#: locale=en
## Action
### URL
LinkBehaviour_E2A87508_B51E_157F_41E1_D62AAC20528B.source = https://g.page/?share
LinkBehaviour_DB3139CF_4EB8_B685_41CF_BF60F6F8EC94.source = https://g.page/?share
WebFrame_8F30501C_B536_0B96_41E2_CDEB21EA133F_mobile.url = https://loremipsum.io/
WebFrame_24A338BD_8120_62D4_41D4_110ED4F039F9.url = //player.vimeo.com/video/936637298
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LinkBehaviour_E2AB6509_B51E_1571_41DC_53E8C4B9C8A0.source = https://www.facebook.com/loremipsum
LinkBehaviour_DB2F39D0_4EB8_B69B_41D0_D23D31BDEA1C.source = https://www.facebook.com/loremipsum
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LinkBehaviour_DB32C9D3_4EB8_B69C_41C1_3C7A8AFC9DAC.source = https://www.instagram.com/loremipsum
LinkBehaviour_E2AA9513_B51E_1591_41DE_90D5B1501703.source = https://www.instagram.com/loremipsum
LinkBehaviour_E2AC250C_B51E_1577_41AE_3FC84986B984.source = https://www.linkedin.com/loremipsum
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WebFrame_8F30501C_B536_0B96_41E2_CDEB21EA133F.url = https://www.nyhistory.org/join-and-give
LinkBehaviour_5D0B71B3_7CB5_3025_41D6_24378CE00B9E.source = https://www.nyhistory.org/join-and-give
LinkBehaviour_E2A91514_B51E_1597_41D3_F24A62E1EBA0.source = https://www.pinterest.com/loremipsum
LinkBehaviour_DB35B9D9_4EB8_B68C_41C5_C16933EDF451.source = https://www.pinterest.com/loremipsum
LinkBehaviour_E2A9C50A_B51E_1573_41C2_48D1EB822CC9.source = https://www.twittercom/loremipsum
LinkBehaviour_DB30B9D3_4EB8_B69D_41CF_8C51F9D926C3.source = https://www.twittercom/loremipsum
LinkBehaviour_E2AB2507_B51E_1571_4182_2956A7B7A9A3.source = mailto: lorem@ipsum.com
LinkBehaviour_DB2E49CE_4EB8_B687_41C3_B0F7ED949F13.source = mailto: lorem@ipsum.com
LinkBehaviour_DB2E09CD_4EB8_B685_41AC_1B8CEBF1833B.source = tel: +34 666 777 888
LinkBehaviour_E2AA4506_B51E_1573_41D2_32E14100C9E6.source = tel: +34 666 777 888
## Hotspot
### Text
HotspotPanoramaOverlayTextImage_6542A766_4639_28ED_41C0_DD7D46A3C9EC.text = President's Letter
HotspotPanoramaOverlayTextImage_624162F0_4629_29E5_41D4_2144F8170FE2.text = Tap to move
HotspotPanoramaOverlayTextImage_675117FC_4627_37DD_41C1_7C3B9B251F1F.text = Tap to read
HotspotPanoramaOverlayTextImage_6543E2CF_4639_283B_41B5_EC5885295BF2.text = Tap to see
HotspotPanoramaOverlayTextImage_175C7840_5F35_C5FC_41D1_5FFE78806E9C.text = Tap to watch
### Tooltip
HotspotPanoramaOverlayArea_50353B2B_7795_ECC3_41B8_62607CCAF517.toolTip = Aquidneck After the Storm
HotspotPanoramaOverlayArea_5EFA5ABC_7794_6DC5_41AC_761F9BAF6EC6.toolTip = Aquidneck After the Storm
HotspotPanoramaOverlayArea_06537C18_34B5_183C_41BF_7BF56B4591E7.toolTip = Aquidneck After the Storm
HotspotPanoramaOverlayArea_5056BDDE_7794_A745_41D1_A3C1AB0E920B.toolTip = Aquidneck Cliffs
HotspotPanoramaOverlayArea_500D6E11_778D_A4DF_41A8_20D6EBA0B175.toolTip = Aquidneck Cliffs
HotspotPanoramaOverlayArea_60994E9F_35D5_1834_41C5_D0ED4E06045A.toolTip = Autumn Twilight, View of Corway Peak [Mount Chocorua], New Hampshire
HotspotPanoramaOverlayArea_60539C5A_35ED_183C_41AF_F77A53D79525.toolTip = Autumn Twilight, View of Corway Peak [Mount Chocorua], New Hampshire
HotspotPanoramaOverlayArea_606F4CF2_35F3_180C_41C6_E45DFDCEE735.toolTip = Autumn Twilight, View of Corway Peak [Mount Chocorua], New Hampshire
HotspotPanoramaOverlayArea_07BB91C4_34B7_6814_41AA_76D609842593.toolTip = Basket
HotspotPanoramaOverlayArea_11F8A03D_5F16_C584_41A3_702037ECC954.toolTip = Basket
HotspotPanoramaOverlayArea_5233F5A5_345D_2814_41C9_94C9D097DF06.toolTip = Catskill Study, N.Y.
HotspotPanoramaOverlayArea_5D3526DE_3453_6834_41B7_6B5182899BE2.toolTip = Catskill Study, N.Y.
HotspotPanoramaOverlayArea_55FECF0C_347C_F814_41BB_563677061201.toolTip = Catskill Study, N.Y.
HotspotPanoramaOverlayArea_6AEFECFF_346D_19F4_419B_B0D570C78F83.toolTip = Catskill Study, N.Y.
HotspotPanoramaOverlayArea_1BE1B79B_34AD_283C_41AD_25A0A18106EF.toolTip = Catskill Study, N.Y.
HotspotPanoramaOverlayArea_0B5ED597_5F6F_4E84_41D7_09284D66B097.toolTip = Cherokee Basket
HotspotPanoramaOverlayArea_10BCB2B9_5F1A_CA8C_41CC_C6DB91E547E1.toolTip = Cherokee Basket
HotspotPanoramaOverlayArea_608971D2_35F3_680C_418B_670A0A3813DB.toolTip = Durand's Homage to the Mohawks
HotspotPanoramaOverlayArea_627344A7_35EC_E814_41C6_9569F4FD931D.toolTip = Durand's Homage to the Mohawks
HotspotPanoramaOverlayArea_637325C2_35F4_E80C_41BD_BF23598033A7.toolTip = Durand's Homage to the Mohawks
HotspotPanoramaOverlayArea_604D6E4B_35F3_181C_41BB_148C3FC926CA.toolTip = East Branch of the Ausable River
HotspotPanoramaOverlayArea_6352F9E2_35ED_180C_41C1_25FA8B4A3551.toolTip = East Branch of the Ausable River
HotspotPanoramaOverlayArea_6079F513_35F7_280C_41C0_08537E580EEA.toolTip = East Branch of the Ausable River
HotspotPanoramaOverlayArea_0AE193A8_3A69_2865_41C8_C7C5A4355605.toolTip = Emblem Series, #172
HotspotPanoramaOverlayArea_1BE47664_34B7_2814_41B1_172ED99ED163.toolTip = Emblem Series, #172
HotspotPanoramaOverlayArea_67C4926C_466B_68FD_41BD_EC257D6F4AFB.toolTip = Emblem Series, #172
HotspotPanoramaOverlayArea_0AE5B99F_3A7E_F85B_41B9_86CB6294C616.toolTip = Emblem Series, #172
HotspotPanoramaOverlayArea_2FF0F5DF_345D_6834_41B4_0E76F9F430C1.toolTip = Farewell to the Smokies (Trail of Tears)
HotspotPanoramaOverlayArea_65955D99_45FB_5826_41B4_488EC5F1883E.toolTip = Farewell to the Smokies (Trail of Tears)
HotspotPanoramaOverlayArea_651761A6_45E9_286D_41CE_7A8C5DA9B958.toolTip = Farewell to the Smokies (Trail of Tears)
HotspotPanoramaOverlayArea_15765545_3A79_282F_41C2_B3B553A68B34.toolTip = First Blush
HotspotPanoramaOverlayArea_1BC53A10_34B5_180C_41B8_D336221A9C2D.toolTip = First Blush
HotspotPanoramaOverlayArea_15631691_3A66_E827_41C2_8EEDB3E33243.toolTip = First Blush
HotspotPanoramaOverlayArea_0F078811_3AD9_5827_41BA_7BA7728B9091.toolTip = First Blush
HotspotPanoramaOverlayArea_18D617C8_45FB_2825_41A1_4E723A386EFF.toolTip = Five Portraits of North American Indians
HotspotPanoramaOverlayArea_656536AD_45E7_E87F_41B2_D1669DC7241B.toolTip = Five Portraits of North American Indians
HotspotPanoramaOverlayArea_2A79153D_3455_E874_4130_B33B05894ECE.toolTip = Five Portraits of North American Indians
HotspotPanoramaOverlayArea_5818078F_3457_2814_41C7_41AAA6813991.toolTip = Hudson Reflection VI
HotspotPanoramaOverlayArea_54D28256_347C_E834_41B4_5A6F0F6D403D.toolTip = Hudson Reflection VI
HotspotPanoramaOverlayArea_53B0FA5F_345F_7834_41BB_21EB2D4A1FAE.toolTip = Hudson Reflection VI
HotspotPanoramaOverlayArea_6BBFE28F_3475_2814_41C7_E9D3A8A457B4.toolTip = Hudson Reflection VI
HotspotPanoramaOverlayArea_1BC5E6F4_34AF_29F4_41B5_7A671C755B14.toolTip = Hudson Reflection VI
HotspotPanoramaOverlayArea_1543FE2B_3A79_387B_41A3_BB50ECCC790C.toolTip = Ice Flow
HotspotPanoramaOverlayArea_15E0D3C6_3A67_282D_41C5_A331EF7483E6.toolTip = Ice Flow
HotspotPanoramaOverlayArea_1BDAB93F_34B7_7874_4189_145A6F3CDC25.toolTip = Ice Flow
HotspotPanoramaOverlayArea_187DBF6C_45FE_D8FD_41D5_2F6D1485D016.toolTip = Indian Encampment, Shoshone Village
