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FırstAmericanArt MAGAZINE

Art by Indigenous Peoples of the Americas

No. 5, Winter 2014

Jessica Clark Joe Feddersen Larry McNeil Wendy Red Star

Mapuche Silver Jewelry Fish Skin Sewing Plains Indians Review Ohio’s Ancient Earthworks

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DILIGWA (Dee-lee-gwah): Hunting. Canoeing. Flint knapping. You think hobbies, we Think Cherokee.

21192 S KEELER DR, PARK HILL , OK 74451 • (888) 999-60 07 • CHEROKEEHERITAGE.ORG

KESHi thezuniconnection

227 don gaspar santa fe nm 505.989.8728

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since 1981 fetishes jewelry pottery Mary Lovato: Mosaic Shell Pin/Pendant

Idyllwild Arts Summer Program The summer tradition that began in 1950 to bring the best artists in their fields to teach under the pines continues today. Intensive hands-on workshops in Native American Arts such as Hopi Jewelry, Navajo Weaving, Cahuilla Pottery, and Native Plants; as well as music, dance, theater, visual arts, writing and filmmaking are offered to students from age 5 to 105. Each year more than 1,800 adults and children attend the Idyllwild Arts Summer Program.

Registration begins Feb 2, 2015 summer@idyllwildarts.org 951.468.7265 idyllwildarts.org

#iamtheIdyllwild

First American Art Magazine, LLC Issue No. 5, Winter 2014 ISSN 2333-5548 (Print) • ISSN 2333-5556 (Online) Publisher Editor: America Meredith (Cherokee Nation) Marketing Director: Barbara Harjo (Cherokee descent) Copy Editor: Meghan Cunningham Proofreader: Rosa Cays (Chicana) Layout and Design: America Meredith Spanish Translator: Rosa Cays (Chicana) 215 S. Muskogee Ave., Tahlequah, Oklahoma 918-453-5728 ar tscenter.cherokee.org

Editorial Advisory Board: heather athone (Chickasaw-Choctaw) Emily Haozous, PhD, RN (Chiricahua Fort Sill Apache) Maggie Ohnesorgen (Mestiza) Paula Rivera (Taos Pueblo) Mary Jo Watson, PhD (Seminole) Ken Williams Jr. (Northern Arapaho-Seneca) Advertising Representatives: Barbara Harjo (Cherokee descent), Oklahoma and West Coast Nancy Strickland Fields (Lumbee), Midwest and East Alex Ponca Stock (Osage Nation), Southwest and Great Plains Social Media: Jacquie Archambeau (Cherokee Nation), Staci Golar (Cornish-Welsh-American), America Meredith

Monday thru Friday 9 a.m. - 5:30 p.m. Saturday 10 a.m. - 2 a.m. (and by appointment)

Not your typical ad, but we’re not your typical Indian arts shop either ...........

BAHTI INDIAN ARTS In the summer of 1949, Tom Bahti, a recent graduate of anthropology from University of New Mexico, opened Ghost Ranch Trading Post at Ghost Ranch, near Abiquiu, New Mexico. That winter he moved to Tucson where he eventually opened Tom Bahti Indian Arts. The author of a series of books, beginning with Southwest Indian Arts and Crafts (1966), he was a widely recognized authority on Indian arts and culture and in the forefront of those supporting the modern movement in Indian art. His son Mark took over the store in 1972 and has also authored a number of books and articles on various aspects of contemporary Indian art. Mark and and his wife Emmi continue the commitment to working with established and emerging artists in a range of media.

