Faceshifting: Masking the Spirits

FACESHIFTING Masking the Spirits

November 14, 2013 - January 4, 2014

CAVIN-MORRIS GALLERY NEW YORK, NY

This exhibition is dedicated to the memory of Edmund Kaufman, one of our earliest mask supporters. His belief in our vision gave us the encouragement to continue collecting masks. His own stellar collection is represented in this catalog, with thanks to the participation of his wife, Jeannie.

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FACESHIFTING Masking the Spirits

“Quite frankly, I know of no other sculpture by Lipchitz, Gaudiet Brzeska, Epstein, Archipenko or Zadkine which manages to bring together as many formal and expressive qualities as any mask, masterpiece, by a Himalayan artist who will, alas, no doubt remain eternally anonymous….”

Marc Petit, À Masque Découvert, 1995 “The mask is the privilege of deities and demons who have never lost their identity as naturist spirits in an atmosphere mingling anguish, unease, or at least that feeling of strangeness which comes with the supernatural.”

Henri Jeanmaire, La Masque, Musée Guimet, Paris 1960

FAC E S H I F T I N G

-Masking the Spirits The history of masking is the history of Mankind. How is it to be in that mindframe where the separation of parallel planes of existence simply doesn’t exist, a place where even though the shaman and his or her assistants were specialists, everyone in the community had the potential already within themselves to take part in the selflessness of deep immersion in transformative ceremony. This is because everything was a function of ceremony; the ceremony of survival. The mundane was not merely mundane ever. Life was not organized into religious/non-religious; it was part of functioning in a continuous universe where secrets were earned from it by hit or miss, where the cycle of life and death held no vestige of sentimentality even though over the ages humans began to attach ethical and moral codes to actions as part of the process of human ecology.

Masks are inseparable from the inner topography of mankind’s spiritual and secular needs. We often read or hear that they are mirrors, mirrors of our collective psyche manifested locally according to our cultural lives. Mirror is too narrow a parsing of a very broad spectrum. A mirror limits the insight. The mask has a much broader reach. Nor is it completely a disguise. Disguise suggests subterfuge but really the mask signals something deeper. It projects a destruction of the immediate ego and a merging with the numinous underpinnings of vernacular cultures in an intense and complex process.

Rather than disguise we should see it as an outward transformative sign. The wearer is not hidden; he no longer exists for the time the mask is worn. The shamanic mask actually says “Look, something else has been revealed here. Another aspect of the world has been invited and presented and the entity you now see, projected by the face, is a being you might very well know and recognize; but it is not the being of the human under the mask!”

It is as much the spirit who has traversed dimensions to wear the mask and borrow a body as the other way around.

The mask is not ‘other’. If you were in a state of ‘not me’-- ego erased-- then most likely you were in a place of ‘we’. “I” moved aside to allow in an entity recognized by the group over time as having some kind of ancestral connection, whether of this plane, a connected plane, or a different plane of existence.

The most important part of art-making past or present is process, the engagement of the artist with the mystical or quasi-mystical makeup of time and place that disappears the world and brings nothing but the immediate connection to what is being made, and why it is being made, into focus. We have learned this from art brut and indigenous arts not made specifically for the agency of the art world. The end result is not always as important to the artist as the actual making of the work because the maker is in a creative state of altered consciousness in order to engage the energies or entities necessary to facilitate the work. These entities can be history, both personal and cultural, and often religious, healing, or judicial. In many cases the one who carves the mask then uses it, meaning that his particular process has not ended with the putting down of tools, but continues into the performative space, i.e. possession or enactment.

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In other cases the mask is passed to someone else to enact or receive the spirits, thus engendering a second process. Each culture has its variations or series of variations on this aspect. But what is universal, whether used by the maker or a second person, is that the mask does not mirror us rather it is turned outwards. It mirrors the universal players; the gods, the goddesses, their messengers, natural entities and forces, the monsters of our collective psyches, our histories, myths, legends, ancestors, fears and angers, joys and hopes in a collective nonegoistic basis. It really mirrors the collective inner landscapes of the audience or onlookers.

Of course there are specialists to act as intermediaries, as mediators between often hostile worlds. In so many instances of masking, the shaman is physically there to wear the mask, or s/he is somehow built directly into the mask. Healer, technician of the sacred, master of chaos or disorder, surfer of times’ maelstrom, sacred warrior, wounded healer and on and on s/he is the tool of the mask at the same time that the mask is his tool. Over his/her life s/he has erased his/her own history to merge with the role needed for the cultures’ survival. S/ he can maintain balance and s/he can upset it. He has been elected through collective dreams, chosen as the representative of places others have chosen not to go. He or she is the root of culture, of healing, of alchemical medicine, of magic, of cosmic power, of theatre with its tragedy and comedy and ecstasy. The first king, the first clown, the first alchemist, the first sorcerer, the first doctor was the shaman. Often in his or her selection a near death experience or a symbolic death has been experienced in order to be reborn as cosmic mediator.