HotspotPanoramaOverlayArea_1A525EB0_45F9_7865_41C9_0316B3246914.toolTip = Indian Encampment, Shoshone Village
HotspotPanoramaOverlayArea_2A30A432_3457_280C_41C0_1DCE11BAFA7E.toolTip = Indian Encampment, Shoshone Village
HotspotPanoramaOverlayArea_65B45011_45E7_6827_41D0_0E7236B20308.toolTip = Indian on a Cliff
HotspotPanoramaOverlayArea_2A4869BF_346F_3874_41B5_EA99D93D9EAB.toolTip = Indian on a Cliff
HotspotPanoramaOverlayArea_1E53CEC4_45EF_D82D_41A8_409D28D47087.toolTip = Indian on a Cliff
HotspotPanoramaOverlayArea_00662D47_34AF_1814_41BF_2CB68080968E.toolTip = Jar
HotspotPanoramaOverlayArea_10871D23_5F15_5FBC_41C0_4C156915B27E.toolTip = Jar
HotspotPanoramaOverlayArea_1540E1D3_3A67_682B_41CA_C02E619B7DD8.toolTip = July Low Water
HotspotPanoramaOverlayArea_091DC5CA_3A29_6825_41C5_EF9B6698F33C.toolTip = July Low Water
HotspotPanoramaOverlayArea_51C1514E_3457_2814_41BB_C5FC9FEA8266.toolTip = July Low Water
HotspotPanoramaOverlayArea_1BDF0C22_34B3_380C_41B1_A0AA40BBD9CC.toolTip = July Low Water
HotspotPanoramaOverlayArea_508606B0_3455_680C_41C3_59D41679A3BE.toolTip = Late Summer on the Ramapo
HotspotPanoramaOverlayArea_55EE8DDA_3477_183C_41AC_B9C6B1E2EF58.toolTip = Late Summer on the Ramapo
HotspotPanoramaOverlayArea_1BE7DB85_3453_1814_41C3_945B792FC8C0.toolTip = Late Summer on the Ramapo
HotspotPanoramaOverlayArea_50D4C991_345D_780C_41BE_962416D76084.toolTip = Late Summer on the Ramapo
HotspotPanoramaOverlayArea_5C2DDC4F_3457_3814_41A9_5DE61F7F1DC6.toolTip = Montauck I
HotspotPanoramaOverlayArea_1BDED3A5_34AD_2814_41C6_A7CCBE1C60ED.toolTip = Montauk I
HotspotPanoramaOverlayArea_641AF9B4_466A_F86D_41B7_68E130F31A54.toolTip = Montauk I
HotspotPanoramaOverlayArea_67F29989_4669_3827_41B5_5099E3BF6E14.toolTip = Montauk I
HotspotPanoramaOverlayArea_6573D25D_45E9_28DF_41A4_07E45780C9E5.toolTip = Mount Shasta from Shasta Valley
HotspotPanoramaOverlayArea_1BE400B0_45EA_E865_41D2_E9CE8B2F544D.toolTip = Mount Shasta from Shasta Valley
HotspotPanoramaOverlayArea_2DADA2BB_345D_287C_41C2_AE841D0E92F5.toolTip = Mount Shasta from Shasta Valley
HotspotPanoramaOverlayArea_1A221462_45F9_28E5_41D3_C1F1A24CABE9.toolTip = Mount Shasta from Shasta Valley
HotspotPanoramaOverlayArea_5FCB5BCE_7794_A345_413A_83CFCD1DC914.toolTip = Niagara
HotspotPanoramaOverlayArea_50BB540E_7794_E4C5_41D3_50545B96CD97.toolTip = Niagara
HotspotPanoramaOverlayArea_6AEEE230_778D_DCDD_41D9_F16D8C07C544.toolTip = Niagara
HotspotPanoramaOverlayArea_50BADA7B_77F4_ED43_41C1_ED4385587446.toolTip = Niagara
HotspotPanoramaOverlayArea_0759C51E_34BD_6834_41C6_6CC3D3ADAE8B.toolTip = Niagara
HotspotPanoramaOverlayArea_5079225F_7797_BD43_41DD_E78C395695B7.toolTip = Niagara Falls
HotspotPanoramaOverlayArea_5FD2EF6E_778C_A345_41DB_B094602DCC64.toolTip = Niagara Falls
HotspotPanoramaOverlayArea_50B20B4B_779D_A343_41D9_1AF9DD1DC4D5.toolTip = Niagara Falls
HotspotPanoramaOverlayArea_6AF34B58_778C_A34D_41D7_2293795B9996.toolTip = Niagara Falls
HotspotPanoramaOverlayArea_5E192A25_778C_6CC7_41D2_E75B89EF6888.toolTip = Niagara Falls
HotspotPanoramaOverlayArea_060AF9F5_34BF_1BF4_419C_02BF6A9A036A.toolTip = Niagara Falls
HotspotPanoramaOverlayArea_5FE1C7F4_778C_E345_41D0_DE6AAA84103F.toolTip = Niagara Falls from Below
HotspotPanoramaOverlayArea_6C7C56B1_778C_A5DF_41CD_76715E67470C.toolTip = Niagara Falls from Below
HotspotPanoramaOverlayArea_3E7888BD_1AA3_1DB3_41B5_8C4D4483EFCC.toolTip = Our Land
HotspotPanoramaOverlayArea_6775A615_467E_E82F_41AF_23E943B3759A.toolTip = Our Land
HotspotPanoramaOverlayArea_2A795A5D_346D_1834_4197_0B2F20E2CD85.toolTip = Our Land
HotspotPanoramaOverlayArea_2A3B1EDB_346D_383C_41C8_CDB8B76B32EA.toolTip = Our Land Variation II
HotspotPanoramaOverlayArea_668A32B2_4679_2865_41C8_C45FEB241088.toolTip = Our Land Variation II
HotspotPanoramaOverlayArea_64FA94FE_45D9_29DD_41C0_493F3624C5E5.toolTip = Our Land Variation II
HotspotPanoramaOverlayArea_67C3482B_467A_F87B_41C4_623D39ED12A5.toolTip = Parfleche envelope bag
HotspotPanoramaOverlayArea_2A718940_3453_F80C_41B2_5A4A62CF8322.toolTip = Parfleche envelope bag
HotspotPanoramaOverlayArea_661A98C9_467B_D827_41B5_703343B7DB05.toolTip = Parfleche envelope bag
HotspotPanoramaOverlayArea_64D18A10_467F_5825_41B0_3BD0C392CE27.toolTip = Parfleche envelope bag
HotspotPanoramaOverlayArea_B983B0CF_9752_622A_41DA_C17F221F70E1.toolTip = President's Letter
HotspotPanoramaOverlayArea_B983A622_9756_EE1B_41E2_9360E763A3C1.toolTip = President's Letter
HotspotPanoramaOverlayArea_B9F456FF_9756_2FEA_41D1_2EAD29C8682A.toolTip = President's Letter
HotspotPanoramaOverlayArea_B98CB3F1_9752_25F6_41C2_F7DB810B010D.toolTip = President's Letter
HotspotPanoramaOverlayArea_6BD2995A_3457_383C_41C6_3AAC10F20AF9.toolTip = President's Letter
HotspotPanoramaOverlayArea_B98D5127_9752_621A_41CA_72B12EECF63A.toolTip = President's Letter
HotspotPanoramaOverlayArea_B998FBA9_9752_E616_41E0_1B0A7BCABC2D.toolTip = President's Letter
HotspotPanoramaOverlayArea_B8398E94_975D_DE3E_41D5_5E38C78DA8CA.toolTip = President's Letter
HotspotPanoramaOverlayArea_B9723AD5_9756_E63E_41BB_EA8FBE46EF1A.toolTip = President's Letter
HotspotPanoramaOverlayArea_B9E1EFA8_975E_3E16_41C2_3253D7FCCE0B.toolTip = President's Letter
HotspotPanoramaOverlayArea_507BCE5B_7794_E542_41B7_C754FD1B2AA1.toolTip = Pulpit Rock, Nahant (Nahant Rock and Seashore)
HotspotPanoramaOverlayArea_5038923B_779C_FCC3_41D0_644EF50C2FF7.toolTip = Pulpit Rock, Nahant (Nahant Rock and Seashore)
HotspotPanoramaOverlayArea_06E04356_34BF_6834_41AB_A19C80453088.toolTip = Pulpit Rock, Nahant (Nahant Rock and Seashore)
HotspotPanoramaOverlayArea_5FEE912D_7797_DCC7_4198_EA30E9C11EB1.toolTip = Sailor's Delight Revisited
HotspotPanoramaOverlayArea_5044C8C5_778C_6D47_41BB_5E25C2608381.toolTip = Sailor's Delight Revisited
HotspotPanoramaOverlayArea_67EB9EBE_467B_585D_41B1_C933D1681501.toolTip = Saint Mary's Mountain
HotspotPanoramaOverlayArea_2A7F6835_346F_1874_41BE_601727533D23.toolTip = Saint Mary's Mountain
HotspotPanoramaOverlayArea_1AE66DA2_45E6_F865_41D5_8F9CAF8DC06F.toolTip = Saint Mary's Mountain
HotspotPanoramaOverlayArea_51D52897_345D_3834_4196_1EFCC3BAEFF0.toolTip = Satyr's Garden
HotspotPanoramaOverlayArea_1B688547_3454_E814_41B1_8F52F084D1CD.toolTip = Satyr's Garden
HotspotPanoramaOverlayArea_55CFF911_3473_180C_41C1_43EC43445FFD.toolTip = Satyr's Garden
HotspotPanoramaOverlayArea_5042EA7B_3457_18FC_41B3_F31935FE0FF2.toolTip = Satyr's Garden
HotspotPanoramaOverlayArea_6AD2F6DA_3475_E83C_41C0_7A02F5A38E05.toolTip = Satyr's Garden
HotspotPanoramaOverlayArea_5E4081A1_7794_7FFF_41DC_05BC24890215.toolTip = Sunset on the Coast (Seashore)
HotspotPanoramaOverlayArea_5CFF4705_7794_E4C7_41DA_2C1F52500DDD.toolTip = Sunset on the Coast (Seashore)
HotspotPanoramaOverlayArea_06DA997E_34B3_18F4_41AD_608D204EAC4F.toolTip = Sunset on the Coast (Seashore)
HotspotPanoramaOverlayArea_633A5E73_35FD_180C_41BD_D456DC44B1E8.toolTip = Thom, Where are the Pocumtucks (The Oxbow)
HotspotPanoramaOverlayArea_603E243E_35EC_E874_41B8_9FE8FFFA02B1.toolTip = Thom, Where are the Pocumtucks (The Oxbow)