Come visit us in Tucson, Santa Fe, or on the web: W W W. B A H T I . C O M

Thanks to: Jeri Ah-Be-Hill (Kiowa-Comanche); James Bailey, MATRIX Press; Timothy E. Black; Jeff Binion; Samonia Byford (Cherokee Nation); Jorge Iván Cevallos; Jonathan Cha; Kelly Church (OdawaOjibwe); William Ferguson; Teresa Fields (Athabascan); Teri Greeves (Kiowa-Comanche); Heather Gross; Daniel Huencho (Mapuche), Linda Lomahaftewa (Hopi-Choctaw); Denise Neil-Binion (DelawareCherokee); Mary Ellen Meredith (Cherokee Nation); Rebecca Rockom, Froelick Gallery; Hoka Skenandore (Luiseño-Oneida-Oglala Lakota); Tatiana Lomahaftewa Singer (Hopi-Choctaw), Jeff Strand, and Julie Tapley-Booth. Subscription services, changes of address, and wholesale inquiries: Email: circulation@firstamericanartmagazine.com Mail: First American Art Magazine, 1000 Cordova Place #843, Santa Fe, NM 87505. First American Art Magazine, LLC, is not responsible for the content of any article or for the statements of any advertiser. First American Art Magazine welcomes queries about editorial submissions. The magazine is not responsible for unsolicited manuscripts, photographs, or artwork. First American Art Magazine 1000 Cordova Pl. #843 Santa Fe, NM 87505 www.firstamericanartmagazine.com info@firstamericanartmagazine.com ads@firstamericanartmagazine.com circulation@firstamericanartmagazine.com Copyright © 2014 by First American Art Magazine, LLC. Cover and contents are fully protected by copyright and may not be reproduced in whole or part by any method without written permission, except those specific images listed with Creative Commons licenses. All reasonable efforts have been made to identify and contact copyright holders but in some cases these could not be traced. If you hold or administer rights for materials published here, please contact us. Any errors or omissions will be corrected in subsequent editions. First American Art Magazine is a Papyrus font-free publication.

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57th Annual Heard Museum Guild

Indian Fair & Market

Celebrating the Art of Basketry March 7 & 8, 2015

2301 N. Central Ave. Phoenix, AZ | 602.252.8840 x2276 | heard.org/fair From the Heard Museum Collection, from left: Terrol Dew Johnson (Tohono O’odham),Basketry olla, 2006-2007, Eucalyptus wood, beargrass, sinew. Heard Museum Purchase, 4470-1. Jeremy Frey (Passamaquoddy),Pictorial basket, Black ash, birch bark, sage, sweet grass, leather, porcupine quills Heard Museum Collection, 4302-1A,B. Dorlene Gashweseoma Lalo (Hopi), Sifter basket, c. 2005, Yucca. Bequest of William F. & Virginia C. Waterman, 4666-93. Diane Douglas-Willard (Haida),Rattle-top lidded basket with frog fetish, 2001, Cedar bark, spruce root, ivory, glass beads. Estate of Dr. E. Daniel Albrecht, IL.1732.ALB-B-92A,B. Evelyn Fredericks (Hopi) demonstrates basket weaving technique. Lisa Telford (Haida, A Night on the Village, 2004. Red cedar bark, guinea feathers, cotton cordage, leather, ivory. Heard Museum Purchase, 4303-1. Sally Black (Navajo), Ye’ii’ Pictorial Basket, 1979. Heard Museum Collection, NA-SW-Na B-20. Shan Goshorn (Eastern Band of Cherokee), 10 Little Indians, 2013. Arches watercolor paper splints printed with archival inks, acrylic paint. Purchased at the 2014 Heard Museum Guild Indian Fair and Market, Gift of the Heard Museum Council, 4781-1. Jennifer Sapiel Neptune (Penobscot), Basket, 2005, Sweet grass, dyed ash. Purchased by the donor at the 2005 Heard Museum Guild Indian Fair and Market. Gift of James T. Bialac, 4352-1.

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ISSUE NO. 5, WINTER 2014 FEATURES

Fish Skin as a Textile Material in Alaska Native Cultures Nadia Jackinsky-Sethi, PhD (Alutiiq)

Mapuche Silver: Dreams, Tears, and the Work of a Retrafe Heidi McKinnon

Ohio’s Ancient Earthworks America Meredith (Cherokee Nation)

ARTIST PROFILES Jessica Clark (Lumbee) Nancy Strickland Fields (Lumbee)

Joe Feddersen (Okanagan-Sinixt) America Meredith (Cherokee Nation)

Larry McNeil 28 (Tlingit-Nisga’a) Lara M. Evans, PhD (Cherokee Nation) Wendy Red Star (Crow) 34 Mary Jo Watson, PhD (Seminole Nation)

DEPARTMENTS Recent Developments

Seven Directions : Kelly Church (Odawa-Ojibwe)

Exploring Native Graphic Design Publications Professional: Deborah Villa (Mestiza) Neebinnaukzhik Southall (Rama Chippewa)

In Memoriam: 71 David Lee Pecos (Cochiti-Jemez-Laguna Pueblos) Jamelyn Ebelacker (Santa Clara Pueblo) Advice: Photographing Your Art the Painless Way Christopher Short (Citizen Potawatomi)

