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>> Kalina Newmark: [American Indian greeting] Welcome
to the opening of the Native American Art
at Dartmouth exhibit.
My name is Kalina Newmark, and I am a Presidential Fellow
in the President's office.
I graduated from Dartmouth in 2011, with a double major
in Native American Studies
and Anthropology modified with Linguistics.
I would like to introduce our speakers for today.
I will name them in the order that they will appear.
Vera Bauer Palmer is a member of the Tuscarora Nation
of the Six Nations Iroquois Grand River Band.
She has been teaching in Native American Studies
at Dartmouth College since 2000.
Professor Palmer will lead us with a prayer,
which she will offer in her native Tuscaroran language,
followed by a blessing in English.
Before she begins her prayer, I would like to take some time
to explain the significance of Professor Palmer's role
in the opening of the Native American Art exhibit
at the Hood Museum.
At moments of great honor and celebration,
Native American tribes begin events with an offering
to the Creator, in collective gratitude.
Offerings may be made through prayer, song, or dance.
Professor Palmer honors us by performing this role on behalf
of the Native American community at Dartmouth.
I would like Professor Palmer to come up here now.
Thank you.
>> Vera Bauer Palmer: [Tuscarora greeting word] May I ask you all
to rise, please?
[Prayer in Tuscarora language]
Creator, infinite mystery, we gather today in the spirit
of gratitude and celebration for the many riches that we enjoy:
The gift of life, of spirit, of creation, and of creativity.
We are here together from many different nations, Creator,
many different tribes, communities, and families.
We remember today our loved ones who are not here with us:
Those back in our homes,
and those who have gone on before us.
Creator, we offer special thanks to the spirit and to the people
of the Abenaki nation, whose ancestors, whose children,
whose stories, whose joy, whose tears,
and whose hopes permeate the very soil
on which we are standing.
Creator, [Tuscarora words], we also come today on the very eve
of a different day of remembrance,
a day that for many indigenous people brings great sorrow.
So we pause, in this moment, before we walk across the portal
of this exhibit of the artists of Turtle Island;
and we ask of you that what we see
and experience will not only entertain our eyes,
challenge our minds, but that the many works
of these artists will bring our hearts together
in a deepened sense of mutual respect and understanding.
[Tuscarora closing words]
>> Kalina Newmark: I'll now introduce the rest
of the speakers for today.
I'll name them in the order that they will speak.
Carol Folt, the provost of Dartmouth College and Professor
of Biological Sciences; Michael Taylor, the new director
of the Hood Museum of Art and a curator and scholar of modern
and contemporary art; N. Bruce Duthu, member of the Houma tribe
of Louisiana, Samson Occam Professor
of Native American Studies,
and Chair of the Native American Studies program;
Alanis Obomsawin, member of the Abenaki tribe, Director
and Producer at the National Film Board of Canada,
and Montgomery Fellow.
So we will begin with Provost Folt.
>> Carol Folt: Good afternoon.
And in fact, glorious afternoon.
I'm very honored to help inaugurate this beautiful
and powerful exhibition of Native American art,
on behalf of Dartmouth College.
This is a very important day for Dartmouth,
for its Native American community, and for all of us
who are part of the extended Dartmouth family.
Not only is it a celebration of the commanding works
and the Native American artists who created them, it --
it's an exhibition that challenges us to share,
to learn, to teach, and to reaffirm.
It wasn't until 1970, when John Kennedy rededicated the college
to its primary mission, in his historic inaugural address
as the 13th president of Dartmouth College,
that Dartmouth began
to seriously recruit native students
and founded the Native American program
and the Native American Studies program.
Since that time, more than 800 Native Americans
from over 200 different tribes have attended Dartmouth,
with native students comprising currently four percent
of the undergraduate population.
And thousands and thousands more of students and faculty
from other cultures have studied and learned from the faculty
and the leaders in these outstanding programs.
As you could imagine, we will be celebrating the 40th
anniversaries of both of these programs in the next years
with great pride and purpose.
As Professor Colin Calloway concluded, in his recent study
of this part of Dartmouth's history,
that the college has learned as much
from Native American culture and traditions
as these students have learned from college.
And as we look to our next 250th years, beginning in 2019,
Dartmouth will continue to honor and advance the centrality
of our founding charter to our enduring mission.
I had my first visit to the exhibition yesterday,
and it was deeply moving.
