Mary Jewett Pritchard (estadounidense). Siapo. Pintura sobre tela de corteza. Donación de J. Grant Armstrong. 2012.284.

Arte Oceánico

Mary Jewett Pritchard (estadounidense). Siapo. Pintura sobre tela de corteza. Donación de J. Grant Armstrong. 2012.284.

Department Staff

John Lukavic, Andrew W. Mellon Curator of Native Arts
As Andrew W. Mellon Curator of Native Arts at the DAM, John Lukavic conducts and presents scholarly research, develops exhibitions, collects Native arts, and disseminates knowledge of the DAM’s Indigenous arts of North America, African Arts, and Arts of Oceania collections. He was the organizing curator for the recent exhibitions Jeffrey Gibson: Like a Hammer (2018), Super Indian: Fritz Scholder, 1967-1980 (2015), and Revolt 1680/2180: Virgil Ortiz (2015), as well as lead curator for Eyes On: Julie Buffalohead and Stampede: Animals in Art. Lukavic received his PhD in cultural anthropology at the University of Oklahoma and his master's in museum science from Texas Tech University. In 2018, he was selected for the Getty Leadership Institute at Claremont Graduate University’s NextGen program for emerging top talent in the museum field. In 2019, he received an Award for Excellence from the Association of Art Museum Curators for his essay in the Jeffrey Gibson: Like a Hammer exhibition catalog. He serves on the board of directors for the Native American Art Studies Association, as well as for the Denver Indian Center, Inc.

Dakota Hoska, Associate Curator of Native Arts
Dakota Hoska is an enrolled member of the Oglála Lakȟóta Nation, Pine Ridge (Wounded Knee). She joined the Denver Art Museum in 2019. Previously, she worked as a curatorial research assistant at the Minneapolis Institute of Art supporting the exhibition Hearts of Our People: Native Women Artists. Dakota completed her master's in art history, focusing on Native American Art History at the University of St. Thomas, St. Paul, MN (2019). She also completed two years of Dakhóta language classes at the University of Minnesota (2016), and received her bachelor of fine arts in drawing and painting from the Minneapolis College of Art and Design (2012). Dakota’s curatorial work allows her to pursue her passions of working closely with her Native community while being continually surrounded by and learning about beautiful artwork.

Jennie Hord, Curatorial Assistant
Jennie Hord is the Curatorial Assistant of Native Arts at the Denver Art Museum. She has her master's degree in art history, with a museum studies concentration. Jennie has worked in collections in various museums around the Denver area for the past four years, including the Museo de las Americas, Lakewood Heritage Center, the University of Denver's Hampden Center, and most recently in collections at the Denver Art Museum. She joined the museum in 2015 as a gallery host and continued to work in Visitor Operations as supervisor until September of 2021, when she made the switch to the Native Arts department.

Karuna Srikureja, Associate Interpretive Specialist
Karuna Srikureja is the Associate Interpretive Specialist for Asia, Africa, and Oceania at the Denver Art Museum. She previously served as Kress interpretive fellow at the Museum of Fine Arts, Houston. Karuna received her bachelor's in art history from Emory University and her masters in Asian religious art from the University of London’s School of Oriental and African Studies. Since joining the DAM in 2019, Karuna has been working on the reinstallation of the museum’s Asian art collection.

Emelihter Kihleng, Andrew W. Mellon Fellow for Arts of Oceania
Emelihter Kihleng is the Andrew W. Mellon Fellow for Arts of Oceania at the Denver Art Museum where she is curating the temporary exhibition, Islands Beyond Blue: Niki Hastings-McFall and Treasures from the Oceania Collection and responsible for the reinstallation of the Arts of Oceania collection. Prior to joining the Museum, Emelihter held a digital residency at the Übersee-Museum in Bremen, Germany as part of the #NEOCollections program. She co-curated Urohs Fever, part of a larger exhibit, Air Canoe, focused on the arts of central Micronesia for the Asia Pacific Triennial (APT10) at Queensland Art Gallery and Gallery of Modern Art in Brisbane, Australia. From 2019-2020, Emelihter served as the inaugural Curatorial Research Fellow, Oceania at MARKK Museum am Rothenbaum in Hamburg, Germany where she co-curated In the Shadow of Venus: Lisa Reihana and Pacific Taonga and curated Kilel oh Kapwat: Reconnecting Pohnpeians with Our Past. She earned her PhD in Pacific Studies from Victoria University of Wellington in Aotearoa New Zealand in 2015.

