Need-to-Know Native American Painters, Sculptors, Weavers, Writers, Dancers, Poets, and More
Margarete Bagshaw - “Spinning In Four Directions” - 36” X 36” Oil on linen
Friday, Aug. 22 - 5 to 7 p.m. at Golden Dawn Gallery
Call for your invitation 505-988-2024
Pablita Velarde 1918-2006
“Taos Pole Climbe” - 24” X 19” Casein watercolor
Helen Hardin 1943-1984
“Listening Woman” Copper plate etching ed. 65
Friday, Aug. 22 - 5 to 7 p.m. at Golden Dawn Gallery
Call for your invitation 505-988-2024
Navajo / Hopi Jeweler
Top Native American Indian Jewelry Designer
Jesse Monongya Studios jessemonongyastudios.com firstname.lastname@example.org : 480-991-2598 : f 480-991-8159 Now Buying Back Preston Monongye and Jesse Monongye Older Pieces
Join Jesse on the Plaza for the 93rd Annual Indian Market, August 23rd and 24th. Booth # 770 Plaza. See you there!
“Ceremonial Archer” by Malcolm Furlow
102 E Water St, Santa Fe, NM
505 983 1050
“Majestic Canyon” (Left) by Charles Pabst Known worldwide for his stunning portrayal of the Southwest, Charles Pabst is a master at capturing the essence of the Canyon. “The Grand Canyon is just that – ‘grand’. The drama created by the light which penetrates the recesses of the deep inner canyons creates a majesty like no other.”
“Majestic Canyon” by Charles Pabst
“Ceremonial Archer” (Left) by Malcolm Furlow Malcolm Furlow, an internationally award-winning artist, continues to earn critical acclaim around the world. His hallmarks – electrifying colors, vibrant portraiture, and masterfully constructed scenes – make him a living legend, a significant figure in the fabric of the American Southwest.
“Visions of an Iron Horse” (Right) by Phillip Payne The Southern Pacific’s “Sunset Route,” finished in 1883, marked the end of the Wild West as it had existed before. Geronimo, however, continued the fight, not fully surrendering until 1886. This piece depicts Geronimo seeing the Iron Horse approaching for the first time.
“Visions of an Iron Horse” by Phillip Payne
BUILD A FUTURE MENTOR A CHILD Enrich the Life of an American Indian Child
Contact us at
email@example.com or 800-545-6843 Visit our website:
the POWER of
Blue Rain Gallery’s Annual Celebration of Contemporary Native American Art August 20 – 24, 2014
Featuring the artwork of Tammy Garcia, Preston Singletary, Tony Abeyta, Richard Zane Smith, Jody Naranjo, Al Qoyawayma, Shonto Begay, Hyrum Joe, Mateo Romero, Maria Samora, Dawn Wallace, Cannupa Hanska Luger, Thomas Breeze Marcus, Craig George, and White Buffalo. Visit our website for a complete schedule of shows and events.
Blue Rain Gallery|130 130 Lincoln Avenue, Suite CSanta Fe, NM 87501 | 505.954.9902 | www.blueraingallery.com Blue Rain Contemporary|7137 East Main StreetScosdale, AZ 85251 | 480.874.8110
Richardson’s Trading Co. & Cash Pawn Largest Selection of Navajo Rugs in the Southwest One of the most interesting and colorful Indian trading companies in the world can be found in downtown Gallup on Historic Route 66 - Richardson’s Trading Company and Cash Pawn, Inc. Established as traders on the Navajo Reservation since the turn of the century, the Richardson’s family continues a long and historic tradition in Gallup, New Mexico. Wood floors, pew-like benches, cases full of polished silver and turquoise jewelry, piles of richly-colored Navajo rugs, Indian pottery, baskets, beaded items, hundreds of unique, one-of-a kind Indian art pieces and the sweet smell of aged leather saddles fill the interior of the store.
222 W. Hwy. 66 • Gallup, NM 87301 firstname.lastname@example.org • Fax: 505-722-9424
Palace Jewelers at Manitou Galleries
The True Look of
Santa Fe 123 W Palace Ave.
