ART ON VIEW
FIG. 10 (right):
Mask, tatanua.
New Ireland, Papua New
Guinea. 20th century.
Wood, plant fi ber, prickly fruit, lime,
glass, textile, pigment. H: 44.8 cm.
UMFA, Ulfert Wilke Collection,
purchased with funds from Friends of
the Art Museum, inv. 1983.001.009.
FIG. 11 (facing page, top):
House fi nial.
Iatmul, East Sepik Province,
Papua New Guinea. 19th
century.
Wood, pigment.
On loan from the Tomkins Collection
(TC 96), UMFA inv. L2016.9.5.
FIG. 12 (facing page,
bottom): Installation view
of the new Arts of the
Pacifi c gallery at the Utah
Museum of Fine Arts.
Photo: Adelaide Ryder, UMFA.
Julius Carlebach. He also saw a great amount of
non-European art through his friendship with
artists such as Mark Tobey, Arman, Wolfgang
Paalen, and George Rickey, to name a few.2 On
view from the Wilke accession are a malagan
fi gure and mask (fi g. 10) from New Ireland and
from the East Sepik District a shield collected
by Capt. Friedrich Haug in Matembe village in
1909 (fi g. 13). Highlights from the same collection
78
include an unusually fi ne Middle Sepik
River drum, shields from New Britain and Australia,
a New Caledonia mask (fi g. 15), and an
u’u from the Marquesas (fi g. 14).
Among the sculptural traditions presented
from the collection, the art of the Asmat is front
and center, represented with masks, shields, a
soul ship, and bis poles, which were gifts of
Steven C. Chiaramonte. Siapo (tapa) from Samoa
is presented for the fi rst time (fi g. 17), and
examples of barkcloth from different island nations
will be rotated every several months. Jake
Fitisemanu Jr., Adrian Bell, and Ailine Kinikini
provided important information about the