rickbartow coyotechant grandmothermouse guarddog rickbartowandfriends 13+28Seilbst FoxSpirit_Bartow artomat artomat whittington artomat artomat artomat artomatic blog post Tanis S’eiltin (Tlingit), War Heads, 2003, woodcut print on rawhide, wood, beaver fur, copper, Eiteljorg Museum Contemporary Art Fellowship Acquisition Fund Lorenzo Clayton (Navajo), Come Across II - Shadowed Dwellings, 1998, mixed media Tanis S'eiltin (Tlingit), Savage Apparel, 2005, bait box, honeycomb paper, beeswax, beaver fur, smoked moosehide, bear claw, metal, fish skin, waxed thread James P. Cook, Victor-Autumn #1, 2002, oil on linen Jim Denomie (Ojibwe), Blue-Eyed Chief, 2008, oil on canvas James Luna (La Jolla Band of Mission Indians), High Tech Peace Pipe, 2004, galvanized steel, glass beads, telephone Larry McNeil (Tlingit/Nisgaa'), Y'eil, 1998, digital print (Epson inkjet with UltraChrome K3 pigmented inks on Somerset archival inkjet paper) James Lavadour (Walla Walla), Naming Tanager, 2001, oil on wood Harry Fonseca (Maidu/Niseman, Portuguese, Hawaiian), For Annie: A Poem After Poe, 2004, acrylic on canvas Tanis S'eiltin (Tlingit), Savage Apparel, 2005, bait box, honeycomb paper, beeswax, beaver fur, smoked moosehide, bear claw, metal, fish skin, waxed thread James Watkins, Ritual Display, 2003, ceramic Tanis S'eiltin (Tlingit), Savage Apparel, 2005, bait box, rawhide, metal, copper wire, fish skin, beeswax, twig, waxed thread Tanis S'eiltin (Tlingit), Savage Apparel, 2004, bait box, rawhide, copper wie, fish skin, bone, waxed thread Anthony Ortega, Thanksgiving Day Crossing, 2002, monotype silkscreen over poster Walter Wooten, Visit to the Louvre XXIV, 2000, oil on canvas Nadia Myre (Tuscaboria/Mohawk), History in Two Parts, 2001, birch bark, cedar, ash, spruce root and gum, aluminum Kay Walkingstick, Le Alpi e Le Gambe, 1999, oil and gold leaf on wood Sergio Tapia, Ofrenda, 2002, painted wood Rick Bartow (Wiyot of Northern California), Fox Spirit, 2000, mixed media Stacey K. Neff, Scorpion Sprout, 1999, blown glass, mixed media Colette Hosmer, Still Life with Sheepshead Fish, 1998, fish skeleton, minnows, mixed media Juane Quick--To-See Smith (Flathead), Paper Dolls for A Post Columbian World with Ensembles Contributed by the U.S., 1991, watercolor, pencil and Xerox on paper Truman Lowe (Ho-Chunk), Waterfall '99, 1999, wood Richard Swanson, Radio, 1997, barbed Shelley Niro (Bay of Quinte Mohawk), Unbury My Heart, 2000, mixed media Theodore Waddell, Ryegate Horses #2, 1989, oil on canvas, frame: wood, black painted floating frame
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The contemporary collection represents diversity in the truest sense of the word. The collection consists of copious materials from photographs, beadwork, works on paper and canvas, to beaver fur and hides, traditional paintings and large installation pieces incorporating several mediums. The diverse nature of the materials is a reflection of the range of artists and cultural traditions found in the collection. African American artists Alison Saar and James Watkins share the experience and manifestations the caldron had on their lives. Latino traditions are rooted firmly in the Santero carving of Sergia Tapia’s Offrenda, commemorating September 11 bombing of the World Trade Tours. 

The collection recognizes any artist working in the West today doing any type of work they desire. While there is recognizable imagery in a lot of the work, it also represents works that are non-representational such as the work of Harry Fonseca (Maidu/Niseman, Portuguese, Hawaiian) who’s painting is inspired by Navajo blankets or James Lavadour’s (Walla Walla) multifaceted landscapes influenced by hiking through the mountains. 

One of the great strengths of the collection is the Native American contemporary art collected through our biennial program, the Eiteljorg Contemporary Art Fellowship. Since 1999 the Eiteljorg Museum has awarded nearly one million dollars directly to artists, produced seven catalogs, employed many Native and non-Native scholars as writers and presenters and purchased over 200 works of art from 40 Native American and First Nations artists. This has given the museum what is considered one of the most important collections of Native contemporary art in the world. The unique nature of the Eiteljorg contemporary collection lies in the cultural, geographic and traditions represented.

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