HotspotPanoramaOverlayArea_DF7154D9_F716_468F_41D3_9906AEE642E2.toolTip = Thom, Where are the Pocumtucks (The Oxbow)
HotspotPanoramaOverlayArea_549FB301_347D_280C_41A8_006797F00E80.toolTip = Vermont Studio Center Creek II
HotspotPanoramaOverlayArea_6A4A926B_346F_681C_41CA_1FF301A95C52.toolTip = Vermont Studio Center Creek II
HotspotPanoramaOverlayArea_510472D4_345C_E834_41BD_1CF746C60A7F.toolTip = Vermont Studio Center Creek II
HotspotPanoramaOverlayArea_50EEB25F_779C_7D43_41D7_911BC28FAB2D.toolTip = Wampanoag Coast, Variation II
HotspotPanoramaOverlayArea_50B8D33A_7794_5CCD_41D8_6DC030D8F827.toolTip = Wampanoag Coast, Variation II
HotspotPanoramaOverlayArea_06EB4918_34BD_383C_41B8_6DA015D4A489.toolTip = Wampanoag Coast, Variation II
HotspotPanoramaOverlayArea_501BC7CD_7794_6347_41C5_EBC60413CEAD.toolTip = Wampanoag Coast, Variation II
HotspotPanoramaOverlayArea_0F2224F8_5F6B_4E8C_41C2_03710AEAF98C.toolTip = Yupik Basket
HotspotPanoramaOverlayArea_0BCB4012_5F6A_C59C_41CC_4E11F8FDB527.toolTip = Yupik Basket
## Media
### Audio
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### Audio Subtitles
### Image
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### Subtitle
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panorama_E28CF193_F70E_5E83_41ED_CEA69BEC268F.subtitle = Courtesy the artist and Hales, London and New York | 2020
### Title
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### Body
htmlText_17EB3C9D_3A6B_385F_41C2_4BF047FAAF2F.html = July Low Water, 2010
Oil and palladium leaf on panel in two (2) parts
Courtesy the artist and Hales, London and New York
This inventive work pairs approximate mirror images of the same scene. The two islands of trees amid the low summer waters of the Ramapo River cluster toward the diptych’s center, while the same soft green bank marks its outer edges. WalkingStick’s use of palladium leaf in the right-hand panel enhances the theme of reflection present in so many of her works from this period.
July Low Water, 2010
Oil and palladium leaf on panel in two (2) parts
Courtesy the artist and Hales, London and New York
This inventive work pairs approximate mirror images of the same scene. The two islands of trees amid the low summer waters of the Ramapo River cluster toward the diptych’s center, while the same soft green bank marks its outer edges. WalkingStick’s use of palladium leaf in the right-hand panel enhances the theme of reflection present in so many of her works from this period.
Artist(s) once known (probably Niimíipuu [Nez Perce])
Parfleche envelope bag, ca. 1970
Painted rawhide
Courtesy of the National Museum of the American Indian, Smithsonian Institution, 26/90
Painted rawhide bags, known as parfleche, have long fascinated WalkingStick for their geometric abstraction and status as a woman’s art form. The artist began overlaying parfleche-inspired patterns over her landscapes before expanding her source material to include basketry, beadwork, and other Indigenous art forms. Introduced by fur traders in North America, “parfleche” combines the French words for to defend and arrow and likely relates to the use of the same rawhide material to make shields.
Artist(s) once known (probably Niimíipuu [Nez Perce])
Parfleche envelope bag, ca. 1970
Painted rawhide
Courtesy of the National Museum of the American Indian, Smithsonian Institution, 26/90
Painted rawhide bags, known as parfleche, have long fascinated WalkingStick for their geometric abstraction and status as a woman’s art form. The artist began overlaying parfleche-inspired patterns over her landscapes before expanding her source material to include basketry, beadwork, and other Indigenous art forms. Introduced by fur traders in North America, “parfleche” combines the French words for to defend and arrow and likely relates to the use of the same rawhide material to make shields.
Asher B. Durand (1796–1886)
Catskill Study, N.Y., ca. 1870
Oil on canvas
Gift of Nora Durand Woodman, 1932.29
Like WalkingStick’s Gihon River ink painting (left), this work was likely made outdoors, or en plein air—a hallmark of Hudson River School landscape practice. Durand prized the direct observation of nature. As he described in his 1855 “Letters on Landscape Painting”: “Proceed then, choosing the more simple foreground objects—a fragment of rock, or trunk of a tree . . . . Paint and repaint until you are sure the work represents the model—not that it merely resembles it.”
Asher B. Durand (1796–1886)
Catskill Study, N.Y., ca. 1870
Oil on canvas
Gift of Nora Durand Woodman, 1932.29
Like WalkingStick’s Gihon River ink painting (left), this work was likely made outdoors, or en plein air—a hallmark of Hudson River School landscape practice. Durand prized the direct observation of nature. As he described in his 1855 “Letters on Landscape Painting”: “Proceed then, choosing the more simple foreground objects—a fragment of rock, or trunk of a tree . . . . Paint and repaint until you are sure the work represents the model—not that it merely resembles it.”
Asher B. Durand (1796–1886)
East Branch of the Ausable River, 1837–78
Oil on canvas
Long term loan courtesy of Mr. Chet Schmitt, New Britain Museum of American Art, 2003.76LTL
Though long home to the Haudenosaunee and by then a nascent European American tourist destination, the Adirondacks appear here as pristine wilderness. This vision of untouched nature helped to shape period conservation efforts, which in 1885 led to the creation of New York State’s Forest Preserve.
In every culture that I know of . . . , water is a major part of the thinking about life . . . . I like to sit and look at the ocean for hours.
—Kay WalkingStick
Kay WalkingStick (b. 1935)
Durand's Homage to the Mohawks, 2021
Oil on panel
Courtesy the artist and Hales, London and New York
WalkingStick refreshes Durand’s East Branch of the Ausable River (right). Her elongated composition reshapes the scene and leans away from the earlier artist’s direct and detailed rendering toward abstraction. The overlain Mohawk pattern honors Indigenous stewardship of the Adirondacks, cast by Durand as uninhabited wilderness.
Kay WalkingStick (b. 1935)
Durand's Homage to the Mohawks, 2021
Oil on panel
Courtesy the artist and Hales, London and New York
WalkingStick refreshes Durand’s East Branch of the Ausable River (right). Her elongated composition reshapes the scene and leans away from the earlier artist’s direct and detailed rendering toward abstraction. The overlain Mohawk pattern honors Indigenous stewardship of the Adirondacks, cast by Durand as uninhabited wilderness.
Kay WalkingStick (b. 1935)
Durand's Homage to the Mohawks, 2021
Oil on panel
Courtesy the artist and Hales, London and New York
WalkingStick refreshes Durand’s East Branch of the Ausable River (right). Her elongated composition reshapes the scene and leans away from the earlier artist’s direct and detailed rendering toward abstraction. The overlain Mohawk pattern honors Indigenous stewardship of the Adirondacks, cast by Durand as uninhabited wilderness.