Department History

The strength of any museum collection is largely driven by the vision, savvy, and motivation of the department’s curatorial team. Here at the Denver Art Museum, our Native arts department has had the good fortune of being under the guidance of some very strong visionaries, who were leaders in their field. We are proud of our legacy and take this moment to acknowledge the past curators and influencers who started us on our path.

The origin of the Native Arts department in 1925 is tied to the beginning of the Indigenous Arts of North America collection championed by Anne Evans, one of the founders of the DAM. She not only donated her own personal collection, but encouraged the support of friends with her enthusiastic and spirited patronage. These first years were led by curator Edgar McMechan (1925-1928). Four years later, in 1929, Frederic Huntington Douglas was hired. An art historian and anthropologist, he achieved national renown for his pioneering efforts to promote the understanding and appreciation of American Indian art as fine art and not solely artifact. During his nearly three-decade long career at the DAM (1929-1956), he assembled one of the most comprehensive collections of American Indian art, supported by a series of scholarly publications and groundbreaking exhibitions that influenced the direction of American museology, art history, and anthropology. During the 1930s, Douglas served as a commissioner on the Indian Arts and Crafts Board. In 1939 he worked with then IACB director René d’Harnoncourt and a few others to plan and direct the “Indian Court” at the Golden Gate Exposition. In 1941, he and d’Harnoncourt co-curated the landmark exhibition Indian Art of the United States at the Museum of Modern Art in New York. Douglas identified early the importance of working directly with Indigenous artists and making collections accessible to Indigenous communities. Over the course of his time at DAM he developed strong connections with such artists and community leaders as Ella Deloria (Yankton Dakota), Nampeyo of Hano (Hopi/Tewa), Mary Littlebear Inkanish (Cheyenne), and Maria Martinez (San Ildefonso). Douglas recognized the importance of collecting arts created at all points in time, which helped DAM develop strong collections of early and mid-20th century Indigenous arts. It was under the direction of Douglas that the DAM expanded the Native Arts collecting focus to include African and Oceanic arts (Douglas developed an interest in Oceanic arts while serving in the South Pacific during World War II). This foundational work set the tone for the direction of the Native Arts department.

Royal Hassrick then led the department from 1957 to 1962 before becoming DAM’s assistant director from 1964 to 1967. He was a prolific author and dedicated researcher. Prior to coming to DAM, he served as curator of the South Plains Indian Museum for the U.S. Department of Interior in Oklahoma from 1948 to 1952 and then assistant general manager of the Indian Arts and Crafts Board for the Department of Interior from 1952 to 1954. Like Douglas, Hassrick served as a commissioner on the Indian Arts and Crafts Board while a curator at DAM.

Norman Feder, a pioneer in the field of Native American art history and material culture, served as the curator of Native Arts at the DAM from 1961 to 1971. Feder had a deep interest in and a discerning eye for Indigenous arts. With a background as a hobbyist before coming to the museum, Feder belonged to a community of amateurs who specialized in the manufacture of artworks using Indigenous techniques and designs. While today such a background receives a critical response by Indigenous people, at that time his understanding of Native American techniques and styles allowed him to contribute meticulous, collections-based documentation to the study of Indigenous North American visual culture. It also allowed him to assist institutions in identifying what was and was not “authentic” in their collections. Through his passion, Feder inspired a new generation of anthropologists and historians of Indigenous material culture. During his time at DAM, Feder collected broadly and significantly expanded the museum's collections of African, Indigenous North American, and Oceanic arts.