Literature + Art: Interview with and poetry by Natalie Diaz (Mojave-Pima) by Reid Gómez (Navajo Nation) Images: Hoka Skenandore (OneidaOglala Lakota-Luiseño)

REVIEWS Art Exhibition Reviews

Book Review

Show Reports

COVER: Wendy Red Star (Crow), Winter, 2006, digital photographic print, 30 x 26 in. Image courtesy of the artist. From Red Star’s The Four Seasons series, inspired by the artificial environment of a natural history museum in which the artist found antique Crow moccasins, alluding to the greater romanticization and misrepresentation of Native peoples.

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Editor’s Greetings

HE NATIVE ART WORLD is vast. There is a dizzying variety in media, aesthetics, philosophies, perspectives, and general approaches to Indigenous art—how can one grasp them all? Today, over 52 million Indigenous peoples live in North and South America, and an estimated 650 to 930 Indigenous languages are still spoken. Tens of thousands, if not hundreds of thousands, of Native artists are actively creating new works on two continents.

Our profiled artists range from emerging to mid-career to well established in their professional lives. They work in a broad array of media—glass, basketry, painting, printmaking, photography, textiles, installation, and more. Native peoples excel at using a wide range of tools to communicate their points of view. Our faithful readers may have noticed that we always showcase the work of two women and two men in each issue. Balance is important, as many of our dances reveal.

Such a broad cultural expanse is daunting, but also exhilarating. Most of all, it is humbling. No one can be the expert of all Native art. We are all beginners, learning and exploring, with so much more to understand.

Alutiiq scholar and author Nadia Jackinsky-Sethi writes about fish skin as an artistic material, highlighting how important other species are to our lives. This shimmering, multihued textile is both aesthetically pleasing and practical for its durable, flexible, and waterproof qualities. Artists and institutions are partnering in research, so that artists can bring this labor-intensive but fascinating artistic material back to their communities.

First American Art Magazine shares this unfolding process of inquiry into the myriad expanse of Indigenous art. We are grateful to our writers who have no shortage of superb artists or subject matter to cover.

Heidi McKinnon, Executive Director of Curators Without Borders, shares an introduction of Mapuche silverwork in southern Chile. The Mapuche successfully resisted invasion by both the Inca Empire and the Spanish and inspire tribes across the hemisphere. Her article shows us the importance of understanding an art from its community context. Among Mapuche people, the exquisite jewelry isn’t a decoration for the wealthy few, but prayers and invocations for protection. As an avid student of precontact earthworks, I have long read about the monumental tumuli in Ohio, but nothing prepared me for actually seeing them in person. Ohio is the center of earthworks in every possible iteration—conical, platform, and effigy mounds and circular, square, even octagonal enclosures. It took being present in that environment to begin to grasp how our most ancient ancestors and subsequent generations utterly transformed the landscape of what is now Ohio. Due to disease and warfare in the last five centuries, we have lost so much of our own history, yet through the artworks they left our ancestors still speak to us. Curators and authors present Native art to us in the most impressive ways, as our review section reflects. These days surely are a golden age of Indigenous art exhibitions with diverse communities increasingly connecting through the arts. Our growing league of critics helps to make sense of these efforts and share them with the public.

America Meredith (Cherokee Nation), The Hero Twins Release Game into the World, 2011, acrylic, colored pencil, watercolor, and One-Shot enamel on panel, 24 x 30 in., private collection.

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The artistic ambitions of our communities reach out into the Seven Directions. They compel us all to take a look. —America Meredith

