native arts 2012
BREAKING the RULES A 20 year retrospective on the work of Margarete Bagshaw Opens February 12, to December 31, 2012
Museum of Indian Arts & Culture
photo by Toba Tucker
710 Camino Lejo off Old Santa Fe Trail, Santa Fe, NM, 505-476-1250
BREAKING the RULES After seeing Margareteâ€™s Show, Visit...
GOLDEN DAWN GALLERY 3 Generations of Painting History Margarete Bagshaw Helen Hardin (1943 - 1984) Pablita Velarde (1918 - 2006) 201 Galisteo St., Santa Fe, New Mexico 87501 - 505-988-2024 - www.goldendawngallery.com Exclusive Estate Representative for Helen Hardin and Pablita Velarde
GG OO LL DD EE NN DD AA W N G A L L E R Y WN GALLERY
Important Women Important Women Important Artists Important Artists Important Stories Important Stories
3 Must Read Books 3 Must Read Books
.“Pablita Velarde: In Her Own Words” .“Pablita Velarde: In Her Own Words” by: Dr. Shelby J. Tisdale by: Dr. Shelby J. Tisdale
.“Helen Hardin: A Straight Line Curved” .“Helen Hardin: by: Kate NelsonA Straight Line Curved” by: Kate Nelson
.“Teaching My Spirit To Fly” .“Teaching My Bagshaw Spirit To Fly” by: Margarete by: Margarete Bagshaw
33 book set book set Release date: August 17, 2012 - (orders now being taken) Release date: August 17, 2012 - (orders now being taken) 201 Galisteo St., Santa Fe, New Mexico 87501 - 505-988-2024 - www.goldendawngallery.com 201 Galisteo St., Estate Santa Fe,Representative New Mexico 87501 505-988-2024 - www.goldendawngallery.com Exclusive for-Helen Hardin and Pablita Velarde Exclusive Estate Representative for Helen Hardin and Pablita Velarde
bruce King bruce King bruce King Life rhythms bruce bruce King King Life rhythms Life rhythms LifeLife rhythms rhythms
“the Kit fox” 48 x 36 oil “the Kit fox” 48 x 36 oil “the Kit fox” 48 x 36 oil “the Kit “thefox” Kit fox” 48 x 36 48 x oil 36 oil
exhibition dates august 14 through august 27 exhibition dates august 14 through august 27 exhibition dates august 14 through reception for the artist friday, august 17august 5 pm - 727 pmpm reception fordates the artist friday, august 17 5 pm exhibition exhibition dates august august 14 through 14 through august august 27- 7 27 reception for the artist friday, august 17 5 pm - 7 pm reception reception for for the the artist artist friday, friday, august august 17 5 17pm 5 pm - 7 pm - 7 pm
622 canyon road
santa fe, nM 87501
• 622 canyon road • santa fe, nM 87501 Waxlander Gallery Waxlander Gallerywaxlander.com 622 canyon road • 505.984.2202 • santa fe, nM 87501 waxlander.com 505.984.2202 Waxlander Gallery 622waxlander.com canyon 622 canyon road road fe, nM fe, nM 8750187501 • • santa • santa • 505.984.2202 Waxlander Waxlander Gallery Gallery waxlander.com waxlander.com celebrating twenty-eight Years of excellence • 505.984.2202 • 505.984.2202
celebrating twenty-eight Years of excellence celebrating twenty-eight Years of excellence celebrating celebrating twenty-eight twenty-eight YearsYears of excellence of excellence
THOM ROSS PRESENTS AN ExCLuSIvE CELEBRATION
The Arizona-New Mexico Centennial Show Artist Party and Reception, Saturday, August 11 th, 5 - 7:30
Thom Ross “Santa Fe Sheriff” Acrylic on Canvas, 22 x 36”
original centennial art by Thom Ross, Bob Boze Bell, Amy Watts, Tara Roberts and Maurice Turetsky. Plus centennial guest speakers: Paul Hutton, Johnny D. Boggs, and Ollie Reed Jr. Join the party!
there’s the New West, then there’s the True West, and now there’s Due West.
DueWestGallery Named BEST WESTERN ART GALLERY by True West Magazine
Info@DueWestGallery.com 505-988-1001 217 W. San Francisco Street, Santa Fe, NM
THOM ROSS PRESENTS
Live with a legend . . . each with a story to tell. Contemporary steel cutouts to enhance your Fine Art collection
Opening Saturday August 11TH, Reception 5:00 - 7:30 Join us during the opening for a one-on-one experience with the artist.
there’s the New West, then there’s the True West, and now there’s Due West.
DueWestGallery Named BEST WESTERN ART GALLERY by True West Magazine
Info@DueWestGallery.com 505-988-1001 217 W. San Francisco Street, Santa Fe, NM
THOM ROSS PRESENTS
TARA ROBERTS Ride the trail with Navajo women on their way to the trading post. Exquisite Taos Red Mica clay pot, hand crafted and incised by a Native American descendent and award winning potter
Tara Roberts “Women on the Way to the Trading Post”, Taos Red Mica Clay, 11 x 9”
Opening Reception, Friday Aug17th, 5:00 - 7:30
there’s the New West, then there’s the True West, and now there’s Due West.
DueWestGallery Named BEST WESTERN ART GALLERY by True West Magazine
Info@DueWestGallery.com 505-988-1001 217 W. San Francisco Street, Santa Fe, NM
F R A N K B U F FA L O H Y D E S K N D N S | N At i v E A m E R i c A N S O N F i L m AUGUST 3 - AUGUST 27, 2012
OpenInG R ecepTIOn AU G U S T 3 5- 7
LEgE n ds san ta fE I 125 LInCOLn aVEn UE I sa nta fE nEW MEX ICO 87501 LEgE nd ssa nta fE.COM I 505 983 5639 HO T HO T HE AT
A cryli c O N cA N VA S
2 4 x1 8 ”
Museum of Indian Women in the Arts “Celebrating and Educating About All of the Art Genres of Native Women Throughout North America”
Our New Home
213 Cathedral Place, Santa Fe, NM Opening Summer 2012 For more information please contact: 888-455-4369 or info@PVMIWA.org www.PVMIWA.org
Full Moon on the Palo Duro 30 x24 Oil
Pueblo Dancer 16x12 Oil
Robin J. Laws
Annual Indian Market Weekend Show Opening Reception Friday, August 17 5 to 7 pm
Swat Team Ed. 30 Bronze
El Centro 102 E. Water Street Santa Fe, New Mexico 87501 505.988.2727 email@example.com www.joewadefineart.com
Come join us for a Reception at the El Dorado Hotel on Friday, August 17th, 2012 from 6pm to 9pm for the Santa Fe Indian Market. Cocktails and hors dâ€™oeuvres
Wearable Art from Award-winning Silversmiths Tom Taylor CusTom C r e a t i n g a n u n f o r g e t t a b l e m y s t i q u e
www.TomTaylorBuckles.com 108 East San Francisco Street Santa Fe, New Mexico 505.984.2232
D a n i e l Wo r c e s t e r
Booth 329 FR-N
580-504-8602 â€˘ firstname.lastname@example.org
Collectors’ Sale Collectors’ Sale Collectors’ Sale Collectors’ Sale
A unique sale of Native American art from the homes of top collectors! Pottery, jewelry, textiles, paintings, baskets, carvings – old and contemporary – ﬁnd your own treasure!
Saturday, Sept. 15 – Sunday, Sept. 16 Photos by Carol Franco
Early Birds: Saturday only, 9-10 am, $10 Saturday & Sunday, 10 am – 4 pm, admission free Santa Fe • Museum of Indian Arts & Culture Beneﬁts the Museum of Indian Arts & Culture www.nativetreasures.org
FROM CLASSIC TO CONTEMPORARY, FROM EMERGING TO ESTABLISHED
MUSEUM-QUALITY NATIVE AMERICAN ART SHOW
MEMORIAL DAY WEEKEND • MAY 25–26, 2013 • Santa Fe Convention Center Over 200 of the best Native American artists • Beneﬁts the Museum of Indian Arts & Culture www.nativetreasures.org
Thank you to our lead sponsors
Dobkin Family Foundation © Jennifer Esperanza
DA N N A M I N G H A
Solstice #17 Acrylic on Canvas 40” X 40” Dan Namingha ©2012
Sinless and Perfect (Chimayo Series II) Inkjet on Paper 30” X 21½” Michael Namingha ©2012
A R LO N A M I N G H A
Balance #4 Indiana Limestone 18” X 7” X 7” Arlo Namingha ©2012
Ar tists Reception Friday August 17, 2012 5:30–7:30pm 125 Lincoln Avenue • Suite 116 • Santa Fe, NM 87501 • Monday–Saturday, 10am–5pm 505-988-5091 • fax 505-988-1650 • email@example.com • namingha.com
Poteet Victory Indian Market Weekend • Friday, August 17, 2012 • 5 to 7pm
M cLarry M o d e r n www.mclarrymodern.com
225 Canyon Road • Santa Fe, New Mexico • 505.983.8589 • firstname.lastname@example.org “Blue Yei” • 60” x 44” • Oil on Canvas
native arts magazine
The Premier Issue 2012
24 Publisher’s Note DOUGLAS MERRIAM
35 Up Front
Larry Littlebird’s Spaceport connection, Native cuisine, new art books, and more
Tammy Garcia adds detail to one of her exquisite clay pots
40 Museum Spotlight Regional museums feature world-class Native American art exhibitions
54 Celebrating Women in the Arts A new Santa Fe museum honors trailblazing Santa Clara painter Pablita Velarde and other female Native artists
57 Masters of Art Tammy Garcia, Kevin Red Star, and eight other stars on the scene
68 Pieces of the Past Collectors turn to Adobe Gallery’s Al Anthony for beautiful Pueblo pottery and to the auction circuit to find an array of Native American art
75 Exhibits Gallery show previews
82 Events Goings-on around town
84 Day Trip Petroglyph National Monument
Pablita Velarde, Fertility Goddess, earth pigment on masonite, 11 x 10"
Auctions are a popular resource for collectors looking to buy Native American art
COURTESY OF Bonhams
Norfolk pine vessel by Nathan Hart
photo: James Hart
Santa Fe Indian Market booth: 209 PAL-N 505-670-6532 â€˘ email@example.com
lita Velarde (1918 - 2006)
en Hardin (1943 - 1984)
tions of WOW!
co 87501 - 505-988-2024 - www.goldendawngallery.com
ative for Helen Hardin and Pablita Velarde
ON THE COVER
Margarete Bagshaw Water Signs oil on Belgian linen, 48 x 48" Courtesy of Golden Dawn Gallery.
Welcome to the premier issue of Native Arts magazine, a special supplement to the Santa Fean. We created Native Arts because we saw the need for an independent publication that could address the interests (and passions) of readers who crave more information than is currently available when it comes to established and legendary Native American artists. In addition, we felt a need to provide more information about the important museums in this region that serve the Native American art community. The Wheelwright Museum of the American Indian, the Museum of Indian Arts and Culture, and the Museum of Contemporary Native Arts, all in Santa Fe; the Heard Museum, in Phoenix; and the Fred Jones Jr. Museum of Art, in Norman, Oklahoma, all support the preservation and celebration of Native art, and each has many supporters in the art-collecting community. I first learned about Native American art as a child attending the annual Gallup Inter-Tribal Indian Ceremonial with my parents. I was impressed and fascinated by the symbols, techniques, and materials used in the Navajo, Zuni, and Hopi jewelry my mother loved—no trip was complete without several big jewelry purchases. Decades later, with a greater understanding of Native American culture and spirituality, I am better able to appreciate the significance of traditional Native art forms. What I most love about Native art is that the wisdom it represents is seldom obvious. As a non-Native, I am challenged to learn its lessons. The art’s beauty is easy to appreciate; its deeper meanings are not. As you peruse the pages of Native Arts, I hope you’ll look beyond the beautiful imagery to the spiritual qualities that shine from within each work, old or new. Art by amazing Native artists can feed your spiritual core. I encourage you to include it in your life.
