stallation with sculpture, performance, poetry, music and 

 video, the artists present their views and concepts of creation, 

 the importance of sacred places, and how the Indian universe 

 has been affected by conflicts with Euroamencan beliefs and 

 cultures. The exhibition also shows how those ancient indige- 

 nous ideas, as expressed in the archaeological and historic ob- 

 jects that can be seen in the other exhibitions, still contribute 

 to the Indian worldview of today. 



The museum is launching the Native American Expressive 

 Culture Series — on-going, weekend public programming that 

 includes storytelling, theater, music, dance, film and video. 



In the multimedia Resource Center, ten computer stations 

 provide access to resource information about the ob|ects in the 

 exhibition and the indigenous worldview, as well as "Discov- 

 ery Boxes," with objects that can be handled, video and audio 

 programs, coloring pages and books. 



In June, the museum announced the development of publi- 

 cations and products in preparation for the premiere of three 

 major exhibitions opening in the fall at the Heye Center of 

 the National Museum of the American Indian in New York 

 City. Products include three exhibition books, a recording of 

 Native American music on compact disc and cassette tape, a 

 calendar, a postcard book, T-shirts and other products. 



On November 16, the museum's Repatriation Office com- 

 pleted the mailing of detailed, itemized inventories of its col- 

 lections to tribes with possible cultural affiliation to the 

 materials. The mailings went to more than 700 tribes feder- 

 ally and state recognized under the Native American Graves 

 Protection and Repatriation Act. Inventories were also sent, 

 later in the year, to state-recognized tribes that were not in- 

 cluded under NAGPRA but which are included in policies 

 adopted by the board of trustees of NMAI. 



In ceremonies at the museum's Research Branch in the 

 Bronx on October 27, the National Museum of the American 

 Indian returned 86 objects to the people of the Pueblo of 

 Jemez in New Mexico. The museum's board of trustees voted 

 unanimously to return the objects, based on the museum's re- 

 patriation policy, which provides fro the return of objects of 

 religious, ceremonial and historical importance, as well as 

 communally owned materials illegally acquired and subse- 

 quently transferred to the museum. 



On Feb. II— 12, the museum, the Office of Repatriation of 

 the National Museum of Natural History and the Keepers of 

 the Treasures, National Park Service, sponsored a repatriation 

 workshop attended by a full class of 55 people. The workshop 

 was designed for American Indians, Native Alaskans and Na- 

 tive Hawanans who are beginning the process of repatriation 

 to inform them about the process and procedures for repatria- 

 tion as outlined under the NAGPRA legislation. 



"Shared Visions: Native American Painters and Sculptors 

 in the 20th century," sponsored by the National Museum of 

 the American Indian and the International Gallery closed on 

 Oct. 6, 1993, after attracting a total of 56,700 visitors during 

 its four-month run. Curated and originated by The Heard mu- 

 seum in Phoenix, Arizona, the traveling fine-art exhibition. 



included paintings and sculpture from the NMAI and The 

 Heard, as well as other museums and private collections. 

 Sponsorship of "Shared Visions" from May 24 through Octo- 

 ber 6 in the International Gallery established the first pres- 

 ence of the National Museum of the American Indian in 

 Washington. "Shared Visions" also provided an opportunity 

 for the museum's Office of Public Programs to present a series 

 of artists' salons at intervals during the course of the exhibi- 

 tion and a symposium on Native American art on October 2. 



Nobel Peace Prize laureate Rigoberta Menchti, Quiche 

 Maya exile from Guatemala, called for a Decade of the Indige- 

 nous People in an October 14 speech, sponsored by the Na- 

 tional Museum of the American Indian, the Smithsonian 

 Associates Program and the Inter-American Development 

 Bank. An audience of 1,200 filled Andrew W. Mellon Audito- 

 rium for her presentation. 



National Portrait Gallery 



Alan Fern, Director 



The National Portrait Gallery is dedicated to the exhibition 

 and study of portraits of people who have made significant 

 contributions to American history and culture and to the 

 study of the artists who created such portraiture. The Gallery 

 sponsors a variety of scholarly and public activities for audi- 

 ences interested in American art and American history. 



Collections Acquisitions 



The Department of Painting and Sculpture acquired a por- 

 trait of environmentalist Marjory Stoneman Douglas by 

 Menden Hall, a gift of the Friends of the Everglades. The Gal- 

 lery also received as gifts oil portraits of Dizzy Gillespie and 

 physicist Robert A. Millikan, as well as early nineteenth- 

 century miniature likenesses of Charles Brockden Brown and 

 his wife Elizabeth Linn Brown. Purchases included an import- 

 ant portrait of Henry Clay by John Neagle, the 1842 life study 

 for a larger, full-length image, and portraits of art critic Har- 

 old Rosenberg, composer Aaron Copland, and philanthropist 

 Nettie Fowler McCormick (Mrs. Cyrus H. McCormick). 



Acquisitions by the Department of Photographs included 

 P. T, Barnum and Tom Thumb, circa 1850, daguerreotype; 

 Ute Delegation, a photograph by Mathew Brady Studio, 1868; 

 Irene Castle by Baron Adolph De Meyer, 1919; and Ralph Ab- 

 ernathy by Dan Weiner, 1956. 



Gifts included 13 color carbro photographs by Harry 

 VC'arnecke from the widow of the longtime photographer for 

 the Seu York Dad) Neus. and 52 black and white prints by 

 Hans Namuth from the estate of Hans Namuth. A grant was 

 received from the James Smithson Society to purchase 24 

 color photographs of prominent contemporary' artists and ar- 

 chitects by Hans Namuth. 



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