Letters to FAAM

Randy & Nick Brokeshoulder

Troy Jackson

Traditional Hopi Katsina Carving

Ꭳ

ᏏᏲ! I enjoyed and was impressed by Roy Boney Jr.’s profile article on Cherokee Troy Jackson (no relation) in the fall Issue No. 4 of First American Art Magazine. I was touched by Jackson’s sculpture, I’m Part White But Can’t Prove It. I relate to the tension that inspired the piece. I value the notion of exploring identity through sculpture, and Mr. Jackson’s efforts to join European culture and American Indian culture via his art is appreciated and commendable. Boney’s story of Jackson’s experience with an acquaintance represented one area of challenge for me. Regarding the person that charged Jackson with being a “wannabe” because Jackson did not speak Cherokee, I raise the question of compassion. Boney quotes Mr. Jackson’s response: “I take this with a gesture of humility, but can’t help but believe he’s right, especially since I can’t argue with him in his own language.” I take the humor inherent in the story, and further acknowledge that I cannot capture the full context since I was not present. I also admire Jackson for acknowledging a limitation. On the other hand, how do we best address these issues of race? I agree with the axiom that, “Language is culture, and culture is language” to the degree that communication provides inroads for kindness. I always thought that language is part (not the whole) of a set of values in the Cherokee community, and what makes sense to me are the values we bring to the table and to that community. Whether one is a “fullblood,” or fluent in the Cherokee language, or “registered,” or serves on the tribal council, seems to mean little if the concept of kindness, generosity, and compassion—historically key Cherokee traits—are lacking. Jackson’s work, especially Thank God For Who I Am, SelfPortrait and I’m Part White But Can’t Prove It, represent the aforementioned traits quite well, I thought. Didn’t sound like an “Indian wannabe” to me…. ᏩᏙ to Cherokees Troy Jackson for his work and Roy Boney Jr. for sharing his work with us! Bryan D. Jackson Kirkland, Washington

Pahlikmana katsina by Randy Brokeshoulder

Hemis katsina by Nick Brokeshoulder

We will have new carvings available at the

Greater Tulsa Indian Art Festival January 31st to February 2nd, 2015

Randy’s email: stack38granby@yahoo.com Nick’s email: nbrokesh@unm.edu

Judging

HANKS FOR DELIVERING ISSUES of First American Art Magazine. Loved the article on judging—made my volunteering at SWAIA more interesting! Jimmie Spulecki Volunteer at the International Folk Art Market Santa Fe, NM

We’re glad that the judging article was helpful. Hopefully art organizations will support more transparency about their judging processes. We welcome letters to the editor! If we print your letter, we will send you a free copy of that issue of the magazine. Please email your letters to us at:

info@firstamericanartmagazine.com ormail letters to:

First American Art Magazine Attention: Editor 1000 Cordova Place, #843

Santa Fe, NM 87505 WINTE R 2 0 1 4

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Contributing Writers JAMELYN EBELACKER (Santa Clara Pueblo) is a senior

new media arts major at the Institute of American Indian Arts (IAIA), where she served as the 2013–14 American Indian Higher Education Consortium Student Congress vice-president. Jamelyn currently serves as the 2014–15 IAIA Associated Student Government president.

LARA M. EVANS, PhD (Cherokee Nation), is associate

professor of Native American art history at the Institute of American Indian Arts. She earned her doctoral degree in art history with emphasis on contemporary Native American art at the University of New Mexico in 2005. She coedited Art in Our Lives: Native Women Artists in Dialogue. Evans also wrote a chapter in Action and Agency: Advancing the Dialogue of Native Performance Art and an essay in Manifestations: New Native Art Criticism. She is also a practicing artist, primarily working in painting and drawing.

MICHOLE ELDRED (Catawba Nation-Eastern Cherokee

descent) is a writer, curator, and educator. She received her bachelor’s degree in art and museum studies, at University of South Florida and her master’s degree in education from Berry College. Much of her work is focused on curating Indigenous art and historical exhibitions. She believes that the process of art making and enjoyment of the arts should be accessible to all peoples. Her work in writing art curriculum and teaching the arts to people with disabilities is reflected in the interpretive planning she creates when presenting exhibitions.

NANCY STRICKLAND FIELDS (Lumbee) is a graduate

of the Institute of American Indian Arts with a bachelor’s degree in museum studies and has been a museum professional for over ten years. She is the education coordinator at the American Indian Cultural Center and Museum in Oklahoma City and previously worked for the National Museum of the American Indian. Fields is currently finalizing her book, Lumbee Ghost Stories, Legends, and Lore, which chronicles the tradition of ghost storytelling within her tribe.

SUZANNE NEWMAN FRICKE, PhD (Ashkenazic-

American), wrote her dissertation in art history on 20th-century Native American pottery at the University of New Mexico. She teaches art history at the Santa Fe University of Art and Design. In 2012, she co-curated the exhibit Octopus Dreams, which traveled to six sites Russia and one in Albuquerque. In 2014, two museums in Russia displayed another show As We See It, curated by Dr. Fricke and India Young, who are preparing an accompanying catalogue. She is currently organizing a third show, which will also travel to Russia.