Indian Market Group Exhibition Friday, August 22nd Peter Krusko
5 - 8 pm
822 CANYON ROAD
SANTAâ€ˆFE, NM 87501
Journeyâ€™s End 36x48 Oil
Southwest Images 12 x24 Oil
El Centro 102 E. Water Street Santa Fe, New Mexico 87501 505.988.2727 email@example.com www.joewadefineart.com
The SouThweST’S LargeST aucTion of cLaSSic weSTern arT
seeking consignments for the December 6, 2014 AUction 2013 highLighTS
Lot 51 Fremont Ellis (1897-1985) Through the Aspens, 1927, SOLD: $45,000
Lot 120 Leon Gaspard (1882-1964) Russian Village in Winter, SOLD: $75,000
Lot 78 Birger Sandzén (1871-1954) Glimpse of Long’s Peak, 1937, SOLD: $70,000
Lot 145 Clark Hulings (1922-2011) Puerto Vallarta, 1976, SOLD: $100,000
for fUrther informAtion contAct Peter L. riess, 505-954-5858 or cUrAtor@sAntAfeArtAUction.com
P r e S e n T e d by g e r a L d P e T e r S g a L L e ry © S a n Ta f e a r T a u c T i o n , L L c | P o b o x 2 4 3 7 | S a n Ta f e , n M | 8 7 5 0 4 - 2 4 3 7 T e L 5 0 5 9 5 4 - 5 8 5 8 | fa x 5 0 5 9 5 4 - 5 7 8 5 | c u r aT o r @ S a n Ta f e a r Ta u c T i o n . c o M v i S i T w w w. S a n Ta f e a r Ta u c T i o n . c o M f o r f u r T h e r i n f o r M aT i o n
D a n i e l Wo r c e s t e r
Indian Market 2014
Booth 329 FR-N 580-504-8602 â€˘ firstname.lastname@example.org
Bruce King Old Light, New Color
“Out of the Morning Mist” 32.5 x 42.5 unf oil
august 12 through august 25 artist friday, august 22 5 pm - 8 pm
exhiBitiON dates reCeptiON fOr the
Waxlander Gallery celebrating thirty years of excellence
622 Canyon road • santa fe, NM 87501 waxlander.com • 505.984.2202 • 800.342.2202
Indian Market Weekend • Friday, August 22, 2014 • 5 to 7pm
M cLarry M o d e r n www.mclarrymodern.com
225 Canyon Road • Santa Fe, New Mexico • 505.983.8589 “Moons of Ripe Persimmons” 72"x 72”x 72" 72” Oil on Canvas
Announcing our expanded location! Now also at 713 Canyon Road
713 Canyon Road
& 203 West Water St.
Santa Fe, NM 87501 www.casweckgalleries.com â€˘ 505.988.2966
Forged and textured steel and copper
Warrior’s Pride, patined steel, 36 x 16 x 2″
Glyphs, patined steel & copper, 34 x 15 x 2″ (detail)
All steel is brown-toned with rust patina
Santa Fe Art Collector 217 Galisteo Santa Fe, NM (505) 988 5545
Distant Thunder, patined steel on patined copper, 37 x 26 x 2″
Indian Market Show Reception August 18th-24th
August 22nd from 6:00-9:00 Jazz musician Ray Blue will be performing
Dustin Payne, Wind River Raiders Bronze Ed. of 20, 22Hx50Wx7D
Dan Deuter, Thunderbolt 60Wx30H, Oil
Alvin Marshal, A Little Girl’s Dream Alabaster Stone, 23Hx13Wx11D
Greg Overton, Spirit Walker 52Wx62H, Oil
Mark McKenna, Sweet Serenade 11Wx14H, Oil
Deon Duncan, Hopi Maiden Sitting Bronze Ed. of 19, 16Hx14Wx12D
Troy Collins, Youth at Play 72Wx36H, Oil
Vic Payne , Chief Plenty Coups Bronze Ed. of 35, 23Hx10Lx9W
200 Old Santa Fe Trail • Santa Fe, NM 87501 • www.mountaintrailsfineart.com • (505) 983-7027
SATURDAY | AUGUST 16TH | SANTA FE
Joseph Henry Sharp | After the Hunt Oil on canvas | 30 by 36 by inches | Estimate: $240,000 - $280,000
ORDER A CATALOG FOR $25 OR VIEW ONLINE AT ALTERMANN.COM ACCEPTING CONSIGNMENTS FOR AUCTION DECEMBER 7TH | SANTA FE
SUBMIT ARTWORK FOR EVALUATION TO: INFO@ALTERMANN.COM
VISIT OUR WEBSITE FOR ARTWORK SUBMISSION AND MORE INFORMATION: ALTERMANN.COM 7172 EAST MAIN STREET SCOTTSDALE, AZ 85251 (480) 945-0448
345 CAMINO DEL MONTE SOL SANTA FE, NM 87501 (505) 983-1590
2912 MAPLE AVE, SUITE A DALLAS, TX 75201 (214) 880-1700
CONSIGNMENT OFFICE 8205 RONSON RD., SUITE H SAN DIEGO, CA 92111 (310) 560-7080
native arts magazine
contents 30 Up Front
Tewa Dancers from the North, jewelry by Larry Vasquez, a biography of Kevin Red Star, and poems by Max Early
34 Museum Spotlight
50 Artist Portraits
N. Scott Momaday, Margarete Bagshaw, Will Wilson, and other artists defining their genres
62 Around the Block Native American artwork draws serious collectors to the auction circuit
Preston Singletary, The Rattle That Sang to Itself, blown and sand-carved glass and steel, 19 x 11 x 6"
Gallery show previews
66 Masters of Art Steven Paul Judd, Jesse Monongya, Diego Romero, Julian Coriz, John Suazo, and Phillip Vigil
72 Day Trip Chaco Culture National Historic Park courtesy tewa dancers of the north
Chaco Culture National Historic Park National Park service
Native American art exhibitions at top national and regional museums
48" x 36"
JOHN NIETO One Man Show • Friday, August 22, 2014 • 5 to 7 pm
VENTANA FINE ART 400 Canyon Road
Santa Fe, NM 87501
WITNESS THE RESURGENCE OF
SOUTHEASTERN NATIVE AMERICAN ART
outheastern Native artists and artisans invoke the traditions and inspirations of their forebears from the Southeastern Ceremonial Complex. By utilizing specific symbols, subjects, styles or textures to form a balanced composition, they create a visual language of interpretation for their environment. The objects and art Southeastern artists fashioned then —and create now— echo and affirm the identities of their people.
