The Metropolitan Museum of Art in New York City has announced a watershed moment in its 100-year-history: the appointment of Patricia Marroquin Norby as its first full-time curator of Native American art. Norby, who is Purépecha, will officially join the staff of the institution’s American Wing on September 14.
Norby previously served as senior executive and assistant director of the Smithsonian’s National Museum of the American Indian-New York, and as director of the D’Arcy McNickle Center for American Indian and Indigenous Studies at the Newberry in Chicago.
“I am delighted with this opportunity to return to my fine art roots,” she said in a statement. “Historical and contemporary Native American art embodies and confronts the environmental, religious, and economic disruptions that Indigenous communities have so powerfully negotiated — and still negotiate — through a balance of beauty, tradition, and innovation.”
In 2017, the Met received a significant gift of 91 works of Native American art from trustee Charles Diker and his wife, ranging in date from the 2nd to the early 20th century. The donation marked the museum’s decision to display Indigenous art in its American Wing for the first time and the ongoing integration of Native American material into the institution’s galleries. (Previously, Indigenous works from the US were housed in the Art of Africa, Oceania, and the Americas galleries.)
“I am deeply honored to join with American Indian and Indigenous artists and communities in advancing our diverse experiences and voices in The Met’s exhibitions, collections, and programs. This is a time of significant evolution for the Museum,” Norby added in her statement. “I look forward to being part of this critical shift in the presentation of Native American art.”
“What does it mean to arrive from a country with a fascist regime?” asks Russian dissident artist Victoria Lomasko.
In the wake of Mahsa Amini’s death at the hands of “morality police,” artists and filmmakers across the world are voicing their support for protesters in Iran.
Artists reflect on histories of oppressive power structures in Brazil in this exhibition at the Visual Arts Center at the University of Texas at Austin.
The 200-year-old instrument, housed in the Library of Congress, has not been played by anyone else until now.
Though roiled by antisemitism allegations, 738,000 people attended, a modest 17% decline from the previous, pre-pandemic edition.
From exhibition catalogue pages marketed as original prints to brazenly fake “authorized” copies of Harings and Warhols, we’re living in a golden age of art piracy.
Ultimately the legacy of the classic modernist novel may reside in how attentively and scrupulously it concentrates on the music of tentative, shambolic, open-ended urban lives.
Funding options at UB include full-tuition scholarships for MFA students, the Arthur A. Schomburg Fellowship Program, and additional opportunities for MA students.
More than 100 modest and intimately scaled artworks in Still Life and the Poetry of Place provide glimpses into interiors, both humble and opulent.
Gladman’s poems suggest how ecological knowledge can affect how we can imagine cities.
With Moonage Daydream, director Brett Morgen sought to let Bowie’s music and philosophy hit in a whole new way, immersing audiences in an IMAX experience.