Richard G. Conn served two non-consecutive terms at the DAM. The first predated Hassrick and Feder from 1956-1957, but Conn returned in 1972 as the curator of Native Arts, later advancing to become DAM’s first chief curator where he remained until his retirement in 1994. Conn brought with him an interest and understanding of Native Northwest Coast arts, fueled by his youth spent in Bellingham Washington, as well as a strong focus on Indigenous clothing. Over the course of his career, Conn, like his predecessors, became a generalist, and his publications eventually covered a wide range of topics related to the traditional clothing of Indigenous people, including the works of the Plains, Plateau, and Southwest regions as well as the history of glass trade beads in North America. He also helped start up the DAM Friendship Pow Wow in 1990 to serve and honor the local Native community. This Pow Wow has taken place every year since, including a virtual iteration in 2020 due to the COVID-19 pandemic.

Nancy Blomberg came to DAM in 1990 as an associate curator, tasked with carrying on the trail-blazing work of the previous foundational leaders. In 1993 she was promoted to curator and Native Arts department head, and was then promoted to DAM’s chief curator in 2011. With the endowment of the position of Native Arts department head in 2016, she became DAM’s inaugural Andrew W. Mellon curator of Native Arts. She led the department until her untimely death in 2018. Importantly, Nancy’s commitment to building relationships with Native communities took center stage in her curatorial practice, and she changed the way the Denver Art Museum valued Indigenous perspectives. Abandoning a persistent hierarchy, Blomberg began actively listening to Indigenous people as they shared their knowledge and wisdom with the institution. This led to a more nuanced and inclusive understanding of Indigenous material culture, and removed some of the hierarchies inherent in museums and often problematic for Native communities. In her tenure, Blomberg established the DAM as a leader in the implementation of the Native American Graves Protection and Repatriation Act (NAGPRA). She specialized in classic Navajo textiles and was recognized for her groundbreaking reinstallation of DAM’s Indigenous art galleries in 2011 which brought focus to Indigenous artist in many new ways.

Over the course of the department’s history, many others served as assistant and associate curators. Kate Peck Kent worked closely with Frederic Douglas as an assistant curator in the 1930s and 1940s before going on to have a highly successful career as an anthropologist specializing in Navajo and Pueblo textiles. David Irving was an assistant curator who worked with Richard Conn from 1979 to 1984 and was a specialist in Navajo textiles. Ryntha Johnson served as an assistant curator for a time before moving on to positions at the St. Louis Art Museum and the Denver Museum of Nature and Science. Rodger Echo-Hawk was assistant curator from 1994 to 2005 and was instrumental in working with DAM and various tribes on NAGPRA reviews and claims. During this time, he published Keepers of Culture which provides case studies on NAPGRA claims, and it remains a vital resource to tribes and museums today. Echo-Hawk is now a historian and published author. Moyo Okediji was DAM’s first assistant curator specializing in African arts from 1999 to 2008 and was instrumental in advancing scholarship and attention to DAM’s collection of African arts. He is now professor of African art and art history at the University of Texas, Austin. Polly Nordstrand was associate curator from 2004 to 2009 and was instrumental in bringing in key acquisitions of Indigenous contemporary art to the collection. This attention to contemporary art renewed DAM’s commitment to collecting such work and engaging living artists. Nordstrand is now curator of Southwest art at the Colorado Springs Fine Art Center at Colorado College. Additionally, the Native Arts department began a curatorial fellowship program in 2016 with funds from the Andew W. Mellon Foundation. Fellows have included Denene DeQuintal (2016-18), who has gone on to become assistant curator of Native American art at the Detroit Institute of Arts, and Christopher Patrello (2018-21), now at the Denver Museum of Nature & Science.

Today, John P. Lukavic leads the department as the Andrew W. Mellon Curator of Native Arts. He came to DAM in 2012 as assistant curator of Native Arts and was then promoted to associate curator and later curator. Dakota Hoska came to DAM as assistant curator of Native Arts in 2019. Together Lukavic and Hoska continue DAM’s long history of collecting, developing exhibitions, and scholarship, and both hope to continue and improve upon the good work started by their predecessors. The way in which we present Native arts at the Denver Art Museum is progressive, inclusive, and considerate of critiques of past museum practices. We encourage the integration of diverse arts into broader contexts to promote dialog and challenge our visitors to expand their understandings and appreciation for such arts.