REID GÓMEZ, PhD (Navajo Nation), is the Mellon visiting

assistant professor of ethnic studies at Kalamazoo College in Michigan. She is currently working on The Navajo Slave Project and finishing her fourth novel. Her work addresses extermination and slavery in the borderlands and bloodlands and language revitalization. 8 | W W W.F I R S TAM E R IC AN ARTMAG A ZI N E.C OM

SCOTT W. HALE is an accredited art appraiser for Native

American Art Appraisals, Inc., with offices in Los Angeles, Tulsa, Santa Fe, and New York City. He has been a curator and also writes for Western Art Collector magazine. Hale pursued his master’s and doctoral studies at the University of Oklahoma, where he has also served faculty member.

FRANCI KING HART (English-American) is a freelance

writer, consultant, and fundraiser living in Nichols Hill, Oklahoma. Hart earned her bachelor’s degree in English and education from Southern Methodist University and her MBA from Southern Nazarene University. She is an alumna of Leadership Oklahoma, a former columnist of the Daily Oklahoman, and an avid collector Native American art.

THOLLEM MCDONAS is a peripatetic musician—a

pianist, keyboardist, and vocalist—as well as a collaborator, an activist, an educator, and an author. He has released over 40 albums of his own work and in collaboration with others on 18 different vanguard labels. As an author, he has contributed articles to Anthology of Essays On Deep Listening, Entasis, and Full Moon Magazine.

HEIDI MCKINNON is executive director of Curators

Without Borders, a nonprofit that designs exhibitions and educational programming for international development projects and underserved communities in conjunction with museum partners, government agencies, and NGO partners. She concurrently serves as director of exhibitions and community programs at the Sandy Spring Museum in Maryland. McKinnon’s career focuses on historical memory, human rights, and Indigenous communities in the Americas, to which she brings over a decade of experience developing collaborative museum exhibitions both independently, at the Smithsonian Institution’s National Museum of the American Indian, and the Smithsonian Center for Folklife and Cultural Heritage.

JEAN MERZ-EDWARDS has been studying and teaching art history since 2000 when she attended her first art history classes at Hunter College in New York. Recently, her studies include earning a master’s degree in art history from the University of Oklahoma, where Jean was awarded a certificate in women’s and gender studies and the Alice Mary Robertson Award for her scholarship on the life and art of Hopi-Choctaw Linda Lomahaftewa. Jean teaches art history and English at Kansas Wesleyan University in Salina, Kansas.

LINDA PERALA-HUNT (Finnish-American) is an

art writer, a painter, and a photographer, living in Durango, Colorado. She is a sales associate at Toh-Atin Gallery and served as art director of Sorrel Sky Gallery. Perala-Hunt writes for blogs and newspapers, such as the Durango Herald. She earned her bachelor of arts in fiber, textile, and weaving arts from the Memphis College of Art.

MASON RIDDLE is a critic based in Saint Paul, Minnesota, who writes about the visual arts, architecture, and design. She was the director of the former Two Rivers Gallery at the Minneapolis American Indian Center where she curated multiple exhibitions. Riddle has written about numerous Native artists. Previously, she was the director of the Goldstein Museum of Design and the Minnesota Percent for Art in Public Places program. Riddle holds a master’s degree in art history and museum practice from the University of Minnesota and has taught art history at the college level.

NADIA JACKINSKY-SETHI, PhD (Alutiiq), is an art historian and an adjunct instructor at the University of Alaska, Anchorage. She works as a program officer for a grant program dedicated to supporting Alaska Native artists at the CIRI Foundation. Her research interests include Alaska Native art, cultural revival, and identity.

CHRISTOPHER SHORT (Citizen Potawatomi Nation) is a mixed media artist living in Arizona. Short incorporates graphics, engraving, and photography in his work, as well as video projection, strobes, flashlights, and custom laser hardware that he designs and builds. He exhibits throughout the Southwestern United States and teaches photography classes and produces videos for the Heard Museum and other Native

American organizations. Short has won four awards from the International Laser Display Association (ILDA) for his laserbased artwork.

NEEBINNAUKZHIK SOUTHALL (Chippewas of

Rama First Nation) is a graphic designer and an artist, working in a variety of media such as photography, body painting, and three-dimensional art at Neebin Studios. At Oregon State University, she graduated magna cum laude in 2011, earning an honors BFA through the University Honors College and OSU’s competitive graphic design program, with a minor in fine arts. Southall works at the Wheelwright Museum of the American Indian, where she photographs, designs, and manages media.