It is an inspiring and expressive exhibition.
It's about continuity and change.
It's both beautiful and sometimes difficult.
And it is truly a stunning display of the diversity of art
and human achievement.
Perhaps most striking is that it's an exhibit --
exhibition that truly belongs to Dartmouth,
to this very community, with so many artists and faculty
and students and now alumni who have been
at Dartmouth represented in the works, in the videos,
and in the design of the exhibit.
These works are a prized part
of Dartmouth's Hood Museum collection,
and they will be a very vital part of the collection
that will be available to students
and to the public in the years ahead.
So, on behalf of Dartmouth, I'd like to thank all of you
who have participated in --
and generously supported the creation of --
this exhibit, including Dartmouth students and faculty,
alumni, visiting artists in the past and in the future,
for this incredible works of art.
We honor you.
We honor the resilience and the courage, the artistry
that is represented by these works.
Thank you.
[Applause]
>> Michael Taylor: Good afternoon.
My name is Michael Taylor.
I'm the new director of the Hood Museum.
And I'm just so delighted to be here this afternoon,
for what's going to be a momentous occasion.
We are gathered here today, in this very special place --
the Dartmouth Green -- to celebrate the official opening
of the Hood Museum of Art's exhibition,
Native American Art at Dartmouth.
Four years in the making, and including more than 150 works
of art, the vast majority of which are going to be
on public view for the first time, this landmark presentation
of Native American art represents one
of the most important art exhibitions
in the history of Dartmouth College.
The visually-stunning installation
of the Hood Museum celebrates the creative output of more
than a thousand years of artistic creation,
from an ancestral Pueblo bowl with intricate geometric designs
to a weaving inspired by traditional Navajo patterns
that was completed just two weeks ago
by Dartmouth student Jason Curley, of the class of 2013.
It is not just the Hood Museum of Art,
but all of Dartmouth College, including the students, faculty
and alumni, as well as the Upper Valley community,
that has the opportunity today to celebrate the --
celebrate and experience the rich cultural legacy
and living traditions of Native American art, as represented
in the objects on display at the museum, and the artists --
many of whom are with us --
who have joined us for this week's events.
Because the museum's collection represents such deep
and diverse holdings of Native American art, in a wide range
of media and spanning vast historical time periods,
the exhibition's guest curators --
George and Joseph Horse-Capture and Joseph Sanchez --
chose what I believe to be a radical
and extremely courageous approach to its organization.
Native American Art at Dartmouth is organized geographically --
that is to say, into distinct cultural regions,
rather than thematically or chronologically --
as is the usual standard practiced in museums.
This groundbreaking method of display allowed the curators
to present historical objects and works
by contemporary artists side by side,
thus emphasizing the continuity of cultural identity
in such regions as the Arctic, the northwest coast,
the Southwest, the Plains, California and the plateau,
the Woodlands, and the Southeast.
The end result is a breathtakingly beautiful
and at times extremely moving exhibition
that challenges stereotypes and asks new and profound questions
about what Native American art is
and how it has been historically understood.
For helping us to achieve an exhibition
that truly embraces multiple perspectives and voices,
from the multi-authored catalog and exhibition wall labels,
to the collaborative curatorial approach, and the interviews
that you'll see on television monitors throughout the
galleries, we have many people to thank and recognize.
We are honored to be joined here on the Dartmouth Green
by the exhibition's visionary curators,
as well as Native American artists and scholars,
the star supporters and friends of the Hood Museum,
and the Dartmouth faculty, staff and students,
all of whom we will meet and publicly thank
in the exhibition's galleries, following this ceremony.
For now, however, I'd like to publicly thank May
and David Raynolds, who are sitting right here --
David from the class of 1949.
We simply would not be opening this exhibition today
without your generous support.
I'd also like to thank President Jim Yong Kim,
who has embraced this exhibition project since its inception.
Finally, I would like to thank Provost Carol Folt,
for recognizing the historical importance of this exhibition
for Dartmouth College and its students.
The President's Office and the Office
of the Provost generously funded today's events,
and for that we are also truly grateful.
This occasion also prevents --
presents us with a moment to reflect upon what these works
of art teach us about ourselves and our community.
Dartmouth College has a long and proud history of engagement
with significant Native American artists,
through its internationally-recognized
Artist-in-Residence program.