Kay WalkingStick (b. 1935)
Emblem Series, #172, 1981
Acrylic and saponified wax on heavy rag paper, bonded to board
Collection of Agnes Hsu-Tang, Ph.D. and Oscar Tang
This series directly preceded WalkingStick’s large, sculptural painted abstractions like Montauk I and Satyr’s Garden. The quiet, minimalist works on paper began with a thin ground of a beeswax medium mixed with acrylic paint, which WalkingStick then scraped through and sometimes combined with pastel and graphite. Most of the 100 or so works in the regulated, process-oriented series feature two circle segments and a line.
Kay WalkingStick (b. 1935)
Emblem Series, #172, 1981
Acrylic and saponified wax on heavy rag paper, bonded to board
Collection of Agnes Hsu-Tang, Ph.D. and Oscar Tang
This series directly preceded WalkingStick’s large, sculptural painted abstractions like Montauk I and Satyr’s Garden. The quiet, minimalist works on paper began with a thin ground of a beeswax medium mixed with acrylic paint, which WalkingStick then scraped through and sometimes combined with pastel and graphite. Most of the 100 or so works in the regulated, process-oriented series feature two circle segments and a line.
Kay WalkingStick (b. 1935)
First Blush, 2010
Oil on panel in two parts
Courtesy the artist and Hales, London and New York
This work shows the first blushes of spring color pushing through a wintry palette. The diptych combines two perspectives of the Ramapo River, as if toward the viewer’s left and right, which touch but do not converge at center.
Kay WalkingStick (b. 1935)
First Blush, 2010
Oil on panel in two parts
Courtesy the artist and Hales, London and New York
This work shows the first blushes of spring color pushing through a wintry palette. The diptych combines two perspectives of the Ramapo River, as if toward the viewer’s left and right, which touch but do not converge at center.
Kay WalkingStick (b. 1935)
First Blush, 2010
Oil on panel in two parts
Courtesy the artist and Hales, London and New York
This work shows the first blushes of spring color pushing through a wintry palette. The diptych combines two perspectives of the Ramapo River, as if toward the viewer’s left and right, which touch but do not converge at center.
Kay WalkingStick (b. 1935)
Hudson Reflection VI, 1973
Acrylic on canvas
Courtesy the artist and Hales, London and New York
If Durand (left) creates the illusion of water flowing through three-dimensional space, WalkingStick embraces the flatness of the canvas. Her distinctly modern visual language revels in the rhythmic patterns of the water surface. Yet her painting too stems from the direct observation of nature. WalkingStick created pastel drawings outdoors while walking along the Hudson near her then-home in Englewood, New Jersey. These became the basis of her series of five or six large-scale acrylic paintings exploring the river’s undulating reflections in a Pop palette.
Kay WalkingStick (b. 1935)
Hudson Reflection VI, 1973
Acrylic on canvas
Courtesy the artist and Hales, London and New York
If Durand (left) creates the illusion of water flowing through three-dimensional space, WalkingStick embraces the flatness of the canvas. Her distinctly modern visual language revels in the rhythmic patterns of the water surface. Yet her painting too stems from the direct observation of nature. WalkingStick created pastel drawings outdoors while walking along the Hudson near her then-home in Englewood, New Jersey. These became the basis of her series of five or six large-scale acrylic paintings exploring the river’s undulating reflections in a Pop palette.
Kay WalkingStick (b. 1935)
Hudson Reflection VI, 1973
Acrylic on canvas
Courtesy the artist and Hales, London and New York
If Durand (left) creates the illusion of water flowing through three-dimensional space, WalkingStick embraces the flatness of the canvas. Her distinctly modern visual language revels in the rhythmic patterns of the water surface. Yet her painting too stems from the direct observation of nature. WalkingStick created pastel drawings outdoors while walking along the Hudson near her then-home in Englewood, New Jersey. These became the basis of her series of five or six large-scale acrylic paintings exploring the river’s undulating reflections in a Pop palette.
Kay WalkingStick (b. 1935)
Ice Flow, 2010
Oil and palladium leaf on panel in two (2) parts
Courtesy the artist and Hales, London and New York
WalkingStick began painting New Jersey’s Ramapo River through the seasons in the mid-1980s and then returned to the subject around 2008. The palladium leaf panel on the right of Ice Flow continues the abstraction of her earlier career. It expands upon the glassy river reflections in the left-hand panel and, inspired by the gold leaf backgrounds of Medieval and Renaissance Italian painting, seems to reach toward a symbolic unknown or hereafter.
Kay WalkingStick (b. 1935)
Ice Flow, 2010
Oil and palladium leaf on panel in two (2) parts
Courtesy the artist and Hales, London and New York
WalkingStick began painting New Jersey’s Ramapo River through the seasons in the mid-1980s and then returned to the subject around 2008. The palladium leaf panel on the right of Ice Flow continues the abstraction of her earlier career. It expands upon the glassy river reflections in the left-hand panel and, inspired by the gold leaf backgrounds of Medieval and Renaissance Italian painting, seems to reach toward a symbolic unknown or hereafter.
Kay WalkingStick (b. 1935)
Ice Flow, 2010
Oil and palladium leaf on panel in two (2) parts
Courtesy the artist and Hales, London and New York
WalkingStick began painting New Jersey’s Ramapo River through the seasons in the mid-1980s and then returned to the subject around 2008. The palladium leaf panel on the right of Ice Flow continues the abstraction of her earlier career. It expands upon the glassy river reflections in the left-hand panel and, inspired by the gold leaf backgrounds of Medieval and Renaissance Italian painting, seems to reach toward a symbolic unknown or hereafter.
Kay WalkingStick (b. 1935)
Late Summer on the Ramapo, ca. 1987–91
Acrylic and saponified wax on canvas
Tia Collection, Santa Fe, NM
This diptych—like WalkingStick’s other landmark works of the late 1980s and early 1990s—pairs geometric abstraction with representational landscape. Separate yet bound, each panel extends and amplifies the other within a larger inter-pictorial whole. WalkingStick has described the two sides as expressive of different types of memory, one a “snapshot” of a particular place—here, New Jersey’s Ramapo River in summer—and the other a “long-term memory of our earth.”
Kay WalkingStick (b. 1935)
Late Summer on the Ramapo, ca. 1987–91
Acrylic and saponified wax on canvas
Tia Collection, Santa Fe, NM
This diptych—like WalkingStick’s other landmark works of the late 1980s and early 1990s—pairs geometric abstraction with representational landscape. Separate yet bound, each panel extends and amplifies the other within a larger inter-pictorial whole. WalkingStick has described the two sides as expressive of different types of memory, one a “snapshot” of a particular place—here, New Jersey’s Ramapo River in summer—and the other a “long-term memory of our earth.”
Kay WalkingStick (b. 1935)
Montauk I, 1983
Acrylic, saponified wax, ink, and pebbles on canvas
Gochman Family Collection
Like Satyr’s Garden toward the left, Montauk I is an abstraction that references landscape. WalkingStick calls it “a description of a landscape that’s not pictorial.” The sandy palette, mixed with muted pinks and hints of green, evokes the twilit beaches scattered with trees at the eastern end of Long Island. The sculptural painting comprises as many as thirty layers of paint embedded with pebbles collected directly from the shore.
Kay WalkingStick (b. 1935)
Montauk I, 1983
Acrylic, saponified wax, ink, and pebbles on canvas
Gochman Family Collection
Like Satyr’s Garden toward the left, Montauk I is an abstraction that references landscape. WalkingStick calls it “a description of a landscape that’s not pictorial.” The sandy palette, mixed with muted pinks and hints of green, evokes the twilit beaches scattered with trees at the eastern end of Long Island. The sculptural painting comprises as many as thirty layers of paint embedded with pebbles collected directly from the shore.
Kay WalkingStick (b. 1935)
Satyr’s Garden, 1982
Acrylic, saponified wax, and ink on canvas
Collection of Agnes Hsu-Tang, Ph.D. and Oscar Tang
“It’s about formal abstraction—about the interaction of different shapes in a wall-like space,” says WalkingStick. Yet, she allows, it is also “a kind of landscape—a sensual garden a satyr would like.” Even the materials are sensual: acrylic paint mixed with a beeswax medium becomes viscous, smells of honey, and spreads like mayonnaise, which WalkingStick applied in multiple textured layers with her hands. The composition rejoices in the luscious land—the same impulse the artist finds in Hudson River School painting.
Kay WalkingStick (b. 1935)
Satyr’s Garden, 1982
Acrylic, saponified wax, and ink on canvas
Collection of Agnes Hsu-Tang, Ph.D. and Oscar Tang
“It’s about formal abstraction—about the interaction of different shapes in a wall-like space,” says WalkingStick. Yet, she allows, it is also “a kind of landscape—a sensual garden a satyr would like.” Even the materials are sensual: acrylic paint mixed with a beeswax medium becomes viscous, smells of honey, and spreads like mayonnaise, which WalkingStick applied in multiple textured layers with her hands. The composition rejoices in the luscious land—the same impulse the artist finds in Hudson River School painting.