The shaman’s role often depends on his/her implementation of moral neutrality. This is perhaps one of the most commonly misunderstood aspects of non-Western spirituality. In the West it is understood that all humans must cast off Evil and aspire toward Good. It is black and white with little gray area. Non-Western moral neutrality is a complex state more closely married to natural cycles. Nature itself has no foregone moral or ethical conclusions. Nature is rarely if ever sentimental. Karma begins in Nature and is refined by human psychology.

No dichotomy of good vs. evil. But these proclivities become a resource. The shaman embodies this gray area.

For non-Western people keeping a balance between good and bad forces is more realistic than trying to be all-good. The shaman struggles to keep this balance for his/her community. Mankind separates good and evil and pits one against the other but ironically it is so often the very same person, that shamanic personality, who through his or her process works with both forces. S/he can perform the magic against you and s/he can provide you the antidote to that magic. For this reason s/he is often hated and loved, and almost universally feared.

The shaman is Nature’s representative in all her unpredictability. The mask and masking has been endowed with the shaman’s legacy.

We often see clown figures known as tricksters in nearly every culture that uses masks from Asia to the Americas.

The clown is rarely whimsical. His sharp responses probe the borders of sanctioned behavior and he both transgresses and polices those borders. The shaman is also a sacred clown because of his/her permeability to and contact with opposing natural forces that make a cosmic game out of survival. Sexual innuendo, political sarcasm, the turning of laws upside down provide both warning and challenge in his/her performance. The clown or trickster mask becomes the embodiment of social balance by patrolling those outer borders of acceptable behavior.

The life of a mask does not necessarily end when it is put on the wall or on a stand in a home or museum.

Especially if the process is understood because the mask, as a true work of art, does not lose its state of being when the process is over. It becomes a sign, a metaphor, a symbol, a gateway into different large and small truths. The mask on a wall is cultural flag. It is a song. No, it no longer occupies the immediacy of its original creation but often that is the case even in its original home ground. Masks are fluid. They have their own lives and those lives change over time. The Yupik people set masks out to rejoin the earth, the Zuni keep them in specialized secret repositories. Chapayeka masks are set on fire after being danced in Sonora. Elsewhere in Mexico they are transformed over time till their mnemonic functions fade and they hold new identities. You cannot kill a mask that easily. Because it is often a placeholder, a temporary body for a spirit, a feeling or a God or Goddess.

FACESHIFTING 4

But there is another reason the mask goes on living and that is because even though its place may change, even though it is stripped of its original use or decoration or even language, we as audience do not die. We still fulfill the masks requirement of a viewer or group of viewers that either suspends disbelief or still believes in its talismanic mojo or, on the most secular level, we respect it as an object that held power for other people. By revering it as Art we accept its power and cache; we open our homes or public environments to its presence. It tells us things we need to be reminded of.

It is our goal to present this work as an extension of eclectic contemporary art collecting, not as a byproduct of modernism but rather as works that hold their own voices with global Contemporary work, at the same time maintaining their high levels of authenticity, quality and refined process. We have singled out the unusual and the idiosyncratic masks wherever we could. For example, while the traditions are strong in Nepal and Mexico, the permissions for individual artistic interpretations are allowed by the culture itself.

Of course we also appreciate those masks from Asia, Africa, the Pacific, and Native America (particularly preColumbian and Inuit cultures) that hold strong tradition and repeat forms that are handed down from generation to generation with a very slow rate of innovation. Even in the most traditional of forms the patina of time, use, weathering, care and repair, result in supremely powerful masks of individual personality.

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- Randall Morris

FACESHIFTING 6

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F A CMasking E S HtheI FSpirits TING MEXICO

10

GUATEMALA

36

NORTH AMERICA

48

AFRICA

62

NEPAL

82

INDIA

114

BHUTAN

132

INDONESIA

140

CHINA

170

KOREA

186

JAPAN

190

SRI LANKA

224

FRANCE

228

FACESHIFTING 8

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MEXICO

Mexico < FACESHIFTING 10

Diablo Mask Guerrero?, Ca. 1940s Polychromed wood and nails 21 x 13 x 4.5 in/ 53.3 x 33 x 11.4 cm M 131s 11 FACESHIFTING > Mexico

Title, year medium size M Mexico < FACESHIFTING 12

Pastorela Mask Guanajuato, First half 20th c.

