Eiteljorg Musuem Blog
  • Navajo Rugs, Buckaroo Bash and a Halloween Event Just for Adults | October Calendar of Events

    by Eiteljorg Museum of American Indians and Western Art | Oct 02, 2014

     October gives visitors plenty of chances to learn, play and party at the Eiteljorg!

    Dawn Dark Mountain (Oneida of Wisconsin), Beneath the Ever Growing Tree 

    Oct. 4
    1 p.m. – 4 p.m.

    Meet Artist-in-Residence Dawn Dark Mountain (Oneida of Wisconsin)
    Dawn specializes in transparent watercolors. In addition to her paintings, she creates linoleum and wood-block prints that are then completed with watercolor. Visitors can learn about Dawn’s culture and watch as she demonstrates her techniques.

    Navajo Rug Auction at the Eiteljorg Museum

    Oct 4
    Navajo Rug Auction

    9:30-11:00 a.m.    Preview 
    11:30 a.m.            Auction Begins
    Navajo rugs in traditional and contemporary designs from the R.B. Burnham & Co. Trading Post in Arizona will be auctioned. Prices range from less than $100 to $10,000. 
    Quest artist Heide Presse, When Thou Art Gone to Western Land, 2014, Oil on Linen, 26 x 26 inches
    Oct. 5
    Quest for the West® Art Show and Sale closes at 5 p.m.  

    DG House (Cherokee of NE Alabama), Ancestors Yet to Come
    Oct 11, 18 and 25

    1 p.m. – 4 p.m. 

    Meet Artist-in-Residence DG House (Cherokee of NE Alabama)
    Contemporary Native American artist, DG House, will share her art and culture. Guests may also watch her demonstrate her mixed media and painting techniques.
    Oct. 18
    10 a.m. – Noon
    Ledger Art Workshop
    Join artist-in-residence, DG House, for this one-of-a-kind workshop and learn about the history of ledger art explained through the story of the Battle of Little Bighorn. With DG’s guidance, participants will create their own personal ledger art to take home. Materials Fee: Non-Members $12. To pre-register by Oct.11, call 317.275.1370.

    Oct. 18
    7 p.m.
    Leather and Lace |The 17th Annual
    Buckaroo Bash
    The Buckaroo Bash is one of the Eiteljorg’s biggest fundraisers. Proceeds from the event purchase art supplies for visiting students and support education programs such as artists in residence, gallery interpreters, and Eiteljorg Museum to the Classrooms: Stories of Diversity. RSVP by Oct. 10. by calling 317.275.1333. Price: $200

    Day of the Dead/ Dia de los Muertos at the Eiteljorg Museum

    Oct. 25

    11 a.m. – 4 p.m.

    Day of the Dead/Dia de los Muertos (photo attached)
    This year NOPAL (an Indianapolis Latino arts and culture organization), is partnering with the Eiteljorg to provide an upbeat experience during the Day of the Dead celebration. The event will include festive and thoughtful ofrendas (altars that honor deceased loved ones); art created by local artists; a mercado; and a Katrina fashion show. Entertainment will be provided by NOPAL Musicians and Anderson Ballet Folklorico. Guests may visit with New Mexican tin artist Richard Gabriel, Jr., and local contemporary papel picado artist Beatriz Schlebecker. Guests will get to create their own papel picado and tin ornament to take home.

    Oct. 31
    8 p.m. – Midnight

    Freiteljorg with the ICO and DJ Kyle Long (an adult Halloween party)
    Celebrate the opening of New Art 2.0 by partying until the witching hour in your most haunting attire. Enjoy grown-up trick-or-treating, while grooving to an unforgettable live mash-up of modern DJ experimental sounds featuring DJ Kyle Long and the Indianapolis Chamber Orchestra. Costumes mimicking Native Americans or people of other races will not be tolerated. Price: $20 for non Agave members, $30 at the door.
     Rick Bartow (Wiyot tribe of Northern California), Bird Hat, 2013, monoprint, edition 1/1, 30 1/8 x 22 1/2, Print courtesy: Crow's Shadow Press, Photography by Hadley Fruits. 

    Nov 1

    New Art 2.0 opens
    Dates: Nov. 1 –Jan. 4, 2015

    New Art 2.0 is an exhibition of prints by contemporary Native and Western artists, many of them Eiteljorg Contemporary Art Fellows. It is a blend of landscape, political and environmental statements as well as portraiture. Eighty limited-edition prints will be on exhibit. Prices range from $500 - $4,000. 

