CHECKLIST OF THE EXHIBITION Soul Catcher late 19th century Bone, inlaid abalone, wood inserts, steel blade 6 × 7 ¼ × 1 ½ inches
Amulet, Tsimshian ca.1850 Bone, carved 1 ½ × 3 ¼ × ¼ inches
Mask, Old Man late 20th century Wood, carved and painted, hair 9 × 8 × 3 ½ inches
Shaman’s Necklace ca. 1880-1900 Bone, carved with newly made neck mount 7 × 8 ½ x 7 ½ inches
Amulet, Bear devouring a Man ca.1870 Bone, carved 2 3/8 × 6 ¼ × ¾ inches
Shaman’s Crown 1882 Wood, carved and painted 7 ½ × 9 × 9 inches
Amulet, Salmon, Tlingit ca. 1900 Bone, carved 1 ¼ × 6 × ⅜ inches
Mask, Bear, Chilkat 1993 John Hagen Wood, carved and painted, inlaid abalone 10 ¾ × 8 × 6 ½ inches
Comb n.d. Ivory, carved 4 ¼ × 2 × ½ inches
Amulet, Man Riding Wolf, Tlingit ca. late 19th century Antler bone, carved and painted 3 × 2 ¾ × 1 inches
House Post, Beaver and Eagle, Tlingit ca. 1990 Ken McNeil & Stan Bevan Wood, carved and painted 84 × 29 × 24 inches
Amulet, Bear and Sisiutl, Haida ca. late 19th century Bone, inlaid abalone 2 ¾ × 5 × 1/8 inches
Clan Pole, Raven n.d. Wood, carved and painted 108 × 32 inches Bentwood Box Drum early 20th century Wood, painted, rope 23 × 33 × 15 inches Painted Deerskin Drum, Salish ca. 1960 Cicero August Wood, animal hide, painted 21 × 21× 3 inches Bentwood Box late 19th century Wood with carved figures 8 × 17 ½ × 12 ¾ Banner, Frog, Haida late 20th century Bill Reid Cloth, printed 60 × 34 ½ inches Puppet Head n.d. Wood, carved and painted, inlaid abalone 4 ½ × 3 ½ × 2 inches Village Alert Bay, British Columbia ca. 1915 Edward S. Curtis 20 × 24 inches Homeward ca. 1915 Edward S. Curtis Orotone with studio frame 20 × 24 inches Frame of Longhouse ca. 1915 Edward S. Curtis 20 × 24 inches
Amulet, Land Otter Devouring a Human n.d. Bone, inlaid abalone 6 ¾ × 1 ¾ × ½ inches Rattles Rattle, Oystercatcher mid 20th century Wood, carved and painted 13 × 4 × 6 inches Rattle, Sun & Moon late 20th century Ray Watkins Wood, carved and painted 10 ½ × 5 ¼ × 5 inches Rattle, Land Otter late 20th century Wood, carved and painted, copper inlaid eyes with hair, sinew and abalone 20 × 5 ¼ × 2 ¾ inches Rattle ca. late 19th century Wood, carved 11 ½ × 5 ½ × 4 inches Rattle, The Guardian, Salish ca. 2000 Eddie Archie Noise Cat Bronze 14 × 6 ½ × 6 ½ inches
Rattle, Bear, Tlingit ca. 1940 Wood, carved and painted 10 × 4 × 3 ½ inches
Amulets Amulet, Bear, Man and Land Otter, Haida ca.1875 Bone, carved 2 ½ × 3 ⅜ × 1 ⅛ inches
Rattle, Owl and Frog, Tsimshian / Bella Bella early 20th century Wood, carved and painted, cedar bark 10 ½ × 5 × 4 inches
Amulet, Land Otter Devouring a Man ca.1870 Bone, carved and painted, inlaid abalone 2 ¾ × 5 ½ ×1 inches
Rattle, Eagle, Kwakwaka’wakw late 20th century Kevin Cranmer Wood, carved and painted 11 × 5 ¼ × 6 inches
Amulet, Eagle ca.1870 Bone, carved 1 ¼ × 3 × ⅜ inches
Mask, Owl, Cree 1997 Darren McKenzie Wood, carved and painted 13 × 10 ¼ × 8 inches Mask – Eagle and Killer Whale, Tsimshian ca. 1990 Terry Starr Wood, carved and painted 20 × 11 ½ × 8 inches Mask, Human Portraits, Tahltan / Tlingit 2001 Dempsey Bob Wood, carved and painted 11 × 6 ½ × 6 inches Mask, Man with Owl, Tsimshian 1994 Terry Starr Wood, carved and painted 14 × 11 × 7 inches Mask, Mosquito, Cherokee / Kwakwaka’wakw late 20th century Don Lelooska Wood, carved and painted, inlaid abalone 7 ½ × 6 ½ × 11½ inches Mask, Wolf with Shaman in Mouth, Cherokee / Tlingit ca. 1980 Ivan Otterlifter Wood, carved and painted, hair 11 × 11 × 9 inches Mask, Raven mid 19th century Wood, carved and painted 7 ½ × 8 × 22 ½ inches
Rattle, Oystercatcher mid 20th century Wood, carved and painted 17 × 8 × 4 inches
Rattle, Moon, Tlingit late 20th century Reg Williams Wood, carved and painted, hair 18 × 15 ½ × 4 inches
Amulet, Land Otter ca.1870 Bone, carved 1 ¼ × 3 × ⅜ inches
Mask, Owl ca. 1920 Wood, carved and painted, feathers 1 12 × 8 ½ × 4 ½ inches
