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native arts


Margarete Bagshaw Moving forward... a book,

“Woman Made of Fire” all of Margarete’s paintings from 2009 - 2014


Jennifer Laing jewellry designs from Margarete’s imagery: earings, belt buckles, pendants, necklaces, pins, bracelets and more

and bronzes

from Margarete’s clay work & paintings

Golden Dawn Gallery

201 Galisteo St., Santa Fe, NM 87501 505-988-2024

“Spirit Lines”

Helen Hardin - Tsa-Sah-Wee-Eh (1943 - 1984)

The entire set of all of her 23 copper plate etchings - completed between 1980 - 1984

This never before seen exibit will show at Golden Dawn Gallery until August 30, 2015. Do not miss this opportunity to view what is likely the most significant “single artist” show of Native art ever assembled! All 23 #1’s on loan from “HH #1’s LLC” - A Nevada Corporation

Golden Dawn Gallery

201 Galisteo St., Santa Fe, NM 87501 505-988-2024

Bette Ridgeway Au Revoir Mon Ami, acrylic on canvas, 50 x 68"

Pablo Milan Red River Reflections, acrylic on canvas, 48 x 72"

102 E Water St, Santa Fe, NM 505-983-1050 •

Scottsdale Santa Fe Laguna Beach

MEI Gallery proudly represents


Vanishing Series XXII, oil on canvas, 16 x 20”

MEI Gallery would like to congratulate Del Curfman for being chosen as the 2015 Design Fellow for SWAIA’s Santa Fe Indian Market. We will host a exhibition of new works by Del Curfmann in the gallery Friday August 21, 5 to 9 pm Emerging and established contemporary Native art including Del Curfman, Upton Ethelbah, Mary Irene, Sheridan MacKnight, Andersen Kee, Patrick Dean Hubbell, Sheldon Harvey, Gilmore Scott and Robert Orduño. 662 Canyon Road, Santa Fe, NM 87501 • (505) 780-5476


Arlene LaDell Hayes Star Traveler Crow 60 x48 Acrylic

Mick Doellinger Old Lonesome 17 x 25 x10 Ed. 30 Bronze

El Centro 102 E. Water Street Santa Fe, New Mexico 87501 505.988.2727



SANTA FE OPEN STUDIO AND PREVIEW: FRIDAY AUGUST 21, 12-6 Join New Mexico’s two most highly acclaimed, award-winning jewelers for this unique opportunity. Call or Email for details: 505 820-1730 or Robin Waynee will also be at the Santa Fe Indian Market – Aug 22-23: Booth 250-PAL-N




new mexico


Gallup Inter-Tribal Indian Ceremonial August 5-9, 2015 A Tradition Since 1921

Gallup Flagstaff, AZ




D a n i e l Wo r c e s t e r American Indian Bladesmith

L to R: Prankster, Purple Sky, & Sunburst, 2015

found materials • old billiard balls dominoes • discarded steel Indian Market Booth 329 FR-N • 580-504-8602 •


Museum of Indian Arts and Culture Turquoise, Water, Sky: The Stone and Its Meaning on Museum Hill • 505.476.1250 •

Museum of International Folk Art The Red That Colored The World on Museum Hill • 505.476.1200 •

New Mexico History Museum/Palace of the Governors Adobe Summer on the Plaza • 505.476.5100 •

New Mexico Museum 0f Art Colors of the Southwest on the Plaza • 505.476.5072 •

ENJOY THE NEW SUMMER OF COLOR MENU AT MUSEUM HILL CAFÉ Partially funded by the City of Santa Fe Arts Commission and the 1% Lodgers Tax. summerofcolor santafe .org


Open Every Day 130 Lincoln Ave, Santa Fe, NM 87501 505-982-0055 1/2 block north of the Plaza

Richardson’s  Trading  Co.  &  Cash  Pawn Largest  Selection  of  Navajo  Rugs  in  the  Southwest One  of  the  most  interesting  and  colorful  Indian  trading  companies  in  the  world  can  be  found  in  downtown  Gallup  on     Historic  Route  66  -­  Richardson’s  Trading  Company  and  Cash  Pawn,  Inc.    Established  as  traders  on  the  Navajo  Reservation     since  the  turn  of  the  century,  the  Richardson’s  family  continues  a  long  and  historic  tradition  in  Gallup,  New  Mexico.  !                                     



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LOT 101, EANGER IRVING COUSE (1866–1936) Spearing the Fish, ca. 1932, SOLD: $150,000

LOT 121, CARL RUNGIUS (1869–1959) Pack Horses on a Trail, ca. 1920, SOLD: $285,000

LOT 66, WILLARD NASH (1898–1942) Santa Fe Landscape, ca. 1930, SOLD: $120,000

LOT 88, Peter Hurd (1904–1984) The Fence Builders, 1954, SOLD: $60,000



LOT 128, FREDERIC REMINGTON (1861–1909) The Cheyenne, 1910, SOLD: $170,000

TO S U B M I T A RT W O R K F O R T H E 2 015 AU C T I O N V I S I T W W W. S A N TA F E A RTAU C T I O N . CO M F O R F U R T H E R I N F O R M AT I O N P L E A S E C O N TA C T P E T E R L . R I E S S , D I R E C T O R , C A L L : 5 0 5 - 9 5 4 - 5 8 5 8 E M A I L : C U R AT O R @ S A N TA F E A R TA U C T I O N . C O M O R V I S I T S A N TA F E A R TA U C T I O N . C O M

S A N TA F E A R T A U C T I O N , L L C | P O B O X 2 4 3 7 | S A N TA F E , N E W M E X I C O | 8 7 5 0 4 - 2 4 3 7 T E L 5 0 5 9 5 4 - 5 8 5 8 | FA X 5 0 5 9 5 4 - 5 7 8 5 | E M A I L : C U R AT O R @ S A N TA F E A R TA U C T I O N . C O M V I S I T W W W. S A N TA F E A R TA U C T I O N . C O M F O R F U R T H E R I N F O R M AT I O N

Meet legendary Crow artist Kevin Red Star after his European tour, Reception- Friday August 21 5-7pm

Kevin Red Star, Dancers (Kevin Red Star’s Brothers), acrylic on canvas, 84 x 72”

T.C. Cannon (1946–1978), Collector #5, woodcut, 169/200, 26 x 20”

John Nieto, Traditional Dancer, oil on canvas, 1988, 60 x 48”

Museum Art You Can Own.

Fritz Scholder (1937–2005), Red Indian, 1977, acrylic on canvas, 80 x 68”

143 Lincoln at Marcy, Santa Fe, NM 87501 (505) 820-1234 •

Evelyne Boren Open Reception September 18, 5-7PM 640 Canyon Road, Santa Fe

Fall Cerro Gordo Adobe / 36x40

Auction | FridAy August 14th & sAturdAy August 15th held At our sAntA Fe gAllery



Tom Ryan White Horns | Oil on canvas 28 by 36 inches



1. Robert Daughters | Chamisa Shadows | oil on canvas | 24 by 30 inches | $10,000 - $15,000 | 2. Margaret Tafoya | Black Pot | ceramic 15 1/2 by 13 by 13 inches | $12,000 - $16,000 | 3. John Moyers | Distant Sounds | oil on linen | 36 by 30 inches | $20,000 - $25,000 4. Ed Mell | Mountain Landscape | oil on canvas | 36 by 48 inches | $20,000 - $30,000

Visit our website to View a digital catalog, auction registration and purchase a printed catalog. bidding will take place liVe, oVer the phone and online. 345 Camino Del monte Sol, Santa Fe, nm 87501 | (505) 983-1590 (855) 945-0448 7172 eaSt main Street, SCottSDale, aZ 85251 | (480) 945-0448 ALTERMANN.COM 2912 maple ave, DallaS, tX 75201 | (214) 769-4745

Silver Sun Meet passion & dedication inspiring turquoise of New Mexico

Indian Market Reception August 21, 2015 5-8PM 656 Canyon Road, Santa Fe NM (505) 983-8743


We are now accepting consignments for our December 7 auction of Native American Art

Preview September 11-14 +1 (415) 503 3294 From the Parisian collection of legendary horse trainer and showman Mario Luraschi comes over 120 lots of exceptional Plains, Woodlands and Plateau material, including shirts, pipes, tomahawks and a great variety of beadwork and quillwork © 2015 Bonhams & Butterfi elds Auctioneers Corp. All rights reserved. Principal Auctioneer: Patrick Meade. NYC License No. 1183066-DCA

The Santa Fe Renaissance Fair

September 19-20 REVEL in the amazing antics of Santa Fe’s own Clan Tynker! BOW to Their Majesties Queen Isabella & King Ferdinand CHEER on the brave pursuits of jousting, medieval sword fighting and Celtic games

NewMexico, Mexico a InANew Renaissance Fair Renaissance Fair Should Have a should have Serendipitous Spanish flair. Flair!


INDULGE in flamenco, belly dance, a falcon show and other live entertainment on three stages Kids! DEFEND the Spanish Galleon from marauding pirates! WIN treasure while playing Catapulting Frogs, Jacob’s Ladder and other games of knightly skill DRESS in your most elegant finery and compete for prizes in the costume contest EXPERIENCE aspects of life in a Medieval Village SPEND your hard-earned gold with vendors sellling shields, blades, cloaks, turkey legs, jewels, ale & mead and more ...and MUCH MORE! All at El Rancho de las Golondrinas, a 200-acre Spanish ranch and living museum!

505 - 471-2261 sf re nfa i r.o rg 505-471-2261

Presented in partnership with the Interfaith Community Shelter

Support provided by the Santa Fe County Lodgers’ Tax Advisory Board, New Mexico Arts and Santa Fe Arts Commission. Photo by Richard J. Gonzales.

Bruce King Paint in Motion

Early Light 30 x 40 unf


August 18 through August 31 ARTIST Friday, August 21 5 pm - 8 pm


Waxlander Gallery

celebrating thirty-one years of excellence

622 Canyon Road • Santa Fe, NM 87501 • 505.984.2202 • 800.342.2202

native arts 52 59






contents 30 Up Front

Zia pride in jewelry form; In Search of Nampeyo; new exhibits at the Poeh Cultural Center and Tower Gallery

33 Museum Spotlight Native American art exhibitions at top regional and national museums

48 Artist Portraits Liz Wallace, Chris Eyre, Tony Abeyta, and others; a tribute to Margarete Bagshaw

60 Native Arts Showcase Spotlight on local artists

66 Auction Houses The top houses for serious international collectors of Native American artwork

68 Exhibits 72 Day Trip Pecos National Historical Park


Nocona Burgess prepares for a show about his great-great grandfather, Comanche Chief Quanah Parker.