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  • Eiteljorg Fellow Wendy Red Star's Exhibit Opens Friday, June 6 at iMOCA

    by Eiteljorg Museum of American Indians and Western Art | Jun 05, 2014

    Yakima Nation Youth Activities, Wendy Red Star, Archival Inkjet Print, 2014

    The Eiteljorg Museum has the privilege of partnering with Indianapolis Museum of Contemporary Art (iMOCA) to present the art of Wendy Red Star (Crow) in the exhibit Circling The Camp: Wendy Red Star. Red Star is a 2009 Eiteljorg Fellow and prolific artist. Thank you to Shauta Marsh, director, iMOCA for sharing her thoughts about contemporary art and Red Star's work in this interview with Eiteljorg Contemporary Art Curator Jennifer Complo McNutt. 

    More on Wendy Red Star from iMOCA's newsletter:
    Over the course of her practice, Wendy Red Star has worked within and between the mediums of photography, sculpture, installation, performance and design. Featured in Huffington Post and other publications, the 2009 Eiteljorg Fellow will open her solo exhibition with iMOCA June 6, from 6-11 p.m.  The exhibit will run through July 19th with the hours of Thursday- Saturday, 12 am-7 p.m.  

    Artist talk between Red Star and Eiteljorg Museum's Curator of Contemporary Art, Jennifer McNutt, is June 7 at 1 p.m.

    Red Star's work layers influences drawn from her tribal background (Crow), daily surroundings, collected ephemera and conjured histories that are both real and imagined. Through her photographs and sculpture new universes are built, simultaneously urban-rural and high-low with their own language of symbols created from such seemingly disparate sites as rez cars, powwow culture, indigenous commoditization, and Red Star's personal collection of memories growing up as a half-breed on the Crow Indian reservation.

    Wendy Red Star is an artist living and working in Portland, Oregon. Red Star received her B.F.A. from Montana State University-Bozeman and her M.F.A from UCLA in 2006. She has exhibited both nationally and internationally. Her exhibitions include shows at the Fondation Cartier pour l'Art Contemporain, Hallie Ford Museum, The Eiteljorg Contemporary Art Fellowship 2009, Utah Museum of Contemporary Art, Domaine de Kerguéhennec, Laura Bartlett Gallery London, The Museum of Contemporary Native Arts, Missoula Art Museum, St. Louis Art Museum, National Museum of the American Indian-New York, Minneapolis Institute of Arts, and the Bockley Gallery.

    Circling The Camp: Wendy Red Star
    The Murphy Art Center, Fountain Square
    1043 Virginia Ave, Suite 5, Indianapolis 46203
    Thursday-Saturday, 1 p.m.-8 p.m.
    iMOCA is closed holidays and between exhibitions.
    Admission and parking are FREE.
    For more information please call 317.63i.MOCA



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  • Important Charles Russell Painting to Travel

    by James Nottage, Eiteljorg vice president and chief curatorial officer | Apr 09, 2014

    From the Gund Collection of Western Art, we are loaning Charles M. Russell’s important 1913 oil painting, Crippled but Still Coming to the National Museum of Wildlife Art, Jackson Hole, Wyoming.  There, it will be featured in the exhibition, Harmless Hunter: The Wildlife Work of Charles M. Russell.  This notable exhibit for the first time examines a little known aspect of Russell’s art: the depiction of wildlife.  Our painting will be included in the accompanying book and will travel with the show to the Rockwell Museum of Western Art in Corning, New York, the Sam Noble Museum of the University of Oklahoma, Norman, Oklahoma, and the Charles M. Russell Museum, in Great Falls, Montana.  It will be returned to the Eiteljorg in the fall of 2015.

    In place of the Russell painting, we will be featuring two wonderful watercolor paintings by the same artist that were also donated as part of the Gund collection.  Both of these works are watercolors that have been resting from light exposure for a short while.  They will go on exhibit in mid-April when Crippled But Still Coming is shipped to Wyoming. Be sure to stop in and see these wonderful watercolors.  They remind us that the artist painted a wide variety of Western subjects.  His imagination never took a rest and he once said, “if I lived a thousand years I could not paint all the things that come into my mind.”

    Charles M. Russell (American, 1864-1926)
    The Scouts, 1900
    Watercolor on paper
    The Gund Collection of Western Art, Gift of the George Gund Family

    Charles M. Russell (American, 1864-1926)
    Prairie Pirates, 1904
    Watercolor on paper
    The Gund Collection of Western Art, Gift of the George Gund Family

    Charles M. Russell (American, 1864-1926)
    Crippled But Still Coming, 1913
    Oil on canvas
    The Gund Collection of Western Art, Gift of the George Gund Family

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  • Ansel Adams | How the famed photographer got his start

    by Jonathan Spaulding, Guest curator for Ansel Adams exhibit | Feb 24, 2014

    Ansel Adams, photograph by Jim Alinder

    In the spring of 1916, the fourteen-year-old Ansel was in bed with a cold. To cheer his spirits during another of his many illnesses, his aunt gave him a copy of James M. Hutchings’s In the Heart of the Sierras, published in 1886 and one of the classic travel accounts of the region. The boy lay mesmerized by Hutchings’s romantic tales of adventure among the towering walls of the Yosemite Valley. The family had been discussing where to spend their upcoming summer vacation. In years past they had gone to Puget Sound or down the coast to Santa Cruz, but for Ansel there was now no option. They simply had to go to this incredible place called Yosemite.