Polychromed wood and leather 12 x 13 x 10 in/ 30.5 x 33 x 25.4 cm M 128s 13 FACESHIFTING > Mexico

Title, year medium size M Mexico < FACESHIFTING 14

Conquistador Mask with Hat Puebla?, Pre - 19th c.

Polychromed wood and tin 11 x 7.25 x 10.5 in/ 27.9 x 18.4 x 26.7 cm M 144s 15 FACESHIFTING > Mexico

Title, year medium size M Mexico < FACESHIFTING 16

Devil Mask Guerrero, Mid - 20th c.

Polychromed wood, goat horns, nails and hide 13 x 10.25 x 7.5 in/ 33 x 26 x 19.1 cm M 130s 17 FACESHIFTING > Mexico

Title, year medium size M Mexico < FACESHIFTING 18

Puebla Carnival Mask Mid - 20th c.

Wood with black paint 10.5 x 9.5 x 6 in/ 26.7 x 24.1 x 15.2 cm M 31s 19 FACESHIFTING > Mexico

Title, year medium size M Mexico < FACESHIFTING 20

Negrito Mask Oaxaca, Mid - 20th c.

Polychromed wood 8.5 x 7 x 4.5 in/ 21.6 x 17.8 x 11.4 cm M 21s 21 FACESHIFTING > Mexico

Title, year medium size M Mexico < FACESHIFTING 22

23 FACESHIFTING > Mexico

“Mojiganga” mask Guerrero, Mid - 20th c.

Animal pelvis bone, sisal, straw hat, plant fiber 12.5 x 15.5 x 15 in/ 31.8 x 39.4 x 38.1 cm M 30s Mexico < FACESHIFTING 24

Skull Mask Guerrero, Mid - 20th c.

Polychromed wood, nails and teeth 7.75 x 6.5 x 4 in/ 19.7 x 16.5 x 10.2 cm M 27s 25 FACESHIFTING > Mexico

Title, year medium size M Mexico < FACESHIFTING 26

Pig Mask Mid - 20th c.

Polychromed wood 9 x 6.5 x 7.5 in/ 22.9 x 16.5 x 19.1 cm M 129s 27 FACESHIFTING > Mexico

Title, year medium size M Mexico < FACESHIFTING 28

Mask with Two Serpents Otomi People, Guerrero, Mid - 20th c.

Polychromed wood 9.75 x 7.75 . 4.75 in/ 24.8 x 19.7 x 12.1 cm M 32s 29 FACESHIFTING > Mexico

Title, year medium size M Mexico < FACESHIFTING 30

Diablo Mask Michoacan, Mid - 20th c.

Polychromed wood, cloth, and nails 9.25 x 6.5 x 6.25 in/ 23.3 x 16.5 x 15.9 cm M 17s 31 FACESHIFTING > Mexico

Title, year medium size M Mexico < FACESHIFTING 32

Pastorela Mask Guanajuato, First half 20th c.

Polychromed wood, goat horns, nails, and leather 15 x 19 x 13 in/ 38.1 x 48.3 x 33 cm M 127s 33 FACESHIFTING > Mexico

Title, year medium size M Mexico < FACESHIFTING 34

35 FACESHIFTING

G U AT E M A L A

Guatemala < FACESHIFTING 36

Diablo Mask 19th c.

Polychromed wood 10 x 6.5 x 6.5 in/ 25.4 x 16.5 x 16.5 cm M 18s 37 FACESHIFTING > Guatemala

Title, year medium size M Guatemala < FACESHIFTING 38

Tigre Mask Early 20th c.

Polychromed wood, glass, and horse hair 7.5 x 5.5 x 5.5 in/ 19.1 x 14 x 14 cm M 5s 39 FACESHIFTING > Guatemala

Guatemala < FACESHIFTING 40

Moor Mask/Tigre 19th c.

Wood with black paint, glass 8 x 7 x 6 in/ 20.3 x 17.8 x 15.2 cm M 1s 41 FACESHIFTING > Guatemala

Title, year medium size M Guatemala < FACESHIFTING 42

Deer masks (Set of 2), Dance of Deer, Hunt, or Animals 19th c.

Polychromed wood, deer antlers, fur, and nails 15.25 x 9 x 10.25 in/ 38.7 x 22.9 x 26 cm M 2As 43 FACESHIFTING > Guatemala

Title, year medium size M Guatemala < FACESHIFTING 44

Deer masks (Set of 2), Dance of Deer, Hunt, or Animals Guatemala, 19th c.