Gallery show previews

“Alpha Male Leads the Way Across the Bering Strait” • 24" x 30" • Acrylic

“Raven Tag (With a Wolf)” • 24" x 30" • Acrylic

JOHN NIETO A Force of Color and Spirit Opening Reception • Friday, August 21, 2015 • 5 to 7pm

VENTANA FINE ART 400 Canyon Road

Santa Fe, NM 87501



native arts magazine


bruce adams b.y. cooper



anne maclachlan amy gross, amy hegarty


elizabeth sanchez sybil watson


michelle odom


hannah reiter ginny stewart


david wilkinson


ashley m. biggers, steven horak kate nelson, dorothy e. noe, cristina olds donna schillinger, whitney spivey emily van cleve PHOTOGRAPHY

stephen lang


Pacheco Park, 1512 Pacheco St, Ste D-105 Santa Fe, NM 87505 Telephone 505-983-1444, fax 505-983-1555

JENNIFER KALLED JEWELRY She’s Got Juice necklace and Whirlwind Boulder opal bracelet

Joan Severance actress / model

Copyright 2015. Reproduction in whole or in part without permission is prohibited. Published by Bella Media, LLC, Pacheco Park, 1512 Pacheco St, Ste D-105, Santa Fe, NM 87505. Periodicals postage paid at Santa Fe, NM, and additional mailing offices. Postmaster: Send address changes to Santa Fean P.O. Box 16946, North Hollywood, CA 91615-6946.

native arts

ON THE COVER Margarete Bagshaw, Clear Water Horizon, oil on panel, 20 x 16". See page 152 for a retrospective on the life of one of Santa Fe’s most beloved painters.

61 Old Santa Fe Trail | Santa Fe, NM 87501 | 505.983.9241


Poteet Victory

Indian Market Weekend • Friday, August 21, 2015 • 5 to 7pm “Twin Spirits” 42"x 36" Oil on Canvas

M cLarry M o d e r n

225 Canyon Road • Santa Fe, New Mexico • 505.983.8589

Zia pride t h e s t ate s ym bol ma k e s for g re at je welr y by Whitney Spivey Six years ago, Gregory Segura was working at a state legislative session, where he noticed many people were wearing cheap lapel pins. “I thought ‘I’m a silversmith, I will make my own,’” he remembers. “I went home that night and made a Zia pin with a turquoise center in my garage. The next day, people started asking where I got my pin.” So Segura started making—and selling—more pins. “Then senators like Tim Keller (now our state auditor) bought some and gifted one to U.S. Congressman Martin Heinrich,” Segura says. “Suddenly, I had a whole new line of Zia jewelry.” In his Santa Fe Silverworks studio on Second Street, Segura now creates pendants, pins, cuff links, rings, bolo ties, shirt studs, cuffs, and earrings which he sells at Ortega’s on the Plaza. And although he finds it difficult to keep Ortega’s stocked, it’s customers in other parts of the country who keep him the busiest. “Only about one in 20 Zia items is sent to a New

Mexico address,” he says, noting that many people have ties to the Land of Enchantment, either from living here at one point or falling in love with the state during a visit. Not to mention that the Zia itself is a strong symbol “with lots of meaning for such a simple design,” Segura adds. “I have sent them all over the world.” Segura’s most popular item is the unisex Zia pendant, which can be worn long or short on a chain or leather cord. “Last year, I believe I sold somewhere around 100 pendants and about a total of 350 or so Zia pieces,” he says. “I try to keep them affordable.” Segura says he can make Zia jewelry relatively quickly at this point in his career. “It’s not difficult to make a Zia because it is a simple design, but I never work on just one piece at a time,” he explains. “What is difficult is coming up with a new design every year because people at the legislative session expect one.” Santa Fe Silverworks,

santa fe silverworks

Many of Segura’s contemporary Zia symbol rings (left) and pendants (below) feature a center piece of turquoise, which is the state stone of New Mexico. But if turquoise isn’t your thing, he also makes pieces with onyx, lapis, denim lapis, or malachite stones.

up front

news and happenings

a new look at Nampeyo

BOOKS What do the early works of a master artist look like? That’s what Steve Elmore—himself an artist—wanted to know about Hopi potter Nampeyo. After 25 years of research, his findings have been published in his new book, In Search of Nampeyo: The Early Years, 1875–1892. “When I first began oil painting, Nampeyo was my mentor, and I wrote the book to honor her,” Elmore says. The 220-page coffee-table book examines Nampeyo’s early life and work, focusing specifically on a body of previously unattributed ceramics collected by trader Thomas Keam between 1875 and 1892. Now housed in the Peabody Museum at Harvard University, the works are the earliest known collection of Hopi pottery assembled by someone who knew Nampeyo personally. By studying Keam’s collection, primary sources, and photographic evidence, Elmore is able to provide a complete account of Nampeyo’s career, including her place in and contributions to the history of modern art.. Since its publication in December 2014, “In Search of Nampeyo has received a very positive response so far,” according to Lily Carbone, assistant gallery director for Steve Elmore Indian Art. “The book recently won a silver medal IPPY award from the Independent Book Publishers Association—very exciting!”—Whitney Spivey In Search of Nampeyo: The Early Years, 1875–1892, $50 (paperback), $100 (hardcover); Steve Elmore Indian Art, 839 Paseo de Peralta, Ste M, Yellowware open bowl attributed to Nampeyo, ca. 1900.

The Zia symbol has roots in Zia Pueblo, whose people consider the sun sacred. Not only is the symbol reminiscent of that ball of fire high in the sky, but its four clusters of four rays are also significant, as that number is sacred as well (there are four points on a compass, four seasons of the year, four periods of the day, four seasons of life, four sacred obligations in life—you get the idea). The circle—or in Segura’s case, a stone—binds those elements of four together and represents the circle of life. Who wouldn’t want to wear such a meaningful symbol around their neck? 30

phillip karshis

Left: Shawn Tafoya’s (Santa Clara/Pueblo of Pojoaque), Wall Hanging Back Piece, part of Poeh Cultural Center’s Paths of Beauty exhibit, is designed to be a backdrop for the display of Pueblo officials’ canes.

Jewelry by

Miles Standish Necklace

beauty and games EXHIBITS

For over two decades, the Poeh Cultural Center and Museum in Pojoaque has stood both literally and figuratively at the crossroads of Pueblo life. It’s a position that’s as much evidenced by its location relative to other Northern New Mexico Pueblo communities as by its dedication to traditional and contemporary Pueblo art and artists. Beginning August 20, that latter dichotomy will be explored fully in two imaginative exhibits: the museum’s Paths of Beauty and the adjoining Roxanne Swentzell Tower Gallery’s The Games We Play. The intricate embroidery of two accomplished Pueblo artists, Shawn Tafoya of Santa Clara Pueblo and Isabel Gonzales of the Pueblo of Jimenez (Walatowa), will be on display at Paths of Beauty, scheduled to run through the fall. Embroidery is one of the most enduring and visible Pueblo traditions— the spectacle of Feast Day dancers in carefully crafted manta dresses and kilts moving in unison is not soon forgotten—yet it’s one that fewer and fewer artists pursue these days. Still, its importance remains as vital as ever. As Poeh Cultural Center and Museum Director Phil Karshis explains, “The stitch literally holds the culture together.” Opening concurrently at the atmospheric Tower Gallery, The Games We Play will feature vertical metal game boards with contemporary thematic works by renowned Native American artists such as Roxanne Swentzell, Tony Abeyta, and Rose B. Simpson.—Steven Horak Poeh Cultural Center and Museum,, Tower Gallery,, 78 Cities of Gold Rd

Rough Cut Labradorite with 26 sterling silver and 22K pendants. 16 Blue Diamonds flush set

61 Old Santa Fe Trail • Santa Fe, NM 87501 • 505.983.9241

Seen Around photographs by Stephen Lang


Leading the world in Native arts, Santa Fe is a magnet for all aspects of creativity. Native Arts celebrates artists, gallerists, collectors, and guests with these images. Do you recognize anyone?

Heard Museum

Time Exposures picturing a History of Isleta Pueblo in the 19th Century While researching land claims, Dr. Henry Walt, a consulting anthropologist, and Valentino Jaramillo, an elder of Isleta Pueblo in New Mexico, unearthed more than 2,500 photographs from various archives around the country. A selection of these photos constitutes Time Exposures: Picturing a History of Isleta Pueblo in the 19th Century, a new exhibit at the Heard Museum in Phoenix, Arizona. But are these photos an accurate representation of the Isleta Pueblo during that time? An analysis of the photos’ ideas and values is a central theme of the Time Exposure story. “It’s hard to say,” says Walt, a curator of the exhibit. “Many are images that were taken by East Coast photographers trying to sell pictures. They would stay for a day and leave.” Walt cites 35 images of women dressed in traditional ceremonial clothing yet holding pots on their heads—an inconsistency comparable to a modern-day woman dressed in a formal gown to clean the kitchen. Other images, notably those by journalist and Native American rights

by Donna Schillinger

Group portrait at Isleta. Charles Lummis, photographer. Not Dated. Courtesy of the Autry National Center/Southwest Museum, Los Angeles.