MARY JO WATSON, PhD (Seminole Nation of

Oklahoma), is director emeritus and regents’ professor of art history at the School of Art and Art History of the University of Oklahoma. She earned her BFA in art history, MLS in Seminole aesthetics, and PhD in philosophy from the University of Oklahoma. Watson’s curatorial practice spans decades. She serves on the Seminole Tribal Arts Council and several Native art committees including at the Oklahoma History Center and American Indian Cultural Center and Museum. She was inducted into the Oklahoma Higher Education Heritage Society’s Hall of Fame in 2014. Dr. Watson developed the current Native Art History Program at the University of Oklahoma. WINTE R 2 0 1 4

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Recent Developments MUSEUMS The new director of the Heritage Center at Red Cloud Indian School in Pine Ridge, South Dakota, is Jose Rivera. Rivera is a doctoral candidate at the University of California, Berkeley, and served as director of education at Marin Museum of the American Indian.

ART FAIRS The fifth Indigenous Intercontinental Biennial of Art took place in Quito, Ecuador. Category winners include: Máximo Laura (Peru), textiles; Techung (Tibet) and Amanda Guerreño (Argentina), music; Nadia Sirry (Egypt), Rubén Ricaurte (Ecuador), and Mártin Gómez, (Peru ), painting; Manolo Colmenares (Colombia) and Oscar Hernández (Colombia), sculpture; Pascual Cori Huarachi (Bolivia), drawing; Víctor Neira (Peru), photography; Joel Herencia (Peru), goldsmithing; Las Lolas (Ecuador), performing arts and dance; David Martínez (Peru), comedy; Luciano Mogollón (Ecuador), Jorge Ponce (Argentina), and Pascual Misaico Huancahuari (Peru), printmaking. Luis Eduardo Paucar (Ecuador) won the Jumandi Young Talent Award. The World Eskimo-Indian Olympics held annually in Fairbanks, Alaska, not only celebrates strength, agility, and stamina, but also the arts and humanities. Participants competed in textiles, fashion, and dance. First places winners include: Gina Kallock for Native Dress, Indian Cloth; Tamera Caption for Native Dress, Indian Hide; Adrienne Aakaluk Titus for Native Dress, Eskimo Cloth; Tranquilynna Nageak and Shaylyn Nageak for Eskimo Native Baby Regalia, Fur; Elsa Carroll and Alice Carroll for Eskimo Native Baby Regalia, Cloth; Elsa Carroll and Alice Carroll for Indian Native Baby Regalia, Hide; and Janelle Chapin and Areena Dae Chapin for Indian Native Baby Regalia, Cloth. For Native Dance, Nagsragmiut Inland Eskimo Dancers of Anaktuvuk Pass were the first place among Eskimo groups, and the Troth Yeddha’ Dancers, from University of Alaska, Fairbanks, won first place among Indian groups.

SWAIA’s Santa Fe Indian Market featured 1100 artists, and this year’s Best of Show winner was Lola Cody (Navajo), for her 96 x 164-inch weaving. Classification winners were Gerald Lomaventema (Hopi) for jewelry; Chris Youngblood Cutler (Santa Clara) for pottery; Norma Howard (Choctaw-Chickasaw) for two-dimensional art; Bryant Honyouti (Hopi) for wooden Pueblo carvings; Marvin Oliver (Quinault) for sculpture; Lola Cody (Navajo) for textiles; Babe and Carla Hemlock (both Mohawk) for diverse arts; Joyce, Jessa Rae, and Juanita Growing Thunder (all Assiniboine-Sioux) for beadwork/quillwork; Sydney Freeland (Navajo) for moving images; and Jeremy Frey (Passamaquoddy) for basketry. Keri Ataumbi (Kiowa-Comanche) and Jamie Okuma (Luiseño-Shoshone-Bannock) won for best collaboration. The 27th annual Northern Plains Indian Art Market in Sioux Falls, South Dakota, featured visual artists from the Great Plains of Canada and the United States. This year’s Best of Show winner was James Star Comes Out (Oglala). The “Best of Fine Arts” award went to Nelson Chasing Hawk (Sicangu). Dwayne Wilcox (Oglala) won the “Best of Tribal Arts” award. Division winners were Nelson Chasing Hawk for oil and acrylic paintings; Arthur Short Bull (Oglala) for watercolor, tempera, gouache, and casein; Charles Her Many Horses (Sicangu) for drawing; Roger Broer (Oglala) for printmaking; Nelda Schrupp (Pheasant Rump Nakota) for 3-D– additive process; Alfred DeCoteau (Turtle Mountain Chippewa) for 3-D–subtractive process; Nelda Schrupp for decorative metalwork; Todd Bordeaux (Sicangu) for mixed media; Megan Sweets (Yankton Dakota) for pottery; Charlene Holy Bear (Standing Rock Lakota) for traditional-style beadwork; Emil Her Many Horses (Oglala) for contemporary beadwork; Emil Her Many Horses for quillwork; Chantelle Blue Arm (Cheyenne River Sioux) for quilts; James Star Comes Out for textile and fabric items; Emil Her Many Horses for handmade dolls; Donald Montileaux (Oglala) for traditional paintings; and Dwayne Wilcox for tribal arts. The Cherokee Art Market, with approximately 150 artists in Catoosa, Oklahoma, is hosted by the Cherokee

