In Focus

Pair of male and female ancestor figures (ana deo)

GENERAL DESCRIPTION
In central Flores, two powerful creator gods are recognized and revered. The god of the heavens is called Deva or Mori Meze, and his female companion is Nitu, the goddess of the earth. Perhaps of greater everyday relevance is the power of the ancestors, since they are more closely associated with the daily lives of all living descen­dants.

Mouth mask probably depicting the head of a rooster

GENERAL DESCRIPTION
Among the rarest of the ethnographic artifacts from the Southeast Moluccas are small masklike objects depicting the head of an ani­mal. On the back of each of these objects is a wooden tab, extending from the inside of the head, which is clamped between the teeth and serves to hold the mask on the wearer’s lower face in front of the mouth.

Ben Nicholson (1965 exhibition)

GENERAL DESCRIPTION
The following essay is adapted from former Dallas Museum of Fine Art's director Jerry Bywater's introduction to the 1964 exhibition pamphlet Ben Nicholson which was published in conjunction with an exhibition of the artist's work at the DMFA that same year.

Boat symbolism in Southeast Moluccan Art

GENERAL DESCRIPTION
On most Maluku Tenggara islands, the boat not only served as a means of transport; it was also considered an important model of society. In the Kai, Tanimbar, and Babar archipelagos, as well as on the islands of Luang, Sermata, Leti, and Damar, the occupants of houses and villages saw themselves as a ship’s crew, a view that was expressed in various ways.

Headdress ornament with a human face

GENERAL DESCRIPTION
On the island of Luang—notwithstanding the introduction of the Panca Sila, the Indonesian state philosophy upholding democracy and justice—a traditional caste system endures. Historically, three classes existed on the islands: a noble elite, which produced the chiefs; a large middle class; and a caste of slaves.

Sculpture Twentieth Century (catalogue essay)

GENERAL DESCRIPTION
If one were to characterize the sculpture of the 20th century in one word, that word might be diversity. For in the past sixty-five years, sculptors have explored more directions in style, form and technique than at any other time in history. Stimulated either by established traditions or by radically new aesthetics, they have produced work of tremendous variety in subject, appearance, and ultimately, meaning.