Spring footraces. Charles Lummis, photographer. April 19, 1896. Courtesy of the Autry National Center/Southwest Museum, Los Angeles.

activist Charles Fletcher Lummis, were more helpful in describing Isleta Pueblo life of the 19th century, and how the arrival of the Americans disrupted their way of life. Lummis, who lived in the Pueblo for several years, chronicled annual economic events, such as the spring opening of the irrigation ditch and the fall harvest, as well as religious events. Regardless of the strengths or failings of the collection, these images have helped the Isleta Pueblo define its history. “The photos still mean a great deal to the Pueblo. In a way, they are a family history,” says Walt. Time Exposures: Picturing a History of Isleta Pueblo in the 19th Century is the Heard Museum’s first major traveling exhibit curated and organized by a Native American community; the text, interactive elements, and recordings feature members of the Pueblo. It will be on display through September 27. The Heard Museum, 2301 N Central Ave, Phoenix, Arizona, santa fean

native arts 2015


Ambrosio Abeita (hand tinted). A.Z. Shindler, photographer. 1868. Courtesy of the National Anthropological Archives, Smithsonian Institution. 34



DIALOGUE #1 Indiana Limestone 15” X 12” X 4” Arlo Namingha © 2015

Celebrating 25 Years on Lincoln Avenue LOVE Archival Pigmented Print on Hahnemühle Paper 30” x 30” Michael Namingha © 2015

Artist Reception with Dan, Arlo, and Michael Namingha Friday, August 21, 2015 5–7:30pm 125 Lincoln Avenue • Suite 116 • Santa Fe, NM 87501 • Monday–Saturday, 10am–5pm 505-988-5091 • fax 505-988-1650 • •

The Autry National Center of the American West

Four Centuries of Pueblo Pottery

by Donna Schillinger

Pueblo pots shaped in part by changing cultures


Right: Storyteller doll, Seferina Ortiz (Cochiti Pueblo), ca. 1990s. Gift of Terry and Ben Hayes.

word word word word

Polychrome earthenware owl, Zuni Pueblo, ca. 1920–1924. Gift of Mr. Fred K. Hinchman.

courtesy southwest museum of the american indian collection, autry national center

A DRAMATIC TRANFORMATION IN Pueblo pottery took place following Spanish colonization in the 16th century, and a free, ongoing exhibit, Four Centuries of Pueblo Pottery, at the Southwest Museum of the American Indian, a collection of The Autry National Center of the American West, showcases 100 pieces of rare ceramics that exemplify that transformation. The Pueblo people, who today speak six languages and occupy 30 villages in the Southwestern United States, have incorporated influences from friends, enemies, and trading partners into their artistic production throughout more than 400 years of history. At the time of the Spanish encounter, Pueblo artisans were already making excellent pottery, such as ollas (water jars), with simple decoration distinct to each village. Contact with the Spanish and their ceremonies pushed Puebloans into making pottery for uses that were new to them—items such as candlesticks, dough bowls, and baptismal fonts. The completion of the Atchison, Topeka and Santa Fe Railway in 1880 was the impetus for another wave of innovation. “The railroad cemented the American Southwest as a popular tourist destination, and flocks of tourists began visiting the Pueblos,” explains Paige Bardolph, associate curator for The Autry. “They were eager to catch a glimpse of the romantic notion of Native North America, marketed and perpetuated by the railroad. Tourists desired souvenirs, which prompted the production of new pottery styles such as ceramic baskets and ashtrays.” Figurative pottery such as Tesuque rain gods and storyteller figurines also grew in popularity for this purpose. Bardolph says modern metal containers and cooking utensils eventually began to replace utilitarian pottery in the Pueblo tradition, leading to a decline in the production of larger vessels. Organized by Pueblo language groups, Four Centuries of Pueblo Pottery includes pieces by such well-known potters as Maria and Julian Martinez (San Ildefonso Pueblo); Nampeyo (Hopi); Gladys Paquin (Laguna Pueblo); and Juan Cruz Roybal and Tonita Peña Roybal (San Ildefonso). This exhibit is located at the Historic Southwest Museum Mt. Washington Campus of The Autry. The Autry National Center of the American West, 4700 Western Heritage Way, Los Angeles,

Terrance Guardipee Blackfeet Ledger Artist

Contact with the Spanish and their ceremonies pushed the Puebloans into making pottery for uses that were new to them—items such as candlesticks, dough bowls, and baptismal fonts.

Spirit of Springs • 17”x22.5” • Mixed Media/Antique Ledger Paper

Ernest Chiriacka 1913 - 2010

Above: Polychrome bowl, Nampeyo or Annie Nampeyo (Hopi), ca. 1901. Right: Polychrome storage jar, Tesuque Pueblo, ca. 1870–1880. Anonymous gift.

Scouts Along the Prairie • 20”x24” • Oil on Board

Polychrome canteen, Zuni Pueblo, ca. 1860–1880. Anonymous gift.

713 Canyon Road • Santa Fe, NM 87501 • 505.988.2966

Booth Western Art Museum

Native Hands by Ashley M. Biggers Although it has been part of the Booth Western Art Museum’s permanent collection for several years, the Native Hands exhibition recently received a curatorial revitalization. Now grouped by geographic region, the 200-piece-strong collection of artifacts is better than ever. The 120,000-square-foot Booth Museum houses the largest permanent exhibition space for Western art in the country; however, initially it didn’t include any artifacts. Historian and Director of Special Projects Jim Dunham encouraged the museum to rethink this approach. “People like ‘stuff,’” he says. “They can relate to a pair of spurs or moccasins in a way that they can’t relate to an oil painting.” The success of a 2007 temporary exhibit, Beautiful Utility: Decorated Objects of Cowboys and Indian Culture, shifted the museum’s thinking about the importance—and aesthetic value—of historical objects. “The board realized artifacts are works of art. We’re not a history museum, but these are works of art, and they belong here,” says Dunham, whose team set to work creating a permanent exhibition. His assumption was they would have to go farther afield than Georgia, where the Booth is located; however, the collections in the greater Atlanta area were deep and expansive. Much to his own astonishment, his team was able to draw from a dozen collections—including his own— within 100 miles of the museum in order to build the exhibit. “When we picked up the things from one collector’s house, it was like taking your hand out of a cup of water. We didn’t even put a dent in his collection,”

Right: Clockwise from top left: Crow beaded horserump drape; Sioux golden eagle feather headdress with buffalo horns; Crow bridle ornament; Northern Plains beaded knife sheath; Sioux club; Crow doll; fully beaded Sioux moccasins; Northern Plains beaded child’s vest.


artifacts now grouped by geographic regions in this permanent exhibit

Top row, left to right: Winnebago finger weaving belt and garters; Chippewa beaded vest;, Chippewa beaded bandolier bags. Bottom row: Great Lakes princess headband; porcupine hair and deer tail hair roach; pheasant feather fan with peyote gourd stitched handle; ribbon work cloth apron.

Pieces from private collectors form the basis of the Native Hands permanent exhibit at the Booth Western Art Museum. Items on display include, among other things, a Santa Domingo dough bowl; a red Santa Clara jar by Margaret Tafoya; Navajo turquoise and silver squash blossom necklaces; Zuni and Acoma pottery owls; Hopi carvings; and pottery by Santa Clara, Zia, Hopi, and Acoma Pueblos.

Above: A Hopi polychrome bowl; a Shalako carving and a Mudhead carving by Ted Francis; a Hopi whipper katsina carving; and other items. 38

he says. The items exhibited are now on permanent loan from these benefactors. In the new approach, Native Hands begins with a map of Native tribes’ historical geographic locations prior to first European contact. Of course, many of the tribes were nomadic, so their home territories are generally represented. The artifact cases follow these geographic lines, beginning with the Inuit tribes and stretching across the continent to the East Coast of the U.S., including tribes such as the Seminole. The Inuit artifacts represent another bookend: a pre-Columbian stone carving from one village is the oldest item in the collection. More recent items include beaded fans and rattles from the 1960s. Native Hands’s beadwork collection is especially strong. The artifacts include an exquisite Kiowa cradleboard and a half-dozen bandolier bags beaded by members of the Ojibwe and Chippewa tribes. Items from the Northwest Coast are also standouts, including a turban-like headdress made of ermine skins, decorated with feathers and shells, with a train of ermine tails. Thanks to Booth’s pairing of historical artifacts and modern Western art, visitors can see connections between the two. Dunham points to a modernday painting by Martin Grelle, a member of the prestigious Cowboy Artists of America, that recently hung at the museum. Set in the 1870s, the painting depicts Crow trackers examining a trail and wearing clothing similar to that on display in the historical galleries. Visitors looking for more information on the artifacts should attend the guided Highlights Tour, offered daily at 1:30 PM, and Art for Lunch talks on the first Wednesday of each month. Dunham often presents these lectures and focuses on themes relevant to Native Hands. Booth Museum, 501 Museum Dr, Cartersville, Georgia,

The beadwork in Native Hands is quite strong, including items such as (shown here) Cheyenne beaded moccasins; a beaded Crow lance case; Sioux beaded tipi possible bags; and Northern Plains beaded women’s leggings.

Eiteljorg Museum of American Indians and Western Art

creative conversation

by Cristina Olds

Eiteljorg fellowship showcases five contemporary Native artists Indianapolis’s Eiteljorg Museum of American Indians and Western Art considers its renowned collection of contemporary Native art one of its greatest accomplishments. Since 1999, the biennial Eiteljorg fellowship program honors five Native American artists with a $25,000 unrestricted grant and a juried group exhibition of their works. The museum purchases some of the fellowship artists’ pieces for its permanent collection, resulting in an impressive 200 works of contemporary art by more than 40 of the world’s leading artists. Opening November 14, Conversations: Eiteljorg Contemporary Art Fellowship 2015 will feature installations by Luzene Hill (Eastern Band of Cherokee); sculptures and installations by Brenda Mallory (Cherokee); sculptures by Holly Wilson (Delaware Tribe of Western Oklahoma/Cherokee); sculptures and installations by Da-ka-xeen Mehner (Tlingit); and paintings by invited artist Mario Martinez (Pascua Yaqui). “The theme of the exhibit grows from the common threads we find between the five selected fellowship artists,” says Ashley Holland, Eiteljorg Assistant Curator

Da-ka-xeen Mehner (Tlingit), Call and Respond 1 & 2, 2014, wood, rawhide, with video projection, 20 x 20 x 8" (each). Collection Eiteljorg Museum.

Common threads found between the five selected fellowship artists and a piece by Mario Martinez called The Conversation determined the exhibit’s theme, says AshleyHolland, assistant curator of contemporary art.

Luzene Hill (Eastern Band of Oklahoma), Retracing the Trace, 2011–2015, cord, ink, pastel, dimensions variable. Collection Eiteljorg Museum. 40

Above: Mario Martinez (Pasqua Yaqui Tribe of Arizona), The Conversation, 2004, acrylic and charcoal on canvas, 84 x 132". Collection Eiteljorg Museum.


Best of Santa Fe two years in a row for Native American Indian Jewelry

Right: Holly Wilson (Delaware Tribe of Western Oklahoma/ Cherokee), Belonging, bronze and geode, 9.5 x 10 x 6". Collection Eiteljorg Museum.