In the galleries, you will see work by four such artists:
Fritz Scholder, who was an artist-in-residence in 1973;
T. C. Cannon, who came to Dartmouth in 1975; Allan Houser,
who was the artist-in-residence in 1979; and finally, his son,
Bob Haozous, who came 10 years later and who is
with us again this week to create an installation,
in collaboration with Dartmouth students, in the Barrows Rotunda
of the Hopkins Center, curated along with Joseph Sanchez.
We're very honored by your presence here today
and thank you for your great work.
In 2009, Mateo Romero, of the class of 1989, was commissioned
to create a suite of paintings
of that year's Pow-Wow, here on the Green.
These sumptuous paintings are also on view in the galleries
and underscore Dartmouth's ongoing commitment
to Native American art and culture.
These residencies, along with the museum's preservation
of literally hundreds of historic
and contemporary objects,
reflect the college's long recognition of the importance
of Native American art at Dartmouth.
For now, and for the next five months, we welcome you
to visit this exhibition.
We hope that you will learn from and enjoy the works of art
on display and encourage you to participate in as many
of the student and public programs that we will offer.
I'd like to end my remarks by saying how deeply honored I am
that this is the first exhibition
to open during my tenure as Director of the Hood Museum.
I firmly believe that the museum's outstanding holdings
of Native American art should be on view at all times,
rather than languishing in storage.
And this is why I'm proud to stand here today and make
to you the commitment that with the Hood Museum's impending
expansion into the adjacent Wilson Hall building --
which you can see from here, the red brick building next to it --
we will dedicate a permanent gallery to Native American art,
so that every Dartmouth student, for millennia to come,
will have the opportunity to engage with
and understand the true depth and range
of this extraordinary collection.
Thank you, and enjoy the exhibition.
[Applause]
>> N. Bruce Duthu: Good afternoon.
As Kalina said, I'm Bruce Duthu.
I'm from the Houma tribe in Louisiana.
I'm a Dartmouth graduate from the class of 1980
and had the great privilege of serving as Chair
of Native American Studies.
You're going to see some very incredible works,
right across the way.
And in my brief time with you, I just want to encourage you
to think of the works that you will be seeing in the way
that I find it very helpful to think of them: As companions --
not objects, but companions.
And they're companions to the hands and the minds
that created these beautiful works, sometimes hundreds
and hundreds of years ago.
And when you spend time with these works, I would hope
that you would think and reflect about the people who made each
of these objects: The hands that made them,
the minds that brought the -- brought the materials together
into a vision; and to just ponder the significance
of having those companions still with us, to tell us stories.
Because those stories are still with us, and they serve
as a constant reminder of people who have dedicated their lives
to helping to document the story
of native peoples on these lands.
We may not have the peoples themselves.
We may have the descendents.
But we have their material culture.
And we have the stories that are represented behind those
material -- pieces of material culture.
So if we think of them as companions,
I think it helps us go a long way towards appreciating the
depth of and the power of those stories and what they have
to reveal about ourselves, our relationship to each other,
and our relationships to the natural world;
and our responsibilities to each other and to the natural world.
I borrowed Michael Taylor's catalog for two reasons: One,
because it's a beautiful catalog,
and I hope you're all going to get one.
But I wanted to just close by saying how special it is for me
to see this particular work on the cover,
because there are two students whose hands
and personas are embodied in this.
Mateo Romero -- who's seated right there --
is a former student.
Back in the day that Mateo was a student here, I was Director
of the Native American program and played a small role
in helping Mateo to mount his exhibit of his works of art,
as a Studio Arts Major here at Dartmouth.
And they were exhibited right here, in McNutt,
in the Admissions Office.
And, as he was telling me this morning,
it was one of the first times that he was able
to mark his transition from being a --
that this was a personal work, to a professional,
someone who shows his work to the public.
And it was a quite moving testament.
Mateo gave me a piece of work
from that show, which I treasure.
It's been -- every office that I've occupied,
Mateo's work has followed me.
And I take great pride in showing that,
because it's a stunning piece of art.
When people say, Who is that, I tell them the Mateo story.
Now I'll have two Mateo stories,
because in this particular work, it's Daryl Concha.
Daryl's here?
Where's Daryl?
There she is, right there.
Cover girl.
So Daryl graduated last year.
And by having this -- not only this catalog,
but the actual work in the museum,
there's a certain constancy that brings me great, great joy,
that even though Mateo heads off to Santa Fe and Daryl goes off
to New York -- or wherever she's going to end up, we have part
of their legacy here, their companionship.