This Sioux warrior’s shirt, ca. 1890, sold for $53,775 at a recent Heritage Auction sale. Read more about American Indian art auctions on page 66.
courtesy of Heritage Auctions
ANNUAL OPE NING E VENT SAT URDAY AUGUS T 11, 5 – 7 P M SHIPROCK SANTA FE L EC TURE SERIE S Friday, August 17, 2 pm
Navajo Weaving: Sharing the Technique and Tradition Presented by Weaving Expert SUSANNE CL ARK RSVP Required
PERRY SHORTY HEIDI BIGKNIF E TERI GREEVES JARED CHAVE Z JESSE MONONGYE SON WAI NORBERT PE SHL AK AI CODY SANDERSON REBECCA BEGAY RICHARD CHAVE Z RAY LOVATO DENISE & SAMUEL WALL ACE KERI ATAUMBI
53 Old Santa Fe Trail Upstairs on the Plaza
CONTEMP OR ARY MASTERWORKS
Laurence Sisson (B. 1928)
native arts magazine
EXECUTIVE EDITOR ASSISTANT EDITOR
GRAPHIC DESIGNER CONTRIBUTING DESIGNER OPERATIONS MANAGER
sybil watson michelle odom
GRAPHIC DESIGN INTERN
Aspen Ridge, Oil on Panel, 30 X 40 Inches SALES REPRESENTATIVES
Celebrating 21 Years Representing Laurence Sisson in Santa Fe
robbie o’neill, david wilkinson HOME+DESIGN DIRECTOR
gussie fauntleroy, staci golar ben ikenson, alicia kellogg kathleen mccloud, eve tolpa barbara tyner, nancy zimmerman PHOTOGRAPHERS
douglas merriam, sergio salvador
A PUBLICATION OF BELLA MEDIA, LLC FOR ADVERTISING INFORMATION
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Autumn Echos, Oil on Panel, 36 X 32 Inches
Michael Wigley Galleries, Ltd. Our New LOcatiON: 1101 Paseo De Peralta, Santa Fe, NM 87501 MichaelWigleyGalleries.com • 505-984-8986 • Art-SantaFe.com
Copyright 2012. Reproduction in whole or in part without permission is prohibited. CPM#40065056 Santa Fean (ISSN 1094-1487) is published bimonthly by Bella Media, LLC, 215 W San Francisco Street, Suite 300, Santa Fe, NM 87501. Periodicals postage paid at Santa Fe, NM, and additional mailing offices. Postmaster: Send address changes to Santa Fean P.O. Box 469089, Escondido, CA 92046-9710.
Michael Naranjo: Inner Vision
Retrospective Exhibition Opens September 15, 2012
Nedra Matteucci Galleries 1075 Paseo de Peralta, Santa Fe, NM 87501 505-982-4631 â€˘ www.matteucci.com
A newly published biography with illustrated catalogue raisonnĂŠ is now available.
Com e c e le br at e w i t h us !
Join us as we celebrate the gift of the James T. Bialac Native American Art Collection. Complimentary admission Sept. 22; community celebration Sept. 23, 2012 with artist demonstrations and special programming for visitors at the Fred Jones Jr. Museum of Art. Works also featured at the Sam Noble Museum Oct. 5, 2012 to Jan. 6, 2013. Visit www.ou.edu/fjjma for more information. The University of Oklahoma is an equal opportunity institution. www.ou.edu/eoo For information and accommodations on the basis of disability, please call (405) 325-4938.
Top image: Helen Hardin (U.S., 1943-1984) Winter Awakening of the O-Khoo-Wah (1972) from the James T. Bialac Collection. ÂŠ The Helen Hardin Estate
Right image: Andrew Tsihnahjinnie (U.S., Navajo; 1916-2000) Slayer of Enemy Gods - Nayeinezani (1962) from the James T. Bialac Collection.
Pueblo, 29 x 38.5 inches, 1982, lithograph, edition of 150
Photo © Kim Ashley
Photo © 2011 Kim Ashley
BUILD A RELATIONSHIP THAT LASTS A AND
Call 800-545-6843 or visit our website for information on how you can become a Mentor or Youth Leadership Supporter: www. futuresforchildren.org. If you wish to sponsor a Youth Leadership Program or Mentor a Child, when you contact Futures for Children please mention code: SF0812, and you will receive a free gift.
FUTURES FOR CHILDREN AMERICAN INDIAN
Shop our online store for authentic American Indian merchandise. All Net Proﬁts go to Futures for Children. www.ffcais.com
FUTURES FOR CHILDREN 9600 Tennyson St NE Albuquerque NM 87122-2282 Where Native Youth Become Tomorrow’s Leaders!
INDIAN INDIAN MARkET MARkET SHOW SHOW INDIAN INDIAN MARkET MARkET SHOW SHOW INDIAN INDIAN MARkET MARkET SHOW SHOW August August18-19, 18-19,2012 2012
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A SANTA A SANTA FE TRADITION FE TRADITION A SANTA A SANTA FE TRADITION FE TRADITION 128128 W. PALACE W. PALACE AVENUE • FE SANTA • TRADITION SANTA FE, FE, NEW NEW MEXICO MEXICO 87501 87501 AAVENUE SANTA A SANTA FE TRADITION 128128 W. PALACE W. PALACE AVENUE AVENUE • SANTA • SANTA FE, FE, NEW NEW MEXICO MEXICO 87501 87501 505/983-9219 505/983-9219 •• www.wadlegalleries.com •SANTA 128128 W. PALACE W. PALACE AVENUE AVENUE • www.wadlegalleries.com SANTA FE, FE, NEW NEW MEXICO MEXICO 87501 87501 505/983-9219 505/983-9219 • www.wadlegalleries.com • www.wadlegalleries.com 505/983-9219 505/983-9219 • www.wadlegalleries.com • www.wadlegalleries.com
Other ArtIStS Include: MICHAEL PABST PHILLIP PAYNE TOM DARRAH DENISE IMKE JOURDAN DERN
LARRY RILEY J.R. EASON RANDY O’BRIEN ZANE PALMER KIRK RANDLE
102 E. Water St. Santa Fe, NM 87501
AMERICAN AMERICAN INDIAN INDIAN ART ART AUCTION AUCTION NOVEMBER 10, 2012 I DALLAS I LIVE & ONLINE NOVEMBER 10, 2012 I DALLAS I LIVE & ONLINE
CONSIGNMENT CONSIGNMENT DEADLINE: DEADLINE: SEPTEMBER SEPTEMBER 3 3
ALBUM OF WALTER BONE SHIRT DRAWINGS Sold for OF $298,750 ALBUM WALTER BONE SHIRT DRAWINGS HA.com/643*48091 Sold for $298,750 HA.com/643*48091
SIOUX PAINTED PICTORIAL BUFFALO HIDE ROBE Sold forPAINTED $101,575PICTORIAL BUFFALO HIDE ROBE SIOUX HA.com/643*48096 Sold for $101,575 HA.com/643*48096
NORTHERN CHEYENNE BEADED HIDE BABY CARRIER NORTHERN CHEYENNE BEADED Sold $65,725 HIDEfor BABY CARRIER HA.com/681*77089 Sold for $65,725 HA.com/681*77089
CLASSIC NAVAJO MAN’S SERAPE Sold for $131,450 CLASSIC NAVAJO MAN’S SERAPE HA.com/643*48076 Sold for $131,450 HA.com/643*48076
For Consignment or Bidding Inquiries: For Consignment Bidding Inquiries: Delia E. Sullivan • or 214.409.1343 • DeliaS@HA.com Delia E. Sullivan • 214.409.1343 • DeliaS@HA.com For a free auction catalog in any category, plus a copy of The Collector’s Handbook For a free auction catalog any category, plus copy of The Collector’s Handbook (combined value $65), visitinHA.com/SF24538 oracall 866-835-3243 and reference code SF24538. (combined value $65), visit HA.com/SF24538 or call 866-835-3243 and reference code SF24538.
Annual Sales Exceed $800 Million | 700,000+ Online Bidder-Members Annual Sales Exceed $800 Million | 700,000+ Online Bidder-Members 3500 Maple Avenue | Dallas, Texas 75219 | 800-872-6467 | HA.com 3500 Maple Avenue | Dallas, Texas 75219 | 800-872-6467 | HA.com D A L L A S | N E W Y O R K | B E V E R LY H I L L S | S A N F R A N C I S C O | PA R I S | G E N E VA D A L L A S | N E W Y O R K | B E V E R LY H I L L S | S A N F R A N C I S C O | PA R I S | G E N E VA TX & NY Auctioneer license: Samuel Foose 11727 & 0952360. Heritage Auction Galleries CA Bond #RSB2004175; CA Auctioneer Bond: Carolyn Mani #RSB2005661. 12% - 25%Heritage See HA.com for Galleries details. CA Bond #RSB2004175; CA Auctioneer TX & NY Auctioneer license: SamuelBuyer’s Foose Premium 11727 & 0952360. Auction Bond: Carolyn Mani #RSB2005661. Buyer’s Premium 12% - 25% See HA.com for details.
news and happenings by Sa ma nt h a Sch w i rck
In Contemporary Native American Artists (Gibbs Smith, $50), artist and critic Suzanne Deats explores the importance of contemporary Native art through the work and stories of 16 masters, from jewelers Fritz Casuse and Althea Cajero to potter Jody Naranjo and sculptor Ed Archie NoiseCat. The artists featured are leaders in a new generation of Native artists who combine tradition with innovation. As a group, Deats writes, they demonstrate “the height, breadth, and depth of the reality of Native American art . . . [and] how art mirrors the economic, social, and ceremonial aspects of the cultures of all Native Americans.” Profiles by Deats, along with photos by Santa Fe’s Kitty Leaken, bring each artist’s work to life. Books
books Sculptor Michael Naranjo (Santa Clara) lost his sight in 1968, when he was hit by a grenade while serving in Vietnam. Yet he never let that stop him from creating art. Naranjo’s oeuvre of limitededition bronzes—all finished with a black patina, to represent the way he sees them—is presented in Inner Vision ($60), an inspiring and beautiful look at his career. “His subject matter evolves in a deliberate and visionary line that is singular to his touch, experience, and artistic memory,” writes gallery owner Nedra Matteucci in the introduction. “His stylized compositions invite a tactile understanding that exceeds visual interaction.” Inner Vision is available at bookstores and at Nedra Matteucci Galleries, where a retrospective of Naranjo’s work opens on September 15.
Right: Michael Naranjo, Woman with Towel, bronze, 32"
Navajo painter Rhett Lynch at work in his studio.
KITTY LEAKEN, reprinted with permission by gibbs smith
visions in bronze
native bites According to Nephi Craig (White Mountain Apache/Navajo), executive chef at the Sunrise Park Resort Hotel near Greer, Arizona, contemporary Native American cuisine is especially dynamic today because of its rich and enduring history. “Native American cuisine is a direct result of thousands of years of culinary and cultural evolution in the Americas. Today, it is vibrant, sophisticated, and still constantly evolving,” says Craig, who, as founder of the Native American Culinary Association, will host an indigenous food and culture conference at Sunrise Park from November 5 to 9. In the City Different, you’ll find a contemporary take on Native American dishes at Hotel Santa Fe’s Amaya Restaurant, where dinner items include fresh salmon and elk tenderloin with sides like blue-corn polenta cake and butternutsquash flan. For a more traditional experience, head to the Plaza during Indian Market (August 18–19, 2012), when dozens of Native vendors offer fry bread, posole stew, blue-corn pancakes, and more. Of course, you can also try Native American favorites in your kitchen. Here, Chef Craig shares a recipe that combines corn, beans, and squash (staples known as “the three sisters” in Native cuisine), so you can bring some of his traditions home. RECIPE
Chef Nephi Craig’s Simple Summer Three Sisters Serves 6–8 people This dish has a bright, clean flavor, with a pronounced citrus note cut by the sweetness of the corn and complemented by the earthy flavor and texture of the cooked beans. It’s colorful and delicious. Enjoy! 1 cup cooked navy beans 1 cup cooked Anasazi beans (or pinto/cranberry beans) 1 cup diced zucchini squash 1 cup diced yellow squash 2 cups fresh, roasted sweet corn (2–3 ears of corn) 1 cup diced Roma tomatoes 2 teaspoons chopped fresh thyme ¼ cup roughly chopped Italian parsley 1 lemon 2 tablespoons olive oil To prepare beans: Soak beans overnight in water, then cook until tender in stock or water with a small sachet of herbs and spices (thyme, parsley stems, bay leaf, and peppercorn) and one-half onion tied with butcher’s twine. Remove sachet and onion after cooking. Keep cooked, cooled beans in cooking liquid to keep them moist. To prepare corn: Roast ears of corn in the husk at 350 degrees for 20 minutes. Allow to cool, then cut the corn off the cob and put aside. To prepare the dish: Heat a large sauté pan or cast-iron skillet on mediumhigh. Once the pan begins to lightly smoke, add the olive oil. Add the diced squash and sauté for about two minutes, until slightly tender. Add the corn and drained beans. Heat through. Once the corn, beans, and squash are hot, add tomatoes, herbs, and the juice of half a lemon. Adjust the seasoning with kosher salt and cracked black pepper. You can add more lemon juice if you choose. 36
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native arts 2012
NORMAN AKERS MARLA ALLISON RICK BARTOW JULIE BUFFALOHEAD JOE FEDDERSEN RETHA WALDEN GAMBARO DARREN VIGIL GRAY PHILLIP M. HAOZOUS NATHAN HART JOHN HOOVER ALLAN HOUSER DOUG HYDE FRANK BUFFALO HYDE G. PETER JEMISON TONY JOJOLA BENJAMIN HARJO, JR. ROSEMARY LONEWOLF ERICA LORD
JACOB MEDERS AMERICA MEREDITH ELIZA NARANJO-MORSE NORA NARANJO-MORSE SALLYANN MILAM PASCHALL ALEX PEÑA FRITZ SCHOLDER SARAH SENSE ROSE B. SIMPSON PRESTON SINGLETARY HOKA SKENANDORE JAUNE QUICK-TO-SEE SMITH ROXANNE SWENTZELL KAY WALKINGSTICK WILL WILSON STEVEN YAZZIE TIFFINEY YAZZIE
Steven J. Yazzie (Navajo/Laguna Pueblo), “The Visitor”, oil on canvas, 47” x 47” x 2.5”
7/10/12 12:09 PM
Larry Littlebird SPACEPORT AMERICA; deborah littlebird
space For Larry Littlebird, Spaceport America is about much more than rocketing spacecraft toward the stars. It’s also about sharing New Mexico’s multicultural history with people who will visit the state once the Spaceport officially opens near Las Cruces in 2013. A writer and educator who grew up on the Laguna and Santo Domingo (Kewa) pueblos and now lives in the Ortiz Mountains, Littlebird is working as a consultant with Team Ideas, the Orlandobased communications company that’s developing interactive exhibits for the Spaceport’s three visitor’s centers. “As a Native person in New Mexico, I felt it was only correct that some of the Native perceptions and perspectives should be given a voice in the story that would be told,” says Littlebird, who promotes the preservation of indigenous lifestyles through Hamaatsa, a nonprofit he founded in 2007. Littlebird’s communication skills are also of interest to Team Ideas, which has used storytelling techniques to develop similar visitor materials for places like The Walt Disney Company and the Smithsonian’s National Air and Space Museum. “Culturally, I come from an oral traditional that’s still intact and viable,” he says. “Stories inform and give substance to life and the way that I want to live.” “It would be impossible to tell the story of this part of New Mexico without a Native American understanding and narrative,” says Bob Allen of Team Ideas. “Larry is a great storyteller, and his ability to flesh out this important perspective is his unique gift.” Littlebird says he feels honored to be working on the project, especially because of its implications for the future. “In certain regions of New Mexico, there is an acceptance of one another that has taken place over several hundred years. Now New Mexico has the opportunity to host the world. What are we going to say to the people who come here?” he asks. “We have to take a hard look at ourselves as people who live here—as good neighbors, or as relatives on Earth—and, to me, that’s a positive.”
