Exhibitions:

  • de Young Museum of Art, San Francisco CA - 2009
  • A.R.E. Edgar Cayce Center, NYC, New York - 2006
  • Stables Gallery, Taos, New Mexico - 1984
  • Insititute of American Indian Arts, Santa Fe, New Mexico - 1984
  • Return Gallery, Taos, New Mexico - 1982
  • Gypsy Van Buren Galley, Canyon Road, Santa Fe, New Mexico - 1982
  • Performance Gallery, Albuquerque, New Mexico - 1982
  • York University, Toronto, Canada - 1980
 

 

Publications:

  • “The Psalms of RA” - CD book with original cover art based on ancient Egyptian symbolism, Hu Ra Records, 2005
  • “Journey to the Four Directions” - book with 8 color plates of original mandalas based on Native American symbolism - Bear & Co., 1993
  • North Country Anvil, Minnesota - graphic art for this activist newspaper, 1977
  • Attan Akamik, New Jersey - graphic art for this Powhatan Renape Nation newspaper, 1977
  • Akwesasne Notes, Mohawk Reserve, New York - cover and internal graphic art for this Native American newspaper, 1975 through 1977
  • East West Journal, Boston, Mass. - graphic art, 1974

 

Employment:

  • Consultant in the Arts for the Native American Cultural Center of the Powhatan Renape Nation, New Jersey, 1980 to 1981 - organized museum exhibits and designed their tribal symbol and flag.
  • Contributing Art Editor for Akwesasne Notes, the world’s largest Native American journal at the time, 1975 through 1977

 

 

Teaching Experience:

As a tour guide to many sacred sites worldwide, Jim has taught about the symbolism and meaning of ancient art and architecture in:

  • Pohnpei - 2004
  • Rapa Nui - 2000
  • Cambodia - 1995
  • Egypt - 1987, 1990, and 1996
  • Peru and Bolivia - 1987 and 1989
  • New Mexico and Arizona - 1986
  • Mexico - 1986 and 1991

 

Jim has also given slide show lectures on ancient art, sacred sites architecture, archaeo-astronomy and esoteric symbolism at the following locations, among others:

  • de Young Museum - 2006 - “Egypt as an African Civilization”, “Sacred Sites and Ceremonial Arts of the Pacific Islands”
  • Kalani Honua Cultural Center, Hawaii - 1985 thru 2006 on multiple occasions, relative to Mesoamerica, South America, Egypt and Pacific Island cultures
  • Findhorn Foundation, Scotland - 1989 - Mesoamerica
  • American Museum of Natural History, NYC - 1986 - Maya and Mesoamerica
  • Cleveland Art Museum, Ohio - 1986 - Maya and Mesoamerica
  • Dallas Museum of Art, Texas - 1986 - Maya and Mesoamerica
  • Royal Ontario Museum, Toronto, Canada - 1986 - Maya and Mesoamerica
  • University of Illinois, Chicago - 1985 - Mesoamerica
  • Tulane University, New Orleans - 1985 - Mesoamerica
  • University of California at Santa Cruz, Santa Barbara, etc - 1985 & ‘86 - Mesoamerica
  • Museum of International Folk Art, Santa Fe, New Mexico - 1985 - Mesoamerica
 

 

Finally, between 1991 and 2007, Jim and his music partner, Mazatl Galindo, performed many hundreds of music assemblies for grade school children and teenagers, focusing on native cultures of Mesoamerica and of rainforest regions of the Earth. These assembly programs included teaching about the rich visual arts symbolism in their exotic musical instruments. Their programs were done primarily through the Los Angeles Music Center, but also through the Orange County Performing Arts Center and the Maui Arts and Culture Center.

Educational Background:

Jim's visual arts training has been direct and experiential. First, he grew up in a family of visual artists in NYC. His mother majored in art at NYU, his father was an avid painter and photographer, and his brother a professional photographer, architect and sculptor (www.richardberenholtz.com). Jim attended countless museums, galleries, art exhibitions, etc with his family from a very early age, all of which helped to inform his artistic sensibilities.
As a teenager and adult he was increasingly attracted to indigenous and ancient cultures. He learned their art forms and symbolism by traveling and living amongst these cultures. His teachers were native elders and scholars, highly respected within their traditional communities, but usually without any formal degrees or training in Western Society (although some of the Egyptologists he studied with in Egypt, for example, also had formal training). Regardless, these many insightful men and women helped him to understand “indigenous mind” and the visual language of the ancient world. Through their guidance Jim was able to reach the point where the ancient sites and relics themselves could teach him directly, as he was able to understand and interpret them through clear observation.