Kay WalkingStick (b. 1935)
Satyr’s Garden, 1982
Acrylic, saponified wax, and ink on canvas
Collection of Agnes Hsu-Tang, Ph.D. and Oscar Tang
“It’s about formal abstraction—about the interaction of different shapes in a wall-like space,” says WalkingStick. Yet, she allows, it is also “a kind of landscape—a sensual garden a satyr would like.” Even the materials are sensual: acrylic paint mixed with a beeswax medium becomes viscous, smells of honey, and spreads like mayonnaise, which WalkingStick applied in multiple textured layers with her hands. The composition rejoices in the luscious land—the same impulse the artist finds in Hudson River School painting.
Kay WalkingStick (b. 1935)
Satyr’s Garden, 1982
Acrylic, saponified wax, and ink on canvas
Collection of Agnes Hsu-Tang, Ph.D. and Oscar Tang
“It’s about formal abstraction—about the interaction of different shapes in a wall-like space,” says WalkingStick. Yet, she allows, it is also “a kind of landscape—a sensual garden a satyr would like.” Even the materials are sensual: acrylic paint mixed with a beeswax medium becomes viscous, smells of honey, and spreads like mayonnaise, which WalkingStick applied in multiple textured layers with her hands. The composition rejoices in the luscious land—the same impulse the artist finds in Hudson River School painting.
Kay WalkingStick (b. 1935)
Thom, Where are the Pocumtucks (The Oxbow), 2020
Oil on panel
Courtesy the artist and Hales, London and New York
“Thom,” asks WalkingStick across the centuries, “Where are the Pocumtucks?” The question broaches the erasure of Indigenous people from The Oxbow, one of Thomas Cole’s most renowned Hudson River School paintings. WalkingStick’s reinterpretation of the scene overlays a geometric design from the Nipmucks, who inhabit the Connecticut River Valley as the Pocumtucks once did.
____________________
Comparative image:
Thomas Cole (1801–1848), View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm—The Oxbow, 1836. Oil on canvas. The Metropolitan Museum of Art, New York, Gift of Mrs. Russell Sage, 1908, 08.228
Kay WalkingStick (b. 1935)
Thom, Where are the Pocumtucks (The Oxbow), 2020
Oil on panel
Courtesy the artist and Hales, London and New York
“Thom,” asks WalkingStick across the centuries, “Where are the Pocumtucks?” The question broaches the erasure of Indigenous people from The Oxbow, one of Thomas Cole’s most renowned Hudson River School paintings. WalkingStick’s reinterpretation of the scene overlays a geometric design from the Nipmucks, who inhabit the Connecticut River Valley as the Pocumtucks once did.
____________________
Comparative image:
Thomas Cole (1801–1848), View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm—The Oxbow, 1836. Oil on canvas. The Metropolitan Museum of Art, New York, Gift of Mrs. Russell Sage, 1908, 08.228
Kay WalkingStick (b. 1935)
Vermont Studio Center Creek II, 1995
Ink on rag paper
Courtesy the artist and Hales, London and New York
This ink painting not only describes but embodies Vermont’s Gihon River. WalkingStick sat on a rock in the middle of the river and mixed its water into the sumi ink she used to paint it. The composition captures the inherent abstraction of the water surface as well as its rhythmic movement and flow.
PRESIDENT’S LETTER
Dear Friends:
We are proud to carry forth the vision of New-York Historical’s chair, Dr. Agnes Hsu-Tang, in Kay WalkingStick / Hudson River School, of an art historical discourse that illuminates Indigenous histories as integral to the American story. Offering a dialogue between the landscape paintings by the renowned, contemporary Cherokee artist Kay WalkingStick, and classic works from New-York Historical’s collection of nineteenth-century Hudson River School paintings, the exhibition highlights a shared reverence for nature on the part of WalkingStick and the artists of the Hudson River School. At the same time, the exhibition provokes a reevaluation of the role that art has played, and continues to play, in shaping humankind’s relationship to the land, making patent how and why WalkingStick’s works diverge from the other artists in the show. The exhibition is the fruit of a close collaboration between New-York Historical’s Senior Curator for American Art Wendy Nālani E. Ikemoto (Native Hawaiian) and Kay WalkingStick. I am grateful to both of them, as well as to Senior Vice President and Museum Director Margi Hofer.
Sincerely,
Louise Mirrer, Ph.D.
Possibly because I'm a city Indian . . . , I have a very pan-Indian kind of view of the world . . . . We are all brothers and sisters.
—Kay WalkingStick
Thomas Cole (1801–1848)
Autumn Twilight, View of Corway Peak [Mount Chocorua], New Hampshire, 1834
Oil on wood panel
Gift of The New-York Gallery of the Fine Arts, 1858.42
Cole pictures Native culture on the wane. He sets an Indigenous man amid blasted branches and the colors of a dying season. He also refers in the title to the fictitious legend of Chocorua, a Pequawket leader who, the story goes, leaps to his death to elude capture by white antagonists. Especially alongside its pendant scene featuring a European American woodsman overlooking a cultivated summer landscape, the painting implies a way of life displaced by New England settlement.
____________________
Comparative image:
Thomas Cole (1801–1848), Summer Twilight, A Recollection of a Scene in New-England, 1834. Oil on wood. Gift of the New-York Gallery of the Fine Arts, 1858.46
Thomas Cole (1801–1848)
Autumn Twilight, View of Corway Peak [Mount Chocorua], New Hampshire, 1834
Oil on wood panel
Gift of The New-York Gallery of the Fine Arts, 1858.42
Cole pictures Native culture on the wane. He sets an Indigenous man amid blasted branches and the colors of a dying season. He also refers in the title to the fictitious legend of Chocorua, a Pequawket leader who, the story goes, leaps to his death to elude capture by white antagonists. Especially alongside its pendant scene featuring a European American woodsman overlooking a cultivated summer landscape, the painting implies a way of life displaced by New England settlement.
____________________
Comparative image:
Thomas Cole (1801–1848), Summer Twilight, A Recollection of a Scene in New-England, 1834. Oil on wood. Gift of the New-York Gallery of the Fine Arts, 1858.46
LEFT
Our Land, 2007
Oil on panel in two parts
Collection of Christy Vezolles
RIGHT
Our Land Variation II, 2008
Oil stick on paper
Courtesy the artist and Hales, London and New York
The possessive title Our Land reclaims the rugged western landscape—long upheld as a symbol of white American frontier life—as Indigenous. WalkingStick features the Bitterroot Mountains, over which Nez Perce Chief Joseph led his people in an ultimately unsuccessful attempt to evade capture by the US Army for resisting forced removal from their homelands. The geometric pattern on the left-hand side of both compositions borrows from parfleche (left), painted rawhide bags historically made by women of Western Plateau, Great Basin, Transmontane, and Plains migratory cultures for seasonal travel.
LEFT
Our Land, 2007
Oil on panel in two parts
Collection of Christy Vezolles
RIGHT
Our Land Variation II, 2008
Oil stick on paper
Courtesy the artist and Hales, London and New York
The possessive title Our Land reclaims the rugged western landscape—long upheld as a symbol of white American frontier life—as Indigenous. WalkingStick features the Bitterroot Mountains, over which Nez Perce Chief Joseph led his people in an ultimately unsuccessful attempt to evade capture by the US Army for resisting forced removal from their homelands. The geometric pattern on the left-hand side of both compositions borrows from parfleche (left), painted rawhide bags historically made by women of Western Plateau, Great Basin, Transmontane, and Plains migratory cultures for seasonal travel.
Albert Bierstadt (1830–1902)
Five Portraits of North American Indians, 1859
Oil on gray, prepared, heavy textured paper
Gift of Miss Adelaide Milton de Groot, 1941.1210
Bierstadt produced this oil sketch while traveling with the US government’s Lander Expedition to what was then Nebraska and Oregon Territory. Though sensitively rendered portraits bearing individual names, they stemmed from the period belief that Indigenous cultures would inevitably vanish in the face of white civilization. As Bierstadt noted during the expedition: “The manners and customs of the Indians were still as they were hundreds of years ago, and now is the time to paint them, for they . . . soon will be known only in history.”
Albert Bierstadt (1830–1902)
Five Portraits of North American Indians, 1859
Oil on gray, prepared, heavy textured paper
Gift of Miss Adelaide Milton de Groot, 1941.1210
Bierstadt produced this oil sketch while traveling with the US government’s Lander Expedition to what was then Nebraska and Oregon Territory. Though sensitively rendered portraits bearing individual names, they stemmed from the period belief that Indigenous cultures would inevitably vanish in the face of white civilization. As Bierstadt noted during the expedition: “The manners and customs of the Indians were still as they were hundreds of years ago, and now is the time to paint them, for they . . . soon will be known only in history.”
Albert Bierstadt (1830–1902)
Indian Encampment, Shoshone Village, 1860
Oil on millboard
The Robert L. Stuart Collection, the gift of his widow Mrs. Mary Stuart, S-52
Paintings like this promoted US expansion. Bierstadt, who found fame exhibiting monumental western landscapes to eastern audiences, pictures a Shoshone village among cottonwood trees along the Sweetwater River of present-day Wyoming. He based the painting on studies and photographs from his 1859 travels with the US government’s Lander Expedition to survey the terrain around a newly built cutoff to the Oregon Trail, which passed through Shoshone territory.