N AT H A N HART
Santa Fe Indian Market Lincoln Avenue, Booth 785 LIN-W
na t ha nha rt stu d i o. c om
t: 4 0 5 . 8 2 0 . 4 2 6 7
Redwood Burl, 13.75” h x 11.25” dia
Photo by John Jernigan
Museum of Contemporary Native Arts
golden anniversary MoCNA celebrates 50 years of IAIA with a standout exhibition
A rich and multilayered history provides the context for 50/50: Fifty Artists, Fifty Years, opening on August 16 at the Museum of Contemporary Native Arts (MoCNA). The exhibit commemorates the half-century birthday of the Institute of American Indian Arts (IAIA), which the museum is affiliated with. When putting together this exhibition featuring work that was completed at IAIA, MoCNA Curator of Collections Tatiana Lomahaftewa-Singer says she “looked at each [of the last five decades] and ended up showing 10 artists per decade to give a crosssection.” Opened in 1962, IAIA—which notes that it’s “the only four-year degree fine arts institution in the nation devoted to contemporary Native American and Alaska Native arts”—was initially a high school. The school’s first art director, appointed by the Bureau of Indian Affairs, was the Cherokee artist and designer Lloyd Kiva New, who, from the start, promoted the idea of artistic innovation. “The future of Indian art lies in the future, not the past,” he said. “Let’s 40
see that the young Indian realizes the values of his great and wonderful traditions as the springboard to his own personal creative ideas.” The basis of IAIA’s extensive permanent collection, which comprises 7,500 works, is threefold. “For the last 50 years, the institute made a real effort to collect from the [academic] program,” says Lomahaftewa-Singer. As a result, she adds, “we can show career paths of artists.” (Cases in point: Richard Ray Whitman, Tony Abeyta, T. C. Cannon, Kevin Red Star, and Doug Hyde, all of whom have work featured in the show.) IAIA’s archives also grew as instructors acquired visual aids for their students, such as basketry, weavings, and other pieces of traditional Native art. Later, IAIA began reshaping its collection to Above: Hulleah Tsinhnahjinnie, Our Vietnam Neighbors, oil on canvas, 49 x 37". Opposite: Linda Lomahaftewa, Untitled, mixed media, 20 x 15".
Museum of Contemporary Native Arts
IAIAâ€™s first art director, Cherokee artist and designer Lloyd Kiva New, promoted the idea of artistic innovation. 42
encompass a broader spectrum of work, which meant obtaining pieces from artists who weren’t affiliated with IAIA, such as painters Helen Hardin and Pablita Velarde. According to Lomahaftewa-Singer, 50/50 represents a departure for MoCNA. “At the museum, a lot of exhibits show what is current,” she says. “This is more historical. There are works in each decade that speak to the times,” she adds, citing a piece by Anthony Gauthier that addresses the U.S. Bicentennial, a psychedelic piece by Raymond Hamilton, and “trendsetting” beadwork by multimedia artist Marcus Amerman. One of the most exciting elements of the show is what Lomahaftewa-Singer describes as “peers looking at each other”—the sense of lateral influences that young artists receive from fellow students hailing from different tribes, different parts of the country, and different cultural backgrounds. 50/50 is laid out in reverse chronology. Visitors begin by encountering work from the present and make their way backward to reach an end that also points toward the future. And while the show “is not really linear,” Lomahaftewa-Singer says, it is an apt echo of the exhibit’s theme: continuity—“the sustainability,” she adds, “of who we are as a people.”—Eve Tolpa 50/50: Fifty Artists, Fifty Years, August 16–December 31, reception August 16 beginning at 5 pm, Museum of Contemporary Native Arts, 108 Cathedral Place, iaia.edu/museum Below, left: Doug Hyde, Man of Time, wood, 14 x 7". Below, right: Kevin Red Star, Untitled, mixed media, 30 x 40". Opposite: T. C. Cannon, New Mexico Red, acrylic on canvas, 37 x 37".
“50/50 demonstrates the sustainability of who we are as a people,” says MoCNA Curator of Collections Tatiana Lomahaftewa-Singer
a brief history of IAIA Since it first opened its doors in 1962, under the management of the Bureau of Indian Affairs, IAIA has seen its scope and influence grow exponentially over the last 50 years. Originally an arts-centered high school located on the campus of Santa Fe’s Indian School, in 1975 IAIA became a two-year college offering associate’s degrees in studio arts, museum studies, and creative writing. In 1986 IAIA expanded its mission further when it became one of the country’s three sole Congressionally chartered colleges. Six years later IAIA moved its Museum of Contemporary Native Arts to downtown Santa Fe, and in 2000 it relocated its college to its current 140-acre location about a 15-minute drive from downtown. Today IAIA offers bachelor of arts and bachelor of fine arts degrees, and its campus comprises numerous state-of-the-art buildings.
native arts 2012
Fred Jones Jr. Museum of Art
James T. Bialac shares his private collection with the Fred Jones Jr. Museum of Art
Beyond The City Different, the Fred Jones Jr. Museum of Art on the University of Oklahoma campus in Norman, Oklahoma, hosts two important exhibitions opening Saturday, September 22: The James T. Bialac Native American Art Collection: Selected Works and Indigenous Aesthetics: Selections from the James T. Bialac Native American Art Collection. Donated to the museum by the Arizona native in 2010, the Bialac Collection includes more than 4,000 works, spans 100 years of Native culture, and is considered one of the most important private collections of Native American art in the country. “It is an honor to share the James T. Bialac Native American Art Collection with our museum patrons because not only is it an example of the collector’s passion and generosity, but the work represents many of the best artists [from] and the cultural diversity [of] Native America,” says Heather Ahtone, the museum’s James T. Bialac assistant curator of Native American and non-Western art. A collector for almost 50 years, Bialac, who developed relationships with numerous artists through his work as a lawyer, has served as a juror for important exhibitions of contemporary Native art, including Santa Fe’s Indian Market. His collection represents a number of indigenous North American cultures, in particular the Pueblos of the Southwest, the Navajo, the Hopi, and tribes of the Southeast and Northern and Southern Plains. The Bialac Collection includes approximately 2,600 paintings and works on paper, 1,000 katsinas, and 100 pieces of jewelry by major Native artists such as Fred Kabotie, Awa Tsireh, Joe Herrera, Allan Houser, Jerome Tiger, Tonita Peña, Pablita Velarde, George Morrison, Richard “Dick” West, Patrick DesJarlait, and Pop Chalee. Bialac collaborated on the design of Selected Works to ensure the exhibition was a true expression of his passion for Native American art. The multimedia presentation includes paintings, sculptures, katsinas, textiles, and ceramics by such renowned artists as Helen Hardin, Fritz Scholder, Dan Namingha, Michael 44
The Fred Jones Jr. Museum of Art, Norman, Oklahoma, ou.edu/fjjma
The Fred Jones Jr. Museum of Art on the University of Oklahoma campus in Norman.
Kabotie, and Tony Abeyta. Indigenous Aesthetics centers on four themes designed to help the viewer understand indigenous American aesthetics: Space/Place, Ceremony/Ritual, Symbolism/Metaphors, and Identity. “These themes are presented here to serve as a lens through which the art can be understood beyond the decorative surfaces and beautiful motifs,” Ahtone says. In addition to the museum, three other buildings at the University of Oklahoma (the Sam Noble Museum of Natural History, the Donald E. Pray Law Library, and the Charles M. Russell Center for the Study of Art of the American West) will showcase works from the Bialac Collection beginning September 22, totalling more than 40,000 square feet of exhibition space devoted to the items. The Bialac Collection joins the Fred Jones Jr. Museum of Art’s other notable Native and Southwest collections, including the Eugene B. Adkins Collection, which is jointly stewarded with the Philbrook Museum of Art in Tulsa, Oklahoma. Works in the approximately 3,300-object Adkins Collection include paintings, pottery, and jewelry.—Alicia Kellogg The Fred Jones Jr. Museum of Art, 555 Elm, Norman, OK, ou.edu/fjjma
The Bialac Collection includes approximately 2,600 paintings and works on paper, 1,000 katsinas, and 100 pieces of jewelry by major Native artists.
opening weekend The Fred Jones Jr. Museum of Art opens The James T. Bialac Native American Art Collection: Selected Works and Indigenous Aesthetics: Selections from the James T. Bialac Native American Art Collection with free admission on Saturday, September 22, followed by a free community celebration on Sunday, September 23, 1–6 pm. The latter features artist demonstrations by Tony Abeyta, Anita Fields, Ben Harjo, Linda Lomahaftewa, and America Meredith, plus a special performanceby the OU School of Dance with choreography inspired by works from the James T. Bialac Native American Art Collection. Both exhibitions run through December 30.
Above: Andrew Tsihnahjinnie (Navajo), Slayer of Enemy Gods—Nayeinezani, 1962, watercolor on paper, 27 x 20", Fred Jones Jr. Museum of Art, the University of Oklahoma, Norman, James T. Bialac Native American Art Collection, 2010. Opposite: Tony Abeyta (Navajo), Seed Simply Emerging, 2008, mixed media, 65 x 70", Fred Jones Jr. Museum of Art, the University of Oklahoma, Norman, James T. Bialac Native American Art Collection, 2010.
Tommy Wayne “T.C.” Cannon (Kiowa/Caddo), Big Soldier, 1973, linocut, 26 x 22", Fred Jones Jr. Museum of Art, the University of Oklahoma, Norman, James T. Bialac Native American Art Collection, 2010.
The Wheelwright Museum of the American Indian
collecting the Southwest
saluting Mary Cabot Wheelwright, supporter of Native arts and culture Mary Cabot Wheelwright, the Boston-born founder of Santa Fe’s Wheelwright Museum of the American Indian, was both a collector of Native arts and culture and an advocate for preserving it. This summer, to mark the museum’s 75th year, the Wheelwright salutes its founder’s love of New Mexico and her support of other local cultural institutions in A Certain Fire: Mary Cabot Wheelwright Collects the Southwest, an exhibit that runs through April 2013. The exhibit features textiles, metalwork, pottery, and other art from Cabot’s collection that is on loan from places like the School of Advanced Research and the New Mexico History Museum. “We wanted to show how involved she was with other organizations, particularly Spanish Colonial Arts, the Indian Arts Fund, and the New Mexico Historical Society,” says Lea Armstrong, assistant director for the museum and co-curator of the current exhibition. “We hand-picked items that reflect her love of textiles,” Armstrong adds, “including a large weaving that is the result of her work with Cozy McSparron at the Chinle Trading Post to improve weaving and dying methods.” Wheelwright’s interest in traditional Northern New Mexico crafts is evident in the vernacular textiles on exhibit, such as the two Carson colchas, or blankets. “The community of Carson, New Mexico, is most frequently identified with the practice of piecing the backings from old colchas together to form a ‘new’ backing, and then using old yarns unraveled from other sources for the embroidered designs,” says Armstrong, who is working on a biography of Wheelwright. Also on view is a hooked rug made by Celso Gallegos of Aqua Fria Village, who was also known for his embroideries on burlap. “In the 1920s and ’30s,” Armstrong says,
Mary Cabot Wheelwright at Chimayó, 1924, Mary Cabot Wheelwright Collection, Wheelwright Museum of the American Indian. Photo by Addison Doty.
