48 TOP RIGHT: Polychrome bowl. Zuni Pueblo, Arizona. C. 1880. The General Charles McC. Reeve Collection. Southwest Museum of the American Indian Collection, Autry National Center, inv. #491.G.1002. ABOVE: Polychrome storage jar. Tesuque Pueblo, New Mexico. 1870–1880. Anonymous gift. Southwest Museum of the American Indian Collection, Autry National Center, inv. #1.A.232. BELOW: Polychrome bowl by Nampeyo or Annie Nampeyo. Hopi, Arizona. C. 1901. Southwest Museum of the American Indian Collection, Autry National Center, inv. #30.L.47. BELOW: Ignet figure. Tolai, New Britain. Burrinja Cultural Centre for the Shire of Yarra Ranges, Victoria, Australia. Gift of Neil McLeod. PUEBLO POTTERY Los Angeles—Featuring more than 100 examples of rare ceramics from the Autry National Center’s Southwest Museum of the American Indian Collection, Four Centuries of Pueblo Pottery, a new long-term exhibition opening October 19 at the Autry’s Mt. Washington Campus, will trace the dramatic changes that transformed the Pueblo pottery tradition in the era from Spanish colonization in the sixteenth century to the present. The informative installation is organized by Pueblo language groups and includes examples by such well-known potters as Maria and Julian Martinez (San Ildefonso Pueblo) and Nampeyo (Hopi). INGIET Upwey—Stories of sorcery and black magic have long surrounded the mysterious Ingiet figures from New Britain. The figures played a central role in the workings of the secret men’s society, the Ingiet (also Iniet or Iniat), the most powerful of cults among the Tolai people of the island. With the arrival of European colonizers in the 1870s and the annexation of the region by Germany in 1884, the cult quickly came under pressure and was finally outlawed by the German colonial government in 1905. Despite this, the practice of secret meetings, feasts, dances, and initiation continued underground for some time. Given this history, it is not surprising that much of the knowledge about how these small figurines were created and what their specific function was has been lost. They are believed to have held magic powers and were regarded as powerful tools to manipulate spirits. Usually they were hidden in caves and under roots of trees or buried in the ground. Women and uninitiated Tolai youths were not allowed to enter the maravot gathering grounds deep in the tropical bush nor to see Ingiet figures. A collection of ninety Ingiet objects was donated by wildlife photographer, field collector, and local resident Neil McLeod to the Shire of Yarra Ranges in 2001 as part of a larger donation of Australian Aboriginal art and ceremonial objects from New Ireland and New Britain. The Burrinja Cultural Centre, a communitybased multifaceted arts institution located some forty minutes from Melbourne, which stores and manages the collection, is presenting Secret Ingiets: Mysterious Stone Carvings and Ceremonial Objects from New Britain, which will be on view until December 1, 2013. In addition to the figures, the exhibition will feature rare audio recordings of Ingiet songs as well as other ceremonial objects from the Tolai culture drawn from the McLeod donation and on loan from the private collections of McLeod and of Harold Gallasch, South Australia, which are among the most comprehensive in the country. BELOW: Polychrome bird, by Maria and Julian Martinez. San Ildefonso Pueblo, New Mexico. 1919. The General Charles McC. Reeve Collection. Southwest Museum of the American Indian Collection, Autry National Center, inv. #491.G.2125.
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