Polychromed wood, deer antlers, fur, and nails 19 x 8 x 12 in/48.3 x 20.3 x 30.5 cm M 2Bs 45 FACESHIFTING > Guatemala

Title, year medium size M Guatemala < FACESHIFTING 46

47 FACESHIFTING

NORTH AMERICA

North America < FACESHIFTING 48

Yupik Mask Nunivak Island, Alaska, ca. 1920 Wood, feathers, leather, sinew and pigments 17 x 25 x 8 in/ 43.2 x 63.5 x 20.3 cm M 145 49 FACESHIFTING > North America

Title, year medium size M North America < FACESHIFTING 50

Transformation Mask Yukon River, Alaska, ca. 1875 Wood 18 x 4.75 x 7.25 in/ 45.7 x 12.1 x 18.4 cm M 148s 51 FACESHIFTING > North America

Title, year medium size M North America < FACESHIFTING 52

Transformation Mask Nunivak Island, Alaska, ca. 1915 Polychromed wood and beads 11.75 x 20 x 6.5 in/ 29.8 x 50.8 x 16.5 cm M 147 53 FACESHIFTING > North America

Title, year medium size M North America < FACESHIFTING 54

Shaman's Mask Used in a Whaling Ceremony Point Hope, Alaska, ca. 1880 Wood and feathers 13.5 x 11.5 x 1.75 in/ 34.3 x 29.2 x 4.4 cm M 146 55 FACESHIFTING > North America

Title, year medium size M

Eskimo Shaman's Effigy Mask Point Hope, Alaska, 19th c.

Wood 6.5 x 4.25 x 2.25 in/ 16.5 x 10.8 x 5.7 cm M 88s 57 FACESHIFTING > North America

North America < FACESHIFTING 57

Title, year medium size M North America < FACESHIFTING 58

Navajo Headdress New Mexico, Early 20th c.

Wood, leather, pigment and natural fibers 16 x 12 x 3 in/ 40.6 x 30.5 x 7.6 cm M 132s 59 FACESHIFTING > North America

Title, year medium size M North America < FACESHIFTING 60

61 FACESHIFTING

AFRICA

Africa < FACESHIFTING 62

Democratic Republic of Congo Early 20th c.

Wood with black paint 10.75 x 7.25 x 4.5 in/ 27.3 x 18.4 x 11.4 cm M 140s 63 FACESHIFTING > Africa

Title, year medium size M Africa < FACESHIFTING 64

Ceremonial Mask Madagascar, Late 19th - early 20th c.

Wood with pigment traces and nails 11 x 8.5 x 4 in/ 27.9 x 21.6 x 10.2 cm M 123s 65 FACESHIFTING > Africa

Title, year medium size M Africa < FACESHIFTING 66

Hausa Head Crest Nigeria, Mid - 20th c.

Abyssinian Ground Hornbill skull, goat leather, cowry shell, and wood 16.5 x 3.25 x 13 in/ 41.9 x 8.3 x 33 cm M 76s 67 FACESHIFTING > Africa

Title, year medium size M Africa < FACESHIFTING 68

Dan Monkey Mask Ivory Coast, Late 19th - early 20th c.

Polychromed wood, monkey hair, red trade fabric 11 x 6.5 x 6.75 in/ 27.9 x 16.5 x 17.1 cm M 78s 69 FACESHIFTING > Africa

Title, year medium size M Africa < FACESHIFTING 70

Hyena Mask Mali, Bamana, Late 19th - early 20th c.

Wood with pigment traces 16 x 8 x 7 in/ 40.6 x 20.3 x 17.8 cm M 115s 71 FACESHIFTING > Africa

Title, year medium size M Africa < FACESHIFTING 72

Fang Mask Gabon, Central Africa, Late 19th c.

Wood with eroded patina, Kaolin powder 21.5 x 9.5 x 6 in/ 54.6 x 24.1 x 15.2 cm M 117s 73 FACESHIFTING > Africa

Title, year medium size M Africa < FACESHIFTING 74

Baboon Mask Dogon people, Mali, Early 20th c.

Wood 15 x 8 x 6 in/ 38.1 x 20.3 x 15.2 cm M 116s 75 FACESHIFTING > Africa

Title, year medium size M Africa < FACESHIFTING 76

Fang Mask Early 20th c.

Wood with pigment 21 x 10.5 x 4.75 in/ 53.3 x 26.7 x 12.1 cm M 139s 77 FACESHIFTING > Africa

Title, year medium size M Africa < FACESHIFTING 78

Sukwava Mask Mumuye, Nigeria, Early 20th c.

Wood 30.5 x 7.5 x 9 in/ 77.5 x 19.1 x 22.9 cm M 142s 79 FACESHIFTING > Africa

Title, year medium size M Africa < FACESHIFTING 80

81 FACESHIFTING

N E PA L

Nepal < FACESHIFTING 82

19th c.

Wood 8 x 6.5 x 3.25 in/ 20.3 x 16.5 x 8.3 cm M 81s 83 FACESHIFTING > Nepal

Title, year medium size M Nepal < FACESHIFTING 84

Central Hills, Mid - 20th c.