Detail of weaving: Manta (Acoma Pueblo), ca. 1850–1860, 57" wide
This summer, to mark the museum’s 75th year, the Wheelwright salutes its founder’s love of New Mexico and her support of other local cultural institutions in A Certain Fire: Mary Cabot Wheelwright Collects the Southwest, an exhibit that runs through April 2013. “it was not uncommon for older men to begin embroidering textiles, as woodcarving or other occupations became too strenuous.” Wheelwright founded her museum in 1937, in collaboration with her friend Hastiin Klah, a highly respected Navajo singer and weaver, among others. Klah wanted to preserve traditional Navajo religious ceremonies, which were threatened by Christian missionaries as well as by the U.S. government, and he shared the Navajo Creation story and other ceremonial histories with Wheelwright. Known in its earliest days as the House of Navajo Religion and the Museum of Navajo Ceremonial Art, the museum was housed, as it is today, in a building by architect William Penhallow Henderson that was inspired by a hogan, the traditional Navajo octagonal house. It displayed Wheelwright’s collection of weavings, paintings, audio recordings, and other documentation related to Navajo ceremonial traditions, much of it acquired in collaboration with Klah as well as Frances and Arthur Newcomb, who operated a trading post on the reservation near Klah’s home. In 1977, the museum’s board of trustees voted to repatriate several ceremonial items to the Navajo people, who now maintain them at the Ned A. Hatathli Cultural Center Museum at Navajo Community College in Tsaile, Arizona. At that time, the name of Wheelwright’s museum was changed to its current one in honor of its founder and her dedicated efforts to develop a varied collection.—Kathleen McCloud
The Wheelwright Museum of the American Indian’s founder, Mary Cabot Wheelwright, in 1954. Photograph by Laura Gilpin, Mary Cabot Wheelwright Collection, Wheelwright Museum of the American Indian.
Mary Cabot Wheelwright with Hastiin Klah (center) and Clyde Beyal at Northeast Harbor, Maine, ca. 1930, Mary Cabot Wheelwright Collection, Wheelwright Museum of the American Indian. Top right: Sarape (Navajo), ca. 1860–1870, 60" long.
native arts 2012
Museum of Indian Arts and Culture
Over the centuries, horses have acquired an almost mystical appeal among cultures around the world, but nowhere more so than in the American Southwest. And it’s not just the cowboys of the Wild West who have held them in high esteem. The Navajos, or Diné, also came to revere these hardworking creatures as fundamental to their culture’s ability to survive. This summer, Santa Fe’s Museum of Indian Arts and Culture shows us an artistic take on the relationship between the Navajos and their horses in They Wove for Horses: Diné Saddle Blankets, which runs through March 4, 2013. Intricately woven blankets and elaborate headstalls of silver and turquoise, made between 1860 and 2002, reveal not only the artistry and skill of Diné weavers and silversmiths but also the profound influence of the Spanish settlers, who introduced both horses and metalworking to the Native culture. The resulting mix of the beautiful and the Above: Ferenz Fedor, Navajo Woman on Horseback, ca. 1946–1952, courtesy Palace of the Governors Photo Archives. Left: Wyatt Davis, A Navajo Indian and His Mount, ca. 1939, courtesy Palace of the Governors Photo Archives. 48
this page: courtesy of the museum of indian arts and culture. opposite page: blair clark
the art of Navajo saddle blankets
The resulting mix of the beautiful and the utilitarian underscores the adaptability of the Navajo residents, who took to the equestrian lifestyle with an enthusiasm that continues to this day. utilitarian underscores the adaptability of the Navajo residents, who took to the equestrian lifestyle with an enthusiasm that continues to this day. According to museum director Shelby Tisdale, the animal usually associated with Diné culture is the sheep, whose wool the people use to create their renowned weavings. “This exhibit takes a different approach,” she says, “looking at the importance of the horse to their culture. These horse blankets predate the blanket industry, and the Navajo also became very adept at making saddles.” The exhibit’s curator, Joyce Begay-Foss, herself an acclaimed Diné weaver, sees this exhibit as an opportunity to showcase the creative interaction between the Native and Spanish cultures as well as the important role played by horses. “These blankets show you how much of the culture is woven into the pieces,” she says. “When you read about the classic period of Navajo textiles, they leave out mention of horse blankets, but to us they’re very important. The exhibit also gives people a better appreciation for weaving because it shows the process and technique in addition to the finished product—two-faced double weaves, twill weaves of diagonal diamond, and herringbone patterns.” This is the kind of insightful exhibit that the museum specializes in. Founded by anthropologist Edgar Lee Hewett as the Museum of New Mexico in 1909, it merged in 1947 with the renowned Laboratory of Anthropology, which was founded by John D. Rockefeller to study the indigenous cultures of the Southwest. In 1987, the new Museum of Indian Arts and Culture opened adjacent to the laboratory, part of the impressive Museum Hill complex, providing a 31,000-square-foot exhibition facility to display the lab’s growing collections of art and artifacts. Further expansion included the installation of a permanent exhibition, Here, Now and Always, which presents a compelling look at the history of the Native people of the Southwest, as well as the opening of the Living Traditions Educational Center, which adds exhibit space, an event center, a classroom, a docent library, a resource center, and a museum studies center. Among the Museum of Indian Arts and Culture’s other summer exhibitions are Margarete Bagshaw: Breaking the Rules, a collection of vibrantly colored abstract paintings and finely wrought sculptures and pottery created by the Santa Fe–based artist (see story on page 51), and Woven Identities, featuring baskets created by artists from throughout the West and the Arctic. Outstanding permanent displays also include the Buchsbaum Gallery of Southwestern Pottery.—Nancy Zimmerman Museum of Indian Arts and Culture, 710 Camino Lejo, indianartsandculture.org (a) Spider Woman crosses on a tapestry and diagonal twill-weave single saddle blanket, ca. 1880–1890, created with hand-spun wool and three-ply Germantown wool. H.C. Yountz Collection, courtesy of John and Linda Comstock and the Abigail Van Vleck Charitable Trust. (b) Tapestry-weave single saddle blanket, ca. 1930–1940, created with hand-spun wool warp, weft, and aniline dyes. Gift of Ginger Hyland. (c) Diamond twill-weave single saddle blanket, ca. 1890–1910, created with cotton warp and three-ply Germantown yarn. Gift of Henry Dendahl, courtesy of John and Linda Comstock and the Abigail Van Vleck Charitable Trust. (d) Empty center–style tapestry-weave double saddle blanket, ca. 1920–1940, created with hand-spun natural wool warp and weft. Dr. Edgar Lee Hewett Collection, courtesy of John and Linda Comstock and the Abigail Van Vleck Charitable Trust.
d santa fean
native arts 2012
a native point of view contemporary DinĂŠ photographers share their perspectives
Carmen Hunter (Navajo), Lone Stretch (detail), 2009, color digital print, 15 x 28"
opposite page: courtesy of the heard museum. this page, top to bottom: craig smith, courtesy of the heard museum (2)
Back in 1929, when Dwight and Maie Bartlett Heard founded the Heard Museum to house their extensive collection of Indian art and artifacts, Phoenix was still a small town and Native American culture was merely an afterthought in the chronicles of America’s heritage. Eighty-three years later, the depth and beauty of Native America’s contributions to our country’s collective identity have become more fully appreciated, and the Heard Museum has established itself as an important contributor to this broader understanding. With two lovely campuses that comprise 10 exhibit halls, an auditorium, an education center, a performance space, a library, and archives, shops, and cafés, the Heard attracts international acclaim for the quality of its exhibits and the breadth of its research. In keeping with its stated mission to educate people about the arts, heritage, and life ways of the indigenous peoples of the Americas, particularly the tribes of the Southwest, this summer’s offerings run the gamut from historical to contemporary. On the present-day front, Through the Lens: Diné Photographers will be on display through November 25 at the Heard North Scottsdale campus. On loan from the Navajo Nation Museum in Window Rock, Arizona, this groundbreaking exhibit showcases the work of contemporary Navajo photographers and lets viewers see their culture from a different, more personal angle. “After 170 years of being the subject of other people’s photography, the Navajos are now behind the lens to give us their own perspective,” says Janet Cantley, curator of the Heard Museum North Scottsdale. “They explore the landscape, their ties to it, their families, and cultural traditions, as well as some surprising contemporary subjects, like mainstream culture versus Navajo culture, as well as punk rock.” A particularly fun show is Native American Bolo Ties: Vintage and Contemporary Artistry. The exhibit and accompanying book trace the development of the emblematic Southwestern neckwear from its emergence in the Wild West as a symbol of the rugged, less formal lifestyle of the region to its current iconic status as the official state neckwear of Arizona, New Mexico, and Texas. Native American jewelers and silversmiths have helped elevate the humble bolo to an art form via their imaginative and artistic designs, achieving a level of sophistication that would astound the likes of Hopalong Cassidy and Wyatt Earp. Top: Contemporary Navajo artists exhibit their photography at the Heard Museum North Scottsdale in Through the Lens: Diné Photographers, on display through November 25. Middle: A pot by Camille “Hisi” Quotskuyva Nampeyo, daughter of Hopi potter Dextra Quotskuyva, and great-granddaughter of the famous Tewa potter Nampeyo. On display through June 2013 in Elegance from Earth: Hopi Pottery. Bottom: Photograph of leader and war chief Geronimo (Apache) in March 1905 (Carlisle, Pennsylvania), taken by Edward S. Curtis the day before Geronimo marched in President Theodore Roosevelt’s inaugural parade. On display through January 2013 in Beyond Geronimo: The Apache Experience. santa fean
native arts 2012
Other current exhibits include Beyond Geronimo: The Apache Experience, which tells the story of the famous warrior through traditional and contemporary art forms rather than as a military history; Landscape, Form and Light: Namingha Family, highlighting the work of two generations of this acclaimed, Santa Fe–based Hopi family of artists (see story on page 56); and Elegance from Earth: Hopi Pottery, an exceptional collection of pottery from the Hopi masters of the art form. Retha Walden Gambaro: Attitudes of Prayer features dramatic sculpture from an exciting artist who only began her career at age 52, and The Art of Ceremony: American Indian Painting of the 20th Century delves into the power and complexity of Native American rituals as expressed through painting. On March 2 and 3, 2013, Native-art collectors from across the country will gather in Phoenix for the Heard’s Indian Fair and Market. An annual event since 1959, the fair features more than 500 Native artists who display and sell their work, plus Native music, dancing, and cuisine.—NZ The Heard Museum, 2301 North Central Avenue, Phoenix, heard.org Top: Native American Bolo Ties: Vintage and Contemporary Artistry showcases the official neckwear of Arizona, New Mexico, and Texas. The exhibit is accompanied by curator Diana Pardue and Norman L. Sandfield’s book, also titled Native American Bolo Ties: Vintage and Contemporary Artistry (Museum of New Mexico Press). Bottom: The story of the centuries-old Hopi pottery tradition is told in Elegance from Earth: Hopi Pottery, through June 2013.
“After 170 years of being the subject of other people’s photography, Navajos are now behind the lens to give us their own perspective,” says curator Janet Cantley of the Heard Museum North Scottsdale.
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Pablita Velarde, Two Parrots, 2005, casein watercolor on board, 14 x 10" 54
celebrating women in the arts a new Santa Fe museum honors trailblazer Pablita Velarde and other female Native artists by Eve Tolpa
Say you plan to open a museum. What’s your timeline? You’ve got to formulate a mission, assemble a board, raise money, find a suitable location . . . and that’s just the beginning. Are you looking at 10 years? Five? Try one. That’s what Margarete Bagshaw and her husband, Dan McGuinness, have managed to pull off with the Pablita Velarde Museum of Indian Women in the Arts, which opens this summer in Santa Fe. They came up with the idea just a year ago, looking for a way to honor Velarde, the first Native woman to become a full-time painter, as well as the broader artistic contributions of Native women. “I saw Native women as being isolated and restricted in their talents and creative professions. They were not being developed by museums. It was very frustrating,” says Bagshaw, who, as the granddaughter of Velarde (1918–2006) and the daughter of Helen Hardin (1943–1984)—both trailblazing Santa Clara Pueblo artists—is carrying on a generational legacy as an accomplished painter in her own right. In Velarde’s time, Bagshaw says, it was unheard of for Native women to paint, much less to see painting as a career. It wasn’t that much different for Hardin, who worked in a contemporary genre that expanded upon her mother’s more traditional vision. McGuinness notes that Hardin “was shunned and hassled her entire life for having the audacity to be a Native woman who paints. Her stuff sold for a fraction of the men’s work.” Bagshaw is determined to right the wrongs she saw perpetrated on her foremothers—and, by extension, on all Native women artists. “This museum is for women to say, ‘Look what we can do. Stop putting us in boxes. Stop using us as a way to fulfill your quota for an exhibit,’” she says. “It is time to stop relegating Native women to being celebrated during Women’s History or Native History month.” The museum carries a significant collection of work by Velarde and Hardin, and though it’s named for a Southwestern artist, it doesn’t focus solely on this region. Instead, says Bagshaw, “it celebrates Native women’s art throughout the North American continent.” It casts a similarly wide net in content, exhibiting non-traditional arts in addition to traditional ones. “In Santa Fe we recognize Native women as being incredibly talented potters, weavers, sculptors,” Bagshaw says. “What about the writers, performers, filmmakers, actresses? All of it needs to be recognized. These are women who have taken their talents and made professions out of them.” “It only makes sense,” says sculptor Roxanne Swentzell, also of Santa Clara Pueblo and a founding board member of the museum. “You start with Pablita and Helen and then broaden it to Pueblo women and to indigenous women of the Americas. It will be cool to watch it happen, like a flower unfolding.”
