MUSEUM news OBLIQUE VIEWS Santa Fe—Two years after his famed 1927 New Yorkto 50 Paris transatlantic fl ight, aviator Charles Lindbergh married Anne Morrow in a private ceremony at her parents’ home in New Jersey. Hoping to escape his fame and the harassment that went with it, they traveled to the Southwest, where they conceived of and executed a little-remembered art project. Flying low over the region’s remarkable geographic features and archaeological sites, they took a series of 198 striking photographs, the nitrate negatives for which are now in the collection of the Museum of Indian Arts & Culture in Santa Fe, New Mexico. The fi lm is now delicate and deteriorating, and when considering how best to conserve them, the idea was formed to recreate them. During 2007 and 2008, fl ying at alarmingly low altitudes and slow speeds, pilot and photographer Adriel Heisey leaned out the door of his light plane and, holding his camera with both hands, rephotographed some of the sites that the Lindberghs had shot nearly eight decades earlier. The result of this “collaboration” is currently on view for the fi rst time in Oblique Views: Archaeology, Photography, and Time, at the Museum of Indian Arts & Culture until May 25, 2017. Here, Heisey’s stunning color images are paired directly with the Lindberghs’ black-and-white ones, revealing often surprising changes. Beyond the expected addition of modern habitation and infrastructure in many images, the views of the ancient Anasazi ruin known as the White House, to name one example, show lower water in the modern river yet considerably more vegetation, since there is far less animal and human traffi c in the area today than there was then. Surprisingly, other images show virtually no discernible change at all, save for the shift from black and white to color. ABOVE: Standing Rock, Arizona. Photographs by Charles A. and Anne Morrow Lindbergh, 1929 (left), and by Adriel Heisey, 2008 (right). Museum of Indian Arts & Culture, Santa Fe. DESIGN FOR ETERNITY New York City—From the fi rst millennium BC until the arrival of Europeans in the sixteenth century, artists from the ancient Americas created small-scale architectural models to be placed in the tombs of important individuals. These works in stone, ceramic, wood, and metal range from highly abstracted, minimalist representations of temples and houses to elaborate architectural complexes populated with fi gures. Such miniature structures were critical components in funerary practices and beliefs about an afterlife, and they convey a rich sense of ancient ritual, as well as of the daily lives of the Aztecs, the Incas, and their predecessors. Design for Eternity: Architectural Models from the Ancient Americas, at the Metropolitan Museum of Art until September 18, 2016, sheds light on the role of these objects in mediating relationships between the living, the dead, and the divine. It also provides a rare look at ancient American architecture, much of which has not survived. Some thirty remarkable loans from museums in the United States and Peru join works from the Metropolitan Museum’s permanent collection, which is particularly rich in this material. This exhibition is the fi rst of its kind in the United States and is accompanied by a fully illustrated catalog. LEFT: Stirrup vessel: throne with fi gures. Chimú, Peru. AD 1300–1500. Silver. H: 23.5 cm. Metropolitan Museum of Art, inv. 1978.412.170, The Michael C. Rockefeller Memorial Collection, gift of Nelson A. Rockefeller, 1969.
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