Above: Luzene Hill, Retracing the Trace. Left: Brenda Mallory (Cherokee Nation) Undulations—Red, 2012, waxed cloth, nuts, bolts, welded steel, 48 x 80 x 7". Collection Eiteljorg Museum.

of Contemporary Art. “This year’s theme is based on a piece [called The Conversation] by Mario Martinez that centers around his being a Yaqui man living in New York City and traveling to Arizona, and how those different identities work together.” Scholarly articles analyzing each artist’s contribution in the exhibit will be published in a catalog alongside in-depth essays about the artists. The permanent collection of Native American art at the Eiteljorg includes a gallery called Mihtohseenionki, which means “the people’s place” in the Miami language. Visitors will find displays illustrating the history and culture of the local Indiana tribes, including the Potawatomi, Delaware, Kickapoo, and more, as well as a wide range of art and objects from tribes spanning the continent from Canada to Mexico. The museum’s vast holdings originated with the personal collection of its founder, Harrison Eiteljorg, and the Museum of Indian Heritage in Eagle Creek Park, Indiana. Including everyday functional objects such as clothes, baskets, and weapons to cultural and traditional carvings, sculpture, and jewelry, the Eiteljorg houses noteworthy collections of Southwestern art, Navajo saddle blankets, and katsina carvings. Every June, the Eiteljorg Museum hosts the Indian Market and Festival for a weekend of live music and storytelling, cooking demonstrations, traditional foods, community art activities and fine art exhibitions; and in December, a Winter Market is held. Eiteljorg Museum of American Indians and Western Art, 500 W Washington, Indianapolis, Indiana,

SHALAKO INDIAN STORE OF OLD SANTA FE The Largest Selection of Vintage Native American Jewelry in Town Shop #5 in the Plaza Galleria 66 E San Francisco Street 505-983-8018

Museum of Indian Arts & Culture

Courage and Compassion:

by Dorothy E. Noe

Native Women Sculpting Women

a sisterhood of sculptors at the Museum of Indian Arts & Culture and depict the various phases of women’s lives. Self-taught artist Kathy Whitman-Elk Woman (MandanHidatsa-Arikara) works with metal, recycled materials, and stone. Her seven-foot-tall sculpture of a shawl dancer, Dancing to the Heartbeat of my Ancestors, captures an unbridled feeling of joy, while Standing Strong, with my Feet Rooted to Mother Earth depicts the strength and resilience of Native women. Roxanne Swentzell (Santa Clara Pueblo) comes from a long line of formidable women, yet she notes that she struggled as a single mother to recapture the artistic voice she had cultivated as a teenager. Her daughter, artist Rose B. Simpson, says that she feels blessed to continue the “next chapter of ‘who we are’” because of “those who came before” her. For this show the two artists collaborated on a piece called Grace Adorned, which is loosely inspired by Our Lady of Guadalupe. Swentzell made the ceramic sculpture, and Simpson dressed and decorated it. Swentzell also displays a clay sculpture called Child, which depicts a mother presenting her child to the rising sun during a naming ceremony. Estella Loretto (Jemez Pueblo) was encouraged by Allan Houser to create her well-known monumental sculptures. Her seven-and-a-half-foot Morning Prayer embodies the quiet strength of a pueblo woman who’s facing east and holding a bowl during a corn meal blessing. While Loretto’s sculptures reflect her feeling that life is an unfolding process that needs the patience of a mother, her art allows her to have a “huge” voice, she says. Tammy Garcia (Taos Pueblo), known for her clay pots, shows

Retha Walden Gambaro, Courage, bronze, 59 x 32 x 32"

STRENGTH, RESILIENCE, AND nuturing—these are among the many characteristics of Native women depicted in an outdoor exhibition called Courage and Compassion: Native Women Sculpting Women at the Museum of Indian Arts & Culture (MIAC). Works in the exhibit, which opened last year and includes sculptures of women by seven female Native artists, are arranged clockwise around MIAC’s Roland Sculpture Garden 42

Estella Loretto, Morning Prayer, bronze, 102 x 40 x 40"

two bronze works in the show. Andrea, a seven-foot-tall sculpture of a butterfly dancer, reflects the joy, freedom, and importance of movement. (Puebloan tradition says that butterflies symbolize fertility and carry prayers for rain.) Sisters is a tribute to the close bonds shared between Native women, who are known to refer to their female relatives and friends as “sister.” The piece was also inspired by Garcia’s memories of the closeness between her female relatives as they cooked and practiced dances in preparation for feast days. Kim Seyesnem Obrzut (Hopi) wanted to carve wood like her grandfather did, but that was considered a male occupation. While studying at Northern Arizona University, she accidentally enrolled in a bronze casting class and has never looked back. The featureless face of the woman in her sculpture Greeting the Sun depicts an ancient tradition of facing east and addressing the sun to express gratitude and request lifelong guidance. The resonating works of the late Retha Walden Gambaro (Creek) are also included in the show. Courage depicts what Gambaro described as “facing life” and “calling forth strength of mind and body,” while Acceptance, a self-portrait the artist created at age 80, expresses Gambaro’s feelings of peace as she settled into the final years of her life.


Courage and Compassion: Native Women Sculpting Women, through October 19, Museum of Indian Arts & Culture,

Tammy Garcia, Sisters, bronze, 74 x 17 x 17"

Great selection of authentic Indian jewelry at affordable prices

Open 7 Days 221 W. San Francisco St. 505-471-3499

Museum of Contemporary Native Arts

by Whitney Spivey

summer shows at MoCNA Meryl McMaster’s Wanderings and Eve-Lauryn LaFountain’s Waabanishimo explore identity and self-expresssion When Meryl McMaster was contacted by curator Jon Lockyer about the opportunity to have a solo show at the Museum of Contemporary Native Arts (MoCNA), she got right to work on a new series. Nearly two years later, Wanderings, which features 16 photographs, examines the limitations and possibilities of the self. “I am interested in exploring questions of how we construct our sense of self through lineage, history, and culture,” says the Ottawa, Canada–based artist of her dream-like images. “My practice extends beyond straight photography by incorporating other artistic media into how I build images and express my ideas.” McMaster often uses props and sculptural elements in her work, such as the 5,000 balloons she used for a piece in 2012. McMaster says her inspiration comes from her personal experiences of exploring remote natural landscapes in Canada and beyond. “At the conclusion of these excursions I always come away feeling spiritually nourished and with a heightened understanding of myself,” she explains. “I was highly attuned to my surroundings and began

Eve-Lauryn LaFountain, Nawadizo (She Catches Fire), C-print from 4 x 5 negative, 30 x 40"

“How do I, a comtemporary mixed-blood woman, hold onto my heritage, learn my tribal language, and connect with the ways my ancestors lived?” asks Eve-Lauryn LaFountain.

Eve-Lauryn LaFountain, Indabaabasaan (I Smudge It, I Cleanse It): Self Portrait, 16 mm film still printed as an archival inkjet print, 16 x 20"


to explore such matters as my relationship with others and my place within the natural world; these adventures were an important catalyst in the process of making my personal identity more transparent to me.” Back at home in her home studio, McMaster continues her process self-discovery through art.. Wanderings is McMaster’s first show at MoCNA. The exhibit will open in the South Gallery on August 21—the same day that Eve-Lauryn LaFountain’s show Waabanishimo (She Dances Till Daylight) opens in the Hall and Honor Galleries. “Both artists explore identity and self-representation through

photography,” says Candice Hopkins, chief curator for MoCNA. “McMaster and LaFountain’s images are deeply evocative. Each of them perform for the camera, and through these performances they parse out the intricacies and complexities of what it means to be a Native person today, caught between two worlds.” For LaFountain—a Los Angeles–based Jewish and Turtle Mountain Chippewa multimedia artist—that means creating her own ceremonies to understand traditions. “How do I, a contemporary mixed-blood woman, hold onto heritage, learn my tribal language, and connect with the ways my ancestors lived?” she asks. “I don’t have buffalo hides to make a tepee, but, as a filmmaker, I do have film. My fire is the flicker of a projector shining through the layers of an imposing culture, and through that gossamer I find glimmers of the ghosts I carry with me.” LaFountain creates her images by taking long exposures of herself dancing with lights attached to her body. Of the resulting ghostly images Hopkins says, “I believe that viewers will be moved by what they see, by phantasmal images that will stay in your mind’s eye long after they are first witnessed.” Meryl McMaster: Wanderings, Eve-Lauryn LaFountain: Waabanishimo (She Dances Till Daylight), August 21–December 31, IAIA Museum of Contemporary Native Arts, 108 Cathedral,

58th Annual Heard Museum Guild

Celebrating the Art of Pottery March 5 & 6, 2016

2301 N. Central Ave. Phoenix, AZ 602.252.8840 x2276 | Meryl McMaster, Equinoctial Line, archival pigment print on watercolor paper, 30 x 45"

From the Heard Museum Collection, Clockwise from Left: Jason Garcia (Santa Clara), ceramic tile, 2009. Russell Sanchez (San Iidefonso Pueblo), Jar, 1991. Nancy Youngblood (Santa Clara Pueblo), Jar, 2008.

Wheelwright Museum of the American Indian

Center for the Study of Southwestern Jewelry

by Donna Schillinger

the Wheelwright’s first gallery dedicated to Native American jewelry JEWELRY IS THE FOCUS of the first permanent exhibition space in the Wheelwright Museum of the American Indian in Santa Fe. Within the museum is the Martha Hopkins Struever Gallery, a 1,600-square-foot space devoted to silversmithing and other forms of metalwork, lapidary, and historical and contemporary jewelry. The gallery is part of the new Jim and Lauris Phillips Center for the Study of Southwestern Jewelry, which also includes the Schultz Gallery, a 400-square-foot space for changing exhibits. The Center for the Study of Southwestern Jewelry has been decades in the making, beginning with a donation in the 1970s from anthropologist and art collector Byron Harvey III, great-grandson of Bracelet, held: Attributed to Horace Iule (Zuni), ca. 1930. Tufa-cast silver, turquoise. Gift of Byron Harvey III. Ring (on middle finger): unknown Navajo artist, ca. 1870–1890.