The Pablita Velarde Museum will feature works by women able to verify Native ancestry within three generations. “We’re looking for quality work made by Native women who are in touch with their culture,” Bagshaw explains, while also stressing that artists are not required to express that culture explicitly. This intention mirrors Bagshaw’s own self-image as an artist. While she strongly identifies with her gender and culture, she resists the notion that they should define her artistic vision and expression. “I have stated that I am not a Native artist,” she says. “I am a Native woman who creates modern art.” According to McGuinness, the biggest challenge the couple has faced bringing their idea to fruition has been finding an appropriate building. They’ve found one that works for the short-term, at 213 Cathedral Place, fittingly located just down the street from the St. Francis Rectory, where Velarde and her husband were married in 1942. However, the couple envisions an eventual move to a place 10 times bigger, one that can house a serious academic library, a media
Pablita Velarde, Coyote and Mimbres Rabbits, ca. 1973, casein watercolor on board, 14 x 10" santa fean
native arts 2012
The Pablita Velarde Museum of Indian Women in the Arts will exhibit “quality work by Native women who are in touch with their culture,” says co-founder and artist Margarete Bagshaw.
Pablita Velarde, Taos Pole Climb, 2006, casein on illustration board, 24 x 18"
summer reading Learn more about Pablita Velarde and her family in new books coming out this summer. Pablita Velarde: In Her Own Words, by Shelby Tisdale, PhD; Helen Hardin: A Straight Line Curved, by Kate Nelson; and Teaching My Spirit to Fly, by Margarete Bagshaw will be released on August 17, during the opening of Margarete Bagshaw’s Indian Market show. For details, see goldendawngallery.com.
Photograph of Hardin, Bagshaw, and Velarde by R.C. Gorman, 1969 56
center, and open studios for artists. McGuinness sees that last element as crucial. “Art is very personal, very emotional,” he says. “If you like someone’s art, to watch someone do it or to dialogue with them while they do it . . . I can’t think of anything more exciting.” On the other hand, the fundraising process has been relatively easy. “The support is phenomenal,” says McGuinness. “We’ve had a lot of people donate items from their collections and even donating their estates.” “Most of the support has been from out of state,” adds Bagshaw, who herself is donating a large collection of artworks by her grandmother and mother. In addition, she is transferring Velarde’s printmaking operation to the museum from the couple’s downtown gallery, Golden Dawn, which represents the work of Velarde, Hardin, and Bagshaw. For Bagshaw, the museum fills a distinct niche within Santa Fe while adding another facet to the city’s artistic diversity. It’s also a way to expand its cultural economy.
“Look at Washington, D.C.,” she says. “Do you ever see all the museums you want to go to? That city is so culturally rich that you have to go back to keep seeing more. These museums are not competing for the tourist dollar; they are supporting each other. That’s the benefit to the city.” Swentzell likens the Pablita Velarde Museum of Indian Women in the Arts to another Santa Fe institution paying tribute to a strong female artist. “For some reason, The Georgia O’Keeffe Museum keeps coming to mind,” she says. “We have this museum for Georgia O’Keeffe, and she’s amazing and it’s well deserved. But if Georgia O’Keeffe gets a museum, then why not also the Native women who were originally here?”
The Pablita Velarde Museum of Indian Women in the Arts opens this summer at 213 Cathedral Place, down the street from St. Francis Cathedral.
pioneering potter Tammy Garcia pushes the boundary of her medium by Barbara Tyner photographs by Douglas Merriam
Santa Clara potter Tammy Garcia could be considered a 21st-century Renaissance woman. Like earlier masters, she unearths the spirit within each of her sculptures, pushing beauty’s boundaries and our expectations of what two hands can do. She’s perhaps most striking in her ingenuity, inventing new forms and creating new technologies. Add in her ties to one of Pueblo pottery’s royal families (which includes Sarafina and Margaret Tafoya) and her fondness for Modernism and popular culture, and we have a multi-modal, multi-level artist for our times. Highly collectible (her shows have sold out every year since 1992), the charismatic and award-winning Garcia is renowned for transforming her medium. She’s forged an almost three-decade-long career out of making clay do things no one knew it could. Intricately carved, slip-painted, and polished, Garcia’s pots are simply breathtaking. It’s easy to get lost in this play between textures, shadows, rhythms, and shapes, her multi-planed, gravity-defying “canvases in the round.” We forget they are clay, and sometimes they aren’t: Garcia is always seeking new means of expression, and occasionally bronze is a better fit. Sometimes she casts in glass, an experiment she began with contemporary Tlingit artist Preston Singletary in 2003. Lately she’s been adding pearls. If contemporary Native art is characterized by the interplay between tradition and innovation, Tammy Garcia is its poster child. She creates a unique visual vocabulary we might call Neo-Puebloan playfulness and redefines contemporary Native art on a regular basis.
native arts 2012
If contemporary Native art is characterized by the interplay between tradition and innovation, Garcia is its poster child. Garcia has been making art for 26 years. Her post-high-school creative yearnings led her first to explore a hairdressing career, but legend has it that an unhappy hair experience hijacked that dream, helping her to see her true desire: creative control over her incalculably creative life. “I speak a lot to young people, to my own children,” she says, “and I tell them to find what they really want to do, to do what makes them happy.” Pottery came naturally to her, and she sold her first work at age 16. Not long after deciding to devote herself to art-making she met and married Leroy Garcia, and the two have owned Blue Rain Gallery (first in Taos, now in Santa Fe) for 20 years. What began as a way for the young artist to display a few pots has blossomed into a renowned gallery showcasing some of the most important contemporary artists in the Southwest. Garcia makes 12 to 15 pottery pieces a year for her annual summer show at Blue Rain. Her challenge—as one of the most innovative artist working in clay today—is answering Modernism’s call to make it new. This year, she takes a cue from Pablo Picasso, borrowing a few of his figures as jumpingoff points for her playful interpretation. It’s a natural fit. Merging Native references with mid-20thcentury Modernism, Garcia has created a host of pots and stoppers, each one of the latter a flat, twosided panel featuring carved Picassoesque female figures. She’s given each figure not a Parisian look but rather Santa Fe style, bedecking them in turquoise, coral, and silver. “I call them my ‘Picasso Women Collectors of Native Art,’” Garcia says. Embellishing the bodies of her pots with pearls, glittery black crystals, and vintage beads, Garcia is going glam. It’s a high-low experiment that takes the earthiness of clay, and dolls it up to a point that’s almost over the top. “Let’s call it over-embellished, not gaudy,” Garcia says. Each one-of-a-kind piece mixes and merges iconographies and period styles, with Native clay getting a bit of Rococo splendor. “I have this drive to make irresistible things,” Garcia says, laughing. Judging from her many dedicated collectors, she’s succeeding. Blue Rain Gallery, 130 Lincoln, blueraingallery.com 58
Top left: Tammy Garcia refines a thunderbird-themed design. Top right: Two of the artist’s clay stoppers, each depicting a female figure inspired by the work of Pablo Picasso. Middle row: A standard work session involves (left to right) working the clay, sorting out clay shavings, and using a diverse set of tools. Bottom: Garcia carefully adds another detail to a clay piece.
Masters of Art
Tammy Garcia, TG, natural clay and turquoise, 9 x 5 x 4"
native arts 2012
Dan, Arlo, and Michael Namingha a Hopi artistic dynasty
Like the creation myth in which Hopi people emerged into this world and began migrating across the land in a spiraling pattern, the artistic dynasty of the Namingha family has spiraled out from traditional beginnings, over the generations, and into a place of significance in the world of contemporary art. The dynasty extends at least as far back as Nampeyo (1860â€“1942), the first Hopi pot-
Dan Namingha, Solstice #6, acrylic on canvas, 40 x 40"
ter known by name to the non-Native world. Nampeyoâ€™s greatgreat-grandson is internationally acclaimed Hopi/Tewa painter and sculptor Dan Namingha, who is based in Santa Fe. Danâ€™s sons, Arlo and Michael, continue the artistic legacy in distinctive directions of their own. Growing up on the Hopi reservation in northeastern Arizona, Dan drew and painted as a boy and later studied art at the University of Kansas, the Institute of American Indian Arts in Santa Fe, and
Chicago’s American Academy of Art. His award-winning work can be found permanently in such institutions as the Smithsonian and the British Royal Collection and is currently on view at LA Projects in Munich, Germany. The 61-year-old artist draws on his deep connection to the land and worldview that shaped him as he explores themes of ancient and present culture, landscape, and universal human experience. In a variety of mediums and a progressively more abstracted, minimalist approach, he has focused on these themes for the past 40 years. Among the age-old symbols that often emerge in Dan’s imagery is the spiral. It speaks not only of Hopi legend, but also of ongoing migrations of people around the world, and of the thread of time connecting present-day humans with an ancestral past. In a metaphoric way, it describes the artistic journey as well, Dan explains. “I’m still connected to my tribal past and birthplace at Hopi. That becomes my foundation and I migrate creatively out from there.” Arlo and Michael Namingha grew up spending time in their father’s studio, where art materials and Dan’s gentle, thoughtful encouragement were always on hand. Arlo was also inspired by his Hopi grandfather, who taught him to carve katsina dolls from cottonwood root. Later he shifted to stone, bronze, and other sculptural mediums in a striking contemporary style. Like his father, the
39-year-old sculptor developed a visual language that incorporates Hopi/Tewa symbolism while expressing the personal and universal. Much of Arlo’s recent work in stone is interactive—sections can be taken apart and fit together in different ways, with the stone’s texture holding the sections in place. One such piece in Texas limestone, Mimbres, takes the form of two fish. Paying homage to ancient pottery designs, Mimbres also references the astrological sign (Pisces) of both Arlo and his wife, Nicole. Reflecting on his boyhood, Arlo appreciatively remembers “being surrounded by creativity. You don’t realize it so much when you’re young,” he says, “but there was constant creative inspiration from a long lineage of artists.” For 34-year-old Michael, that inspiration found focus through the camera lens, both still and video, beginning when he was 12. A graduate of Parsons School of Design in New York, he is the most urban, technology-oriented of the three artists, creating large-scale inkjet photographic prints on canvas. His images often incorporate seemingly incongruous fragments of text, conveying a reflective, sometimes humorous view of American culture and contemporary life. Recent pieces include photos of small signs that Michael came upon while walking on the Good Friday pilgrimage to the Santuario de Chimayó. How often do you look at someone with lust? asks one sign. “People laugh, but when they learn about the context it adds a different layer to it,” the artist says. Works by both Arlo and Michael have been in museum shows in the United States and internationally, with Arlo’s first oneartist museum show opening September 14 at the Museum of the Southwest in Midland, Texas. The first major museum exhibition to feature the work of all three Naminghas is currently on view at the Heard Museum in Phoenix. Landscape, Form, and Light: Namingha Family continues through January 27, 2013. Dan, Arlo, and Michael are also the featured artists in a show running August 17through September 1 at Niman Fine Art in Santa Fe. An opening reception will be held August 17, 5:30–7:30 pm. —Gussie Fauntleroy
“I’m still connected to my tribal past and birthplace at Hopi. That becomes my foundation and I migrate creatively out from there,” says Dan Namingha.
left to right: arlo namingha, michael Namingha. opposite: dan namingha
Arlo Namingha, Chanters #1 bronze, 20 x 15 x 3"
Michael Namingha Sinless and Perfect (Chimayó Series) ink-jet on paper 30 x 22"
native arts 2012
Kevin Red Star painter of Crow culture
Artist Kevin Red Star (Crow) considers himself a chronicler of his people’s history. “Being a painter gives me the thoughts and ideas,” he says. “I draw from my culture.” Among the various Plains tribes, Red Star notes, “there’s all these variations; our design elements are quite different. When I portray the Crow Indian, I try to be as accurate as I can. I don’t want to put a Crow man with a Sioux headdress on. I have to keep the tradition going.” Red Star often uses images by iconic photographers of the American West, such as Edward S. Curtis (1868–1952), for inspiration and accuracy in recording the Crow. “It’s difficult to really portray something that is vanishing in a sense,” says the Montana-born and -raised artist, adding that museums in Bozeman, Cody, and Billings “give me a good reference.” With its strong graphic elements and bright colors, Red Star’s work is easily recognizable. “I think the individual should be daring and go beyond the traditional limits,” he says of his approach. “The colors that I use, they get quite dramatic; in some of my images I exaggerate. That’s just me in my art. When we’re young we’re given these tools, these ideas,” he continues, referring to techniques such as abstraction and minimalism, “and you can go as far as you want with them.” An early student at the Institute of American Indian Arts who went on to study at the San Francisco Art Institute, Red Star keeps a studio in Santa Fe, which he considers his second home. Though acrylic on canvas is his primary medium, he also creates prints of his work—lithographs, wood block prints, etchings—with the collaboration of master printers. His art can be found in collections all over the world, from the Museum of the Rockies in his home state to the National Museum of the American Indian-Smithsonian Institution and the Ethnological Museum of Berlin.—Eve Tolpa
Victoria Adams, Deer Man Brings a Jello Mold to the Ceremony, 3" (left); Deer Man Receives an Iniskim, 5" (center); Ap Sip Is Too (White Owl) Sneaks into the Hopi Snake Dance, 3" (right); all in sterling silver, 18k gold, and other materials.