Visit the booths of these Southeastern Artists: Kristen Dorsey 200 Brent Greenwood 779-LIN-W Norma Howard 206-PAL-N Margaret Roach Wheeler 285-PAL Daniel Worcester 329-FRN
native arts magazine
cristina olds amy gross
CONTRIBUTING EDITOR LEAD GRAPHIC DESIGNER
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david wilkinson SALES REPRESENTATIVES
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ashley m. biggers, rodney gross zélie pollon, donna schillinger eve tolpa, emily van cleve PHOTOGRAPHERS
gunther maier sergio salvador A PUBLICATION OF BELLA MEDIA, LLC FOR ADVERTISING INFORMATION
215 W San Francisco St, Ste 300 Santa Fe, NM 87501 Telephone 505-983-1444, fax 505-983-1555 email@example.com santafean.com Copyright 2014. Reproduction in whole or in part without permission is prohibited. Published by Bella Media, LLC, 215 W San Francisco St, Ste 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 16946, North Hollywood, CA 91615-6946.
Need-to-Know Native American Painters, Sculptors, Weavers, Writers, Dancers, Poets, and More
ON THE COVER Preston Singletary, Eagle and Raven Dancers (detail), blown and sandcarved glass, 18 x 8 x 6". See page 66 for info about Singletary’s upcoming show at Blue Rain Gallery.
news and happenings
by Cristina Olds
Tewa Dancers from the North perform the Buffalo Dance.
stone poet jewelry
When it comes to designing his stunning, one-of-akind jewelry items, artist Larry Vasquez says that the stones he uses speak to him and guide him. “I call them record keepers because they’ve been here absorbing information for so long,” he says. Amid the dialogue with the jewelry, a poem forms in Vasquez’s mind, and he includes that poem with the piece. Working without an initial sketch, Vasquez might spend as many as 50 hours creating each finished product. “The smaller pendants with tiny stones that I call corn maidens might have 50 to 60 pieces,” he says. Vasquez individually handcrafts and polishes each bead and also blends and mills the 18- to 22-karat gold himself. “This year I’m concentrating on turquoise, like in my ceremonial necklace that has Black Spider Mine turquoise beads,” Vasquez says, noting that he’s making “medicine pieces that activate the person [wearing the necklace] and enhance our own lives as healers.” Other recent works feature beads fabricated from spiny oyster, opal, and coral. “I’ll also rework old beads that I find,” he says. Vasquez’s work can be seen on his website, larryvasquez.net.
tradition-filled dance performance
Curt Garcia has performed traditional Native dances with the Tewa Dancers from the North for as long as he can remember. “I’m 29 now, and I was dancing even before I could walk—since I was in my mother’s womb and she was dancing with the group,” he says. The Ohkay Owingeh Pueblo family of dancers began performing in the 1970s, when Garcia’s grandfather, Andrew Garcia, started the group to give young tribal members a cultural identity and to provide activities to prevent substance abuse. Andrew had struggles of his own until, as his grandson says, “he made a U-turn with his life and put his interest into us, the younger generation. Now he’s reaching out to his great-grandchildren.” Garcia’s own children (ages 4, 8, and 9) dance with the group, while his grandfather, at age 76, still composes songs. The dancers perform traditional pieces at ceremonies and special public events, adding their own updates to the music and choreography. “Grandfather chants the songs—he’s the storyteller—and we all add things; we’re open to new ideas,” Garcia says. “We connect with each member. We’re a unique circle no one can break.” Three or four members may sing, and up to 15 dancers might perform at once. Garcia especially enjoys assisting his grandfather with the songs, noting that the stories passed from the ancestors through the Tewa-language lyrics contain valuable messages. The Buffalo Dance Song, for example, talks of the buffalo bringing life and prosperity to all people and gives “thanks to our Creator for giving us peace and balance in our daily lives,” Garcia says. “There are prayers behind a lot of the dances.” The Tewa Dancers from the North have performed around the world, including in Colombia, Brazil, India, and Singapore. Most recently, they’ve been dancing at weddings held at Buffalo Thunder Resort & Casino. “We’re trying to share a cultural awareness of the Ohkay Owingeh Pueblo—who we are and how we live,” Garcia says. “Audiences have commented that they feel the spirituality. We feel we’re touching lives.” 30
Isis pendant, Lightning Ridge opal center stone, blue sapphires, orange sapphires, and canary diamonds. Above: True Love necklace, green chrysoprase and opal.