Above: Very rare wrist guard made of harness leather and tin cut from cans. Attached is a 19th-century label reading: “Zuni wristlet for hawking [falconry]. New Mexico.” Formerly in the collection of Harold J. Evetts. Gift of Robert Bauver. Below: Bracelets by Charles Loloma (Hopi), ca. 1980s. Top left: Gold, coral, lapis, turquoise; center: gold, lapis lazuli, turquoise, coral; top right: badger paw bracelet with gold, coral, turquoise, lapis lazuli. Gifts of John and Ann Stewman.

railroad impresario Fred Harvey. Later, Santa Fe art patron Leonora Scott Curtin donated more than 150 Zuni fetishes, establishing the Wheelwright as the nation’s most important holding of Zuni fetish carvings from the early 20th century. The collection includes numerous examples by Leekya Deyuse, Teddy Weahkee, David Tsikewa, and other pioneers of the craft. A second wave came in 2005 with the donation of a collection of contemporary jewelry including pieces by Charles Loloma (Hopi), Preston Monongye, (Mission; raised at Hopi) and Harvey Begay (Navajo). In addition to jewelry, the exhibit includes the Carl Lewis Druckman collection of Navajo and Pueblo spoons; the Anderman/Gallegos collection of New Mexican filigree; a major collection of early Southwestern earrings; and hollowware. In its entirety, the Wheelwright’s holdings exemplify artists and traditions—many

Large ring: Kenneth Begay (Navajo), ca. 1970. Silver, coral, turquoise.


addison doty

addison doty

Bracelet, worn: Tufa-cast silver by Preston Monongye (Hopi) and Lee Yazzie (Navajo), ca. 1972. Serpent design in turquoise, jet, coral, ironwood, and white shell; inlay by Lee Yazzie. Gift of John and Ann Stewman.

Bracelet by Richard Chavez (San Felipe Pueblo), ca. 2000. Silver, gold, coral, sugilite, turquoise. Gift of Lucia and Travis Freeman. Ring by Richard Chavez (San Felipe Pueblo), 2008. Gold, chrysoprase, coral. Gift of George Taylor Anderman.

Wheelwright Museum of the American Indian, 704 Camino Lejo, The Leonora Scott Curtin Collection of Zuni carved stone fetishes, donated in 1973 by her daughter, Leonora Paloheimo.

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not represented in any other museum—dating from the 1870s to the present. The Center houses a treasure in historic documents and research on Southwestern finery as well. The Wheelwright acquired the papers of John Adair, noted scholar of Navajo and Pueblo silversmithing; David L. Neumann, who published on the technology, trade, and marketing of Navajo and Zuni jewelry during the mid-twentieth century; and former Army surgeon Washington Matthews, an ethnologist who described how Navajos were working silver in 1880. Docent tours of the Southwestern jewelry exhibit begin at 10:30 AM and 2:00 PM on Sunday, Tuesday, Thursday, and Saturday.

addison doty

addison doty

Left: Hair comb, Navajo, ca. 1895. Handwrought silver. Gift of Jim and Lauris Phillips.

Liz Wallace creating rare plique-à-jour jewelr y cell by cell by Donna Schillinger

Jeweler Liz Wallace is carving a niche for herself, one tiny silver cell at a time. The artist, who is of mostly Navajo but also part Maidu and Washo ancestry, specializes in the rare, painstaking technique called plique-à-jour. In this ancient craft, which dates back to the Byzantine Empire, enamel applied in tiny, open-backed cells produces a stained-glass effect that “lets in daylight” (the translation of plique-à-jour). “It’s very labor-intensive,” says Wallace, “and one of the more difficult techniques in jewelry-making.” As the only full-time enamelist among her Native artist colleagues—not to mention one of the few in the United States—Wallace has an established clientele eager to preview each new plique-à-jour piece. Wallace’s preferred style is art nouveau, and she greatly admires the work of René Lalique, which resonates with her own passion for floral, insect, and aquatic designs. Two of her plique-à-jour tiaras, held by the Wheelwright Center for the Study of Southwestern Jewelry, show her love of nature in their wild rose and wild iris themes. Wallace traces this passion to time spent exploring the natural world with her grandmother—a key figure in her life. View Wallace’s more traditional jewelry at, or in person at Martha Hopkins Struever Gallery and Case Trading Post at the Wheelwright Museum.

photographs by carolyn wright, the photography stuidio

Wallace also creates traditional bracelets, rings, pins, and bowls.

The rarity of plique-à-jour artisans ensures that Liz Wallace always has a steady clientele of collectors eager to know what she’s working on.


“It’s very labor-intensive,” says Wallace of plique-à-jour, “and one of the more difficult techniques in jewelry-making.”



fluent in multimedia Tony Abeyta mixes philosophies, textures, senses—and hats by Donna Schillinger

photographs by Stephen Lang

Navajo contemporary artist Tony Abeyta wears many hats. Literally. And the kind of artist he is on any given day depends on which hat he is wearing. If it’s a baseball cap, he may be splashing paint around on a large-scale black-and-white abstract. If he’s wearing a cowboy hat, it’s because he must again bear witness to the marriage of the Taos sky and earth, a sight permanently impressed in his imagination. Yet another hat finds him in a parking lot, negotiating a score of turquoise to get his jewelry-making fix. Abeyta’s primary focus has been brightly colored textural paintings of New Mexican landscapes. He began to experiment on this foundation with grainy materieals like sand, which evolved into sculpture and jewelry making. The three-dimensional work in turn influenced his painting, and vice versa. “It’s about translating 3-D, color, and texture into one another,” says Abeyta. His newest work is a confluence of these elements, with the addition of sound. “I am animating abstract drawings and color paintings,” explains Abeyta,“ . . . multimedia video mapping and projections on immersive domes, on buildings, and then on large dishes.” The artist plans to roll out this multimedia exhibit on the Very Large Array astronomical radio observatories near Magdalena this fall. The Owings Gallery, 120 E Marcy, Abeyta’s brightly colored textural paintings of New Mexican landscapes are reminiscent of the Taos modernists of the 1940s. Left: Abeyta in his Santa Fe studio (he also keeps one in Berkeley, California), working on a 46 x 90" oil of the Grand Canyon.


Horse l e a h c i M

Abeyta working on a blackand-white drawing entitled Deer Gathering.

Calling Abeyta’s work “mixed media” is an understatement. He will be using the Very Large Array astronomical radio observatories this fall to produce a multimedia exhibit.

Little Bird at Loretto Show Dates:

May 23rd • 4 to 7 June 12th • 5 to 7 August 20th - 23rd • 9am to 7pm 211 Old Santa Fe Trail • inside Inn at Loretto Hotel Santa Fe, New Mexico 87501 505.820.7413 • for more info visit our website

Chris Eyre awa rd - w i nn i ng di r e c tor give s bac k wor k ing w it h t h e nex t ge n e ration of film ma k e r s

gabriella marks

by As h le y M . Big g e r s

SFUAD Film School students direct Hollywood actors Luke Kirby and Wes Studi (second and third from left) during the inaugural Shoot the Stars! production.

Two interactions with teachers placed preeminent filmmaker Chris Eyre on his path: A high school teacher gave him a 35mm still camera, which became his entrée into filmmaking; and a New York University graduate professor handed him a book by Sherman Alexie, which inspired his most popular film, Smoke Signals. Now Eyre is paying it forward at the helm of the Santa Fe University of Art and Design (SFUAD) film school, which has grown from 128 students in the bachelor of fine arts program to 400 during his three-year tenure. Eyre is considered the leading Native American filmmaker of his generation. He first gained notoriety for Smoke Signals (1998), a film that has taken root in popular Native American culture and was the first feature-length film directed by a Native American to receive national theatrical release. Eyre’s follow-up film Edge of America opened the 2004 Sundance Film Festival and won Peabody, Emmy, and Directors Guild of America awards. He also directed the made-for-TV films A Thief of Time and Skinwalkers, based on author Tony Hillerman’s mysteries, and three parts of the PBS documentary We Shall Remain, among other credits. “Chris’s body of work as a director and filmmaker has made him an authoritative voice for career advice and connecting students with the industry,” says SFUAD President Larry Hinz. “His personal and professional relationship with Robert Redford has resulted in an incredible scholarship program for students in New Mexico and around the world. Chris is a warm, caring, and humble ambassador for SFUAD and for our students. He’s always creative, generous with his time, and is truly student-centered in all that he does.” In the classroom, Eyre teaches students to ride the industry roller coaster. “As artists and filmmakers, we have to keep those highs and lows in check because things change so quickly,” he says. 52

Each spring SFUAD hosts Outdoor Vision Fest, a one-night event that highlights cutting-edge digital media projects and installations set against the canvas of the school’s Visual Arts Center. Left: Award-winning director Chris Eyre (on right), who is the chair of the Film School at SFUAD, on the set of a student written, directed, and produced short film through the school’s Shoot the Stars! program, which brings Hollywood actors to campus to star in student films. Below, left: New Mexico Governor Susana Martinez addresses the cast and crew of the WGN drama Manhattan.

Above: Actor and Academy Award– winning director Robert Redford visits with a SFUAD student scholarship recipient for the Robert Redford/ Milagro Initiative scholarship program.

At 14,000 square feet, Stage A is the largest soundstage at SFUAD’s Garson Studios and the largest permanent green screen in the state of New Mexico.

courtesy of santa fe university of art and design

“It’s really amazing to watch young people who are making their own movies and remember how that light bulb goes off for myself. It’s inspiring when someone finds their own voice,” Eyre continues. “It’s really charged my batteries to go back and make more work. I want to go back out and make another 15 movies in the future.” In June, Entertainment Weekly announced that Eyre is attached to Soul Catcher, a 1972 novel by Frank Herbert, author of the cult classic Dune. The psychological thriller, which follows a Native American student who kidnaps the son of a government official, will begin production this fall, potentially in New Mexico. Filmmaking technology may have changed drastically during his nearly 20-year career, but Eyre says the fundamentals remain. “People want to tell good stories and make their voices heard. . . . Native filmmakers tell a more political story just by the nature of what they see,” he says. “For hundreds of years, when someone says, ‘I have a story to tell,’ people lean in. Even if the aesthetics change, the thing that never changes is storytelling.”