Kevin Red Star, The Small Indian War Party, acrylic on canvas, 60 x 48" 62
jeweler who builds on her heritage
What is traditional Native art? For jeweler Victoria Adams (Southern Cheyenne–Arapaho), answering that question is like tying to hit a moving target. “Traditional means . . .” she pauses, then laughs. “How far back do we want to go? I like to do beadwork, but I don’t want to kill the deer, I don’t want to tan the hide. Native arts in any realm are constantly evolving in influence. Some people embrace it, some don’t embrace it, like with any change.” Adams is definitely open to change, but her primary inspiration comes from her own Native heritage and experiences growing up within that culture. “We camped out a lot, went to powwows. The old people told stories,” explains the Bay Area–born and –raised artist, who has lived in Santa Fe since 1999. Adams says that throughout her life, her “head has always been turned by sparkly things.” A keen aesthetic sense combined with the fact that she and her sister were both “raised like boys, outside using tools,” made Adams a natural for jewelry. The images in her pieces inevitably relate to the natural world, as do the values that inform them. “They center around the animals that helped us survive,” Adams says. Case in point: the dragonfly, a repeating motif. “The dragonfly would tell the Cheyenne people where the buffalo were. They spoke to us.” And the introduction of the horse by the Spanish to the Southern Plains people “was almost like an industrial revolution,” says Adams, who notes that she often depicts horses in her work, too, partly for the above reason and partly to honor her own horses, who keep her grounded. “Because I was raised in an awareness of the natural world around me, I tend to want to recreate things I love, and it’s passed on to my clients,” she says. “It transfers that thought process and mythological value in them. Understanding animals’ roles in our lives—to me, that is our tradition.”—ET
Eric Swanson, SAra Stathas
Victoria Adams, Her Own Horses, sterling silver, 18k gold, fossil dinosaur bone, and ruby
Daniel Worcester, knives, steel and billard balls (top and bottom); steel, dominoes, and cow bone (center). Below: Dancing Man, steel and billiard balls.
“It’s much more enjoyable to find the pieces you need,” says Daniel Worcester.
Daniel Worcester neo-traditional bladesmith
The tools Daniel Worcester (Chickasaw) creates are like nothing you’ve seen before. Fashioned from 99-percent recycled material, his handcrafted knives, hatchets, and other assorted sharp implements put a contemporary spin on a revered craft. “Traditionally you forged a blade and put maybe a deer antler or wood on the handle,” says the Southern Oklahoma– based bladesmith, a member of the Chickasaw Hall of Fame. “I like to do different shapes: animal figures, human figures, fish, snakes.” To create the handles of these whimsical pieces, Worcester uses 1930s and ’40s billiard balls and vintage Bakelite dominoes, all of which he cuts by hand. The sterling silver inlay comes from old forks, spoons, and teapots, while the blades themselves more often than not are made of repurposed spring steel from the undersides of horse-drawn wagons. “To me, gathering the materials is an integral part of making the knife,” he says. “I might spend two or three days gathering materials. It’s much more enjoyable to find the pieces you need. You see it in a junkyard or find an old farm implement . . . It’s a challenge, each piece.” Fittingly, the 1999 Challenge Award is one of the many prizes Worcester has taken at the Santa Fe Indian Market; he’s also won nine first-place awards. In addition, Worcester has had work in museums nationwide, including heavy-hitters like the Eiteljorg in Indianapolis, the Philbrook in Tulsa, and the Museum of Arts and Design in New York. “I’m of the belief that people make their own traditions,” says Worcester, who, before attending bladesmithing school 23 years ago, experimented with painting and jewelry. “I’ve always done art,” he notes, adding that he “had no Chickasaw bladesmiths to draw from. I took it up on my own. Sometimes as an artist you have to do what you feel like doing. What you are doing might be tradition 60 to 70 years from now.”—ET santa fean native arts 2012 63
Margarete Bagshaw third-generation painter
To describe Margarete Bagshaw as a Native artist, or a female Native artist—or even a modernist female Native artist carrying on the legacy of two generations of powerfully independent female painters before her—is to limit the richness and breadth of what goes into her art. Those descriptions are true, of course. Bagshaw is the granddaughter of pioneering Santa Clara Pueblo artist Pablita Velarde (1918–2006), who in the 1930s sidestepped expectations for creative Pueblo women by becoming not a potter but a groundbreaking painter. Bagshaw’s mother, Helen Hardin (1943–1984), also is known for having led the way through previously unopened doors. Hardin is acknowledged as the first Native female painter to move from traditional representational to abstract painting, blending Pueblo symbolism with a highly contemporary approach. Bagshaw grew up in Albuquerque, surrounded by the creative intensity and independent spirit of these two women. Like them, she absorbed and moved beyond early influences, determined to follow no one’s artistic path but her own. She began to explore drawing and painting at 26, initially entering and having her work accepted in blind-juried shows. Today, the 47-year-old artist’s vibrant, layered, compositionally complex paintings incorporate elements of her Pueblo heritage, but also such underpinnings as the Fibonacci sequence, Cubism, vivid colors of the Caribbean where she lived from 2006 to 2009, and her own intuitive and spiritual inclinations. A 20-year retrospective currently at the Museum of Indian Arts & Culture in Santa Fe is the latest of more than a dozen major museum exhibitions to feature Bagshaw’s work. Margarete Bagshaw: Breaking the Rules runs through December 30. The artist is represented in Santa Fe by Golden Dawn Gallery, which she runs with her husband, Dan McGuinness, alongside art from the estates of her mother and grandmother. In August, a trio of new books—biographies of Velarde and Hardin and Bagshaw’s memoir—will be released. (See goldendawngallery.com.) Describing the memoir and her art, Bagshaw observes: “What I’m putting out there is absolutely what I’ve become.”—GF Below: Margarete Bagshaw, Birth of a Mystic, oil on Belgian linen, 60 x 48". Right: Margarete Bagshaw, Maxxed Out, oil on Belgian linen, 60 x 96".
“What I’m putting out there is absolutely what I’ve become,” says Margarete Bagshaw.
Nancy Youngblood potter of patience and precision
Nancy Youngblood comes from a long and illustrious line of potters, including Sara Fina Tafoya, her great-grandmother, and Margaret Tafoya, her grandmother. “It’s in my background,” says Youngblood, adding that in the 38 years she’s been working, “the one things I have never compromised on is the technique. We dig our clay up at Santa Clara Pueblo. We prepare the clay ourselves, break it up into small pieces, soak it, and sift it. We mix it with sand. We pound out air pockets in clay.” She also builds her pieces the traditional way, using coils. Her grandmother wouldn’t have had it any other way. “She was very adamant that we carry on tradition,” says Youngblood. “We stone-polish pieces and we use open-pit firing. I’ve never used a kiln.” When she first started out as a potter, Youngblood made small pieces, miniatures in the style of her grandmother. “Then I realized I needed to do something that was uniquely mine.” Of the glossy and intricate melon bowl pots she has perfected, she says, “I’ve always had this quest of: How many of those ribs can I possibly get on one of those pieces of pottery?” Two keys to success in this highly precarious endeavor are patience and precision. “I had to learn [them] in order to do great work,” she says. “I had to put in the time and not rush it. When I sit down to design a piece, I’m excited about it—I enjoy it. It doesn’t feel like work.”—ET Nancy Youngblood, black-lidded swirl melon jar, 10 x 4"
Nathan Hart, vessel, buckeye burl
“The shape of the clay pot is a great way to show off the characteristics of the wood,” says Nathan Hart.
innovative wood turner
Nathan Hart (Cheyenne) has had a rich and multifaceted career path. The renowned wood artist has, among other things, been the executive vice president of a Native-owned investment firm, done exhibit design consultation for the American Indian Cultural Center and Museum in Oklahoma City, and, most recently, served as director of operations for the Jim Thorpe Native American Games, which took place in June. “I’ve always shuffled back and forth between the artwork and the work I had to do,” says the Oklahoma City–based artist. “The wood turning started as a hobby. My goal at a young age was to be a furniture designer. I always had a love for wood; my first purchase was a wood lathe. I started doing functional bowls, and that evolved to what I am doing now.” What he does now is create exquisite hollow-form pieces made of walnut, maple, redwood, and pecan, many of which bear an uncanny resemblance to Pueblo pottery. This is no accident. When he was a child, his grandfather used to travel in the West, and Hart was often given Pueblo and Hopi seed pots as gifts. “I really feel that the shape of the clay pot is a great way to show off the characteristics of the wood,” he says. “Those gifts were an influence on me.” Another influence—indeed, the thread connecting all the different kinds of work Hart has done—is his own Native heritage. Many of his wood pieces feature the Cheyenne morning star design, which, he says, “represents new life, new beginnings.” He also likes to incorporate the image of the grandmother archetype, depicted as an abstracted figure with a shawl. “My personal values are deeply connected to my culture, especially respect for the earth,” he says. “The earth is the source of everything.”—ET santa fean
native arts 2012
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native arts 2012
pieces of the
past by Ben Ikenson
Adobe Gallery’s Al Anthony and his passion for Pueblo pottery
Al Anthony, owner of Adobe Gallery on Canyon Road, says Pueblo pottery is “phenomenally beautiful and ethnographically important.”
“I was wandering around downtown Albuquerque, and in a shop window I saw a black pot that just captivated me,” Anthony recalls. Since he couldn’t afford the $100 cost outright, the shopkeeper let him make 10 monthly payments of $10 each. Anthony collected for the next 19 years and, in 1978, two years after retiring from the Air Force, he opened Adobe Gallery in Albuquerque’s Old Town, selling mostly contemporary pieces. In the mid-1980s, he was offered 13 historic Native pieces and, though he knew little about historic pottery at the time, his interest—and subsequent passion—was ignited. In 2001, Anthony moved shop north to Santa Fe, where he is now a very well-
When Al Anthony talks about historic Pueblo pottery, the glow in his eyes suggests the same contained fire that baked so many of his showpieces in the indigenous kilns of the past. He’s an ardent fan, and Adobe Gallery—the Canyon Road establishment he opened in 2001, after 23 years of operation in Albuquerque—is something of his shrine. Considered one of Santa Fe’s leading Native American art galleries, Adobe is filled with contemporary Pueblo pottery, katsina dolls, baskets, paintings, and many other native objets d’art. But it’s the historic Pueblo pottery Anthony loves so much that lends a distinctive archaeological air to the place. Lining shelves and perched on glass cases are weather-worn pots of various shapes and sizes, adorned with patterns and images and the traditional black, white, and burnt umber color scheme. “This pottery is phenomenally beautiful and ethnographically important,” Anthony says. “Unlike pottery made to sell, these items were made to be used, and their evidence of use is especially appealing to collectors.” Although Anthony’s been a fixture on the Native American art scene for 34 years, he had little exposure to art, let alone Southwestern Indian art, for most of his life. Growing up in a small North Carolina town, he joined the U.S. Air Force to become a nuclear engineer. It wasn’t until 1957, when he was stationed at Kirtland Air Force Base, that he first set eyes on a Pueblo pot.
Courtesy OF BONHAMS
â€œUnlike pottery made to sell, these items were made to be used, and their evidence of use is especially appealing to collectors,â€? says Al Anthony of Adobe Gallery.
This Powhoge storage jar from San Ildefonso (18" high x 18" diameter), sold for $43,750 at a recent Bonhams auction of Native American art.
native arts 2012
Collecting respected, self-taught expert in historic Pueblo pottery. While Anthony dealt directly with Pueblo potters when he began his business, often driving out to the Pueblos to buy art, these days he is approached by art sellers on an almost daily basis. Many of his pieces come from the estates of longtime collectors across the country and from those looking to downsize, both of which provide a steady source for historic items. One of his recent acquisitions, a San Ildefonso Pueblo vessel made in 1889, came to Anthony through a phone call from a woman who runs estate sales. About the size of a large beach ball but with the considerably larger price tag of $85,000, the pot’s belly features a series of images that tell the story, presumably, of a horse theft gone awry. One image depicts a man walking, horse at his side; another shows a second man riding into scene on horseback; lastly, the two men are shown fighting. The names “Juan” and “Jose” are scrawled on the vessel’s body, but only “Juan” is on the lid above the date. “We assume the pot was made in Juan’s honor,” says Anthony. “We just don’t know whether he won or lost the fight.” That’s a mystery that Anthony—and a future buyer—can live with. In fact, it’s part of the vessel’s allure. “The exciting thing for me is always when new stuff comes in,” he says. “But I certainly enjoy what I have on display here.”
the auction block While Al Anthony’s longstanding reputation has made him a go-to guy for collectors, many gallery owners and high-end collectors obtain Native American pieces on the auction circuit, where stakes are high and bidding is often fiercely competitive.