Galisteo Basin #2 archival Pigment Print Mounted on acrylic Plate 20” x 30” Michael namingha © 2014
Dan, arlo, and Michael namingha ar tists’ Reception Friday, august 22, 2014 5-7:30 PM 125 Lincoln Avenue • Suite 116 • Santa Fe, NM 87501 • Monday–Saturday, 10am–5pm 505-988-5091 • fax 505-988-1650 • firstname.lastname@example.org • namingha.com
portrait of an artist
biography The new biography Kevin Red Star: Crow Indian Artist, which features text by Daniel Gibson and photographs by Kitty Leaken, celebrates the life and work of the Montana-based painter, who, over the last 50 years, has honored the Crow people and their culture through his artwork and through his role as a mentor. â€œI was most impressed to discover the devotion Red Star has to his family and to his community, and the courage it required for him to create his career,â€? says Gibson, the former editor of Native Peoples magazine. â€œRed Star helps support a large circle of people in Montana, both financially and emotionally,â€? he adds. â€œThey look to him for assistance and guidance, and he serves as a role model for how to conduct oneâ€™s life and career.â€? Red Star attended the Institute of American Indian Arts in Santa Fe and the San Francisco Art Institute in the 1960s, becoming part of the modern and post-modern Indian art movements. â€œThere was an explosion of creative activity; the environment was dynamic,â€? Red Star says about his time in art school. â€œI wanted to be a painter, but I didnâ€™t know how to mix paint or what brushes to use. Art school gave me the groundwork and allowed me to paint from the heart.â€? Today Red Star opens his studio in Roberts, Montana, to student groups interested in learning about a career in art. â€œGrowing up, no one was into the arts on the reservationâ€”they were busy being farmers and ranchers. When I went back to Montana, I wanted to give kids that opportunity, so I do demonstrations and answer questions.â€? Red Star also donates paintings for various charity fundraisers in the area. His works are included in notable museum collections across the country; at galleries in Arizona, Colorado, and Montana; and in Santa Fe at Windsor Betts Art Brokerage House. Red Star, Gibson, and Leaken will be at a booksigning event at Collected Works Bookstore in Santa Fe on Wednesday, August 20 (5:30 pm, 202 Galisteo).
Kevin Red Star in his Roberts, Montana, studio
Since 1982 in Taos Old Pawn & Contemporary Indian Jewelry & Art
How You Got Your Name —For Alan
One tree struck by lightning Fashioned into a cradleboard Protect my little one. Three tall river willows chosen Shaped and bent like an arch Keep my baby safe. Four buckskin loops on each side Zigzag laced belt like lightning Hold my child secure. Six colors of the sun sought Sewn beads around your willows Comfort my son to sleep. Grandfather said— Your cradleboard was charming So we named you Ga-schot-tsee Rainbow, my Rainbow. —Max Early, From Ears of Corn: Listen
preserving cultural traditions with pottery and poetry poetry Maintaining the traditions of the Laguna Pueblo people for future generations is important to Max Early, who’s widely known for his award-winning pottery. Now, Early has brought his talents and his vision to the world of poetry with the release of his first collection of verse, called Ears of Corn: Listen (3: A Taos Press). “Writing is different from making pottery in that revision is limited [with the latter],” Early says. “With pottery, once the clay slip absorbs on the surface of the pot, mistakes are nearly impossible to correct. But writing and pottery are the same by way of contemplating ideas and visualizing the piece or poem,” he adds. Words from the Keresan dialect are sprinkled throughout the collection to “heighten the vocal tonality of my poetry,” Early says, with keys in the margins providing translations and photos of Early’s family—past and present—providing visual references for the characters in the poems. A second book is currently in the works. Award-winning Laguna Pueblo potter Max Early recently
released his first book of poetry, Ears of Corn: Listen.
Already Legendary. . .