Assistant Curator: Ana Estrada Catalog Design: Raymond Mathews Image: Rattle, Oystercatcher mid 20th century Wood, carved and painted 17 × 8 × 4 inches Image © Gary Mercer 2010 The Frost Art Museum receives ongoing support from the Miami-Dade County Department of Cultural Affairs, the Cultural Affairs Council, the Mayor and the Miami-Dade Board of County Commissioners; the State of Florida; the Steven & Dorothea Green Endowment; Funding Arts Network; Dade Community Foundation; Target; and the Members & Friends of The Frost Art Museum; The Miami Herald 2009-2010 Media Sponsor
Masks Mask, Beaver, Coast Salish late 20th century Aubrey LaFortune Wood, carved and painted 17 × 11 × 7 ½ inches
Smithsonian Institution Affiliations Program
Mask, Old Man late 20th century Wood, carved and painted, hair 9 × 8 × 3 ½ inches Image © Gary Mercer 2010
Reflections on Museums and Native American Art Spiritual Healing – Shamans of the Northwest Coast at The Patricia and Phillip Frost Art Museum takes visitors to the distant opposite shore of the continent on the Northwest Coast. Here, the Pacific Ocean laps on the shores and densely wooded mountains rise above. Large numbers of Native Americans, First Peoples to Canadians, occupied this area rich with natural resources. They developed a body of art which ornamented objects for daily and ritual use, drawing inspiration from the creatures with whom they lived. This gem of an exhibit brings attention to the repertoire of tools used by shamans, ritual healers of the body and soul. It also raises several questions important in today’s museum practices. How do we bring a selection of beautifully carved utilitarian objects into an art museum? Do we represent it from the point of view of aesthetic values based on perceptions of beauty and taste? Or do we take the approach of purely functional objects? And how do we impress our visitors that in this far off region of North America, the communities whose artists have produced this body of work are living, functioning communities? While rituals and beliefs may take new forms, shaped by the technologies of the 20th and 21st centuries, the underlying worldviews that led to the creation of these traditions and the accompanying tools still persist. Shamanism, as ritual healing, is no longer practiced on the Northwest Coast. Yet, artists responding to their past continue to produce phenomenal artwork which now takes a new role – asserting communal identity. Spiritual Healing – Shamans of the Northwest Coast brings a significant group of historic and contemporary objects together as works of art within a cultural context. The pieces on display span a century of great change. One of the more recent changes concerning museums is the collaboration between museums and indigenous artists to display their artwork. Practices such as healing, are public knowledge in our society. To traditional societies in the Northwest, and elsewhere, they are neither public nor accessible to outsiders in other societies. We have chosen to treat such information with respect while creating an exhibit that introduces Southeastern Florida to one small segment of Native American art and culture from a very different region. Thanks to Drs. Joan and Paul Gluck, who have generously loaned the objects, and to others who have provided insight. Annette B. Fromm, Ph.D. Curator and coordinator of the FIU Graduate Certificate in Museum Studies The Patricia & Phillip Frost Art Museum
Rattle, Land Otter late 20th century Wood, carved and painted, copper inlaid eyes with hair, sinew and abalone 20 × 5 ¼ × 2 ¾ inches Image © Gary Mercer 2010
Acknowledgements
The Patricia and Phillip Frost Art Museum wishes to acknowledge the assistance of the following individuals and organizations that have supported the creation of the Spiritual Healing exhibit. We would especially like to thank Drs. Joan and Paul Gluck for loaning the objects which form the exhibit and contributing text labels. Others to be thanked are Rosita Kaahaní Worl, Ph.D., Vice-Chair-Sealaska Corporation, Juneau, AK; Gary Mercer photography; Air Aroma America; the Alaska State Library; HistoryMiami; Northern Trust and Williams-Sonoma, Miami Beach.