Wood, plant fiber 9.5 x 6.25 x 3 in/ 24.1 x 15.9 x 7.6 cm M 91 85 FACESHIFTING > Nepal

Title, year medium size M Nepal < FACESHIFTING 86

Humla, West Nepal, Early 20th c.

Wood and Kaolin 9.75 x 7 x 4 in/ 24.8 x 17.8 x 10.2 cm M 93 87 FACESHIFTING > Nepal

Title, year medium size M Nepal < FACESHIFTING 88

West Nepal, Early 20th c.

Wood with pigment traces 10.5 x 5.75 x 2.5 in/ 26.7 x 14.6 x 6.4 M 95 89 FACESHIFTING > Nepal

Title, year medium size M Nepal < FACESHIFTING 90

West Nepal, Early 20th c.

Wood, hair 9 x 5.5 x 2 in/ 22.9 x 14 x 5.1 cm M 96 91 FACESHIFTING > Nepal

Title, year medium size M Nepal < FACESHIFTING 92

West Nepal, Early 20th c.

Wood with pigment traces 10 x 6.5 x 2 in/ 25.4 x 15.9 x 5.1 cm M 103 93 FACESHIFTING > Nepal

Title, year medium size M Nepal < FACESHIFTING 94

Humla, West Nepal, Early 20th c.

Wood, hair 10.5 x 6.25 x 2 in/ 26.7 x 15.9 x 5.1 cm M 104 95 FACESHIFTING > Nepal

Title, year medium size M Nepal < FACESHIFTING 96

Middle Hills, Early 20th c.

Wood 10 x 8.5 x 3.5 in/ 25.4 x 21.6 x 8.9 cm M 101 97 FACESHIFTING > Nepal

Title, year medium size M Nepal < FACESHIFTING 98

Middle Hills, Early 20th c.

Wood 8 x 7 x 2.5 in/ 20.3 x 17.8 x 6.4 cm M 105 99 FACESHIFTING > Nepal

Title, year medium size M Nepal < FACESHIFTING 100

West Nepal, Early 20th c.

Wood, hair 11.5 x 6 x 4 in/ 29.2 x 15.2 x 10.2 cm M 106 101 FACESHIFTING > Nepal

Title, year medium size M Nepal < FACESHIFTING 102

West Nepal, 19th c.

Wood with black paint 12 x 6 x 3.5 in/ 30.5 x 15.2 x 8.9 cm M 107 103 FACESHIFTING > Nepal

Title, year medium size M Nepal < FACESHIFTING 104

Tiger Transformation Mask Early 20th c.

Hard Wood 10 x 7 x 3.5 in/ 25.4 x 17.8 x 8.9 cm M 108s 105 FACESHIFTING > Nepal

Title, year medium size M Nepal < FACESHIFTING 106

Dance/Drama Mask Ca. late 19th - early 20th c.

Polychromed wood & mixed media 11 x 7.5 x 2 in/ 27.9 x 19.1 x 5.1 cm M 119s 107 FACESHIFTING > Nepal

Title, year medium size M Nepal < FACESHIFTING 108

Dance/Drama Mask Late 19th - early 20th c.

Polychromed wood 10.5 x 8 x 3 in/ 26.7 x 20.3 x 7.6 cm M 121s 109 FACESHIFTING > Nepal

Title, year medium size M Nepal < FACESHIFTING 110

Shrine Protection Figure 19th c.

Wood 25 x 7 x 8.5 in/ 63.5 x 17.8 x 21.6 cm Nep 36 111 FACESHIFTING > Nepal

Title, year medium size M Nepal < FACESHIFTING 112

113 FACESHIFTING

INDIA

India < FACESHIFTING 114

Female Mask Arunachal Pradesh, Monpa, 19th c.

Polychromed wood 10 x 7.5 x 4.25 in/ 25.4 x 19.1 x 10.8 cm M 49s 115 FACESHIFTING > India

Title, year medium size M India < FACESHIFTING 116

Whistler Mask Arunachal Pradesh, Monpa, 19th c.

Polychromed wood 9.25 x 7.75 x 5.5 in/ 23.5 x 19.7 x 14 cm M 53s 117 FACESHIFTING > India

Title, year medium size M India < FACESHIFTING 118

Dance/Drama Mask (red) Arunachal Pradesh, Monpa, 19th c.

Stained wood 9 x 7 x 4.5in/ 22.9 x 17.8 x 11.4 cm M 50s 119 FACESHIFTING > India

Title, year medium size M India < FACESHIFTING 120

Dance/Drama Mask Arunachal Pradesh, Monpa, Iate 19th - early 20th c.