Altermann Galleries and Auctioneers
Santa Fe–based Altermann Galleries and Auctioneers, which maintains galleries in Santa Fe and Scottsdale, Arizona, specializes in American Western art from 1840 to present day, including Pueblo pottery and textiles. With a strong collector base that the company has been nurturing since its 1978 establishment, it now conducts four annual auctions: two in Santa Fe (August 11, 2012, and November 18, 2012), one in Dallas (October 2012), and one in Scottsdale (April 2013). altermann.com
At a recent Bonhams auction, an Acoma Pueblo pottery storage jar fetched $337,000—more than the price of many homes. An international auction house based in London, Bonhams was established in 1793, before much of the historic Pueblo pottery that’s now on the market was even produced. Today, Bonhams hosts auction rooms as well as online and phone bidding, and it conducts fine sales on the first Monday of June and December and an intermediate “Arts & Artifacts of the Americas” auction in mid-September. The company announced that its recent three Native American auctions in San Francisco sold approximately 500 pieces of rare art and artifacts for a total of more than $1.4 million. Among the Southwestern pottery, a historic San Ildefonso storage jar and a 1970s turtle effigy each were sold for $43,750. bonhams.com
Established in 1976, Dallas-based Heritage Auctions has become the largest auction house in the United States and the third largest in the world. With its nearly 750,000 registered online bidders, the company has made serious inroads in the world of Internet-based auctions as a kind of smaller-scale eBay for collectors of everything from comic books and movie posters to, yes, historical American Indian arts and crafts. Heritage Auctions has two biannual American Indian art auctions—one in the spring and one in the fall—where collectors can shop for a range of rare and valuable pieces. Indeed, Heritage Auctions has some fine goods. ha.com
courtesy of Heritage Auctions
Heritage Auctions hosts two American Indian art auctions each year. This Northern Cheyenne beaded hide baby carrier (above), ca. 1880, sold for $65,725.
SPECIAL ADVERTISING SECTION
Photo courtesy of Peter King
Jonathan Loretto Corn Maiden, mixed clay/paints, kiln/traditional firing, 11 x 10" Fire Blessings: The Art of Creative Native Bobbleheads The construction of the bobblehead at the Wheelwright Museum, August 13–14, 11 am–4 pm. Secrets revealed during a two-day demonstration of the kinetic balance between traditional mystique and modern techniques. Jonathan Loretto is the recipient of the School for Advanced Research’s (SAR) 2012 Rollin and Mary Ella King Native Artist Fellowship. All are welcome to attend his artist talk and open studio at SAR in November (loretto.sarweb.org). P.O. Box 126, Cochiti Pueblo, NM 87072, 505-231-6046, tribaljewel@msn .com; work also available at Case Trading Post, Wheelwright Museum; Indian Market: Booth 765 LIN-W, Lincoln Avenue
The Great Southwest Andrew Sahmie, Sr., Santa Kachina, 6 1/2 x 3 1/2" Located in the Old Depot Square just west of the Antlers Hilton in downtown Colorado Springs, The Great Southwest lives up to its name by providing a great selection of both traditional and contemporary Southwest jewelry, arts, and furniture. Representing well-known regional artists including David Caricato, Richard Lindsay, Leon Loughridge, Peter Ortega, and many others. Appraisal services. Southwest Nativities, Santas and Ornaments Sale, Saturday, November 10, 10 am–4 pm. 76 S Sierra Madre St, #C, Colorado Springs, CO 80903 719-471-7772, greatsouthwestart.com
Carol Kucera Gallery Julian Coriz, Santo Domingo Pueblo, Square Water Jar, red clay, 4 1/4 x 4 2/5" Julian Coriz’s hand-built red clay pottery demonstrates the artist’s use of traditional Pueblo motifs often enhanced in creating his own contemporary designs. Julian is one of 12 contemporary, multi-media artists represented by Carol Kucera Gallery. Daily 10 am–5 pm, closed Tuesday. 112 W San Francisco St, Suite 107, 866-989-7523, carolkucera.com santa fean
native arts 2012
Paint Horse Gallery Michael Swearngin, Power Rather than Force, acrylic on canvas, 36 x 48" Artist Caren Goodrich paints on-site daily! Representing artists Jennifer Cavan, Shawn Murphy, Robert Burridge, Michael Swearngin, James Bates. 225 Galisteo St, 505-603-9900, painthorsegallery.biz
Torres Gallery Contemporary Gourd Mask with Raffia
Robert Rivera is able to challenge the boundaries of gourd art by continually evolving and creating new and innovative art pieces from the lowly gourd. His masks, pots, figures, wall hangings, etc., are his interpretations of ancient and present cultures. 102 E Water St, El Centro Galleries, 505-986-8914 email@example.com
Casweck Galleries Ernest Chiriacka, The Return, oil on board, 24 x 36" Casweck Galleries in Santa Fe features the largest selection in the world of works by renowned illustrator and Western artist Ernest Chiriacka. We also showcase handcrafted sculptural furniture from David Hymes, jewelry from Robin Rotenier and Alice Bailey, and sculpture from Brant Kingman. 203 W Water St, 505-988-2966, firstname.lastname@example.org casweckgalleries.com
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Addison Rowe Gallery Raymond Jonson (1891–1982), Cosmic Theme #3, 1937, oil on canvas, signed and dated ‘37: lower right, 28 x 40" Raymond Jonson was the founder of the Transcendental Painters Group in Santa Fe, New Mexico. The Cosmic Theme series of 1936 shows Jonson’s total departure from nature and landscapes. This body of work leaps into the cosmos with a spiritual and ethereal quality. Addison Rowe Gallery will also be showcasing the paintings of Josef Albers, Emil Bisttram, and Max Weber this summer. Open Tuesday–Saturday, 11 am–5 pm. 229 E Marcy St, 505-982-1533, addisonrowe.com
Pablo Milan Gallery Don Brewer Wakpa, Fancy Dancer, acrylic on canvas, 48 x 36" Don Brewer Wakpa, a member of the Cheyenne River Sioux tribe, will be displaying new works of art at the Pablo Milan Gallery. Wakpa’s paintings are filled with vibrant color and are culturally inspired. The paintings are very contemporary with just a touch of realism. Come by and see his latest works or drop by and meet the artist at the gallery’s 2012 Indian Market reception, Friday, August 17, 5–8 pm. 209 Galisteo St, 505-820-1285, pablomilangallery.com
The Frank Howell Gallery Frank Howell, Summer Guilds the River Rose, serigraph
Come visit us for Indian Market! The gallery is home to the artwork of the late, world-renowned artist Frank Howell. Recently relocated to Canyon Road, we also represent the works of nationally known sculptors and painters, along with handmade pottery and unique jewelry. 203 Canyon Rd, 505-984-1074, frankhowellgallery.com
5 Incredible Museums for only $25 • E. L. Blumenschein Home & Museum • La Hacienda de los Martinez • The Harwood Museum of Art • Millicent Rogers Museum • Taos Art Museum & Fechin House
native arts 2012
55th Annual Heard Museum Guild
Indian Fair & Market March 2 & 3, 2013 | 9:30 a.m. to 5 p.m.
â€œWeaving Worlds with Woolâ€? Honoring Signature Artist Florence Riggs Artists: Apply for the Fair today at heardguild.org!
Advance tickets on sale beginning January 1, 2013.
For more information, call 602.251.0205 or visit heard.org. Florence Riggs (Navajo), untitled pictorial blanket dress, wool, 2005.
ope n i n g s | r e v i e w s | p e o p l e Poteet Victory: New Works McLarry Modern, 225 Canyon, mclarrymodern.com August 17–August 24, reception August 17, 5–7 pm Composition, color, and shape dominate the work of Poteet Victory. And, while some of his large canvases are covered in abstract forms, others reveal dreamy landscapes that evoke the spirit of the Southwest. Victory’s latest series—inspired after he observed so many of us constantly text messaging—represents a bit of a departure in order to create what he calls abbreviated portraits. The works are simplified abstractions of famous icons and cause the viewer to draw from a kind of subconscious identification system. “Creating the abbreviated portraits has made me aware that everyone has triggers that activate memory, often based on the simplest cue,” Victory says. He invites the viewer to ruminate on why they, too, can recognize these prompts.—Staci Golar Poteet Victory, The Red Heavens, oil on canvas, 48 x 32"
native arts 2012
Shonto Begay: New Works Mark Sublette Medicine Man Gallery, 602A Canyon medicinemangallery.com, August 17–September 20, reception August 17, 2–4 pm With a knack for revealing the extraordinary in the ordinary, acclaimed Navajo painter Shonto Begay brings his latest work to Santa Fe in a oneman show. Richly rendered with vibrant colors and swirling brushstrokes, snapshots that range from abandoned old cars to ancient ceremonies jump off the canvas, inviting viewers to witness both the harsh realities and stunning beauty of life on the reservation.—SG Shonto Begay, Dante and Salvador on the Keet Seel Trail, acrylic on canvas, 36 x 48"
Upton Ethelbah, Little Sunshine, bronze, 11 x 6 x 4"
Upton “Greyshoes” Ethelbah + Raymond Nordwall Treasures of Native America Beals & Abbate Fine Art, 713 Canyon, bealsandabbate.com August 14–August 27, reception August 17, 5–8 pm Upton “Greyshoes” Ethelbah didn’t begin sculpting until he retired from a career in social work at age 55, while Raymond Nordwall began painting full-time when he was 22 years old. Though this pairing seems unlikely, the work of both artists—similarly inspired by Native American culture and history—shows together seamlessly. Ethelbah’s contemporary stone and bronze sculptures, which feature colorful but subtle figures like medicine bears and rain dancers, provide a delicate contrast to Nordwall’s bright and dramatic paintings, which often showcase the strong personalities of warriors and the strength of horses.—Samantha Schwirck
Tony Abeyta, Yei Creating, oil on canvas, 30 x 26"
Annual Celebration of Contemporary Native American Art Blue Rain Gallery, 130 Lincoln, Suite C, blueraingallery.com August 16–August 19, reception August 16 and August 17, 5–8 pm Blue Rain Gallery celebrates the newest work of 13 Native American artists during Indian Market weekend. Featured pieces include pottery by Jody Naranjo, Al Qoyawayma, Lisa Holt, Harlan Reano, Richard Zane Smith, and Tammy Garcia; jewelry by Maria Samora; glasswork by Preston Singletary; and paintings by David Bradley, Mateo Romero, Hyrum Joe, and Tony Abeyta. The gallery will also host a pottery show and sale (August 17, 10 am), a glass-blowing demonstration by Preston Singletary, and a bronze patina demonstration by Bronzesmith Foundry (August 17, 11 am–4 pm and August 18, 11 am–4 pm).—SS
IM Guide Santa Fean 2012_Layout 1 6/15/2012 2:17 PM Page 1
Joshua Tobey New Works
Indian Market Exhibition Artist’s Reception: Friday, August 17th 5 - 8pm
3.5”H x 3.5”W x 5.5”L each Bronze Photography by Jafe Parsons
Fritz J. Casuse, (Navajo), bracelet, sterling silver, 14k gold, pearl, coral, quartz.
