The power and beauty of historical Native American art are celebrated in the one hundred and sixteen works now installed in a newly designed gallery in the Museum's American Wing. New York collectors Charles and Valerie Diker have donated, loaned, and promised many of these works as gifts to the Museum, and the exhibition of these objects, Art of Native America: The Charles and Valerie Diker Collection, marks the first time Native works have taken their place in the American Wing—founded in —as representatives of North America's artistic heritage. It is a momentous occasion.
Some of the artists are named—such as Nampeyo, No Two Horns, Standing Bear, Albert Edenshaw, and Carrie Bethel—while others are unnamed—the Tsimshian carver who made the great shaman's rattle, the Anishinaabe woman who created the iconic Peter Jones shoulder bag, the Wasco artist who made the intricately beaded bag, and the Navajo woman who wove the rare first-phase chief's blanket. All of them came from an earlier time—mostly the eighteenth and nineteenth centuries—and many different places spanning the United States and Canada. They created against the backdrop of Euro-American
Read more on Perspectives
Hear from curators, artists, and more in this series published throughout the run of the exhibition.
Native Perspectives
Contemporary Native artists and historians respond to eighteenth- and nineteenth-century Euro-American works in the American Wing’s collection.
Art of Native America: The Charles and Valerie Diker Collection at The Met Fifth Avenue
The Charles and Valerie Diker Collection
April 12, — Ongoing
The achievement of historical Native artists from across the United States and Canada is reflected in this installation of works. More than fifty Indigenous groups are represented, as well as nearly all major historical Native American aesthetic forms: painting, drawing, sculpture, textiles, quill and bead embroidery, basketry, and ceramics. The works reveal the complexity, vibrancy, and variation of Native life and offer new narratives of America's past.
Most of the objects—made to be worn; to nourish; to hunt, defend, and protect; to heal; to cradle the young, and to invoke the spirits—were created in the eighteenth, nineteenth, and early twentieth centuries against the backdrop of Euro-American colonialism. They are organized into seven geographical regions: Woodlands, Plains, Plateau, California and Great Basin, Southwest, Northwest Coast, and the Arctic.
This long-term installation consists of promised gifts, donations, and loans from the pioneering collectors Charles and Valerie Diker. Their belief in
Michael Dawson explores black political thought, now and then:
To explore the political visions and behavior of African Americans, Professor of Government Michael Dawson looks to history and asks questions about the present. He goes to church and the voting booth, workplaces and the unemployment line.
“Looking at black civil society, it’s very difficult analytically to separate cleanly political from social, economic from religious,” says Dawson, who came to Harvard in July from the University of Chicago, where he chaired the political science department. “When we look at black civil society we have to take a fairly broad analytical brush.”
Dawson has applied his brush to the study of race and politics in the United States. His award-winning book “Behind the Mule: Race, Class and African American Politics” (Princeton University Press) probed African-American political beliefs and voting behavior. He was principal investigator of the National Black Politics Study, which surveyed 1, randomly chosen African Americans to explore – for the first time – the relationship between the political ideologies and political beliefs of African Americans.
Black visions, throughout ti
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