Polychromed wood 10 x 7.5 x 5 in/ 25.4 x 19.1 x 12.7 cm M 51s 121 FACESHIFTING > India

Title, year medium size M India < FACESHIFTING 122

Apapa character in Miki Chung Troupe Arunachal Pradesh, Monpa, Late 19th - early 20th c.

Polychrome wood, bamboo, string 10 x 9 x 4.5 in/ 25.4 x 22.9 x 11.4 cm M 54s 123 FACESHIFTING > India

Title, year medium size M India < FACESHIFTING 124

Dance/Drama Mask Arunachal Pradesh, Monpa, Late 19th - early 20th c.

Polychrome wood 9.5 x 7.75 x 3 in/ 24.1 x 19.7 x 7.6 cm M 55 125 FACESHIFTING > India

Title, year medium size M India < FACESHIFTING 126

Mask of Crowned Lady Arunachal Pradesh, Monpa, 19th c.

Polychromed wood 11 x 7.5 x 4 in/ 27.9 x 19.1 x 10.2 cm M 52s 127 FACESHIFTING > India

Title, year medium size M India < FACESHIFTING 128

Dance/Drama Mask Bhutan, India?, 19th c.

Stained Wood 10 x 8 x 5 in/ 25.4 x 20.3 x 12.7 cm M 69s 129 FACESHIFTING > India

Title, year medium size M India < FACESHIFTING 130

131 FACESHIFTING

BHUTAN

Bhutan < FACESHIFTING 132

Mask 19th - 20th c.

Polychromed wood and hair 9.5 x 8.5 x 8 in/ 24.1 x 21.6 x 20.3 cm M 70s 133 FACESHIFTING > Bhutan

Title, year medium size M Bhutan < FACESHIFTING 134

Mask 19th - 20th c.

Polychromed wood 9.25 x 8 x 6.5 in/ 23.5 x 20.3 x 16.5 cm M 71s 135 FACESHIFTING > Bhutan

Title, year medium size M Bhutan < FACESHIFTING 136

Protector of the Cemetery Mask Bhutan, 19th - early 20th c.

Polychromed Papier M âché 14 x 15.5 x 7 in/ 35.6 x 39.4 x 17.8 cm M 72s 137 FACESHIFTING > Bhutan

Title, year medium size M Bhutan < FACESHIFTING 138

139 FACESHIFTING

INDONESIA

Indonesia < FACESHIFTING 140

Monkey Mask Dieng Plateau Region, Central Java, 19th c.

Polychromed and stained wood, hair 8 x 5.25 x 4 in/ 20.3 x 13.3 x 10.2 cm M 37s 141 FACESHIFTING > Indonesia

Title, year medium size M Indonesia < FACESHIFTING 142

Topeng Mask Java, Early 20th c.

Polychromed wood 8 x 5.75 x 4 in/ 20.3 x 14.6 x 10.2 cm M 38 143 FACESHIFTING > Indonesia

Title, year medium size M Indonesia < FACESHIFTING 144

Topeng Mask Java, Early 20th c.

Polychromed wood 6.5 x 6 x 3.5 in/ 16.5 x 15.2 x 8.9 cm M 39s 145 FACESHIFTING > Indonesia

Title, year medium size M Indonesia < FACESHIFTING 146

Dayak Effigy Mask Borneo, Pre - 19th c.

Wood 18 x 7.25 x 4.75 in/ 45.7 x 18.4 x 12.1 cm M 138s 147 FACESHIFTING > Indonesia

Title, year medium size M Indonesia < FACESHIFTING 148

Mask with Scars on Cheeks Borneo, Late 19th - early 20th c.

Wood with Kaolin 11.5 x 7 x 3.5 in/ 29.2 x 17.8 x 8.9 cm M 113s 149 FACESHIFTING > Indonesia

Title, year medium size M Indonesia < FACESHIFTING 150

Topeng Mask Java, Early 20th c.

Polychromed wood 7.75 x 5.5 x 4 in/ 19.7 x 14 x 10.2 cm M 48 151 FACESHIFTING > Indonesia

Title, year medium size M Indonesia < FACESHIFTING 152

Topeng Mask Java, Early 20th c.

Polychromed wood 7.5 x 6 x 5 in/ 19.1 x 15.2 x 12.7 cm M 40 153 FACESHIFTING > Indonesia

Title, year medium size M Indonesia < FACESHIFTING 154

Topeng Mask Java, Early 20th c.

Polychromed wood 6.75 x 5.75 x 5 in/ 17.1 x 14.6 x 12.7 cm M 47 155 FACESHIFTING > Indonesia

Title, year medium size M Indonesia < FACESHIFTING 156

Topeng Mask Java, Early 20th c.