Collector’s statEment On our honeymoon almost 40 years ago, Paul and I toured the U.S. As two east coasters in the Pacific Northwest we realized that we were attracted to the indigenous arts there. Years later, when we decided to start collecting art, that memory led us to read about the culture, ceremonies and artists of the Northwest Coast. Our criteria for buying art was first aesthetics and then representation of different aspects of the culture. Each piece in our collection tells a story related to the creatures it portrays with reference to morality, history or ceremony. In our tradition, an image of a large boat with pairs of animals reminds us of a story and its moral lesson. The shamanic pieces in this exhibit remind us that healing is necessary for society and the position of healer is a privileged one. As doctors, we appreciate the position and responsibilities that go with the profession. The tools of the trade may be different, but the desire to make people whole is universal. That healing is also a spiritual experience; something that seems less recognized in our society. It is but an important aspect we should consider. We have learned a lot while collecting and enjoy sharing our art and this fascinating culture with others. Joan C. Gluck, MD
Mask, Old Man late 20th century Wood, carved and painted, hair 9 × 8 × 3 ½ inches Image © Gary Mercer 2010
Reflections on Museums and Native American Art Spiritual Healing – Shamans of the Northwest Coast at The Patricia and Phillip Frost Art Museum takes visitors to the distant opposite shore of the continent on the Northwest Coast. Here, the Pacific Ocean laps on the shores and densely wooded mountains rise above. Large numbers of Native Americans, First Peoples to Canadians, occupied this area rich with natural resources. They developed a body of art which ornamented objects for daily and ritual use, drawing inspiration from the creatures with whom they lived. This gem of an exhibit brings attention to the repertoire of tools used by shamans, ritual healers of the body and soul. It also raises several questions important in today’s museum practices. How do we bring a selection of beautifully carved utilitarian objects into an art museum? Do we represent it from the point of view of aesthetic values based on perceptions of beauty and taste? Or do we take the approach of purely functional objects? And how do we impress our visitors that in this far off region of North America, the communities whose artists have produced this body of work are living, functioning communities? While rituals and beliefs may take new forms, shaped by the technologies of the 20th and 21st centuries, the underlying worldviews that led to the creation of these traditions and the accompanying tools still persist. Shamanism, as ritual healing, is no longer practiced on the Northwest Coast. Yet, artists responding to their past continue to produce phenomenal artwork which now takes a new role – asserting communal identity. Spiritual Healing – Shamans of the Northwest Coast brings a significant group of historic and contemporary objects together as works of art within a cultural context. The pieces on display span a century of great change. One of the more recent changes concerning museums is the collaboration between museums and indigenous artists to display their artwork. Practices such as healing, are public knowledge in our society. To traditional societies in the Northwest, and elsewhere, they are neither public nor accessible to outsiders in other societies. We have chosen to treat such information with respect while creating an exhibit that introduces Southeastern Florida to one small segment of Native American art and culture from a very different region. Thanks to Drs. Joan and Paul Gluck, who have generously loaned the objects, and to others who have provided insight. Annette B. Fromm, Ph.D. Curator and coordinator of the FIU Graduate Certificate in Museum Studies The Patricia & Phillip Frost Art Museum
Rattle, Land Otter late 20th century Wood, carved and painted, copper inlaid eyes with hair, sinew and abalone 20 × 5 ¼ × 2 ¾ inches Image © Gary Mercer 2010
Acknowledgements
The Patricia and Phillip Frost Art Museum wishes to acknowledge the assistance of the following individuals and organizations that have supported the creation of the Spiritual Healing exhibit. We would especially like to thank Drs. Joan and Paul Gluck for loaning the objects which form the exhibit and contributing text labels. Others to be thanked are Rosita Kaahaní Worl, Ph.D., Vice-Chair-Sealaska Corporation, Juneau, AK; Gary Mercer photography; Air Aroma America; the Alaska State Library; HistoryMiami; Northern Trust and Williams-Sonoma, Miami Beach.