Albert Bierstadt (1830–1902)
Indian Encampment, Shoshone Village, 1860
Oil on millboard
The Robert L. Stuart Collection, the gift of his widow Mrs. Mary Stuart, S-52
Paintings like this promoted US expansion. Bierstadt, who found fame exhibiting monumental western landscapes to eastern audiences, pictures a Shoshone village among cottonwood trees along the Sweetwater River of present-day Wyoming. He based the painting on studies and photographs from his 1859 travels with the US government’s Lander Expedition to survey the terrain around a newly built cutoff to the Oregon Trail, which passed through Shoshone territory.
Comments on Kay WalkingStick / Hudson River School?
Please share your thoughts with us.
Comments on Kay WalkingStick / Hudson River School?
Please share your thoughts with us.
Frederick A. Butman (1820-1871)
Mount Shasta from Shasta Valley, ca. 1867
Oil on canvas
New-York Historical Society, X.259
If WalkingStick’s mountains (right) mark a forcibly lost Indigenous homeland, Butman’s chart a destination for European American settlement. The twin peaks of Mount Shasta and its satellite cone Shastina beckon toward the distant California horizon. After nearly a decade in San Francisco, the artist likely painted this monumental landscape in New York for exhibition to East Coast audiences eager for a glimpse of the rugged West.
Frederick A. Butman (1820-1871)
Mount Shasta from Shasta Valley, ca. 1867
Oil on canvas
New-York Historical Society, X.259
If WalkingStick’s mountains (right) mark a forcibly lost Indigenous homeland, Butman’s chart a destination for European American settlement. The twin peaks of Mount Shasta and its satellite cone Shastina beckon toward the distant California horizon. After nearly a decade in San Francisco, the artist likely painted this monumental landscape in New York for exhibition to East Coast audiences eager for a glimpse of the rugged West.
Jesse Talbot (1806–1879)
Indian on a Cliff, ca. 1840s
Oil on canvas
The Robert L. Stuart Collection, the gift of his widow Mrs. Mary Stuart, S-172
Known primarily as a landscape painter, Talbot focuses here on an Indigenous man’s relationship to the land. A member of the Foreign Missionary Society which opposed the US government’s Indian Removal policies, the artist likely intended to express sympathy with Indigenous communities: the romanticized figure gazes, as if with longing, toward a valley far removed.
Jesse Talbot (1806–1879)
Indian on a Cliff, ca. 1840s
Oil on canvas
The Robert L. Stuart Collection, the gift of his widow Mrs. Mary Stuart, S-172
Known primarily as a landscape painter, Talbot focuses here on an Indigenous man’s relationship to the land. A member of the Foreign Missionary Society which opposed the US government’s Indian Removal policies, the artist likely intended to express sympathy with Indigenous communities: the romanticized figure gazes, as if with longing, toward a valley far removed.
John Frederick Kensett (1816–1872)
Pulpit Rock, Nahant (Nahant Rock and Seashore), 1859
Oil on canvas
The Robert L. Stuart Collection, the gift of his widow Mrs. Mary Stuart, S-84
Kensett portrays the New England coast as a site of touristic leisure: a fisherman, sailboats, and clifftop sightseers mark the area as a seaside resort. By the 1840s, Nahant—a rocky peninsula off Massachusetts—had become a summer retreat for Boston’s elite. Until its destruction during a storm in 1951, Pulpit Rock—rising like a lectern toward center—served as a local attraction.
John Frederick Kensett (1816–1872)
Sunset on the Coast (Seashore), 1861
Oil on canvas
The Robert L. Stuart Collection, the gift of his widow Mrs. Mary Stuart, S-42
This painting ignores the fact that by this time, tourist resorts crowded the New England seaboard. It imagines instead a scene of elemental nature and geologic time as water and wind carve the rugged coastal terrain where a lone bird stands. The slanting light of sunset highlights patterns within the landscape. For instance, the peak of the smaller shoreline rock echoes those of the cresting waves.
Kay WalkingStick (Cherokee) (b. 1935)
Wampanoag Coast, Variation II, 2018
Oil on panel in two parts
Collection of Agnes Hsu-Tang, Ph.D. and Oscar Tang
Like the two paintings by Kensett on either side, this composition honors the rugged beauty of the New England coast. Rather than picture it as a site of leisure or as a vision of untouched nature, however, WalkingStick reclaims the land as Indigenous. The patterned band, inspired by a Pequot/Narragansett basket design, overlays a site identified in the title as Wampanoag. The band represents the many Indigenous nations in what is now known as New England—and asserts their continued presence.
Kay WalkingStick (b. 1935)
LEFT
Aquidneck Cliffs, 2015
Oil on panel in two (2) parts
RIGHT
Sailor's Delight Revisited, 2016–19
Oil on panel in two (2) parts
Courtesy the artist and Hales, London and New York
“I like to sit and look at the ocean for hours,” says WalkingStick. She cites an eleventh-century Chinese poem by Su Shih. Introduced to her by her husband, fellow artist and historian of Asian art Dirk Bach, the poem describes water as constantly changing yet constantly remaining the same. “That's a beautiful thing to think about, this changing unchanging water.” In 2015, the artist took on what she characterizes as the challenge of portraying the ocean, beginning with small oil sketches and building up to large paintings like Wampanoag Coast, Variation II and Aquidneck After the Storm, also on view in this gallery.
Kay WalkingStick (b. 1935)
Aquidneck After the Storm, 2022
Oil on panel in two parts
Collection of Charlotte and Herbert S. Wagner III
This painting portrays the majestic coastline of Aquidneck Island facing the Atlantic Ocean. The composition is observational but heightened: the artist amps up the pinkish gray sand into an electric mauve and the seaweed on the rocks into what she describes as an acid inchworm green. Unlike Kensett’s coastal scenes on the adjacent wall, this painting does not invite entry into the depicted space. The stenciled band at left, inspired by an 1840s Pequot basket design, hovers over the terrain as if to protect and mediate access to it.
Kay WalkingStick (b. 1935)
Farewell to the Smokies (Trail of Tears), 2007
Oil paint on wood panel
Denver Art Museum: William Sr. and Dorothy Harmsen Collection at the Denver Art Museum, by exchange, 2008.14A–B
“It’s about the traumatic experience of leaving home—leaving this beautiful home,” says WalkingStick. Though born and raised in New York, the Cherokee painter felt the pull of her ancestral land the first time she drove through the present-day Carolinas and Tennessee. Ghostly silhouettes march across her sweeping mountainscape, referencing the forced eviction of her people from their homelands in the 1830s along the Trail of Tears.
Kay WalkingStick (b. 1935)
Farewell to the Smokies (Trail of Tears), 2007
Oil paint on wood panel
Denver Art Museum: William Sr. and Dorothy Harmsen Collection at the Denver Art Museum, by exchange, 2008.14A–B
“It’s about the traumatic experience of leaving home—leaving this beautiful home,” says WalkingStick. Though born and raised in New York, the Cherokee painter felt the pull of her ancestral land the first time she drove through the present-day Carolinas and Tennessee. Ghostly silhouettes march across her sweeping mountainscape, referencing the forced eviction of her people from their homelands in the 1830s along the Trail of Tears.
Kay WalkingStick (b. 1935)
Niagara, 2022
Oil on panel in two parts
Purchased through the generosity of Agnes Hsu-Tang and Oscar Tang; Nancy Newcomb; Anonymous; Barry Barnett; Helen Appel; Belinda and Charles Bralver; Dorothy Tapper Goldman; Margi and Andrew Hofer; Louise Mirrer; Jennifer and John Monsky; Suzanne Peck and Brian Friedman; Pam and Scott Schafler; Barbara and Elliott Wagner; and Linda Ferber, 2023.2ab
This painting both revels in and reclaims Niagara Falls. WalkingStick captures their sublime sweep by suspending the viewer at the brink and spilling the water edge-to-edge across two square panels. A Haudenosaunee pattern overlaid on the composition honors those who originally inhabited, and still inhabit, the Niagara region. Suspended over the landscape as if to safeguard it, the stenciled band reclaims a site long cast by white artists as “American”—a place of New World beauty capable of rivaling the monuments of Europe—as Indigenous.
Kay WalkingStick (b. 1935)
Saint Mary’s Mountain, 2011
Oil on wood panel in two parts
Collection of Agnes Hsu-Tang, Ph.D. and Oscar Tang
WalkingStick stencils a geometric pattern, inspired by Northern Cheyenne beadwork, over the base of Saint Mary’s Mountain in present-day Montana. The overlay liberates the landscape from traditions of American painting hailing the “West” as a New World frontier and marks it instead as Indigenous homeland. Compositional parallels emphasize the terrain’s Indigeneity: the pattern’s stacked white horizontal stripes, punctuated by tall rectangular forms, echo the white-bordered lavender band running across the mountain’s upswept ridges.
Kay WalkingStick (b. 1935)
Saint Mary’s Mountain, 2011
Oil on wood panel in two parts
Collection of Agnes Hsu-Tang, Ph.D. and Oscar Tang
WalkingStick stencils a geometric pattern, inspired by Northern Cheyenne beadwork, over the base of Saint Mary’s Mountain in present-day Montana. The overlay liberates the landscape from traditions of American painting hailing the “West” as a New World frontier and marks it instead as Indigenous homeland. Compositional parallels emphasize the terrain’s Indigeneity: the pattern’s stacked white horizontal stripes, punctuated by tall rectangular forms, echo the white-bordered lavender band running across the mountain’s upswept ridges.