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Nation. The market celebrated its ninth anniversary. This year’s Best of Show winner was Benjamin Harjo Jr. (ShawneeSeminole). The “Innovator Award” went to Richard Casey (Muscogee) for his sculpture. The “Culture Keeper Award,” for a revived art form, went to Kenneth Williams (Northern Arapaho-Seneca) for his elk hoof bag set. Class winners were Benjamin Harjo Jr. for painting, Troy Jackson (Cherokee Nation) for sculpture, Jackie Larson Bread (Blackfeet) for beadwork/quillwork, Shawna Cain (Cherokee Nation) for basketry, Alvina Yepa ( Jemez Pueblo) for pottery, Marie Janette Martin (Cherokee Nation) for textiles, Antonio Grant (Eastern CherokeeNavajo) for jewelry, and Sean Rising Sun Flanagan (Taos Pueblo) for diverse arts.

ART SHOWS Sam Watts-Scott (Cherokee Nation) won the Grand Prize in this year’s Cherokee Homecoming Art Show at the Cherokee Heritage Center in Park Hill, Oklahoma. First place category winners were Robin Stockton for visual arts, Noel Grayson for traditional arts, Shawna Cain for traditional basketry, Jo Ann Richmond for traditional pottery, Charlotte Coats for contemporary basketry, Carolyn Pallett for contemporary beadwork, Teri Rhoades for jewelry, Karin Walkingstick for pottery, Troy Jackson for sculpture, and Dorothy Ice for textiles.

COLLECTIONS The University of Regina received a generous donation of over 1,000 artworks valued at 3 million dollars (US) from Dr. Jacqui Shumiatcher. She and her late husband Morris Shumiatcher collected the artwork, which includes 300 pieces by Inuit artists. These Inuit works will become the University of Regina Shumiatcher Inuit Art Collection to be overseen by the MacKenzie Art Gallery, located on campus. The oldest continuing Indian college in the United States, Bacone College, located in Muskogee, Oklahoma, launched a yearlong effort to conserve its historic collection of Native American art, beginning with a weekend of conservation in September. Oklahoma Department of Libraries, the Association for Tribal Archives Libraries and Museums (ATALM), and the Oklahoma Cultural Heritage Trust helped fund these initial conservation

efforts. Ataloa Lodge, the college’s Native American art museum founded by Mary “Ataloa” Stone McClendon (Chickasaw) in 1932, is closed for renovations, and its collection has been relocated to new archival storage.

David Warren (Santa Clara-Ojibwe) was awarded the New Mexico Governor’s Award for Excellence in the Arts in recognition of his contributions to Native American education and art. Last year he was declared a Santa Fe Living Treasure.

Wayne S. Hyatt, a prominent art collector based in Atlanta, Georgia, and Santa Fe, New Mexico, donated a major collection to the Philbrook Museum of Art in Tulsa, Oklahoma. Hyatt donated 364 pieces of Hopi art that he collected in Arizona from the 1980s to 2013.