Companion to Oceanic Art at the Denver Art Museum (Guía complementaria al arte oceánico en el Denver Art Museum). Blomberg, Nancy J. Denver: Denver Art Museum, 2014.

Organizado según las cuatro regiones principales de Oceanía (Polinesia, Melanesia, Micronesia y Australia), este libro de 100 páginas contiene 80 fotografías a color, que incluyen primeros planos que permiten al lector apreciar increíbles detalles que no serían visibles incluso en las salas.

Collection Highlights

Browse more objects from the Arts of Oceania department in our online collection.

Obras destacadas de la colección

Asmat artist

Bis Memorial Pole

Asmat artist, Bis Memorial Pole, 1900s. Wood, fiber, and paint; 128 x 9¾ x 28¾ in. Denver Art Museum: Gift of Mr. and Mrs. George G. Anderman, 1991.976. Photography © Denver Art Museum

Baining artist

mask, dance

Baining artist, Dance Mask, 1900s. Bark, cane, and pigment; 45 x 21 ½ x 17 ½ in. Denver Art Museum: Funds from Robert Houston and United Bank, 1988.36

Marquesas Islands artist


Marquesan artist, Uuhe (Earring), about 1875. Tortoise shell, porpoise teeth, and glass beads; 3 ½ x 3 in. Denver Art Museum: Anonymous Gift, 1952.734. Photography © Denver Art Museum

Maori artist

Tauihu (Canoe Figurehead)

Maori artist, Tauihu (Canoe Figurehead), About 1800. Wood and Pāua (abalone shell); 15 7/8 x 7 x 42 in. Denver Art Museum: Native Arts acquisition funds, 1949.4464. Photography © Denver Art Museum

Korewori River artist

Yipwon Spirit Figure
The tall, carved figure is from the Korewori River region of New Guinea. The artist has simplified the human figure into a series of projecting, hooklike shapes. The head features a beard terminating in a sharp point. Above the head, a cap with a comblike tassel curves forward to protect the entire sculptural framework. In the torso area, semicircular shapes carved in concentric patterns surround and protect a jagged phallic projection. The figure, carved from a single piece of wood, is probably an abstract representation of a hunting spirit.

Korewori River artist, Yipwon Spirit Figure, mid 1800s. Cowrie shells and pigment on wood; 94 7/8 x 11 ½ x 7 in. Denver Art Museum: Gift of Joan and George Anderman, 2001.157

Papua New Guinea artist

Malagan figures
This sculpture was made by an artist on the island of New Ireland, Papua New Guinea, for use in an indigenous Malagan ceremony. The entire surface is covered with brilliantly colored geometric designs that serve to unify the three parts of the composition: the central fish and the two male human figures attached to its side and snout. The fish is carved from a single piece of wood, and open projections form its mouth and dorsal fins.

Papua New Guinea artist, Malagan Figures, mid-1900s. Wood, paint, fiber and shell; 88 x 12 x 41 in. Denver Art Museum: Gift of Joan and George Anderman, 2001.177A-C

Maori artist


Maori artist, Cloak, late 1800s. Feathers and flax; 35 x 45 in. Denver Art Museum: Native Arts acquisition funds, 1955.347

Siapo Mamanu (Sāmoan Bark Cloth)

Mary Jewett Pritchard

Siapo Mamanu (Sāmoan Bark Cloth)

Mary Jewett Pritchard (Samoan/American, 1906-1992), Siapo Mamanu (Sāmoan Bark Cloth), about 1970. Paint on bark cloth; 35 ¾ x 35 ¼ in. Denver Art Museum: Gift of J. Grant Armstrong, 2012.284. © Estate of Mary Jewett Pritchard

Iatmul artist

Orator's Stool

Iatmul artist, Orator’s Stool, 1900s. Wood, raffia, feathers, cowrie shells, shell, and paint; 7 ft. 4 in. x 26 in. Denver Art Museum: Gift of the Center for International Cultural Exchange, 1983.175

Hawaiian artist

Small Tapa- orange and black linen

Hawaiian artist, Bark Cloth, 1700s. Bark cloth and pigment; 25 x 23 in. Denver Art Museum: Exchange with University Museum, 1959.245

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