Montecristi Custom Hatworks 322 McKenzie Street • Santa Fe, NM 87501 505.983.9598 • montecristihats.com
Museum of Indian Arts and Culture
by Ashley M. Biggers
timeless turquoise an engaging exhibition looks at the power and significance of the enduring gemstone
Angie Reano Owen of Santo Domingo Pueblo inlaid turquoise from Nevada’s Red Mountain mine onto a shell to make this cuff bracelet.
“Turquoise is more than a beautiful stone. It has deep cultural significance in the region,” says curator Maxine McBrinn. 34
Left: Southwestern rings and bracelets from the 1910s through the present feature single cabochons and clusters of precisely cut stones. Below: Rough turquoise from the Cerrillos District.
Turquoise is an enduring symbol of the Southwest. When paired with silver, the gemstone is particularly iconic. However, “turquoise is more than a beautiful stone. It has deep cultural significance in the region,” says Maxine McBrinn, curator of archaeology at the Museum of Indian Arts and Culture (MIAC), where Turquoise, Water, Sky: The Stone and Its Meaning opened in April. The exhibit’s title speaks to the gemstone’s history of symbolizing water, the sky, and certain aspects of a good life, including health, abundance, and beauty. Native peoples have used turquoise ceremonially, medicinally, and decoratively for thousands of years, but this exhibit points to the breadth of its significance, citing relics such as King Tutankhamun’s gold-turquoise-inlay funeral mask. Turquoise, Water, Sky features 450 artifacts drawn from the museum’s extensive collection; more than 50 percent have never been displayed publicly, lending the exhibit the exclusive air of peeking inside someone’s well-curated jewelry box. A standout display delineates turquoise sourced from various mines—sometimes the difference is marked, sometimes negligible. Covetable jewelry items include a Depression-era squash-blossom necklace made entirely of the stone (absent silver) and a modern cuff bracelet formed from a shell and inlaid entirely with turquoise by Santo Domingo artist Angie Reano Owen. The skill and creativity of the craftspeople is visible in each bauble, whether intricate or bold. The exhibition will be on display through May 2, 2016. In conjunction, MIAC has scheduled programs such as a five-part lecture series (final dates: August 10 and September 21) examining the role and function of turquoise from prehistoric times through the present day. On the third Wednesday of each month, the public is invited to bring artifacts, historic objects, or pieces of jewelry for the curators to examine and identify in “Let’s Take a Look.” Finally, a turquoise-buying seminar (August 9) helps buyers make informed purchasing decisions. Museum of Indian Arts and Culture, 710 Camino Lejo, Santa Fe, New Mexico, indianartsandculture.org
AUGUST The Tradition of the Martinez Family of San Ildefonso Pueblo Opening Reception Monday August 11 5 to 7 pm
221 Canyon Road Santa Fe 505.955.0550
Wheelwright Museum OF THE AMERICAN INDIAN
Thursday, August 21
Friday, August 22
Silent Auction and Live Auction Preview 4:00 p.m. â€“ 6:00 p.m.
Collectorsâ€™ Table 10:00 a.m.
Offsite parking and free shuttle from St. Johnâ€™s United Methodist Church at Old Pecos Trail and Cordova Road.
Live Auction 1:00 p.m. â€“ 4:00 p.m.
Funded in Part by a Gift from
Live Auction Preview 10:30 a.m. â€“ 12:30 p.m.
Eiteljorg Museum of American Indians and Western Art
by Samantha Schwirck
past, present, and future Lakota doll, glass beads, buffalo hair, leather, and porcupine quills, 9 x 2 x 17". Gift courtesy of Harrison Eiteljorg.
Lawrence Paul Yuxweluptun, Portrait of a Residential School Child, acrylic on canvas, 64 x 52". Loan courtesy of Keith Peck.