Redford, Eyre, and Kathleen Broyles of the Robert Redford/Milagro Initiative meet with program’s inaugural scholarship recipients in 2013.

nambe trading post 20 summer rd., nambe, nm

505 470 6650



Margarete Bagshaw c elebrating t he le g acy of a mode r n-day ma st e r by Kate Nels on

In one of her earliest photos, Margarete Bagshaw is laced into a cradleboard strapped to the back of her grandmother, Santa Clara Pueblo artist Pablita Velarde. Her arms reach forward as if she can’t stand being contained and can’t wait to grasp all that lies beyond her. This March, those arms were finally stilled when an aggressive tumor took the modernist painter at the age of 50. Left behind was a galaxy of masterfully rendered pieces—including a final 209 that were polished off during a five-year burst of artistic glee. To the manor born, Bagshaw was the only child of Helen Hardin, Velarde’s daughter. Together, the women raised young Margarete between their Albuquerque homes, trundling her to whichever artist was less busy preparing for the next show. Bagshaw’s earliest memory, she wrote in Teaching My Spirit to Fly, her 2012 memoir, was the smell of fresh paint. Perhaps it was merely house paint. But


Above: Margarete Bagshaw’s last painting, Swimming Upstream, December 2014, oil on panel, 24 x 36"

how much better to imagine it as one of the caseins or hand-ground earth pigments Velarde preferred, or Hardin’s obsessively detailed and deeply layered acrylics. Both were masters of traditional forms—Velarde as one of the Dorothy Dunn–trained prodigies at the Santa Fe Indian School, Hardin as a breakout star of contemporary Native art. Bagshaw initially found her calling with a pastel palette and modest canvases. Though they found a ready audience, the early paintings seem the product of a woman who clenched too much inside. When she upended her life in 2004, her paintings began to soar with outsized abstract ambition. Canvases ranged from 8 x 8-inch delights to 10 x 7-foot theses combining the tribal motifs she absorbed at her forebears’ knees with world religions, ethereal landscapes, and a global mix of women who rule. Bagshaw moved among several paintings at once, often at Golden Dawn Gallery near the Santa Fe Plaza, the space she and her husband and business partner, Dan McGuinness, christened with Velarde’s Tewa name in 2009. On a blank surface, she envisioned complicated shapes in multiple layers of oil paint that she buffed, sanded, scratched, and incised into brand new elements on the Periodic Table. It was full-body painting, her grasping arms carrying her into a metaphysical realm where, she often said, she spoke with the spirits of her mother and grandmother. The monumental Ancestral Procession heralds Bagshaw’s command of brilliant color and psychedelic imagery. Hatshepsut evokes a formidably calm and confident female pharaoh. Her Avanyu water spirits heeded an annual command, eerily summoning each year’s monsoons upon her brush’s final stroke. Entering “Margarete Land” required an appreciation for the way that forces beyond us drop clues, issue warnings, and open paths. She looked for omens and demanded optimism, honesty, hard work, and quite a few good times. Maybe the spirits told her the end would arrive too soon. Maybe that explains the hyper pace of her creative arc. At Golden Dawn Gallery, McGuinness continues what he and his wife began six years ago. A new coffee table book of all 210 paintings that Bagshaw did between 2009 and 2014 is now available, as are limited edition bronzes of her clay work and paintings. Pay a visit to Golden Dawn. Stand before her paintings and listen. You may hear her answer, mixed with the voices of the ancients. The legacy of Margarete Bagshaw continues. Golden Dawn Gallery, 201 Galisteo,

Woman Made of Fire: Margarete Bagshaw–The Last 5 Years, Little Standing Spruce Publishing, 2015, is a compilation of Bagshaw’s final paintings over the last five years of her life.

Margerete Bagshaw left behind a galaxy of masterfully rendered pieces—including a final 209 that were polished off during a five-year burst of artistic glee.

Flying Lessons, oil on panel, 24 x 24" santa fean

native arts 2015




Ryan Roberts and Robin Waynee husband-and-wife jewelers have their own unique styles by Emi ly Va n Cle ve

Robert Railey

Award-winning Santa Fe jewelers Ryan Roberts and Robin Waynee (Saginaw Chippewa Tribe) got to know each other in the late 1990s when Roberts tookWaynee on as an apprentice at his Canyon Road jewelry studio. Roberts, a native New Mexican, was born in Chimayó and raised in a family of artists. Today, they’re husband and wife, sharing a studio where they create earrings, necklaces, rings, bracelets, and pendants. Both jewelers enjoy working with 18-karat gold; Roberts prefers to use gold as the sole metal in a piece while Waynee will mix gold with sterling silver. They also like to incorporate garnets in their work. Agate is one of Waynee’s favorite stones, while spinel, a gemstone often confused with rubies, is found in many of Roberts’s pieces. With jewelry benches a mere 18 inches apart, neither can help noticing what the

Above: Ryan Roberts’s 2012 AGTA Spectrum Award winner, an 18-kt and platinum ring featuring an Afghanistan indicolite tourmaline, tsavorite garnet, and diamonds.

Above: This necklace is Robin Waynee’s 2014 NICHE Award winner. It features a removable center piece that can be worn as a a brooch or a pendant; the rest of the necklace can be worn in a more casual way. Sterling silver,18-kt gold, Tahitian pearl, sphene, pink sapphires, and VS1 diamonds.


other is doing during every step of the jewelry-making process. “We offer constructive criticism of each other’s work,” says Waynee, who was born and raised in Michigan. “Having a second pair of eyes looking at your work before it goes out into the world is a real benefit. But we need some alone time, too. If one of us is working on something delicate, the other one may leave the studio for awhile.” Both jewelers have received many accolades for their work. Roberts has won four AGTA (American Gem Trade Association) Spectrum awards and the grand prize in the New Mexico–based Saul Bell Design Award competition. Waynee has won three Saul Bell Design Awards (one of them the grand prize) and a NICHE award. While the couple sells the bulk of their jewelry directly to clients, their work is also featured at The Golden Eye and Zane Bennett Gallery. Look for Waynee’s annual booth at Indian Market.

Lorraine Gala Lewis replicating ancient works by Whitney Spivey


s t u d io

A graduate of the Institute of American Indian Arts and the College of Santa Fe, Lorraine Gala Lewis (Laguna/Taos/Hopi) has been working with clay for 35 years. It wasn’t until 2008, however, that she met Western artist Bill Freeman, who inspired her to research and replicate pre-Columbian art forms from around the world. “The stories of our early paintings, petroglyphs, and rock carvings caused me to want to preserve the pottery culture that existed hundreds of years ago,” Lewis says. “With these authentic replications, I try to capture the aesthetic beauty and individuality of each piece and remain as close as possible to the original works.” True West of Santa Fe,

Robert Railey

Clay artist Lorraine Gala Lewis works out of her home studio in Albuquerque. Her pieces can be seen in downtown Santa Fe at True West.

Lewis builds clay pieces that she hand-paints using an acrylic blend, to which she adds natural pigments and stains. Pieces are kiln-fired.

RYAN RobertS


Above, Roberts’s 2010 AGTA Spectrum Award–winning ring: hand-fabricated platinum featuring a Vietnamese lavender spinel with white and pink diamonds.

Above: Robin Waynee’s 2015 WJA Gem Diva Award winner: an 18-kt gold and palladium ring featuring a 33ct aquamarine and VS1 diamonds.

Lewis’s pottery instructors included Otellie Loloma (Hopi), Manuelita Lovato (Santo Domingo), and Ralph Pardington. She was mentored by the renowned late Hopi potter Nathan Begaye. 57

art with a backstory Nocona Burgess imbues history with a personal touch by Don na Sc hi l l i ng e r p hoto g rap h s by St ep h e n L a ng

Nocona Burgess paints iconic Native Americans, but they are anything but cliché. “I’m painting real people, as opposed to a stylized figure. They have a story,” says Burgess. Some of the stories we know, like those of Sitting Bull and Comanche Chief Mow-way. Others have been lost to history, and only photographs remain. Still others are deeply personal to the artist, like that of Chief Quanah Parker, Burgess’s great-great grandfather. Burgess pores over his extensive collection of historical photographs to select traditional subjects to render in boldly colorful graphic portraits. “In a way, when I paint them, the subjects speak to me, and I get to know them,” he says. Burgess’s thorough research of each portrait enables his clients to experience this same cross-chronological relationship. “If you have one of these paintings, you can talk about a real person,” says Burgess. Upcoming for Burgess is Beauty and Power of the Southern Plains in Bristol, England, and on August 21, Quanah Parker—Comanche opens at GiacobbeFritz Fine Art in Santa Fe. A lecture by Burgess precedes the opening the evening before at the Inn and Spa at Loretto, and includes dinner. Giacobbe-Fritz Fine Art,


Nocona Burgess paints soul into the very real people he portrays. “In a way, when I paint them, the subjects speak to me, and I get to know them.”

the next generation Fe r na ndo Be na lly ble nds fa m i ly i nflue nc e s in to hi s con t e mpora r y je w elr y by Don na Sc hi l l i ng e r p hoto g rap h s by St ep h e n L a ng

Navajo jeweler Fernando BENALLY is a family man—to which he owes a great deal of his success. When his amazing talent was very nearly lost to a career in retail, his uncle Ernest Benally rescued Fernando, offering him an apprenticeship. “I began by buffing jewelry, cutting cabs, stamping and soldering silver,” say Benally. Two of his mother’s other siblings, Uncle Chester Benally and Aunt Rita BenallyYbarra, helped Fernando develop his skill in silversmithing and inlay. Twenty years later, Benally has a style all his own, which incorporates precious gems and gold in a more clean and contemporary look featuring traditional symbolism. “I have learned that people connect with symbols,” he says. His design themes are based on personal ceremonial experiences with his medicine-woman grandmother, Lupe Benally. Also a leatherwork artist, Lupe’s established clientele and rapport with the community has benefitted her artist children and grandchildren. “She set everything in motion for the rest of us. She’s a pioneer,” says Benally, who is the featured artist this summer at Authentic Traditions Gallery.

Fernando Benally’s jewelry designs arise from his own talent molded by family instruction over the years.

“I began [my apprenticeship] by buffing jewelry, cutting cabs, stamping and soldering silver,” says Benally.