Polychromed wood, fur 8.25 x 6.25 x 5.25 in/ 21 x 15.9 x 13.3 cm M 46 157 FACESHIFTING > Indonesia

Title, year medium size M Indonesia < FACESHIFTING 158

Topeng Mask Java, Early 20th c.

Polychromed wood 8.5 x 6.25 x 5.25 in/ 21.6 x 15.9 x 13.3 cm M 42 159 FACESHIFTING > Indonesia

Title, year medium size M Indonesia < FACESHIFTING 160

Topeng Mask Java, Early 20th c.

Polychromed wood 8.25 x 6.25 x 4.5 in/ 21 x 15.9 x 11.4 cm M 43 161 FACESHIFTING > Indonesia

Title, year medium size M Indonesia < FACESHIFTING 162

Topeng Mask Java, Early 20th c.

Polychromed wood 8.25 x 6.25 x 4.75 in/ 21 x 15.9 x 12.1 cm M 45 163 FACESHIFTING > Indonesia

Title, year medium size M Indonesia < FACESHIFTING 164

Topeng Mask Java, Early 20th c.

Polychromed wood, natural fiber 8.5 x 6.25 x 4.5 in/ 21.6 x 15.9 x 11.4 cm M 41 165 FACESHIFTING > Indonesia

Title, year medium size M Indonesia < FACESHIFTING 166

Topeng Mask Java, Ca. 19th Century Polychromed wood 7 x 5.75 x 4.25 in/ 17.8 x 14.6 x 10.8 cm M 133s 167 FACESHIFTING > Indonesia

Title, year medium size M Indonesia < FACESHIFTING 168

169 FACESHIFTING

CHINA

China < FACESHIFTING 170

Tang Style, Xiangdong Nuo Mask Hunan Province, Late 19th - early 20th c.

Wood with pigment 7.75 x 6 x 3.25 in/ 19.7 x 15.2 x 8.3 M 134s 171 FACESHIFTING > China

Title, year medium size M China < FACESHIFTING 172

Nuo Mask Early 19th century or earlier Polychromed wood 3.25 x 8 x 5.25 in/ 8.3 x 20.3 x 13.3 cm Chi 314 173 FACESHIFTING > China

Title, year medium size M China < FACESHIFTING 174

Nuo Mask Early 19th century or earlier Polychromed wood 3.5 x 7 x 5.75 in/ 8.9 x 17.8 x 14.6 cm Chi 315 175 FACESHIFTING > China

Title, year medium size M China < FACESHIFTING 176

Nuo Mask (Female) 19th c.

Polychromed wood 2.75 x 8 x 3.25 in/ 7 x 20.3 x 8.3 cm Chi 316 177 FACESHIFTING > China

Title, year medium size M China < FACESHIFTING 178

Nuo Mask (Male) 19th c.

Polychromed wood 2 x 7.5 x 4.25 in/ 5.1 x 19.1 x 10.8 cm Chi 317 179 FACESHIFTING > China

Title, year medium size M China < FACESHIFTING 180

Monk Mask Ca. 19th century Polychromed wood 10 x 6 x 2 in/ 25.4 x 15.2 x 5.1 cm Chi 320 181 FACESHIFTING > China

Title, year medium size M China < FACESHIFTING 182

Yao culture, China-Vietnamese border area Early 20th c.

Polychromed wood, paper, hair 17 x 7.25 x 7 in/ 43.2 x 18.4 x 17.8 cm M 89 183 FACESHIFTING > China

Title, year medium size M China < FACESHIFTING 184

185 FACESHIFTING

KOREA

Korea < FACESHIFTING 186

T'Alchun Dance Late 19th - early 20th c.

Papier Mâché with black paint 9 x 7.25 x 4.5 in/ 22.9 x 18.4 x 11.4 cm K 1s 187 FACESHIFTING > Korea

Title, year medium size M Korea < FACESHIFTING 188

189 FACESHIFTING

J A PA N

Japan < FACESHIFTING 190

Noh Mask, Omi Onna 19th c.

Lacquered wood 8.25 x 5.25 x 3 in/ 21 x 13.3 x 7.6 cm M 57 191 FACESHIFTING > Japan

Title, year medium size M Japan < FACESHIFTING 192

Noh Mask, Old woman, Komachi Rojo type Early 19th c.

Lacquered wood 8.25 x 5.5 x 3 in/ 54.6 x 24.1 x 15.2 cm M 58 193 FACESHIFTING > Japan

Title, year medium size M Japan < FACESHIFTING 194

Noh mask, Old Woman, Ko Omote type Meiji era, 1868 -1912 Lacquered wood 8.25 x 5.25 x 3 in/ 21 x 13.3 x 7.6 cm M 59 195 FACESHIFTING > Japan

Title, year medium size M Japan < FACESHIFTING 196

Noh Mask, Zo-Onna Early 19th c.