REPATRIATION Spain returned 691 pre-Columbian ceramic artifacts, valued at over US $6.5 million, to Colombia. These artworks, some dating back to 1400 BCE, were seized by Spanish police in 2003 from a man accused of laundering money for drug cartels. Almost 200 other ceramics came from other South American countries. The Museum of America in Madrid showcased some of the artwork in a temporary exhibit; however, a major exhibit of the ceramics is planned for 2015 at Colombian Anthropology and History Institute in Bogotá.

PROJECTS Pinnguaq, a video game developer in Pangnirtung, Nunavut, created Art Alive, a video game in which players interact with landscapes and objects from Inuit prints. Ryan Oliver, who founded Pinnguaq with Tommy Akulukjuk in 2012, wants the game to educate youth about Inuit artwork. Last year, Pinnguaq released Osmos, an Inuktitut-language game for the iPad.

Four ceremonial items have been returned to the Hopi Tribe, thanks to efforts by the tribe, the US Bureau of Land Management, and US Department of Justice.

AWARDS & FELLOWSHIPS Dempsey Bob (Tlingit-Tahltan) was named an Officer of the Order of Canada, Canada’s highest civilian order. Bob, a respected carver and educator, serves as senior advisor for the Freda Diesing School of Northwest Coast Art at the Northwest Community College, located in Terrace, British Columbia. Three of the 32 artists, writers, and performers who won the 2014 United States Artists (USA) fellowships are Native American. Marcus Amerman (Choctaw) is the USA Rasmuson Fellow in Crafts and Traditional Arts, Natalie Diaz (Mojave-Pima) is the USA Ford Foundation Fellow in Literature, and Sydney Freeland (Navajo) is the USA Ford Fellow in Media. The fellowships come with an unrestricted award of $50,000. The 2014 Polaris Prize, given to the best Canadian album of the year, was awarded to Tanya Tagaq, an Inuk throat singer, for her album, Animism. Selected by Canadian music critics, the prize recipient receives a $30,000 (CAD) honorarium. The US National Endowment for the Arts (NEA) announced its 13 Lifetime Honors Recipients, which include Henry Arquette (Mohawk), a basket weaver from Hogansburg, New York; Yvonne Walker

Keri Ataumbi (Kiowa-Comanche) and Jamie Okuma (Luiseño-Shoshone-Bannock), Pocahontas Ring, Necklace and Earring Set, 2014. Winner of SWAIA’s Collaboration Award. Image courtesy of Keri Ataumbi.

Keshick (Odawa), porcupine quill artist from Petoskey, Michigan; and Rufus White (Omaha), a singer and drum group leader from Walthill, Nebraska.

After efforts to stop a Paris auction of an Alaska Native painted wood panel failed, the Annenberg Foundation purchased the panel and donated it to the Sealaska Heritage Institute, located in Juneau, Alaska. Previously, the Annenberg Foundation restored 25 Hopi and Apache ceremonial items purchased from the same auction house back to their respective tribes.

The Native Arts and Cultures Foundation (NACF) offered new regionally based fellowships to Indigenous artists from Wisconsin, North Dakota, South Dakota, and Minnesota. The chosen fellows are Kevin Pourier (Oglala Lakota), Scenic, South Dakota; Jennifer Stevens (Oneida-Lakota), Green Bay, Wisconsin; Delina White (Leech Lake Ojibwe), Deer River, Minnesota; and Star Wallowing Bull (White Earth Ojibwe-Arapaho), Moorhead, Minnesota.

LEGAL ISSUES

The Hnatyshyn Foundation, located in Ottawa, Ontario, created a new Charles Pachter Prize for Emerging Canadian Artists this year. The award is for professional Aboriginal artists under 30, and Meryl McMaster (Plains CreeBlackfoot), Jordan Bennett (Mi’kmaq), and Phillip Gray (Tsimshian-Cree) are the first three recipients of the prize.

Toakase F. Tovo Multnomah of Portland, Oregon, pleaded guilty to stealing Native American artwork valued at over $320,000 and was sentenced to 14 months in prison. She and her boyfriend John L. Kalamafoni stole over a hundred pieces of art from 91-year-old Margaret Sotta, for whom Multnomah worked as a home-care provider.

The family of two juveniles who defaced rock art in Carbon County, Utah, will pay for damages. Over Memorial Day weekend, the two juveniles carved their initials and the date onto the surface of the Nine Mile Canyon Pregnant Buffalo panel. Bureau of Land Management archaeologists estimated that restoration of the rock panel will cost $1,500. The youths were apologetic for their vandalism.

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