Collector’s statEment On our honeymoon almost 40 years ago, Paul and I toured the U.S. As two east coasters in the Pacific Northwest we realized that we were attracted to the indigenous arts there. Years later, when we decided to start collecting art, that memory led us to read about the culture, ceremonies and artists of the Northwest Coast. Our criteria for buying art was first aesthetics and then representation of different aspects of the culture. Each piece in our collection tells a story related to the creatures it portrays with reference to morality, history or ceremony. In our tradition, an image of a large boat with pairs of animals reminds us of a story and its moral lesson. The shamanic pieces in this exhibit remind us that healing is necessary for society and the position of healer is a privileged one. As doctors, we appreciate the position and responsibilities that go with the profession. The tools of the trade may be different, but the desire to make people whole is universal. That healing is also a spiritual experience; something that seems less recognized in our society. It is but an important aspect we should consider. We have learned a lot while collecting and enjoy sharing our art and this fascinating culture with others. Joan C. Gluck, MD
CHECKLIST OF THE EXHIBITION Soul Catcher late 19th century Bone, inlaid abalone, wood inserts, steel blade 6 × 7 ¼ × 1 ½ inches
Amulet, Tsimshian ca.1850 Bone, carved 1 ½ × 3 ¼ × ¼ inches
Mask, Old Man late 20th century Wood, carved and painted, hair 9 × 8 × 3 ½ inches
Shaman’s Necklace ca. 1880-1900 Bone, carved with newly made neck mount 7 × 8 ½ x 7 ½ inches
Amulet, Bear devouring a Man ca.1870 Bone, carved 2 3/8 × 6 ¼ × ¾ inches
Shaman’s Crown 1882 Wood, carved and painted 7 ½ × 9 × 9 inches
Amulet, Salmon, Tlingit ca. 1900 Bone, carved 1 ¼ × 6 × ⅜ inches
Mask, Bear, Chilkat 1993 John Hagen Wood, carved and painted, inlaid abalone 10 ¾ × 8 × 6 ½ inches
Comb n.d. Ivory, carved 4 ¼ × 2 × ½ inches
Amulet, Man Riding Wolf, Tlingit ca. late 19th century Antler bone, carved and painted 3 × 2 ¾ × 1 inches
House Post, Beaver and Eagle, Tlingit ca. 1990 Ken McNeil & Stan Bevan Wood, carved and painted 84 × 29 × 24 inches
Amulet, Bear and Sisiutl, Haida ca. late 19th century Bone, inlaid abalone 2 ¾ × 5 × 1/8 inches
Clan Pole, Raven n.d. Wood, carved and painted 108 × 32 inches Bentwood Box Drum early 20th century Wood, painted, rope 23 × 33 × 15 inches Painted Deerskin Drum, Salish ca. 1960 Cicero August Wood, animal hide, painted 21 × 21× 3 inches Bentwood Box late 19th century Wood with carved figures 8 × 17 ½ × 12 ¾ Banner, Frog, Haida late 20th century Bill Reid Cloth, printed 60 × 34 ½ inches Puppet Head n.d. Wood, carved and painted, inlaid abalone 4 ½ × 3 ½ × 2 inches Village Alert Bay, British Columbia ca. 1915 Edward S. Curtis 20 × 24 inches Homeward ca. 1915 Edward S. Curtis Orotone with studio frame 20 × 24 inches Frame of Longhouse ca. 1915 Edward S. Curtis 20 × 24 inches