Louisa Davis Minot (1788–1858)
Niagara Falls, 1818
Oil on canvas
Gift of Mrs. Waldron Phoenix Belknap Sr. to the Waldron Phoenix Belknap Jr. Collection, 1956.3
Like WalkingStick’s Niagara (left), this painting revels in the grandeur of the torrents tumbling down the cliffs and the spray spuming at the base. One of few women landscape painters of the era, Minot attested that as “the rock shook over my head [and] the earth trembled . . . [i]t was some time before I could command my pencil.” Two tiny figures emphasize the overwhelming scale of Niagara and the enduring allure of spectacular nature.
Louisa Davis Minot (1788–1858)
Niagara Falls, 1818
Oil on canvas
Gift of Mrs. Waldron Phoenix Belknap Sr. to the Waldron Phoenix Belknap Jr. Collection, 1956.4
Like Davies (left), Minot uses generic Indigenous figures to mark Niagara Falls as a North American site. In her own painting of the natural wonder, WalkingStick (right) replaces such stereotyped figures with a culturally and geographically specific Haudenosaunee pattern.
Major support for Kay WalkingStick / Hudson River School is provided by the Lily Auchincloss Foundation.
Exhibitions at New-York Historical are made possible by Dr. Agnes Hsu-Tang and Oscar Tang, the Saunders Trust for American History, the Evelyn & Seymour Neuman Fund, the New York City Department of Cultural Affairs in partnership with the City Council, and the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature. WNET is the media sponsor.
Every exhibition at the New-York Historical Society is a collaborative effort. Individuals who directly shaped Kay WalkingStick / Hudson River School include:
Art handlers: Richard Miller, Nanette Kuehn, Robert Sorenson, Kai Vierstra, Gabe Bennett
Catalogue designer: Brienna Flewelling
Communications managers: Emily Haight, Marybeth Ihle, Seth Newcom, Anna Belle Peevey
Conservators: Kenneth Bé, Heidi Nakashima
Curator: Wendy Nālani E. Ikemoto, PhD (Native Hawaiian)
Exhibition designer: Claudia Lynn
Fabricators: Ivar Theorin, Forrest Meyer, Shannon Spicer
Graphic designer: Ivan Škrtić
Lighting designers: Avi Dobkin, Brian Aldous
Museum director: Margi Hofer
Registrars: Mark Schlemmer, Melisa Santiago
Research consultant: Dakota Hoska (Oglála Lakȟóta)
Rights and reproductions manager: Jessica Glasscock
Title graphic designer: Marcela Gonzalez
Special thanks to Kay WalkingStick, Stuart Morrison and Maria Eriksen of Hales New York, and our lenders.
Major support for Kay WalkingStick / Hudson River School is provided by the Lily Auchincloss Foundation.
Exhibitions at New-York Historical are made possible by Dr. Agnes Hsu-Tang and Oscar Tang, the Saunders Trust for American History, the Evelyn & Seymour Neuman Fund, the New York City Department of Cultural Affairs in partnership with the City Council, and the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature. WNET is the media sponsor.
Every exhibition at the New-York Historical Society is a collaborative effort. Individuals who directly shaped Kay WalkingStick / Hudson River School include:
Art handlers: Richard Miller, Nanette Kuehn, Robert Sorenson, Kai Vierstra, Gabe Bennett
Catalogue designer: Brienna Flewelling
Communications managers: Emily Haight, Marybeth Ihle, Seth Newcom, Anna Belle Peevey
Conservators: Kenneth Bé, Heidi Nakashima
Curator: Wendy Nālani E. Ikemoto, PhD (Native Hawaiian)
Exhibition designer: Claudia Lynn
Fabricators: Ivar Theorin, Forrest Meyer, Shannon Spicer
Graphic designer: Ivan Škrtić
Lighting designers: Avi Dobkin, Brian Aldous
Museum director: Margi Hofer
Registrars: Mark Schlemmer, Melisa Santiago
Research consultant: Dakota Hoska (Oglála Lakȟóta)
Rights and reproductions manager: Jessica Glasscock
Title graphic designer: Marcela Gonzalez
Special thanks to Kay WalkingStick, Stuart Morrison and Maria Eriksen of Hales New York, and our lenders.
Steve Smith (Mohawk, b. 1948)
Jar, 1973–74
Wheelthrown and incised stoneware
Courtesy of the National Museum of the American Indian, Smithsonian Institution, 26/1882
For the patterned band overlaying Niagara (on view in this gallery), WalkingStick drew inspiration from the design incised on this jar. Potter Steve Smith learned the art form from his mother, Elda “Bun” Smith, who revitalized Haudenosaunee ceramic tradition by collecting surviving historical pottery shards. The younger Smith’s modern style often incorporates studio clay, vibrant color palettes, and animated iconography.
Thomas Davies (ca. 1737–1812)
Niagara Falls from Below, ca. 1766
Watercolor and gouache over graphite with scratching out on paper, mounted on card
Purchase, Traveller’s Fund, James S. Cushman, and Foster-Jarvis Fund, 1954.3
Among the earliest images of Niagara Falls, this watercolor honors imperialism. Painted by a British artillery officer, it likely served as inspiration for prints published in Scenographia Americana (1768)—a series of landscapes offering a picturesque tour of Britain’s vastly expanded overseas territory following the Seven Years’ War.
Unlike the culturally specific Indigenous patterns overlaying WalkingStick’s Niagara, also on view in this gallery, Davies’ Indigenous figures stand as generic and romanticized North American place-markers for a British audience.
Abstraction / Landscape
A love of the natural world traces its way through WalkingStick’s six-decade career, beginning with early explorations of abstract patterning in the environment. Even her formal abstractions of the 1970s and 1980s—rooted in a modernist vocabulary of geometrical relationships—at times evoke landscapes and gardens, embed pieces of the earth, and mix acrylic paint with a beeswax medium that smells of honey. The artist turned to her current landscape practice gradually, by means of her iconic diptychs juxtaposing abstraction on one side with representational vistas on the other.
Abstraction / Landscape
A love of the natural world traces its way through WalkingStick’s six-decade career, beginning with early explorations of abstract patterning in the environment. Even her formal abstractions of the 1970s and 1980s—rooted in a modernist vocabulary of geometrical relationships—at times evoke landscapes and gardens, embed pieces of the earth, and mix acrylic paint with a beeswax medium that smells of honey. The artist turned to her current landscape practice gradually, by means of her iconic diptychs juxtaposing abstraction on one side with representational vistas on the other.
Home / West
“Historically, they had a big influence on the movement of people in the United States,” WalkingStick says of the Hudson River School painters. “At least, they tried to. The whole notion of Manifest Destiny was portrayed . . . . These artists were representing what the rest of the United States looks like, and it must have struck a lot of Easterners as simply astonishing. I think they had a big influence in that interest and eventual drive into the North American continent.” WalkingStick’s work re-centers the region long hailed as the “West”—a term which enshrines an East Coast perspective—as home, heartland, and center for many Indigenous people.
Home / West
“Historically, they had a big influence on the movement of people in the United States,” WalkingStick says of the Hudson River School painters. “At least, they tried to. The whole notion of Manifest Destiny was portrayed . . . . These artists were representing what the rest of the United States looks like, and it must have struck a lot of Easterners as simply astonishing. I think they had a big influence in that interest and eventual drive into the North American continent.” WalkingStick’s work re-centers the region long hailed as the “West”—a term which enshrines an East Coast perspective—as home, heartland, and center for many Indigenous people.
Home / West
“Historically, they had a big influence on the movement of people in the United States,” WalkingStick says of the Hudson River School painters. “At least, they tried to. The whole notion of Manifest Destiny was portrayed . . . . These artists were representing what the rest of the United States looks like, and it must have struck a lot of Easterners as simply astonishing. I think they had a big influence in that interest and eventual drive into the North American continent.” WalkingStick’s work re-centers the region long hailed as the “West”—a term which enshrines an East Coast perspective—as home, heartland, and center for many Indigenous people.
Kay WalkingStick / Hudson River School
What arises from the juxtaposition of landscapes by the trailblazing contemporary Cherokee artist Kay WalkingStick and the nineteenth-century Hudson River School painters who forged the American landscape tradition? How does one illuminate the other?
Kay WalkingStick / Hudson River School places these two bodies of work in impactful conversation. Seen together, the paintings reveal a shared reverence for nature and a mutual belief in the agency of art to shape humankind’s relationship to the land. At the same time, their dialogue exposes crucial points of departure by which WalkingStick challenges the older artists’ conception of wilderness and re-centers Indigenous people as the original and ongoing stewards of their homelands. The relationship—expressed graphically through the slash mark in the exhibition title—becomes one of simultaneous connection and division, balance and opposition, rapport and resistance.
“I hope,” says WalkingStick, “viewers will leave the museum with a renewed sense of how beautiful and precious our planet is . . . [and] with the realization that those of us living in the western hemisphere are all living on Indian Territory.”
Kay WalkingStick / Hudson River School
What arises from the juxtaposition of landscapes by the trailblazing contemporary Cherokee artist Kay WalkingStick and the nineteenth-century Hudson River School painters who forged the American landscape tradition? How does one illuminate the other?
