Kamehameha I in 1810 and the establish- ment of a society based on law, literacy and diplomacy; through the undermining of Hawaii’s independence and its annexation by the United States; to the rise of the Hawaiian rights movement in the late 1960s and the resurgence of Hawaiian nationalism today. Developed by the Museum in close collabora- tion with Hawaiian scholars, political leaders and community members, the exhibition uses photographs, documents, music, arti- facts and video to present Hawaii’s contested past and the possibilities of its future.
Kay WalkingStick (Cherokee, b. 1935), Gioioso, Variation II, 2001. Oil and gold leaf on wood panel, 32" x 64".
of painting and metaphysical reflection. Organized chronologically around themes that mark her artistic journey, Kay Walk- ingStick: An American Artist traces a path of constant invention, innovation and evolving artistic and personal growth through visually brilliant and evocative works of art. The exhibition is co-curated by Museum curator Kathleen Ash-Milby (Navajo) and associate director David W. Penney, in close collaboration with the artist. Ash-Milby and Penney are also co-editors and authors of a substantial companion catalogue, the first of its kind, which also features writings by Margaret Archuleta (Tewa/Hispanic), Jessica Horton, Robert Houle (Saulteaux), Lucy Lippard, Erica WalkingStick Echols Lowry (Cherokee), Miles Miller (Yakama/Nez Perce), Kate Morris, Judith Ostrowitz, Lisa Seppi and Kay WalkingStick herself. Generous support for this project is provided by the National Council of the National Museum of the American Indian.
UA MAU KE EA: THE SOVEREIGN HAWAIIAN NATION Jan. 17, 2016–January 2017 Sealaska Gallery, Second Level Hawaii was an independent kingdom until 1893, when non-Native businessmen, supported by U.S. diplomats and Marines, overthrew the monarchy and declared them- selves the new government. Ua Mau Ke Ea: The Sovereign Hawaiian Nation takes visitors through the history of the Hawaiian Nation, from the consolidation of the islands by King
56 AMERICAN INDIAN WINTER 2015
THE GREAT INKA ROAD: ENGINEERING AN EMPIRE Through June 1, 2018 Third Level Construction of the Inka Road stands as one of the monumental engineering achieve- ments in history. A network nearly 25,000 miles long, crossing mountains and tropical lowlands, rivers and deserts, the Inka Road linked Cusco, the administrative capital and spiritual center of the Inka world, to the farthest reaches of its empire. The road continues to serve contemporary Andean communities across Argentina, Bolivia, Chile, Colombia, Ecuador and Peru and as a sacred space and symbol of cultural continuity. In 2014, the United Nations cultural agency, UNESCO, recognized the Inka Road as a World Heritage site. The Great Inka Road: Engineering an Empire explores the foundations of the Inka Road in earlier Andean cultures, technologies that made building the road possible, the cosmology, the principles of duality, reciprocity and integration of infrastructure and spirituality and political organization of the Inka world and the legacy of the Inka Empire during the colonial period and in the present day. Through images, maps, models and 140 objects, including a ceramic Chavin stirrup spout bottle (the oldest item in the exhibition, ca. 800–100 B.C.), impressive gold ornaments, necklaces made from shells from the Lambayeque region, stone carvings, silver pendants and figurines and various textiles made from camelid hair, the items illustrate important concepts found throughout Andean culture.
Photo courtesy of the Eiteljorg Museum
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