The Red that Colored the World
In the Hispanic Heritage Wing & Cotsen galleries
May 17 through September 13, 2015
From Antiquity to today, as symbol and hue, red has risen
to the pinnacle of the color spectrum. Throughout art
history, a broad red brushstroke has colored the finest
art and expressions of daily life. Yet, while most people
know red, few know of its most prolific and enduring source:
American Cochineal, a tiny scaled insect that produces
carminic acid. Fewer still know the story behind its explosive
global spread after its first encounter by Spain in 16th
century Mexico. Cochineal can already be demonstrated as a commonly used colorant in painting, sculpture, furniture and textiles from the mid 16th through the mid-19th century, when synthetic pigments were invented. The exhibition is not restricted
to folk art and will include manuscripts, paintings, sculpture, textiles and furniture from pre-Columbian and Spanish Colonial Mexico, Peru and New Mexico; European paintings,
textiles and clothing; and textiles from Asia, India and
the Middle East, along with selections from the collection
at the Museum of International Folk Art. Integrating a
variety of interactive, visitor friendly features and
didactic materials, visitors are invited to look through
the centuries to consider the central role of color in
art, history and culture- as well as in their own lives. [Photo: Colcha Embroidery, Altar Cloth-detail. Nina Arroyo Wood, Santa Fe, New Mexico, 2013. Handspun New Mexico churro wool with vegetal dyes and cochineal, 15" x 451/4". Museum of International Folk Art, IFAF Collection (FA.2013.42.1) Photo by Blair Clark]The Red That Colored The World exhibition has been made possible in part by a major grant from the National Endowment for the Humanities: Exploring the human endeavor, and Hotel Santa Fe The Hacienda and Spa, and Newman’s Own Foundation; see all exhibition sponsors»
Pottery of the U.S. South:
A Living Tradition
In the Bartlett Gallery
Through January 3, 2016
Pottery of the U.S. South: A Living Tradition presents traditional stoneware from North Carolina and northern Georgia—current works characterized by earthy local clays and surprising effects of wood firing. Rooted in British and German ceramic traditions and once crucial to Southern agrarian life, Southern pottery today remains vital, a distinctive art form through which potters actively engage with their region in ways both old and new. As museum visitors explore these ways, they are invited to consider for themselves the dynamics of a living tradition.
(Photo: Wood-fired, salt-glazed jugs by Chad Brown (left, 2011) and his great-great-grandfather W. H. Crisco (right, 1880s), Seagrove, North Carolina. Museum of International Folk Art, IFAF Collection. (FA.2012.24.5, FA.2013.57.1) Photo: Addison Doty)Media
& Press Information»
Between Two Worlds:
Folk Artists Reflect on The Immigrant Experience
In the Mark Naylor and Dale Gunn Gallery of Conscience
Opening Sunday July 5, 2015
Through January 17, 2016
The Gallery of Conscience is an experimental space where the public is invited to help shape the content and form of the exhibition through interactive elements and facilitated dialogues. Each exhibition changes throughout its life in response to visitor feedback and community participation. Between Two Worlds: Folk Artists Reflect on the Immigrant Experience, features fiber arts, carving, paintings and works on paper about immigrant journeys and the challenges of transitioning to a new home. Folk artists from the Americas, Africa and Asia articulate the hopes, fears, and challenges of those who leave their homes to settle in a new place, those left behind, and those who welcome them in their midst.
(PHOTO: above:) Mozambique artist Camurdino Mustafá Jethá holds his sculpture Refugiados (Refugees), 2013. Photo courtesy of Laura Marcus Green.
This exhibit is made possible in part by an Art Works award from the National Endowment for the Arts. The Museum gratefully acknowledges the support of Mark Naylor and Dale Gunn, the International Folk Art Alliance, the International Folk Art Foundation, the Museum of New Mexico Foundation’s Director’s Leadership and Exhibitions Development Funds, the National Endowment for the Humanities, and the Institute of Museum and Library Sciences. Our dialogue series is part of the National Dialogues on Immigration Project of the International Coalition of Sites of Conscience.
A Common Bond
Long term in the Girard Wing
Alexander and Susan Girard began a lifetime of collecting on their honeymoon trip to Mexico in 1939. Objects were selected for their beauty, humor, whimsy, enthusiasm, spontaneity and directness and they illustrate humankind's universal need to give form to a sense of ornament, delight, and wonder. The Girard Family collection of more than 100,000 objects is unique in part because of its size and breadth: more than 100 countries on six continents are represented. Enjoy this text-free gallery with or without a docent, pick up a Gallery Guide to read more about the cases, or pick up a multi-media tour on an Ipod touch available at the front desk for no additional fee.
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