Kay WalkingStick / Hudson River School places these two bodies of work in impactful conversation. Seen together, the paintings reveal a shared reverence for nature and a mutual belief in the agency of art to shape humankind’s relationship to the land. At the same time, their dialogue exposes crucial points of departure by which WalkingStick challenges the older artists’ conception of wilderness and re-centers Indigenous people as the original and ongoing stewards of their homelands. The relationship—expressed graphically through the slash mark in the exhibition title—becomes one of simultaneous connection and division, balance and opposition, rapport and resistance.
“I hope,” says WalkingStick, “viewers will leave the museum with a renewed sense of how beautiful and precious our planet is . . . [and] with the realization that those of us living in the western hemisphere are all living on Indian Territory.”
Native / American
How do American and Native American art connect? Where do they diverge? Set alongside nineteenth-century Hudson River School paintings, WalkingStick’s recent landscapes challenge dominant conceptions of American art history as fundamentally that of European settlers. “For me, it’s stating the obvious,” says WalkingStick, “but for a lot of people, it’s not obvious that we are all living in Indian territory.” Her work rethinks the American landscape tradition by honoring Indigenous agency, creativity, and ancestral and ongoing relationships to the lands now known as the United States—and, in so doing, shifts the way history is told.
Native / American
How do American and Native American art connect? Where do they diverge? Set alongside nineteenth-century Hudson River School paintings, WalkingStick’s recent landscapes challenge dominant conceptions of American art history as fundamentally that of European settlers. “For me, it’s stating the obvious,” says WalkingStick, “but for a lot of people, it’s not obvious that we are all living in Indian territory.” Her work rethinks the American landscape tradition by honoring Indigenous agency, creativity, and ancestral and ongoing relationships to the lands now known as the United States—and, in so doing, shifts the way history is told.
In every culture that I know of . . . , water is a major part of the thinking about life . . . . I like to sit and look at the ocean for hours.
—Kay WalkingStick
In every culture that I know of . . . , water is a major part of the thinking about life . . . . I like to sit and look at the ocean for hours.
—Kay WalkingStick
In every culture that I know of . . . , water is a major part of the thinking about life . . . . I like to sit and look at the ocean for hours.
—Kay WalkingStick
Comments on Kay WalkingStick / Hudson River School?
Please share your thoughts with us.
John Frederick Kensett (1816–1872)
Sunset on the Coast (Seashore), 1861
Oil on canvas
The Robert L. Stuart Collection, the gift of his widow Mrs. Mary Stuart, S-42
This painting ignores the fact that by this time, tourist resorts crowded the New England seaboard. It imagines instead a scene of elemental nature and geologic time as water and wind carve the rugged coastal terrain where a lone bird stands. The slanting light of sunset highlights patterns within the landscape. For instance, the peak of the smaller shoreline rock echoes those of the cresting waves.
Kay WalkingStick (Cherokee) (b. 1935)
Wampanoag Coast, Variation II, 2018
Oil on panel in two parts
Collection of Agnes Hsu-Tang, Ph.D. and Oscar Tang
Like the two paintings by Kensett on either side, this composition honors the rugged beauty of the New England coast. Rather than picture it as a site of leisure or as a vision of untouched nature, however, WalkingStick reclaims the land as Indigenous. The patterned band, inspired by a Pequot/Narragansett basket design, overlays a site identified in the title as Wampanoag. The band represents the many Indigenous nations in what is now known as New England—and asserts their continued presence.
Kay WalkingStick (b. 1935)
Niagara, 2022
Oil on panel in two parts
Purchased through the generosity of Agnes Hsu-Tang and Oscar Tang; Nancy Newcomb; Anonymous; Barry Barnett; Helen Appel; Belinda and Charles Bralver; Dorothy Tapper Goldman; Margi and Andrew Hofer; Louise Mirrer; Jennifer and John Monsky; Suzanne Peck and Brian Friedman; Pam and Scott Schafler; Barbara and Elliott Wagner; and Linda Ferber, 2023.2ab
This painting both revels in and reclaims Niagara Falls. WalkingStick captures their sublime sweep by suspending the viewer at the brink and spilling the water edge-to-edge across two square panels. A Haudenosaunee pattern overlaid on the composition honors those who originally inhabited, and still inhabit, the Niagara region. Suspended over the landscape as if to safeguard it, the stenciled band reclaims a site long cast by white artists as “American”—a place of New World beauty capable of rivaling the monuments of Europe—as Indigenous.
Louisa Davis Minot (1788–1858)
Niagara Falls, 1818
Oil on canvas
Gift of Mrs. Waldron Phoenix Belknap Sr. to the Waldron Phoenix Belknap Jr. Collection, 1956.3
Like WalkingStick’s Niagara (left), this painting revels in the grandeur of the torrents tumbling down the cliffs and the spray spuming at the base. One of few women landscape painters of the era, Minot attested that as “the rock shook over my head [and] the earth trembled . . . [i]t was some time before I could command my pencil.” Two tiny figures emphasize the overwhelming scale of Niagara and the enduring allure of spectacular nature.
Major support for Kay WalkingStick / Hudson River School is provided by the Lily Auchincloss Foundation.
Exhibitions at New-York Historical are made possible by Dr. Agnes Hsu-Tang and Oscar Tang, the Saunders Trust for American History, the Evelyn & Seymour Neuman Fund, the New York City Department of Cultural Affairs in partnership with the City Council, and the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature. WNET is the media sponsor.
Every exhibition at the New-York Historical Society is a collaborative effort. Individuals who directly shaped Kay WalkingStick / Hudson River School include:
Art handlers: Richard Miller, Nanette Kuehn, Robert Sorenson, Kai Vierstra, Gabe Bennett
Catalogue designer: Brienna Flewelling
Communications managers: Emily Haight, Marybeth Ihle, Seth Newcom, Anna Belle Peevey
Conservators: Kenneth Bé, Heidi Nakashima
Curator: Wendy Nālani E. Ikemoto, PhD (Native Hawaiian)
Exhibition designer: Claudia Lynn
Fabricators: Ivar Theorin, Forrest Meyer, Shannon Spicer
Graphic designer: Ivan Škrtić
Lighting designers: Avi Dobkin, Brian Aldous
Museum director: Margi Hofer
Registrars: Mark Schlemmer, Melisa Santiago
Research consultant: Dakota Hoska (Oglála Lakȟóta)
Rights and reproductions manager: Jessica Glasscock
Title graphic designer: Marcela Gonzalez
Special thanks to Kay WalkingStick, Stuart Morrison and Maria Eriksen of Hales New York, and our lenders.
HOUSE DETAILS
LOREM IPSUM DOLOR SIT AMET, CONSECTETUER ADIPISCING ELIT, SED DIAM NONUMMY NIBH EUISMOD TINCIDUNT UT LAOREET DOLORE MAGNA ALIQUAM ERAT VOLUTPAT. UT WISI ENIM AD MINIM VENIAM.
LOREM IPSUM
DOLOR SIT AMET
TINCIDUNT ULTRICES
LOREM IPSUM DOLOR SIT AMET, CONSECTETUER ADIPISCING ELIT, SED DIAM NONUMMY NIBH EUISMOD TINCIDUNT UT LAOREET DOLORE MAGNA ALIQUAM ERAT VOLUTPAT. UT WISI ENIM AD MINIM VENIAM, QUIS NOSTRUD EXERCI TATION ULLAMCORPER SUSCIPIT LOBORTIS NISL UT ALIQUIP EX EA COMMODO CONSEQUAT.
10809 Haskell Ave, Mountain Hills, CA 91344
10809 Haskell Ave, Mountain Hills, CA 91344
HOUSE DETAILS
LOREM IPSUM DOLOR SIT AMET, CONSECTETUER ADIPISCING ELIT, SED DIAM NONUMMY NIBH EUISMOD TINCIDUNT UT LAOREET DOLORE MAGNA ALIQUAM ERAT VOLUTPAT. UT WISI ENIM AD MINIM VENIAM.
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Lorem ipsum dolor sit amet, consectetur adipiscing elit. Cras fringilla et leo sit amet aliquet. Orci varius natoque penatibus et magnis dis parturient montes, nascetur ridiculus mus. In blandit velit eget luctus varius. Vestibulum dapibus non ipsum ac pharetra. Sed sodales turpis vel nisi fermentum auctor. Phasellus ipsum lectus, finibus vel neque ut, pulvinar pretium elit. Pellentesque vestibulum libero at felis vestibulum bibendum.
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LOREM IPSUM
DOLOR SIT AMET
VIVAMUS HENDRERIT LOREM
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IPSUM
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VIVAMUS HENDRERIT
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LOREM IPSUM
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TINCIDUNT ULTRICES
LOREM IPSUM DOLOR SIT AMET, CONSECTETUER ADIPISCING ELIT, SED DIAM NONUMMY NIBH EUISMOD TINCIDUNT UT LAOREET DOLORE MAGNA ALIQUAM ERAT VOLUTPAT. UT WISI ENIM AD MINIM VENIAM, QUIS NOSTRUD EXERCI TATION ULLAMCORPER SUSCIPIT LOBORTIS NISL UT ALIQUIP EX EA COMMODO CONSEQUAT. DUIS AUTEM VEL EUM IRIURE DOLOR IN HENDRERIT IN VULPUTATE VELIT ESSE MOLESTIE CONSEQUAT, VEL ILLUM DOLORE EU FEUGIAT NULLA FACILISIS.