23 first edition prints in a remarkable exploration of the artist’s growth and struggles.
April 15 - September 2017
This short-term exhibit explores our relationship with Mother Earth and our responsibility to protect our natural resources for the future. We’ll take a look at some of the difficult decisions Pueblos have had to make throughout history regarding our use of the earth’s resources and how past choices have impacted communities today.
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 ar
"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.
August 18, 2011 ‐ November 6, 2011
Featuring the photography of Cybelle Codish, Idris Rheubottom and Tony Craig.
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."