The only Native American and Western art museum in the Midwest, the Eiteljorg Museum of American Indians and Western Art houses founder Harrison Eiteljorg’s personal collection as well as works by Western art luminaries such as T. C. Cannon, Frederic Remington, and Allan Houser. When art lover Eiteljorg moved west in the 1940s to mine for coal, he quickly became enthralled with Native American art and culture. He subsequently developed a personal art collection that included Native American and other pieces, and in 1989 he established the Eiteljorg Museum in Indianapolis, Indiana. In keeping with its founder’s original mission—“to inspire an appreciation and understanding of the art, history, and cultures of the American West and the indigenous peoples of North America”—the Eiteljorg hosts temporary exhibitions every year and houses three permanent collections: One focuses on Native American art, one on Western art, and one on contemporary art. The museum’s Native collection features clothing, basketry, and weapons as well as contemporary sculpture, jewelry, and carvings. It houses works from the Donald B. and Jean O. Korb Collection of Navajo Saddle Blankets and the Martin J. and Julie Klaper Collection of Arctic Art. In 2012, the Eiteljorg also acquired 110 of R. Terrance and Rebecca J. Rader’s katsina carvings. “The museum’s collections purposefully embrace contemporary works that are traditional and functional,” says James H. Nottage, vice president, chief curatorial officer, and Gund curator of Western art, history, and culture at the Eiteljorg. “The museum is also the major repository and center for the presentation and interpretation of modern sculpture, painting, installation works, and other expressive representations that demonstrate the vitality of Native contemporary art today,” he adds. “All of the pieces in the collection are important because they demonstrate this vitality and the social, cultural, and historical issues that have impacted Native cultures through time.” On the museum’s second floor, a special continuing exhibit, Mihtohseenionki (translated as “The People’s Place”), chronicles the history of Indiana’s Native American population, including the Miami, Delaware, Potawatomi, and other tribes. Remaining space focuses on a widespread Native population that spans from the western and eastern coasts of the United States, to as far north as Alaska, and as far south as Mexico. Eiteljorg Museum of American Indians and Western Art, 500 W Washington, Indianapolis, Indiana, eiteljorg.org
courtesy of the eiteljorg museum of american indians and western art
the Eiteljorg Museum showcases historic and contemporary Native art
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native arts 2014
Wheelwright Museum of the American Indian
by Donna Schillinger
a multimedia exhibition showcases photographer Will Wilson’s timely and forward-looking work
The manifold talent and passion of Diné (or Navajo) photographer Will Wilson is on full display in an exhibition that runs through April 19, 2015, at Santa Fe’s Wheelwright Museum of the American Indian. Wilson, who was born in San Francisco and raised in Tuba City, Arizona (the largest community in the Navajo Nation), combines digital technology, historic photographic processes, performance, and installation to address the themes that most concern him: environmental activism, the impact of cultural and environmental change on indigenous peoples, and cultural survival and renewal. At the entrance to the Wheelwright is Wilson’s AIR LAB, a large hogan-shaped greenhouse in which vegetables, culinary herbs, and native and drought-tolerant shrubs grow. Part of a vision that centers on indigenous communities growing healthy food and raising healthy children, AIR LAB fuses Wilson’s grownup concerns with childhood memories of his grandparents’ home. “My grandfather’s cornfields, fruit trees, melons, and squash, along with my grandmother Martha’s large herd of sheep, sustained our extended family for generations,” Wilson has said. The exhibition also includes 12 photographic portraits from Wilson’s CIPX (Critical Indigenous Photographic Exchange) project. In response to the general public’s reception of Edward S. Curtis’s famous early-20thcentury images of Native Americans, CIPX expands on the photog38
rapher’s work, but from a 21st-century perspective. “Curtis did a certain amount of manipulation by removing modern accoutrements from view and asking subjects to wear heirloom clothing,” says Cheri Falkenstien-Doyle, the Wheelwright’s curator. “Also, the photographic chemistry of Curtis’s day renders some skin tones very dark, which white viewers tended to read as exotic. Will’s portraits represent a more equitable relationship with his subjects. People pose with items of personal significance—everything from vintage typewriters to manga paperbacks—and share rights to the image.” Among the other pieces not to be missed is Wilson’s huge AIR (Auto Immune Response) series, which depicts a post-apocalyptic Navajo man’s journey through a desolate but beautiful landscape symbolic of the exploited Navajo reservation. The futuristic protagonist considers profound questions: What has occurred to transform the landscape? Why has the land become toxic? How will I reconnect with the earth? Wilson’s message is as manifest as the immense images of the exhibition, leaving the viewer debating whether Wilson is an activist with a camera or an artist on a mission—so evenly apparent are the two energies. As Falkenstien-Doyle says: “I’m drawn to the beauty and poignancy of his work, and then I like the message.” Wheelwright Museum of the American Indian, 704 Camino Lejo, Santa Fe, New Mexico, wheelwright.org
courtesy of the wheelwright museum of the american indian
AIR 6, archival pigment print, 44 x 79"
Todd Paxton, The Hunter, Bronze Chris Payne, Soulmates, Bronze
13 Feathers, Carved and Pyrographed Gourd
Santa Fe Art Collector 217 Galisteo Santa Fe, NM (505) 988 5545
Eric Hartman, Bounty Along the Lochsa, Bronze
Pablita Velarde Museum of Indian Women in the Arts
by Donna Schillinger