Authentic Traditions Gallery, 66 E San Francisco,

santa fean

native arts

Windsor Betts Art Brokerage House

Acclaimed painter Kevin Red Star grew up on the Crow Indian Reservation in Lodge Grass, Montana. He was one of 150 students selected for the initial classes at the Institute of American Indian Arts in Santa Fe, where he explored his innate talents. At IAIA, he learned about the differences between his own Raven people and other tribes, which fine-tuned his aesthetic. Today, he continues to draw upon Crow legends—those his father and uncles would tell around the living room stove when he was younger—in his paintings. “I keep it Crow, because that’s what I know,” he says. He depicts this culture in stylized portraits and with traditional elements such as teepees in the snow, warrior ponies, and shields. His work is among the permanent collections of the National Museum of the American Indian, the Denver Art Museum, and the Whitney Western Art Museum.—Ashley M. Biggers

Kevin Red Star, Dancers (The Red Star Brothers), acrylic on canvas, 84 x 72"

True West of Santa Fe

Santa Fe silversmith Tim Herrera may have entered the Institute of American Indian Arts as a two-dimensional artist, but with jewelry tools laid out before him, he took quickly to the art. It was in his blood; his grandfather was a jeweler. Today, Herrera blends traditional and modern techniques to create traditional Southwestern pieces—he uses fabrication, tufa, and cuttlefish casting, and cuts his own stones to fashion bolos, necklaces, and rings. In 2012, his work earned him a fellowship at the Wheelwright Museum of the American Indian. In August, he’ll exhibit at both Santa Fe Indian Market and the Indigenous Fine Art Market. True West of Santa Fe represents his work year-round.—AMB

Andrew Rodriguez, Young Antelope, terra-cotta clay with patina copper accents, 29 x 14 x 8" TrueWestSF

Tim Herrera, Tufa Cast Bolo Tie, silver, 18-kt gold, leather, natural Bisbee turquoise, and inlaid angel skin coral, opal, and sugilite.

The Longworth Gallery

Andrew Rodriguez credits legendary New Mexico sculptor Allan Houser with inspiring him to develop his own style. “I took two classes with him at IAIA,” says Rodriguez, a Laguna Pueblo artist who is known for his bas relief sculptures, which are shown at The Longworth Gallery. “He always came to my shows and supported my work.” Rodriguez’s figures emerge out of his terra-cotta clay sculptures, which focus on Native American culture and imagery. “I try to capture the essence of the Native American belief that everything around us transcends into the spiritual,” he says. An awardwinning artist who earned his BFA from the University of New Mexico and now lives in Albuquerque, Rodriguez has received many honors for his work from the Southwestern Association for Indian Arts (SWAIA).—Emily Van Cleve 60

Robert Nichols Gallery Born to a Chemehuevi father and a GermanIrish mother, photographer Cara Romero honed her skills at the Institute for American Indian Arts and Oklahoma State University. Her photos, which can be seen at Robert Nichols Gallery, combine a fine-art approach to images with a documentary style of working. She’s interested in social commentary and examining modern culture from her Native American vantage point. “My work is meant to be experienced from a multiverse of perspectives and invites viewers, mainstream and connoisseurs of Indian art alike, to enter into its nuanced visual architecture with an open mind,” says Romero. Romero is currently the director of the Indigeneity program for Bioneers, a nonprofit educational organization in Santa Fe dedicated to environmental and social change.—EVC

Cara Romero, The Last Indian Market, archival pigment print, 21 x 72"

Little Bird at Loretto

Michael Horse, Kachina Bracelet, sterling silver and #8 turquoise, 3 x 2.5"

Known as an accomplished actor, Michael Horse (Yaqui) is also a skilled jeweler and painter whose work is shown at Little Bird at Loretto. A jeweler for more than 30 years, Horse creates rings, bolos, earrings and pendants that blend traditional katsina jewelry styles from the 1940s with a contemporary aesthetic. His ledger art, which is inspired by the traditional art of painting on buffalo hide, scraps of paper, and old letters, features vivid scenes filled with traditional symbols. Horse likes to paint with richly saturated colors found in watercolor sets that are at least 50 years old. “Everybody talks about Native tradition,” he says, “but part of the tradition is to learn and grow as an artist, and that’s really important to me.”—EVC

Niman Fine Art

Dan Namingha, Points Connecting, acrylic on canvas, 48 x 68"

Niman Fine Art celebrates its 25th year in business with an exhibition featuring the work of gallery founder Dan Namingha (Tewa-Hopi) and his two sons, Arlo and Michael. In 1990, Dan Namingha was a well-established artist showing his work out of his home studio when he decided to open a gallery on Lincoln Avenue. He chose to call the new gallery Niman, which means ‘returning home’ in Hopi. Initially, the gallery occupied 1,000 square feet, but within a few years it expanded to nearly four times that space. Namingha’s colorful abstract and representational paintings are featured alongside the sculptures of Arlo, who works in wood, clay, stone, and bronze, and the conceptual artworks of Michael, who creates digital inkjet images.—EVC santa fean

native arts 2015


David Bradley, Tonto’s Hollywood Dream, acrylic on canvas, 36 x 44"

Blue Rain Gallery

Born in Minnesota, artist David Bradley (Chippewa) spent his early years in the Minneapolis area, but left his home state in 1970 to journey through the Southwest and Central and South America. He eventually settled in Santa Fe and studied at both the Institute of American Indian Arts and the College of Santa Fe. For many years his paintings and sculptures have focused on personal relationships and the human condition from a Native perspective. Narrative has been central to his work. Recently, Bradley has been working on a series of completely abstract poured paintings. “I believe an artist should follow their heart and not be afraid to experiment,” says Bradley, whose work is represented by Blue Rain Gallery. “To be an artist is to see truth.”—EVC 62

David Bradley, Moenkopi Maiden, bronze, 17 x 16 x 8"


Rose B. Simpson, To Let Go, ceramic, leather, mixed media, 39 x 20 x 11"

Chiaroscuro Contemporary Art

As well as holding degrees from UNM, IAIA, and Rhode Island School of Design, Santa Clara Pueblo artist Rose B. Simpson just completed an automotive science program at Northern New Mexico College. “Growing up in Española, the car was more than utilitarian; it was also an aesthetic experience,” she says. From paint and bodywork to engine swaps, Simpson does complete auto customization. She is a poet, lecturer, and caretaker of a permaculture site at her Pueblo, and plans to join IAIA’s creative writing program this fall. The mixed-media ceramic artist is represented by Chiaroscuro in Santa Fe, where her recent SITE Santa Fe installation of two totemic nine-foot figures, called Alter, is displayed. This summer, she has a collaborative show with Virgil Ortiz to deconstruct gender stereotypes in fashion, at the Museum of Contemporary Native Arts.—Cristina Olds





Kim Obrzut, Messenger, bronze, 33 x 14"

Greg Overton, Ghost of Wounded Knee, oil, 84 x 48"

Mountain Trails Fine Art Greg Overton has been creating Western art since elementary school, when he emulated the works of Charles M. Russell and Frederic Remington. He’s particularly fascinated with the history of Native American warriors and does extensive research, studying tribal histories and old photos for all his paintings to understand his subjects and maintain authenticity in his work. He frequently attends powwows and Native American ceremonies. Many of his paintings are based on historical figures such as Sitting Bull, Red Cloud, and Geronimo. Native American friends serve as models. “I’m so inspired by these warriors,” says Overton, whose work is shown at Mountain Trails Fine Art.—EVC

Cody Sanderson, Double Dragon Back Cuff Bracelet, sterling silver

The Signature Gallery

Bronze sculpture has been a satisfying medium for Kim Obrzut (Hopi), who grew up in Arizona and began her art career painting figures on rocks that she found. She started sculpting Hopi maidens more than 20 years ago and is still fascinated by women’s important role in Hopi society. “Not only do my sculptures reflect the history of the Hopi people, they transcend the traditions of an ancient people into an ancient art form of bronze,” she says. Obrzut, an awardwinning artist who is represented by The Signature Gallery, has had her work featured in national magazine articles and books about Southwestern art. “My work seeks to capture and symbolize the spirit of my Hopi culture,” she says.—EVC

Sorrel Sky Gallery

Contemporary Navajo jeweler Cody Sanderson finds inspiration for his works in his children’s toys and from people on the street. “My pieces are not serious, religious, or political,” he says, “but they are a good time, and I enjoy making them.” Sanderson has shown his silver bracelets, necklaces, and rings at the Santa Fe Indian Market since 2002, and is represented in Santa Fe by Sorrel Sky Gallery. “Like many artists or anyone who creates, I have ideas that [lie] dormant until something sparks my memory and I am able to incorporate that idea into a physical form,” Sanderson says. Among other accolades, in 2008 he won Best in Show at the prestigious Heard Museum Guild Indian Fair and Market for a sterling silver Rubik’s Cube.—CO 64

Doug Hyde, Spring and Autumn, bronze, 22 x 10 x 7"

The Rainbow Man Since 1945

Antique & Contemporary Native American Jewelry Pottery Folk Art Original Photographs Photogravures Goldtones by Edward S. Curtis Vintage Mexican Jewelry Collectible Hispanic Folk Art and Fine Crafts Featuring Painting by Tom Russel Folk Art by Ron Archuleta Rodriquez Jewelry by Angie Owen, Steven Tiffany, Greg & Dyaami Lewis, Jennifer Jesse Smith


Born in Oregon of Nez Perce, Assiniboine, and Chippewa ancestry, Doug Hyde graduated from the Institute of American Indian Arts in the 1960s when it was still a high school and he was just 17. He studied sculpture there under his mentor and friend, the late Allan Houser, and later became an instructor himself at IAIA. His long and industrious career is filled with awards, and his work is in numerous collections—including two large bronze sculptures at the Smithsonian’s National Museum of the American Indian. He’s currently working on some Portuguese marble pieces featuring leaping salmon that are inspired by childhood memories of the Columbia River waterfalls, where tribal people still gather to fish. “I go to Nez Perce in summer and teach art classes to give back to the tribe,” he says, “and it’s salmon time when I’m there. Salmon’s been an integral part of our diet and culture.” Hyde has been represented in Santa Fe by Nedra Matteucci Galleries since 1973.—CO

Rena de Santa Fe

Nedra Matteucci Galleries

Only in Santa Fe - Only from the Artist

Original paintings, signed prints, limited edition figurines

Studio hours by appointment only (505) 466-4665 santa fean

native arts 2015


Auction Report

going, going, gone! collectors bid on rare pieces of American history by Emily Van Cleve

Indian Market’s closing on August 23 doesn’t have to mean waiting a year for another chance to buy exquisite Native arts. Auction houses around the country offer Native American arts and artifacts on a year-round basis. Santa Fe’s Altermann Galleries & Auctioneers ( hosts its largest auction of the year one week before Indian Market. Featuring 575 items, the August 14 and 15 auction will be the biggest one they’ve ever held and will include pottery by Native American artists Margaret Tafoya, Maria Martinez, and Tammy Garcia as well as traditional Western paintings and sculptures by living and deceased artists. Owned and operated by the father-and-son team of Tony and Richard Altermann, the business schedules annual auctions of Native American and Western materials in August and November in Santa Fe and in April in Scottsdale, Arizona.