Lacquered wood 8.75 x 5.5 x 3 in/ 22.2 x 14 x 7.6 cm M 60 197 FACESHIFTING > Japan

Title, year medium size M Japan < FACESHIFTING 198

Noh Mask, Kasshiki 19th c. ?

Lacquered wood 8 x 5.5 x 2.5 in/ 20.3 x 14 x 6.4 cm M 68 199 FACESHIFTING > Japan

Title, year medium size M Japan < FACESHIFTING 200

Noh Mask 19th c.?

Lacquered wood 8.5 x 5 x 3 in/ 21.6 x 12.7 x 7.6 cm M 67 201 FACESHIFTING > Japan

Title, year medium size M Japan < FACESHIFTING 202

Kyogen, Kentoku Late 19th - early 20th c.

Lacquered wood 7.5 x 6.25 x 3.25 in/ 19.1 x 15.9 x 8.3 cm M 56 203 FACESHIFTING > Japan

Title, year medium size M Japan < FACESHIFTING 204

Shrine Mask, Ryu Oni (Dragon Demon) 18th c.

Lacquered wood 11 x 5.75 x 4.75 in/ 27.9 x 14.6 x 12.1 cm M 61s 205 FACESHIFTING > Japan

Title, year medium size M Japan < FACESHIFTING 206

Shrine Mask, Otobide Ca.19th century Lacquered wood, brass 9 x 6.75 x 5 in/ 22.9 x 17.1 x 12.7 cm M 62 207 FACESHIFTING > Japan

Title, year medium size M Japan < FACESHIFTING 208

Tengu Mask 19th c.?

Lacquered wood, hair 8.25 x 6.25 x 6.5 in/ 21 x 15.9 x 16.5 cm M 64 209 FACESHIFTING > Japan

Title, year medium size M Japan < FACESHIFTING 210

Old man 19th c. ?

Lacquered wood, hair 8.25 x 8.25 x 4.75 in/ 21 x 21 x 12.1 cm M 65 211 FACESHIFTING > Japan

Title, year medium size M Japan < FACESHIFTING 212

Shrine mask, Demon?

19th c.?

Lacquered wood, brass 8.5 x 6.5 x 4 in/ 21.6 x 16.5 x 10.2 cm M 66 213 FACESHIFTING > Japan

Title, year medium size M Japan < FACESHIFTING 214

Bird Tengu Mask Mid - 20th c.

Lacquered wood, fabric back 9.75 x 7.5 x 4.5 in/ 24.8 x 19.1 x 11.4 cm M 86 215 FACESHIFTING > Japan

Title, year medium size M Japan < FACESHIFTING 216

Shrine Mask?

19th c.

Wood 9 x 7 x 2.5 in/ 22.9 x 17.8 x 6.4 cm M 111s 217 FACESHIFTING > Japan

Title, year medium size M Japan < FACESHIFTING 218

Shrine Mask?

19th c.

Wood 9.5 x 7 x 2.25 in/ 24.1 x 17.8 x 5.7 cm M 112s 219 FACESHIFTING > Japan

Title, year medium size M Japan < FACESHIFTING 220

Demonic Mask Ca. late 18th century Lacquered wood 10.5 x 6.5 x 5 in/ 26.7 x 16.5 x 12.7 cm M 120s 221 FACESHIFTING > Japan

Title, year medium size M Japan < FACESHIFTING 222

223 FACESHIFTING

SRI LANKA

Sri Lanka < FACESHIFTING 224

Healing mask, Sanni ritual Early 20th c.

Polychromed wood and natural fibers 9.5 x 9 x 4 in/ 24.1 x 22.9 x 10.2 cm M 83 225 FACESHIFTING > Sri Lanka

Title, year medium size M Sri Lanka < FACESHIFTING 226

227 FACESHIFTING

FRANCE

France < FACESHIFTING 228

Ghyslaine and Sylvain Staelens Masque, 2013 Wood, pigment, cloth, leather and found objects 29.5 x 15 x 6.5 in/ 74.9 x 38.1 x 16.5 cm GSS 20 229 FACESHIFTING > France

Title, year medium size M France < FACESHIFTING 230

SPECIAL THANKS TO:

Jeannie Kaufman Jeffrey Myers, Primitive and Fine Arts Spencer Throckmorton and Throckmorton Fine Art

231 FACESHIFTING

Copyright Š 2013 Cavin-Morris Gallery Cavin-Morris Gallery 210 Eleventh Ave, Ste. 201 New York, NY 10001 t. 212 226 3768 www.cavinmorris.com Catalogue design: Mimi Kano, Marissa Levien, & Sam Richardson Photography: Jurate Veceraite