celebrating the harvest artist Kathleen Wall explores food-centered culture and customs
Above, right: Corn Grinders, traditionally processed Jemez Pueblo clay, painted with acrylic and earth pigments, 20 x 37 x 22". Painting: acrylic on canvas with earth pigments, 37 x 61". Above: Saguaro Picker, traditionally processed Jemez Pueblo clay, painted with acrylic and earth pigments, 19 x 7 x 7". Painting: acrylic on canvas with earth pigments, 84 x 37". 40
our current practices. “By introducing the traditional knowledge, I’m hoping to open up the conversation about what we do today,” Wall says. An outgrowth of Wall’s senior thesis at the Institute of American Indian Arts, Harvesting Tradition explores the way Native Americans used to—and still do—harvest, gather, grow, and hunt their food in a traditional manner. The artist researched each scene depicted in her pottery for this show, and many evoke long-forgotten customs. “A Pueblo farming scene of a woman harvesting cactus fruit doesn’t fit in our world anymore,” Wall says. “But it can be the impetus for conversation about our present habits,” she adds. “Are we eating foods that our bodies are used to eating? Are we harvesting locally? How can we grow our own food? Do we even know where to get truly healthy food? All of these questions we ask with the ultimate goal of better health.” The very embodiment of a successful synthesis of the traditional and the modern, Wall is best known for her Native pottery figures. Although she began her artistic journey making storytellers, she always knew she would eventually move beyond the traditional art she was taught. During her late teens, Wall’s works became more figurative. “I was a young girl in the midst of something I had a passion for,” she has said. Harvesting Tradition runs through January 5, 2015, with a reception being held during Santa Fe’s Indian Market on Thursday, August 21. To continue the conversation about past and present food-centered culture and customs, PVMIWA and Wall will host a monthly series, Noonday Dialogue at the Pablita, from 1 to 3 PM on the following dates: August 28: Harvesting Tradition (Wall); September 25: Pueblo Farming (Justin Casiquito, Jemez); October 23: Corn Grinding (Lois Ellen Frank, Kiowa); November 28: Indigenous Diet (Chastity Sandoval Swentzell, Diné). Pablita Velarde Museum of Indian Women in the Arts, 213 Cathedral Place, Santa Fe, New Mexico, pvmiwa.org
courtesy of the pablita velarde museum of indian women in the arts
When sitting down to eat, do you ever think about the journey your food took to go from field to plate? It’s precisely this fundamental transition—the harvest—that’s at the center of a new exhibition of paintings and clay sculptures at the Pablita Velarde Museum of Indian Women in the Arts (PVMIWA) in Santa Fe. Part ethnography, part social statement, Harvesting Tradition, which features works by Jemez Pueblo artist Kathleen Wall, who also curated the exhibition with Marth Becktell and Marita Hinds, seeks to educate visitors about traditional Native American food ways and to create awareness about
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Booth Western Art Museum
by Rodney Gross
go west from cowboys to katsinas, the Booth museum celebrates Western American art THE COUNTRY’S LARGEST permanent exhibition space dedicated to Western American art isn’t in the West but, rather, in the Southeast. The Cartersville, Geogia–based Booth Western Art Museum, a Smithsonian affiliate that opened in 2003, offers 120,000 square feet of historic artifacts and contemporary works that reference the Old West. The collections evolved from ones acquired by the anonymous family who donated the funds to build the museum, which they named after an old friend. The Booth also includes Civil War art and a tribute to all the country’s presidents. Among the museum’s permanent galleries are collections featuring paintings and sculptures depicting the history, landscape, and enduring characters of the American West. The Cowboy Gallery spotlights the iconic figure who still figures prominently in American lore and culture; Heading West focuses on the country’s earliest fur trappers and mountain men as well as the later pioneers who arrived by stagecoach and covered wagon; and Mythic West explores how our perceptions of the pioneer era have been shaped by
Shonto Begay, Our Promised Road, acrylic on canvas, 43 x 72"
A permanent exhibit called Native Hands emphasizes the use of color and geometric shapes in traditional and contemporary Indian art.
Stanley Natchez, Four Powers of the World, mixed media, 60 x 48"
Above: Oreland Joe, Healing Songs, marble, 24 x 17 x 24". Above, right: Kevin Red Star, Ready for the Two Step, mixed media, 50 x 62". Right: Michael Naranjo, Eagle Man, bronze, 87 x 63 x 46".
Allan Houser, Buffalo Hunt, bronze, 36 x 163"
courtesy of the booth western art museum
Dan Namingha, Antelope Kachina, acrylic on canvas, 79 x 70"
pulp novels and Hollywood. For fans of Native arts, the highlight of a visit to the Booth is likely to be Native Hands, a permanent exhibition that emphasizes the use of color and geometric shapes in traditional and contemporary Indian art and that features more than 200 examples of stunning rugs, garments, jewelry, pottery, and katsina dolls. In 2015, the Booth museum plans to host a retrospective of works by New Mexico artist Michael Naranjo, who grew up in Taos and Santa Clara Pueblo and who creates his much-lauded bronze-cast clay pieces without the use of his eyesight or his right hand. As the Booth Museum’s executive director, Seth Hopkins, notes: “In many cases, it’s Native artists who have moved the [Western] genre forward, producing masterworks in a variety of media, reflecting their own views of their culture and heritage.” Booth Western Art Museum, 501 Museum, Cartersville, Georgia, boothmuseum.org
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by Ashley M. Biggers
Allan Houser (Chiricahua Apache), War Pony, bronze, 24 x 34 x 9". Bequest of Ann B. Ritt. Above: Unknown artist (Sioux), Untitled, pencil on paper, 18 x 11". Heard Museum Collection.
