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Orozco Matterport screenshot.

Explore 3D Virtual Tours

of selected Hood Museum Exhibitions

Form & Relation

January 6, 2021 – July 23, 2022
Contemporary Native Ceramics

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  • "Form and Relation" installed in the Citrin and Engles Galleries. Works pictured from left to right: Ruben Olguin's "Songs of Our Fathers", Anita Field's "So Many Ways to Be Human", and Cannupa Hanska Luger's "Every One (#MMIWT Bead Project)".

    Form and Relation installed in the Citrin and Engles Galleries. Works pictured from left to right: Ruben Olguin's Songs of Our Fathers, Anita Field's So Many Ways to Be Human, and Cannupa Hanska Luger's Every One (#MMIWT Bead Project). Photo by Alison Palizzolo.

  • Courtney Leonard's work "BREACH: Logbook 20 | NEBULOUS" installed in the stairway and Harteveldt gallery. Photo by Alison Palizzolo.

    Courtney M. Leonard, BREACH/Logbook 20: NEBULOUS (detail), 2019–2020, site-specific installation consisting of: ceramic, glaze, paint, sinew, and two-channel video projection. Commissioned by the Hood Museum of Art; Purchased through the Virginia and Preston T. Kelsey 1958 Fund, the William S. Rubin Fund, the Alvin and Mary Bert Gutman 1940 Acquisition Fund, the Kira Fournier and Benjamin Schore Contemporary Sculpture Fund, and the Phyllis and Bertram Geller 1937 Memorial Fund; 2019.114. © Courtney M. Leonard. Photo by Alison Palizzolo.

  • Courtney Leonard, BREACH: Logbook 20 | NEBULOUS, 2019

    Courtney M. Leonard, BREACH/Logbook 20: NEBULOUS (detail), 2019–2020, site-specific installation consisting of: ceramic, glaze, paint, sinew, and two-channel video projection. Commissioned by the Hood Museum of Art; Purchased through the Virginia and Preston T. Kelsey 1958 Fund, the William S. Rubin Fund, the Alvin and Mary Bert Gutman 1940 Acquisition Fund, the Kira Fournier and Benjamin Schore Contemporary Sculpture Fund, and the Phyllis and Bertram Geller 1937 Memorial Fund; 2019.114. © Courtney M. Leonard. Photo by Alison Palizzolo.

  • Cannupa Hanska Luger (Mandan, Hidatsa, Arikara/Lakota) , Every One (#MMIWQT Bead Project) , 2018 , over 4,000 hand - painted 2 - inch clay beads created in collaboration with hundreds of communities across the United States and Canada.

    Visible through our vitrine window, the ceramic artwork Every One (#MMIWQT Bead Project) by Cannupa Hanska Luger is comprised of over 4,000 hand-formed and painted clay beads. These beads visualize and acknowledge the over 4,000 cases of missing and murdered Indigenous women and girls in Canada, referencing data collected by the Native Women’s Association of Canada. Photo by Molly Papows.

  • Form and Relation installed inside Engles Gallery. Works pictured from left to right: Roxanne Swentzell and Rose B. Simpson's "Timeline Necklace", Cannupa Hanska Luger's "Every One (#MMIWT Bead Project)", and Rose B. Simposon's "Time Machine".

    Form and Relation installed inside Engles Gallery. Works pictured from left to right: Roxanne Swentzell and Rose B. Simpson's Timeline Necklace, Cannupa Hanska Luger's Every One (#MMIWT Bead Project), and Rose B. Simposon's Time Machine. Photo by Alison Palizzolo.

  • Works pictured from left to right: Roxanne Swentzell's "Tattooed Woman", Rose B. Simposon's "Time Machine", Ruben Olguin's "Intrusions, Angostura", and Roxanne Swentzell and Rose B. Simpson's "Timeline Necklace". Photo by Alison Palizzolo.

    Form and Relation installed in Engles Gallery. Works pictured from left to right: Roxanne Swentzell's Tattooed Woman, Rose B. Simposon's Time Machine, Ruben Olguin's Intrusions, Angostura, and Roxanne Swentzell and Rose B. Simpson's Timeline Necklace. Photo by Alison Palizzolo.

  • A detail of Roxanne Swentzell and Rose B. Simpson's "Timeline Necklace" (2019) installed in Engles Gallery. The work is made of ceramic, leather, wood, string, mud, and wire. Photo by Alison Palizzolo.

    A detail of Roxanne Swentzell and Rose B. Simpson's Timeline Necklace (2019) installed in Engles Gallery. The work is made of ceramic, leather, wood, string, mud, and wire. Photo by Alison Palizzolo.

  • Works pictured from left to right: Rose B. Simpson's Creature Comfort, Ruben Olguin's Fractured, Broken Landscapes, Cannupa Hanska Luger's (Be)Longing, and Roxanne Swentzell's Sitting on My Mother's Back.

    Form and Relation installed in Citrin Family Gallery. Works pictured from left to right: Rose B. Simpson's Creature Comfort, Ruben Olguin's Fractured, Broken Landscapes, Cannupa Hanska Luger's (Be)Longing, and Roxanne Swentzell's Sitting on My Mother’s Back. Photo by Alison Palizzolo.

Virtual 3D Tour

Explore the exhibition Form and Relation virtually through this 3D Matterport scan. Move through the galleries by clicking on the transparent circles on the floor. Click on the color-coded dots to learn more about the exhibition and works on view through additional imagery, text, audio, and video.

In this tour, the dark gray dots are label and panel text, light gray are images, and the orange circles contain media such as audio, video, and educational pdfs.

About

This exhibition showcases the versatility of ceramics and the many forms it takes through the hands of six Indigenous artists from various regions within what is now the United States. Through their innovative and critical work, Anita Fields, Courtney M. Leonard, Cannupa Hanska Luger, Ruben Olguin, Rose B. Simpson, and Roxanne Swentzell wrestle with concepts such as community, identity, gender, land, extraction, language, and responsibility.

This project is made possible, in part, through the Diversifying Art Museum Leadership Initiative, funded by the Walton Family Foundation and the Ford Foundation.

Exhibition Curator

Jami C. Powell | Morgan E. Freeman

Related Publications

Form and Relation: Contemporary Native Ceramics

Additional Information

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Press Mentions

Exhibition subject: Native America

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