    Soon after their arrival, Ansel’s parents gave him a Kodak No. I Box Brownie camera. After a brief lesson on its simple controls, he was off to explore the area. On foot, camera in hand, he traversed the valley with characteristic hyperkineticism. He took snapshots with no conscious artfulness, only a desire to record what caught his eye. At one point he clambered atop a rotting stump to shoot across the valley floor to the cliffs above. As he leaned back to take the picture, the stump gave way, sending him plummeting to earth. On the way down he managed to trip the shutter.

    The next day he took the film into the valley’s local camera shop, Pillsbury Pictures, Inc. When he came back to pick it up, Arthur Pillsbury himself presented him with the processed photos. Pillsbury inquired about one shot on the roll in particular. How had it happened to be made upside down? Had Adams held the camera inverse over his head for a better angle? Ansel explained his airborne photograph, adding that it was just a matter of luck that it had been shot at a perfect 180 degrees. Pillsbury gave the boy a skeptical look; here was an odd one indeed.

    Following his first Yosemite trip, Ansel Adams returned home to San Francisco and continued to use his camera. Because of his burning desire to learn more about photography, he went to work part-time as a “darkroom monkey” for neighbor Frank Dittman, who owned a photo-finishing operation.

    Ansel Adams in darkroom, photograph by Jim Alinder

    Ansel was well received by Dittman, the three printers, and the six delivery boys, although his odd ways provoked some ribbling. The skinny, hyperactive Ansel, with his crooked nose, his long words, and his stories about Yosemite, seemed an amusing character. They called him “Ansel Yosemite Adams.” He took it all well, Dittman remembered, and appeared to find the pranks played on him funny, too. He “picked up cussing real fast,” and Dittman thought the job was a good antidote to the music lessons he believed were just another example of the coddling the boy got at home. Dittman recognized that Ansel was in his element in the darkroom. “It came natural to him. I could see right off he was good. Whatever the kid done was done thorough.”

    Adams was fascinated by photographic equipment and begun to prowl the local camera shops to investigate the rows of lenses, tripods, lights, chemicals, printing papers, cameras and film. He read the amateur photographic magazines and whatever technical handbooks he could find. At a local camera club he met W.E. Dassonville, a manufacturer of fine printing papers and an accomplished photographer. Dassonville knew many of the Bay Area photographers and gave Adams an introduction to the practice of the medium as a fine art.

    - From the biography Ansel Adams and the American Landscape by Jonathan Spaulding’s biography contains an extensive bibliography of works by and about Ansel Adams. His detailed descriptions of Adams’ photographs, projects, and relationships offer compelling insights into the man who has come to represent the American West.

    Meet Jonathan Spaulding this Saturday at the Eiteljorg during opening weekend of the Ansel Adams exhibit.

    Saturday, Mar. 1, 2014
    1:30 p.m.
    A Conversation with curator Jonathan Spaulding
    Join Jonathan Spaulding for a behind-the-scenes discussion of Ansel Adams’ life and work - See more at:
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  • Throwback Thursday | 2001 Ansel Adams at the Eiteljorg

    by Jan Eason, Eiteljorg education services coordinator | Feb 20, 2014

     Eiteljorg education services coordinator Jan Eason was there in 2001 when the museum opened its first exhibition of the photographs of Ansel Adams. Jan snapped a picture of the line that formed outside the Eiteljorg. She couldn't believe the amount of people who'd flooded the front of the building to see the work of one of the most celebrated photographers of all time.

    “We need all staff to come to the museum entrance!” 

    Wow!!!! Just getting to the entrance was a challenge with all the visitors in the lobby.  Nothing like this had happened in my time with the museum.  I had to take pictures and so I did with my instamatic camera.  Ansel Adam’s work resonated with our visitors. The galleries were full with intent viewers and conversations on the work, techniques, and wondering if they could take home images.

    The response was truly overwhelming and everyone on the staff was proud.

    All our work and concern was validated.  The dedicated store was a hit. Staff worked the line outside -  welcoming and informing visitors about memberships  - and that they could enter immediately. The wait seemed shorter when they could ask questions and chat. This excitement continued during the run of the exhibit. When departing so many smiling visitors said ,”We’ll be back!”

    I had no inkling that this would be the first of many such successful future shows and events at the Eiteljorg. Ansel Adams returns to the Eiteljorg March 1.

    (Pictured above: Ansel Adams at Washburn Pt., photograph by Jim Alinder)

     - This blog post was written by 23-year Eiteljorg employee and Rose Award recipient Jan Eason.

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