Amulet, Land Otter Devouring a Human n.d. Bone, inlaid abalone 6 ¾ × 1 ¾ × ½ inches Rattles Rattle, Oystercatcher mid 20th century Wood, carved and painted 13 × 4 × 6 inches Rattle, Sun & Moon late 20th century Ray Watkins Wood, carved and painted 10 ½ × 5 ¼ × 5 inches Rattle, Land Otter late 20th century Wood, carved and painted, copper inlaid eyes with hair, sinew and abalone 20 × 5 ¼ × 2 ¾ inches Rattle ca. late 19th century Wood, carved 11 ½ × 5 ½ × 4 inches Rattle, The Guardian, Salish ca. 2000 Eddie Archie Noise Cat Bronze 14 × 6 ½ × 6 ½ inches
Rattle, Bear, Tlingit ca. 1940 Wood, carved and painted 10 × 4 × 3 ½ inches
Amulets Amulet, Bear, Man and Land Otter, Haida ca.1875 Bone, carved 2 ½ × 3 ⅜ × 1 ⅛ inches
Rattle, Owl and Frog, Tsimshian / Bella Bella early 20th century Wood, carved and painted, cedar bark 10 ½ × 5 × 4 inches
Amulet, Land Otter Devouring a Man ca.1870 Bone, carved and painted, inlaid abalone 2 ¾ × 5 ½ ×1 inches
Rattle, Eagle, Kwakwaka’wakw late 20th century Kevin Cranmer Wood, carved and painted 11 × 5 ¼ × 6 inches
Amulet, Eagle ca.1870 Bone, carved 1 ¼ × 3 × ⅜ inches
Mask, Owl, Cree 1997 Darren McKenzie Wood, carved and painted 13 × 10 ¼ × 8 inches Mask – Eagle and Killer Whale, Tsimshian ca. 1990 Terry Starr Wood, carved and painted 20 × 11 ½ × 8 inches Mask, Human Portraits, Tahltan / Tlingit 2001 Dempsey Bob Wood, carved and painted 11 × 6 ½ × 6 inches Mask, Man with Owl, Tsimshian 1994 Terry Starr Wood, carved and painted 14 × 11 × 7 inches Mask, Mosquito, Cherokee / Kwakwaka’wakw late 20th century Don Lelooska Wood, carved and painted, inlaid abalone 7 ½ × 6 ½ × 11½ inches Mask, Wolf with Shaman in Mouth, Cherokee / Tlingit ca. 1980 Ivan Otterlifter Wood, carved and painted, hair 11 × 11 × 9 inches Mask, Raven mid 19th century Wood, carved and painted 7 ½ × 8 × 22 ½ inches
Rattle, Oystercatcher mid 20th century Wood, carved and painted 17 × 8 × 4 inches
Rattle, Moon, Tlingit late 20th century Reg Williams Wood, carved and painted, hair 18 × 15 ½ × 4 inches
Amulet, Land Otter ca.1870 Bone, carved 1 ¼ × 3 × ⅜ inches
Mask, Owl ca. 1920 Wood, carved and painted, feathers 1 12 × 8 ½ × 4 ½ inches
Assistant Curator: Ana Estrada Catalog Design: Raymond Mathews Image: Rattle, Oystercatcher mid 20th century Wood, carved and painted 17 × 8 × 4 inches Image © Gary Mercer 2010 The Frost Art Museum receives ongoing support from the Miami-Dade County Department of Cultural Affairs, the Cultural Affairs Council, the Mayor and the Miami-Dade Board of County Commissioners; the State of Florida; the Steven & Dorothea Green Endowment; Funding Arts Network; Dade Community Foundation; Target; and the Members & Friends of The Frost Art Museum; The Miami Herald 2009-2010 Media Sponsor
Masks Mask, Beaver, Coast Salish late 20th century Aubrey LaFortune Wood, carved and painted 17 × 11 × 7 ½ inches
Smithsonian Institution Affiliations Program