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Exhibit: Prophecy - Peter B. Jones

Prophecy is a timely exhibition pertaining to Indigenous prophecies. By incorporating themes of ecology, creation, demise and the future according to the Mayan calendar, traditional Iroquois teachings and other cultural beliefs, Jones provides a visual representation of the foretold truths.

Eighteenth century Iroquois prophet Handsome Lake predicted that the world as we know it would come to an end in December, 2012. Prophecy: Peter B. Jones presents a contemporary interpretation of Handsome Lake's apocalyptic prophecy. Jones is one of the most recognized and accomplished Iroquois artists working today. His forty-five year career has been achieved and maintained by the mastery of his medium and the establishment of a solid repertoire of work in clay. By studying traditional techniques developed over time by ancient civilizations such as the Hopewell and Mississippian, and later, his own Iroquois culture, Jones is one of several artists responsible for re-invigorating (reactivating) and mentoring a distinct traditional pottery practice among the Haudenosaunee. Yet, clay also serves as a contemporary medium that Jones manipulates as an expressive means for functional and sculptural artistic traditions to co-exist.

Peter B. Jones was born on June 8, 1947 into the Beaver Clan of the Onondaga Nation at the Cattaraugus Reservation in Seneca Territory (northwest New York State). Jones received his Associates of Fine Arts from the Institute of American Indian Arts in Santa Fe, New Mexico in 1968. At IAIA, he was strongly influenced by Otellie Loloma (1922-92), a highly acclaimed Hopi ceramicist, who taught him to merge traditional protocol and practice with classical Western clay techniques. During this time, Jones's work took on a pan-Indian style that was influenced by IAIA's diverse student body, the Southwest, and the effects of the civil rights movement on Indian solidarity forming across the country. Red Paint Can (1965) is Jones's enduring critique of the social, political, and popular culture movements that yielded a "new breed" of non-Indian individuals desiring Native identity.

Date(s):

09/22/2012, 09/23/2012, 09/25/2012, 09/26/2012, 09/27/2012, 09/28/2012, 09/29/2012, 09/30/2012, 10/02/2012, 10/03/2012, 10/04/2012, 10/05/2012, 10/06/2012, 10/07/2012, 10/09/2012, 10/10/2012, 10/11/2012, 10/12/2012, 10/13/2012, 10/14/2012, 10/16/2012, 10/17/2012, 10/18/2012, 10/19/2012, 10/20/2012, 10/21/2012, 10/23/2012, 10/24/2012, 10/25/2012, 10/26/2012, 10/27/2012, 10/28/2012, 10/30/2012, 10/31/2012, 11/01/2012, 11/02/2012, 11/03/2012, 11/04/2012, 11/06/2012, 11/07/2012, 11/08/2012, 11/09/2012, 11/10/2012, 11/11/2012, 11/13/2012, 11/14/2012, 11/15/2012, 11/16/2012, 11/17/2012, 11/18/2012, 11/20/2012, 11/21/2012, 11/22/2012, 11/23/2012, 11/24/2012, 11/25/2012, 11/27/2012, 11/28/2012, 11/29/2012, 11/30/2012, 12/01/2012, 12/02/2012, 12/04/2012, 12/05/2012, 12/06/2012, 12/07/2012, 12/08/2012, 12/09/2012, 12/11/2012, 12/12/2012, 12/13/2012, 12/14/2012, 12/15/2012, 12/16/2012, 12/18/2012, 12/19/2012, 12/20/2012, 12/21/2012, 12/22/2012, 12/23/2012, 12/25/2012, 12/26/2012, 12/27/2012, 12/28/2012, 12/29/2012, 12/30/2012, 01/01/2013, 01/02/2013, 01/03/2013, 01/04/2013, 01/05/2013, 01/06/2013