Gochman Collection of Indigenous Art to Open Katonah Space in November
A new home in New York known as Branchline will display selections from the family's trove of over 800 contemporary Native artworks. The opening coincides with a wider season of Indigenous art programming across the city.
A Collection Moves Into Public View
The Gochman Collection of Indigenous Art will open a new space in Katonah, New York, this November, according to Hyperallergic. The venue, known as Branchline, will display selections from the family's trove of more than 800 contemporary Native artworks.
The announcement arrives as New York institutions and galleries turn their attention to Indigenous art around Indigenous Peoples' Day, a moment that has become a fixture of the city's autumn calendar.
The Gochman family's holdings, numbering over 800 contemporary Native artworks, will be shown in selections at a new Katonah venue called Branchline.
A Season of Native Art in New York
The new space opens alongside a cluster of exhibitions. Hyperallergic has published a guide to seven New York shows embodying Indigenous survivance, with artists including Jeremy Dennis, Shelley Niro, and Sarah Sense charting Native history and futurity.
Critics have also weighed in on the season. A review of the first major retrospective of the Hoocąk artist Truman Lowe describes natural materials transformed into fluid sculptures that carry the memory of place, ancestry, and cultural survival.
Sound as a Medium
The season extends to performance. In a conversation with Associate Editor Phillip Pyle, the Diné musician and Pulitzer Prize-winning artist Raven Chacon discussed recent improvised performances at the Park Avenue Armory, the "collision" at the heart of all music, and reclaiming the technologies of colonial violence through sound.
Chacon's hour-long improvisation sessions, part of the Armory's Artists Studio series, took place in the Veterans Room. A table at the center of the room held sound mixers, synthesizers, pedals, speakers, whistles, a turkey call, and a ceramic horn.
Critical Accounting
The publication also carried a critique of a Felix Gonzalez-Torres exhibition that, in its account, glosses over the late artist's AIDS advocacy and political spirit.
Context From the Archive
A piece from the archive revisits the roles of art and artists at the pipeline protests in North Dakota, where four artists at the Oceti Sakowin Camp at Standing Rock arrived to help stop the Dakota Access Pipeline.
Taken together, the material points to a sustained attention to Indigenous art across collecting, exhibition-making, performance, and criticism — with the Gochman family's move into a dedicated public-facing space as the most concrete institutional development of the moment.
