A Behind the Scenes Tour

We invited our Art in Bloom Sponsors for a Behind the Scenes tour and were delighted at the response. Yesterday offered gorgeous weather, but still the group joined us to tour the storage area, to learn about our efforts to expand our storage, and to learn a little bit about "tricks of the trade." They saw how a painting looks before and after restoration,and how we plan exhibitions using a scale model. Our registrar, Barbara Lovejoy, who is in charge of caring for the collection, gave a tour of storage, explaining how we preserve and keep track of the over 4500 works in our permanent collection. The museum recently received a grant for $50,000 form the Institute of Museum and Library Services to purchase new storage racks and expand our capacity, as well as materials to better store works on paper.

Up, Up and Away!

With  fabric cascading from the ceiling and works featuring subjects such as meat, decay and flowers, an exhibition by the UK School of Art and Visual Studies will open tomorrow evening to our members. It was a hard show to install, but fun to look at!

Intern at Work

Our new intern, graduate student Alisa Reynolds, is working in the curatorial and education departments this year, learning the museum "trade."  Today she is helping with the installation of the Faculty exhibition, called Mettle.  She is handling a sculpture by professor Garry Bibbs.

Rainy Weekend Ahead

Rain is in the forecast- much needed, but it's Labor Day Weekend! Take the kids to the museum and tour the permanent collection using our new See More labels!  These will help you to discuss the artwork with your  little Wildcat.

Our New Preparator

Our new Preparator, Mike Witzel , has arrived. He moved her from San Antonio for the job. (A preparator is expert at moving and handling works of art, lighting art, and preparing spaces and furniture for museum exhibitions.)  Here he is  on our Genie lift, which can taek himup to our very high ceiling if needed! Welcome, Mike!

Great Story: Exhibitions Touch People's Lives

Here is a story from our curator, Janie Welker:

Front from right: Alberta Thomas, Anna Mae Tanner, Despah Nez, unidentified woman, Betty Yazzie. Back row: Troy Kennedy of the Red Rock Trading Post and Vera Begay. All the women are weavers.

I had a fascinating conversation with one of our visitors on Friday evening. Evelyn Keen, who lives in Midway, is intimately related to three of the Navajo weavers in our exhibition: Alberta Thomas is her mother, Anna Mae Tanner is her aunt, and Despah Nez is her grandmother.

All three of the weavers made textiles based on sandpainting designs, which are used in sacred healing ceremonies by the Navajo. They were part of the Red Rock Weavers, named for the trading post in northeastern Arizona in the Four Corners area. Ms. Keen was thrilled to see her family’s artistry on view here.

Her story is particularly poignant as it encapsulates many of the hardships endured by the Diné (Navajo) in the twentieth century. Although she was born on the Navajo reservation, where parts of her family still live, she was separated from her parents at the age of six when she was forced to attend a government boarding school. Her father worked in uranium mines and contracted cancer, which eventually killed him. Interestingly, Edwin Kennedy, the man who collected the weavings and jewelry shown in our exhibition, was an employee of Kerr McGee, the first company in the country to mine uranium—it was this work that brought him to the Southwest, where he fell in love Native American art forms. He purchased almost seven hundred textiles, many of them commissioned through trading posts.

Ms. Keen remembers her mother rising at 5 a.m. and working until dark on the very finely woven textiles that she produced. The owner of the Red Rock Trading Post, Troy Kennedy (no relation to the collector Edwin Kennedy), would tell Ms. Keen’s mother, aunt and grandmother what designs he was interested in, and they would weave them. She remembers her mother glancing at a drawing of the sandpainting as she worked. But, despite the complexity of the designs, they were woven without any pattern: her mother, grandmother, and aunt could visualize exactly how the imagery would evolve as they wove. Textiles such as the ones on view in the museum would take months of work.

None of these textiles stayed in the family. “This was food on the table,” she said. Her mother was so happy when she completed a weaving and got paid—she could buy food and settle their debt at the trading post, which operated something like a company store in a coal camp—Troy Kennedy would extend credit until Mrs. Thomas finished a weaving. The weavers were paid far less per piece than Mr. Kennedy sold them for. They were not paid very much, Ms. Keen remembers.

In Navajo families, weaving is female tradition. Ms. Keen’s grandmother (Despah Nez) taught her aunt (Anna Mae Tanner) who, in turn, taught her mother (Alberta Thomas). The Edwin Kennedy collection of sandpainting weavings is among the largest known. It includes twenty-seven weavings by Alberta Thomas, twenty-four by Anna Mae Tanner, and twenty-one by Despah Nez. The Kennedy Museum at Ohio University invited Ms. Keen’s family to come and see their work some years ago, but only her grandmother, Mrs. Nez, was still living. They brought all of her weavings out to her so she could revisit them.

Equus Run

Amy and I visited Equus Run Vineyards to meet with the owner, Cynthia Bohn, who is on the Art Museum Advisory Board. Hot day, but many good ideas!