And in a way, it sort of marks the passage of time,
but it also talks about the constancy.
Time sort of stops.
And when you visit with these companions, you get a chance
to visit and remember this guy when he was younger --
well, I was younger, too --
and remember those moments where you spent time together
and spent time talking about their dreams
and their aspirations and what they wanted
to do with their lives.
I treasure those moments,
because I remember my conversations with Mateo.
I remember my conversations with Daryl.
I'll always remember those conversations.
And a part of me imagines that if I am sitting with a --
that Pueblo pottery that Michael talked about,
that I'm having a conversation with the artist who produced
that work and wondering, What were you thinking that day?
And why did this come out of that?
What was on your mind, when you created this work?
And that's what I mean.
By viewing these works as companions, you have someone
to join you in the journey.
They're not just objects.
They're storytellers.
Enjoy them.
Thank you so much.
[Applause]
>> Alanis Obomsawin: Good afternoon to all
of you beautiful people.
I hope you feel that way,
because that's what I think you are.
I am honored to be here at Dartmouth for the opening
of this special exhibition
on Native American Art at the Hood Museum.
My dear brothers and my dear sisters, we have come a long way
from the time our people's existence were hidden.
The keepers of the sacred things never died, and the artists kept
on working, even in the dark.
It was as if we were living underground.
You can still read our people's messages they left behind,
through their drawings, carvings and pictographs,
sometimes in difficult places to reach.
You can learn about their values and their close relationship
with the spirit world, the animals,
and the nature of things.
They danced and they sang.
They acted in plays, to entertain
and to educate their nations.
I am happy to be here on the land of my ancestors,
the Wabanaki people, or Abenaki.
Yesterday, I saw a young deer passing by my window.
I thought, This is how it used to be.
Sometimes, I close my eyes, I can hear the sound of the drum.
Someone is singing.
And I sleep in peace.
This exhibition speaks of the past [background bells chiming],
the present, and the future.
I have a vision that the ghosts of our people
from long ago are lining up to see the beautiful works
of these special artists.
Thank you.
[Applause]
>> Michael Taylor: So -- if everyone can hear me --
what a wonderful occasion.
It was just terrific to see everyone walking
through the show, enjoying it.
Interesting to see who gravitated where, you know.
Some people went straight to the Arctic.
Some people went straight to the Pow-wow Suite.
Southwest.
You know, it was interesting.
Everyone had their own favorite section, which is great.
So welcome to Native American Art at Dartmouth,
this great exhibition.
My name is Michael Taylor.
I'm the new director, here at the Hood Museum of Art.
And I want to begin by once again recognizing the incredible
creative vision that went into what you see around you.
Guest curators here -- Joseph Sanchez and Joe Horse-Capture,
and behind you is, Joseph -- very soon, George will come up.
He couldn't be here today, but there was a trio of great,
creative geniuses behind this show.
And they -- two of them are going to talk to you today.
They dared to think differently about how to select, organize,
and present the Hood Museum of Art's immense
and diverse collection of Native American art.
Their visionary approach allowed them
to fully integrate historical objects with contemporary art,
in a dynamic presentation that is organized
by cultural regions, rather than traditional thematic
or chronological displays.
It gives us exciting new ways to contemplate and learn
from the Hood Museum's collection.
And we thank you, the curators --
ah, there you just saw George, for a brief second --
we thank you for taking risks, reject --
and for rejecting conventional museum practice.
There was also one person
who has been the museum's in-house curator
and the dedicated anchor for the duration
of this exhibition's development and installation.
It is my great pleasure to give a very warm thank you
to Karen Miller.
Karen, if you can -- [applause].
Come forward.
[Applause, cheers]
Karen -- Karen is the museum's Assistant Curator
of Special Projects.
Without her tireless efforts,
we would not be celebrating the exhibition as it appears today.
So Karen, we very carefully hid this, but this is for you.
[Applause]
The entire Hood Museum of Art staff has put their fine work,
dedication, and expertise into this exhibition.
And in particular, I want to thank Patrick Dunfey
for truly reimagining
and transforming the museum's galleries,
with an installation design that perfectly matched
and embraced the curators' ideas and values.
Really great job.
[Applause]
Matt Zayatz, John Reynolds, and Sue Achenbach mounted
and installed all of the objects.