822 CANYON ROAD SANTA FE, NM 87501 505-989-1700 www.gallery822.com
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NORTH SCOT TSDALE - THE SUMMIT: 32633 N. Scot tsdale Rd. Scot tsdale, A Z 85262
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Rose B. Simpson + Emmi Whitehorse Chiaroscuro Contemporary Art, 702 ½ and 708 Canyon, chiaroscurosantafe.com August 10–September 8, reception August 17, 5–7 pm Chiaroscuro Contemporary Art’s annual August exhibit contrasts the work of Native American artists Rose B. Simpson and Emmi Whitehorse. The young and exceptionally talented Simpson (Santa Clara Pueblo) pushes the limits of ceramic forms to explore themes of personal and cultural identity, while the firmly established Whitehorse (Navajo) continues to define new territory in the painted abstractions of what she calls “a moment in the landscape.”—SG
Fritz Scholder, Catwoman, lithograph, 10 x 7"
Emmi Whitehorse, Sea Wall oil and chalk on paper mounted on canvas, 40 x 51"
R.C. Gorman Navajo Gallery, 210 Ledoux,Taos rcgormangallery.com reception August 16, 5–7 pm Housed in a historic building, parts of which are more than 200 years old, the Navajo Gallery served as R.C. Gorman’s home, studio, and gallery from 1968 until his death in 2005. A new solo exhibition features oil pastels, lithographs, bronze sculptures, and more by the acclaimed Navajo artist, who was known for his vibrant and colorful portrayal of Native American women.—SS R.C. Gorman, Zia Benita, lithograph, 30 x 39"
Fritz Scholder: Indians Forever 203 Fine Art, 203 Ledoux Street, Taos, 203fineart.com August 10–September 3 Limited-edition lithographs and works on paper by post-modernist/pop artist Fritz Scholder (1937– 2005) are on display during this solo exhibition at 203 Fine Art. Highlights include eight lithographs collectively titled Indians Forever, which were created by Scholder at the Tamarind Institute in the early 1970s. These works made up the Tamarind Institute’s first major project after its move from Los Angeles to Albuquerque in 1970.—SS
Frank Buffalo Hyde, Hot Hot Heat, acrylic on canvas, 24 x 18"
Frank Buffalo Hyde: SKNDNS | Native Americans on Film Legends Santa Fe, 125 Lincoln, legendssantafe.com August 3–August 27, reception August 3, 5–7 pm Using a bold color palette and simplified shapes, painter Frank Buffalo Hyde explores the many representations—and misrepresentations—of American Indians in film in this latest series. From the overly romanticized noble savage to the superstars of the Native American film renaissance, no era is safe from Buffalo Hyde’s deconstruction and close examination of the Indian as a cinematic icon.—SG
SATURDAY AUGUST 18 1 - 4 PM
227 don gaspar santa fe, nm 87501
Indian Market ad SWIA Native Arts.indd 1
6/8/12 7:52 AM
Michael A. Naranjo: Inner Vision, A Retrospective Nedra Matteucci Galleries, 1075 Paseo de Peralta, matteucci.com September 15–October 13, reception September 15, 2–4 pm After becoming blind during the Vietnam War, Michael Naranjo thought he would never create again. Decades later, this retrospective exhibit reveals what happened instead when Naranjo turned to his inner vision and reinvented himself as an artist. A complete collection of Naranjo’s bronze work is featured, revealing a stylized narrative of both his cultural heritage as a Santa Clara Pueblo tribal member and his other life experiences.—SG
Darren Vigil Gray, The Four Legged, The Two Legged and the Winged One, acrylic on paper, 30 x 42"
Darren Vigil Gray: New Works Gerald Peters Gallery, 1011 Paseo de Peralta, gpgallery.com August 17–October 6, reception August 16, 5–7 pm Darren Vigil Gray creates mythical landscapes in his paintings, drawing with oil paint (not unlike the abstract expressionists), rather than filling in a precise, predestined drawing. The result is a multilayered surface that evokes a strong sense of energy and movement. Here, shamanic figures and animals emerge and disappear, referencing the land and memory of his Jicarilla, Apache, and Kiowa roots.—SG
Michael Naranjo, Eagle’s Song, bronze, 12 x 9 x 21"
native arts 2012
Buying or Selling Indian Art? Know the Law! Under the Indian Arts and Crafts Act, Native American art and craftwork must be marketed truthfully regarding the Native American heritage and Tribal affiliation of the producer. Take Home a Treasure from Indian Country-Buy works produced by members of federally recognized Tribes. For a free brochure on the Act, including how to file a complaint, please contact: U.S. Department of the Interior Indian Arts and Crafts Board Toll Free: 1-888-ART-FAKE or 1-888-278-3253 Email: email@example.com Web: www.iacb.doi.gov Joan Hill, Muscogee Creek Nation, Sacred Ceremony of the Temple Mound, Painting, ©1989
Bruce King: Life Rhythms, Waxlander Art Gallery & Sculpture Garden, 622 Canyon, waxlander.com Bruce King, Shadows, oil on canvas, 28 x 58" August 14–August 27, reception August 17, 5–7 pm When Bruce King began as an artist, he and the other American Indian painters of the 1970s were collectively trying to change the perception of Native American fine art. Years later, King continues to reject just one definition of his work, filling dripping, rainbow-hued landscapes with iconic representations of buffalo and horsemen, highlighting the relationship between people, their surroundings, and their journeys.—SG 80
EXHIBITS Teri Greeves: New Works Jane Sauer Gallery, 652 Canyon, jsauergallery.com August 17–September 11, reception August 1,7 5–8 pm Nationally recognized Kiowa artist Teri Greeves marries incredible technical skill with socially conscious subject matter in her beaded creations. Already known for embellishing Converse tennis shoes with hand-stitched narrative beadwork, her latest body of work takes beading to a whole new level. In it she stitches Kiowa stories, one bead at a time, onto large, painting-size canvases of raw silk.—SG
Teri Greeves, Thunderbird Memories, cut glass beads, brain tanned deer hide, stamped sterling silver, and silk, 14 x 14"
Daniel McCoy, Old Song, acrylic on canvas, 40 x 48"
Don Brewer Wakpa, Dakota Gathering, acrylic on canvas, 20 x 16"
Low Rez: Native American Lowbrow Art Eggman & Walrus Art Emporium, 131 W San Francisco (first floor) + 130 W Palace (second floor), eggmanwalrus.com August 17–September 1, reception August 17, 5:30–9 pm Ryan Singer (Navajo), Cannupa Hanska Luger (Mandan-HidatsaArikara), and America Meredith (Cherokee Nation) are among the artists—many of them IAIA alumni—who present paintings, sculpture, and other works that use pop-culture imagery to express their experiences as contemporary Native Americans. Site-specific installations by pop surrealist painter Daniel McCoy (Muscogee CreekCitizen Band Potawatomi) and mixed-media artist Michael Darmody are also featured in this high-energy group exhibition.—SS
2012 Indian Market Group Show Pablo Milan Gallery, 209 Galisteo, pablomilangallery.com, August 17–ongoing, reception August 17, 5–8 pm Don Brewer Wakpa (Pine Ridge Reservation and Cheyenne River Reservation) presents his most recent paintings during this group exhibition at Pablo Milan Gallery. Wakpa’s acrylic pieces often feature bright, colorful images of Native American dancers and firekeepers, as well as horses and warriors. Abstract paintings by Pablo Milan and Denny Champlin’s contemporary New Mexico landscapes and wildlife are also on display.—SS santa fean
native arts 2012
Native Art AND Culture EVENTS
Keep an eye out for Georgia O’Keeffe in New Mexico: Architecture, Katsinam, and the Land, opening at the Georgia O’Keeffe Museum (217 Johnson) on May 17, 2013. Fifteen of O’Keeffe’s rarely seen paintings and drawings of katsina dolls, the hand-carved and painted wood figures representing spirit beings revered by Hopi and other Pueblo Indians will be on display, as well as works inspired by the modernist icon’s love of the local landscape and cultures. The exhibit runs through September 8, 2013. For more information, see okeeffemuseum.org.
August 2 Feast Day and Dance. A traditional corn dance in honor of Nuestra Señora de los Angeles Feast Day. Free, Jemez Pueblo, 505-843-7270. August 10 Ricardo Cate. Kewa cartoonist Ricardo Cate reads from his new book, Without Reservations. Free, Collected Works Bookstore, 202 Galisteo, 505-9884226, collectedworksbookstore.com. August 15 IAIA Benefit Dinner and Auction. A silent auction, reception, and dinner, followed by a live art auction to benefit IAIA’s student services and scholarships. $150, 5 pm, La Fonda on the Plaza, 100 E San Francisco, 505-982-5511, lafondasantafe.com. August 16 Classification X Award Winners Film Screening. SWAIA presents film winners in categories including full-length feature and documentary short. Free, 7 pm, New Mexico History Museum, 113 Lincoln, 505-476-5200, nmhistorymuseum.org. August 16–September 20 Virgil Ortiz: Venetian Soldiers and David Johns: Abstracted Landscapes. Virgil Ortiz (Cochiti) presents heroic clay sculptures and photographs, and David Johns (Navajo) exhibits his newest abstract paintings. Free, reception August 16, 5–7 pm, Zane Bennett Contemporary Art, 435 S Guadalupe, zanebennettgallery.com. August 18 Buffalo Thunder Stage. A showcase of Pueblo music and dances, as well as a performance by Alaska’s Githoan Native Dance Group. Free, 1–4 pm, Santa Fe Plaza stage, swaia.org. August 18–19 Portal Artisans Celebration: An Annual Palace Courtyard Event. The Native American Artisans program celebrates Indian Market with dances, raffles, art, and food. Free, 9 am–5 pm, New Mexico History Museum courtyard, 113 Lincoln, 505-476-5200, nmhistorymuseum.org.
Georgia O’Keeffe, Blue-Headed Indian Doll, watercolor and graphite on paper, 21 x 12", Gift of The Burnett Foundation © Georgia O’Keeffe Museum.
August 18–19 Santa Fe Indian Market. Indian Market’s Native American food, entertainment, and 1,100-plus artists attract roughly 100,000 people each summer. Now in its 91st year, the market hosts potters, jewelers, painters, sculptors, bead artists, and more. Free, Saturday 7 am–5 pm, Sunday 8 am–5 pm, Santa Fe Plaza, swaia.org.
September September 2 San Esteban Feast Day. An annual feast day celebration in honor of San Esteban, Acoma Pueblo’s patron saint. Free, Acoma Pueblo, 505-552-6604. September 8 Nativity of the Blessed Virgin Mary’s Feast Day. A colorful and traditional corn dance with chanting and drumming. Free, San Ildefonso Pueblo, 505-455-2273. Through September 15 Anna Tsouhlarakis: Edges of the Ephemeral. A site-specific exhibition that explores the relationship between reality and myth. $5–$10, Museum of Contemporary Native Arts, 108 Cathedral Place, 505-983-8900, iaia.edu/museum. Through November 4 Native American Portraits: Points of Inquiry. Images from the Palace of the Governors’ Archives are on display in a salon-style exhibition. $6–$9, New Mexico History Museum, 113 Lincoln, 505-476-5200, nmhistorymuseum.org.
Taos September 29–30 Feast of San Geronimo. The end of the harvest season is marked by a celebration filled with arts, crafts, races, and dances. Free, Taos Pueblo, 575-758-1028. Through December Maria Martinez: Matriarch of San Ildefonso. The work of Maria Martinez (1887–1980), known internationally for her black-on-black pottery, is exhibited with information about her life. $2–$10, Millicent Rogers Museum, 1504 Millicent Rogers Road, 575-758-2462, millicentrogers.org. Through May 2013 Eva Mirabal and Jonathan Warm Day. Murals by Taos Pueblo artist Eva Mirabal (1920–1968) are presented alongside her son’s paintings. $8–$10, Peter & Madeleine Martin Gallery at the Harwood Museum of Art, 238 Ledoux, 575-758-9826, harwoodmuseum.org. Through September 2013 The Third Chapter: Woody Crumbo. An exhibition of the Potawatomi artist, flautist, and dancer’s work. $8–$10, G. E. Foster Jr. Gallery of Prints at the Harwood Museum of Art, 238 Ledoux, 575-758-9826, harwoodmuseum.org.
Shakespeare Mescalero Apache, Comanche, Kiowa-Apache & Northern Arapaho
Photographer & Soft Sculpture Artist firstname.lastname@example.org (575) 973-1084 Booth # 779 LIN-W
2012 At the AU TR Y
November 3—4, 2012
Southern California’s Largest! . Over 180 American Indian artists . The finest in contemporary and traditional American Indian arts . Over 25,000 square feet of exhibition space . Artist demonstrations . Music, dance, and food . Entertainment for the whole family . Seminars for collectors This is your opportunity to buy directly from the artists! For more information, visit TheAutry.org/Marketplace.
Artwork: “My niece My niece—Come into thy bosom...I congratulate thee” In Photo: Lindsey and her oldest niece: Lillian Gene Shakespeare-Largo Photography by: Gina R. Klinekole - Three Rivers, New Mexico Special Thanks To: Cheryl Strong & William York
4700 Western Heritage Way . Los Angeles, CA 90027-1462 323.667.2000 . TheAutry.org Eagle bentwood box (detail) by Ken Humpherville (Metis/Tshimshian). 2011 Jackie Autry Purchase Award Winner. Photo by Susan Einstein
Visit us at our new location! 421 Canyon Road sagecreekgallery.com
Join us for our Indian Market Show August 17th-19th Opening Reception Friday, August 17th 5 to 8pm Shrouded Might 38"H x 32"W Oil
native arts 2012
| DAY TRIP |
Petroglyph National Monument You’ll find nearly 25,000 petroglyphs (rock engravings) in Albuquerque’s 7,236-acre Petroglyph National Monument, which is also the site of five dormant volcanoes that sit atop a large basalt cliff. Though settlements in this area have been traced back to 500 ad, experts believe the ancestral Pueblo people carved the petroglyphs between 1300 and 1680. Established in 1990 by the National Park Service and the city of Albuquerque, the monument has two areas with walking trails that lead up and around the petroglyphs. For an easy stroll, try one of the three trails located in Boca Negra Canyon. You can walk all three trails in just about one hour. For a bit of a challenge, the trail located in Rinconada Canyon is slightly more strenuous, at 2.2 miles round-trip. Petroglyph National Monument is open daily 8 AM–5 PM. For information, call 505-899-0205 or go to nps.gov/petr. Getting There: From Santa Fe, go south on I-25 about 55 miles to Albuquerque. Take I-40 west (toward Gallup) for six miles. Exit at Unser Boulevard and continue three miles on Unser to Western Trail. Turn left on Western Trail and you’ll see the monument’s visitor's center.
JODY NARANJO Artist Reception: Thursday, August 16, 5 – 8 pm
Also exhibiting works by Tammy Garcia, Preston Singletary, Richard Zane Smith, Jody Naranjo and many others during Blue Rain’s Annual Celebration of Contemporary Native American Art. Please visit blueraingallery.com for a complete show schedule. Pueblo Mosaic Natural clay and acrylic 12" h x 11" w x 7" d
Blue Rain Gallery|130 Lincoln Avenue, Suite CSanta Fe, NM 87501 | 505.954.9902 www.blueraingallery.com
Published on Jul 20, 2012