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Carved wooden mask representing the moon as well as the universe though its hoops | Donald Ellis Gallery

Dance Mask

Yup’ik
Kuskokwim River, Alaska

ca. 1880

wood, paint, vegetal fibres

width: 11 ¼"

Inventory # E4125

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Provenance

Collected by Adams Hollis Twitchell likely between 1905 and 1915 on the Kuskokwim River
Acquired by the Museum of the American Indian, Heye Foundation, New York, NY, in 1919; cat no. 9/3395
Acquired by Julius Carlebach, New York, NY, in January 1945
Acquired by Enrico Donati, New York, NY, in 1945
Donald Ellis Gallery, New York, NY

Related Examples

Fienup-Riordan, Ann. The Living Tradition of Yup'ik Masks. Seattle: University of Washington Press, 1996, pgs. 168 & 245

A Yup’ik mask is a highly sophisticated communication device capable of conveying great bodies of knowledge through use in danced performances. Each mask is unique, created as a tangible manifestation of a Shaman's vision, bringing the unseen or unknowable into a solid form to communicate to the audience. Meaning is captured in the spatial relationships between the various elements and in the interaction with other masked players in the performance. The goal of the artist is to produce an object that transforms the identity of the dancer, who in turn animates the object through the introduction of sound and motion. 

The Yup’ik only danced each mask once. Afterward, the mask was left to wither and decay. Between 1905 and 1915, a trader by the name of Adam Hollis Twitchell, who had established himself along the Kuskokwim River, attended a series of Yup’ik dances. He went on to collect a highly important group of masks, including the present example. In the 1940’s, the mask was acquired by the Surrealist Enrico Donati. At a time when most Yup’ik masks lay virtually ignored in museum warehouse storage, the Surrealists were among the first to recognize their intrinsic aesthetic as well as spiritual value. Elevating them to the status of exceptionally refined works of art, the influence of the dream-based imagery of Yup’ik masks on the evolution of Western Art must not be underestimated.

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