And Katherine Hart, Juliette Bianco, Kathleen O'Malley,
Cynthia Gilliland, Rebecca Fawcett, Deborah Haynes,
Sharon Reed, Alison Sharp, Nils Nadeau, Nicole Gilbert,
and photographer Jeffrey Nintzel ensured that the exhibition,
the catalogue -- which I've been carrying around all day,
it's beautiful -- and today's event were executed
to the Hood Museum's highest standards.
One of the great triumphs of the exhibition was
that it allowed us to give the collection the care
and attention than it needed; and many objects
that required conservation were treated
at the Williamstown Art Conservation Center.
So we thank Allison McCloskey and her colleagues there
for all their hard work in restoring our objects
to their original appearance.
This exhibition would also have not have happened
without the instrumental support, vision, and dedication
of May and David Raynolds -- David of the class of 1949.
We thank you most sincerely.
[Applause]
Special thanks also go to Stephen Lister, of the class
of 1963, and a member of the Hood Museum's Board
of Overseers, who supported the creation and presentation of all
of the filmed interviews that you will encounter
in the exhibition, and whose recent gift of a Dakota vest --
which is just behind that partition there --
represents a stunning addition to the museum's collection.
I think these videos, by the way, are extraordinary,
because they give contemporary voices to this material,
and they remind you, once again, that this is a living tradition.
We also want to thank Charles Nearburg, of the class of 1972,
and a new member of the Hood Museum board, for his support
through a magnificent promised gift to the collection; namely,
this painting behind me, by T. C. Cannon.
Cloud Madonna is widely recognized as one
of the most important paintings
by an artist whose life was tragically cut short,
and it has such deep resonance
with T. C. Cannon's time here at Dartmouth College.
Thanks also go to Mihoko Obering and the Obering Fund,
for supporting the residency of artist Bob Haozous this week.
Bob is like our conscience, you know.
He reminds us that it's not just about beauty,
that there are serious issues facing Native Americans today,
including suicide and alcoholism.
And to me, it's just been such a great joy to have him here,
just reminding us of the momentousness of this occasion.
And I see you right there, Bob.
And it's from the heart, you know.
I'm so proud to have you here.
Thank you for your work.
[Applause]
And special thanks also go to Gerry Auten, Brenda Garand,
and the students and faculty of Studio Art, for supporting
and participating in the ongoing installation
in the Barrett Rotunda.
We are also -- we are also honored
that you have all joined us to celebrate here today.
And we want to wish --
and we wish also to thank Susan Ferris --
who could not be here -- for her generous support, as well.
Our sincere and personal thanks also go to the faculty
of the Native American Studies Department at Dartmouth;
in particular, Bruce Duthu, Colin Calloway, and Vera Palmer;
as well as the director of the Native American program,
Molly Springer, whose enthusiastic
and unwavering support for this project
and many others was deeply appreciated.
Many current and former Dartmouth students were involved
in significant ways with this exhibition over the years.
And we thank, in alphabetical order: Andre Cramblett,
Jason Curley, Asa Erdrich, Hyde Erdrich, Louise Erdrich,
Kayla Gebeck, Chelsea Luger, Kalina Newmark, Mary Pavel,
[inaudible] Rivera, and Santiago Romero.
This exhibition is truly for you.
Many artists, curators, and scholars have also contributed
to the success of this exhibition
and its accompanying catalogue.
And we're so happy that artists Bob Haozous and Mateo Romero are
with us today, along with David Reddick -- of the class of 1975,
and the director of the Allan Houser Foundation --
whose time at Dartmouth coincided
with T. C. Cannon's residency.
It is now my great pleasure to introduce two
of the exhibition's three guest curators and invite them
to offer their heartfelt welcome to the show.
George Horse-Capture, as I said, could not be with us today,
but I invite you to listen to his remarks
on the video monitor here, especially when he talks
about the meaningfulness of Native American art.
And he talks about how you can smell the objects.
I just love that piece.
And it's something deeply moving
about the way he talks about art.
And now, I'll hand the podium
over to our distinguished guest curators: Joe Horse-Capture,
the Associate Curator of Native American Art
at the Minneapolis Institute of Arts; and Joseph Sanchez,
former Deputy Director and Chief Curator of the Institute
of American Indian Artisans, in Santa Fe.
Please give them a warm and heartfelt round of applause.