From Cowan’s Auctions Meriwether Lewis’s Tomahawk. Circumstantial evidence suggests this tomahawk accompanied Lewis during his famed exploration up the Missouri River to the Pacific Ocean and back (1804–1806).

A Sioux horn elk effigy ladle. Estimate $6,000–$9,000.

An Upper Missouri River quilled and beaded war shirt. Estimate $250,000–$350,000.

Established auction houses offer rare historical artifacts and art treasures throughout the year. Cowan’s Auctions (, an Ohio-based firm that is celebrating its 20th year in business, has been specializing in Native American materials and Western paintings, sculpture, and prints since its founding. Cowan’s offers major auctions of Native American items each April and September (online September 11–21; live on September 25 in Cincinnati). Recently, the auction house arranged the private sale of the tomahawk belonging to the famous American explorer Meriwether Lewis for an undisclosed price. Weapons, beadwork, gar-


ments, blankets, poetry, basketry, moccasins and jewelry are among the goods sold through Cowan’s. Bonhams (, established in London in the 1790s, is preparing for a special auction of items from the collection of French horse trainer Mario Luraschi, who has visited Santa Fe on numerous occasions to purchase Native art. Among the 125 lots in the September 14 auction in San Francisco are two mid-19th-century items: an Upper Missouri River war shirt estimated at $250,000 to $350,000 and a three-foot long Great Lakes or Woodlands calumet (smoking pipe). Bonhams usually sells Native American materials in its San Francisco auctions during the months of June, September, and December. Headquartered in Dallas, Heritage Auctions ( offers auctions of Native American materials in November (November 14 this year) and May. Expect to find everything from Eskimo pieces and Navajo weavings to Plains and Eastern Woodlands artifacts. Select items also are available through their regular online auctions, which attract more than 900,000 potential clients. One of the company’s most exciting sales took place several months ago when a collector paid $137,000 for a beaded Crow cradleboard (circa 1890) that had been sitting in a private collection for many years.

From Altermann Galleries & Auctioneers: Margaret Tafoya Black Pot, ceramic, 15.5 x 13 x 13". $12,000–$16,000.

Crow beaded lance case. Estimate $20,000–$30,000.

Ute beaded shirt. Estimate $80,000– $120,000.

From Heritage Auctions: A rare Crow beaded hide cradleboard, ca. 1890. Sale price: $137,000.

santa fean

native arts 2015



o p e n in gs | re vie ws | pe opl e

Bruce King: Paint in Motion Waxlander Art Gallery & Sculpture Garden, 622 Canyon Road, August 18–August 31, reception August 21, 5–8 pm Bruce King, Into the Beartooth Pass, oil on canvas, 36 x 48"


Movement and improvisation are important elements in Bruce King’s paintings. The subjects of these dreamlike works, which hover in the world of abstract, are rooted in the traditions of Native Americans and have evocative titles such as The Edge of the Hunting Grounds, Running the Herd, and Searching For Signs of Game. King’s paintings are part of the Institute of American Indian Arts’ collection.—Emily Van Cleve

John Nieto: A Force of Color and Spirit Ventana Fine Art, 400 Canyon, August 21–September 9, reception August 21, 5–7 pm “I paint Native American themes so I can step back in time and shine some light on those people, that culture,” says John Nieto, whose painting Delegate to the White House is included in the late Ronald Reagan’s presidential library. “Through my artwork, I hope to show their humanity and their dignity.” Nieto’s solo show at Ventana Fine Art showcases the 79-year-old artist’s latest work.—EVC

Caroline Carpio, Sedona, bronze, 6 x 8”

Caroline Carpio: Gifts from the Earth Greenberg Fine Art 205 Canyon August 21–September 3 Reception Aug. 21, 5-7 pm Isleta Pueblo native Caroline Carpio takes the time to gather, soak, and strain her own clay and mix it with a blend of volcanic ash before she begins to sculpt traditional vessels and figures. “I love pushing a traditional motif into a sculpture, bringing it to life,” says Carpio. “I depict a lot of rain spirits in my work, the spirit being pouring the water over the earth cleansing everything.”—EVC

John Nieto, And Then Two Moons Appeared in the Sky, acrylic, 40 x 30"

John Nieto And Then Two Moons Appeared in the Sky 40" x 30" Item #17000 Acrylic $20,000

Indian Market Receptions Robert Nichols Gallery, 419 Canyon, Alan E. Lasiloo: August 19, 3–6 pm Cara Romero and Diego Romero: August 20, 4–7 pm Glen Nipshank: August 21: 2–5 pm Robert Nichols Gallery celebrates 35 years of representing Native American artworks by hosting three receptions with work by four artists. Alan E. Lasiloo gives a pottery demonstration while showing new work. Photographer Cara Romero displays some of her recent images alongside her husband Diego Romero’s contemporary pottery, which is created with ancient motifs. Glen Nipshank’s organic forms made out of white clay seem to invite the viewer to touch them.—EVC Diego Romero, Golfer, clay, 12" diameter Reception for Dyani White Hawk & Sonwai (Verma Nequatewa) Shiprock Santa Fe, 53 Old Santa Fe Trl, August 20, 2–4 pm Lakota artist Dyani White Hawk incorporates traditional bead and quillwork into her paintings. “Through the amalgamation of abstract symbols and motifs derivative of both Lakota and Western abstraction my work examines, dissects, and patches back together pieces of each to provide an honest representation of self and culture,” says White Hawk, who shares a reception with Hopi jeweler Sonwai (Verma Nequatewa), the niece of Charles Loloma.—EVC

Indian Market Show The Signature Gallery, 102 E Water, August 21–23, reception August 21, 4–9 pm Enjoy the latest works from The Signature Gallery’s represented artists at the three-day gala reception. New paintings by Bette Ridgeway, Malcolm Furlow, and Charles Pabst are on display, as are sculptures by artists including Kim Obrzut, Jason Napier, and Sally Fairfield. The gala event, an annual gallery tradition, offers a meet-and-greet opportunity with the artists.—EVC

Malcolm Furlow, Red Hawk, acrylic, 40 x 60" santa fean

native arts 2015




native arts


A Plateau Beaded Wool Shirt | Estimate: $15,000-$20,000

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Joe Wade Fine Art Roger Williams, Diné Moon, oil, 30 x 24" Joe Wade Fine Art, Santa Fe’s premier art gallery since 1971, offers an extensive collection of emerging, established, and acclaimed artists’ work. The gallery, located one block south of the historic Santa Fe Plaza, in El Centro, showcases a varied selection of original paintings and bronze sculptures yearround. Open Monday–Saturday 10 am–5 pm and Sunday 10 am–4 pm. 102 E Water St, 505-988-2727,

Southwest Accents

The Torres Gallery Robert Rivera, Yellow Eye Kachina Mask, gourd, 17 x 13" Robert Rivera challenges the boundaries of gourd art by continually evolving and creating new and innovative art pieces from the lowly gourd with his interpretations of ancient and present cultures. Also featuring Yellowman, Dyanne Strongbow, George Down, Cheryl Lewis, Patrick Archuleta, and Marcia McEachron. 102 E Water St, El Centro Galleries 505-986-8914,


J.B. Moore, Crystal Rug c. 1915, 57 x 100" Southwest Accents offers a unique collection of fine Navajo weavings. Visit Booth #41 at the Whitehawk Indian Show, August 16–18. View the De Jong Collection at Also by appointment in Santa Fe. 505-983-0084

Gratitude in the Cornfield # 3 by Shonto Begay

AUGUST The Marvin and Betty Rubin Collection of 20th Century Native Arts Opening Reception Monday August 10 4 to 7 pm

221 Canyon Road Santa Fe 505.955.0550


Wheelwright Museum

704 Camino Lejo, Santa Fe, NM 87505 • 505-982-4636 or 1-800-607-4636



40 Annual th

Benefit Auction

jewelry, pottery, textiles, baskets, and folk art

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Offsite parking and free shuttle from St. John’s United Methodist Church at Old Pecos Trail and Cordova Road.

Thursday, August 20

Friday, August 21

Silent Auction and Live Auction Preview 4:00 p.m. – 6:00 p.m.

Collectors’ Table 10:00 a.m.

Cum Edison

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Funded in Part by a Gift from

Live Auction Preview 10:30 a.m. – 12:30 p.m.

Live Auction 1:00 p.m. – 4:00 p.m.

santa fean

native arts 2015


| D AY T R I P |

Pecos National Historical Park

Just 25 miles east of Santa Fe, the Pecos National Historical Park boasts a cultural cross-section of ruins and an informative visitors’ center detailing the significance of the place. Once a significant gateway for trade and travel through the southernmost Rocky Mountains, the 350-square-mile Pecos Wilderness is home to more than just towering peaks, spectacular waterfalls, and a myriad of wildlife. The Plains Indians, Pecos Puebloans, and Spaniards all passed through and lived at this crossroads where original pueblo foundations, reconstructed kivas, and mission churches still stand. By the mid-1400s, the economically powerful settlement supported 2,000 inhabitants who lived in four-story structures along a quarter mile of ridgeline. Spanish Franciscans angling to convert Indians to Christianity built missions and lived alongside the tribes until the Pueblo Revolt of 1680; by the mid-1700s the community declined as a result of disease, Comanche raids, and migration. Visitors can walk a paved path among the many ruins and relive a piece of New Mexico’s unique history and culture, guided by interpretive signage and a little bit of imagination.—Cristina Olds


Susan Holmes, Director/ Daughter

Jose Manuel Lopez Sr, Father

The True Look of Santa Fe Palace Jewelers at Manitou Galleries 123 W Palace Ave 505.984.9859

Blue Rain Gallery’s Annual Celebration of Contemporary Native American Art August 19 – 23, 2015

M AT EO R O M E R O New Landscape Paintings Exclusively at Blue Rain Gallery Artist Reception: Thursday, August 2oth from 5 – 8 pm

Mesa River Rain, oil on panel, 36" h x 48" w

Blue Rain Gallery|130 130 Lincoln Avenue, Suite CSanta Fe, NM 87501 | 505.954.9902 | Blue Rain Contemporary|7137 East Main StreetScosdale, AZ 85251 | 480.874.8110

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Native Arts 2015 Digital Edition  

Native Arts 2015 Digital Edition published by Santa Fean Magazine

Native Arts 2015 Digital Edition  

Native Arts 2015 Digital Edition published by Santa Fean Magazine

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