[Applause]
>> Joseph Sanchez: Thank you, everyone.
And welcome to this exhibition.
It's been, like, four years in the making.
So it's -- I got to come here often.
First of all, I'd like to thank, like, Barbara Thompson,
who first got me on this project.
She was the former curator here and is now
at the Seattle Museum; and Brian Kennedy, who is past director;
Kathy Hart, the interim director;
and of course the current director, Michael Taylor.
The staff at the Hood, here, has really been a pleasure
to work with, and I've really enjoyed the time I got to spend
with them, especially the time with Karen Miller.
And thank you, Patrick, for working on this concept
of this design and understanding what we needed.
The office staff, of course,
treated me really good, so thank you again.
I'd also acknowledge the crew who put this all together.
It's a lot of work.
I know what that's like, and they did an excellent job.
And to Joe Horse-Capture, and to his father George,
it's been a pleasure to work with you,
and I hope to do that again.
My intent in curating this contemporary work
in this exhibition was to share the creative minds
of the native artists, and to shed light on the issues
that artists have in the development of their work,
so that it has meaning to them and their culture.
Whether it's the critics not understanding the work
or placing it only in a cultural context,
or the ongoing assimilation of native people
by a larger society, artists find it difficult
to address truth in the history of native culture.
We have the admonition of our elders,
the museums, collectors, curators.
The work by native artists, if it does not fit
into accepted isms
of contemporary art, they have trouble.
They're not -- we're not recognized as American artists,
and always have separate.
You know, I think the Hood Museum has done great,
because in the contemporary show, they show quite a few
of the works by native artists.
Native people are definitely alive today, and this art fits
into the entire canon of American art.
I would have you look at this exhibition with new eyes,
recognizing the continuity of native tradition
and the aesthetics and the efforts of the artists
to bring light to concerns about our environment, racism,
assimilation, and, of course, the genocide of native culture.
Some of the images can be harsh, but the necessity
to recognize the creative value that continues
in Indian country -- past and present --
and understand the need of native people to create
for their own people and not just replicate isms
of past art history is a message I hope you can take away
from this exhibition.
And as long as native objects and native curiosity
and creativity is limited just to this worship of objects,
we'll never be able to fully and realistically talk
about the issues that face Native America.
I want to thank Bob and Kim for all the time we spent
in the rotunda and the years --
we've been working together for quite a few years.
So I hope you all have a chance to walk over to the rotunda
and see that native art is a lot about dialogue.
The objects, indeed, are beautiful and important,
but it's our conversation that really is important --
with each other, and to our people.
So thank you again, and welcome to the exhibition.
[Applause]
>> Joe Horse-Capture: Good afternoon.
I'm Joe Horse-Capture.
Welcome to the exhibition.
And you are also welcome
for this great weather we brought from Minneapolis.
I'll be honest with you, it is a little odd sitting here
and seeing that gigantic Joe on the --
on the Joe-tron [laughter].
It's very -- it's very disconcerting.
And I can never -- I've only -- I've only been working on this
for four years, but this is really the first time I've spent
any time here.
There's even more -- I -- when I --
but seeing your father up there.
I'm not sure if it's good or if I'm in trouble.
Anyway -- thank you for coming to this exhibition,
Native American Art at Dartmouth.
It's an exhibition
that celebrates Native American art and culture.
It has been sensibly displayed, with the objects,
as mentioned before, divided into geographic region.
And it really celebrates the ancestors,
those that are here today, as well as the future.
As we saw, the great -- the great presentations we saw
over on the Green is the current Native American students here
at Dartmouth.
And to my mind, this exhibition is equally about them,
as it is about the objects.
And as we approach these different sections
that are divided into regions,
we notice that the contemporary art is organized with
and displayed with the historic work,
as well as the ancient material, which is unconventional.
And of course, my next question is, well,
that's unconventional to who.
Because as we think about this material, we have to realize
that everything in this room is contemporary art.
It's just a matter of where you're standing in the timeline.
I'd like to thank the museum staff.
My participation in this exhibition has been a
great honor.
It's been four wonderful years.
I'd also like to thank my good friend, Karen Miller,
who's been at the helm.
Please come up here, Karen.
I'd like to thank her for her help.
She's been at the helm of this show.
We've been working together for a very long time,
and I'd like to honor her.
[Applause]
Thank you, everyone, and please enjoy yourself.
[Applause]