Traditionally, members of Plains tribes would have used animal hides and natural pigments to record events, but after being relocated to reservations they used pencils and sheets of paper from ledger books to create. Their stories—and, therefore, the preservation of their culture—eventually emerged on paper, in eye-catching color and a representational style. The Heard Museum presents 80 to 100 such works in Stories Outside the Lines: American Indian Ledger Art, on display through September 21. “Ledger art was historically men’s art, so these are more or less brag sheets talking about brave deeds and victories in battle,” says Janet Cantley, the Heard Museum’s curator. Cantley notes that 60 to 70 percent of the works fall into that category, with the rest depicting culture and ceremony. A drawing from the Gilcrease ledger artist (a celebrated artist whose name is unknown but who’s referred to by the reservation at which he was held) depicts men returning from battle, with women wearing war bonnets and skirts with intricate geometric patterns. Another standout drawing, this one from a Sioux artist, depicts a dance in which nine regalia-clad warriors move in formation. The exhibition also presents works from the ledger art resurgence in the 1970s and ’80s, when modern artists of both sexes adapted the style to a variety of mediums. In one piece, for example, Toni Williams appliquéd ledger-art images into the fabric of a kimono. Art from the Native American diaspora is also at the center of The Houser/Haozous Family: Celebrating a Century, on display through April 26, 2015. In this exhibit, the Heard Museum acknowledges the 100-year anniversary of the release of the Chiricahua Apache people from their status as prisoners of war, as well as the birth of influential Chiricahua Apache artist Allan Houser (1914–1994). Houser’s parents, Sam and Blossom Haozous, were among those who rode with Geronimo. They were imprisoned in Florida, Alabama, and Oklahoma’s Fort Sill, where Houser was born. “A lot of work by both father and sons [including Houser’s sons Phillip and Bob Haozous, whose work is also featured in the exhibition] were influenced by that family history. They produce in very different ways, but it’s coming from that same foundation,” Cantley says. Featuring some 20 pieces of sculpture from this prominent family, the show includes several rarely or never-before-seen pieces, especially those by
courtesy of the heard museum
cultural storytelling from Plains and Apache tribes
Phillip Haozous. Phillip, who demonstrates more of his father’s romanticism and balance between realism and abstraction, loaned Great Spirit Buffalo II, a monumental, life-size bison, to the show. Bob Haozous’s conceptual pieces reflect upon Chiricahua Apache social history, as in Portable Apache, a figure of a warrior shot up with bullet holes. The figure is mounted on wheels, evoking the Apache people’s nomadic history—both by choice and forced imprisonment. “Each piece tells a story, drawing on their cultural heritage,” says Cantley. Heard Museum, 2301 N Central, Phoenix, Arizona, heard.org
Gilcrease ledger artist (Cheyenne), Women Honoring Warriors, pencil on paper, 15 x 20". Bequest of Carolann Smurthwaite.
Bob Haozous (Chiricahua Apache/ Navajo), Portable Apache, painted steel, 33 x 12 x 12". Gift of Natalie Eigen.
Autry National Center
by Donna Schillinger
blossoms in beadwork the history and meaning behind Native American flower imagery THOUGH THEY’re Usually fragile and ephemeral, flowers are perpetually in bloom in a groundbreaking exhibition at The Autry National Center of the American West. Floral Journey: Native North American Beadwork, on view through April 25, 2015, draws from multiple private collections and 15 cultural institutions to present more than 250 unique objects and personal stories—many on display to the public for the first time.
Above: Ojibwe breechcloth from 1885. Velvet and glass beads. Gift of Miss Donna Held. Southwest Museum of the American Indian Collection, Autry National Center.
Left: Santee Sioux pipe bag, ca. 1880. Hide, porcupine quills, and glass beads. Right: Canadian Plains Cree gauntlets from 1900. Native tanned hide, commercial leather, and glass beads. Both pieces from the collection of Lora A. and Robert U. Sandroni.
courtesy of the autry national center of the american west
Left: Lakota boots from the 1880s–1890s. Hide, feathers, metal cones, and glass beads. Loan courtesy of the James R. Parks Collection.
Museum of Contemporary Native Arts
by Emily Van Cleve
two solo exhibits explore traditional identity amid modern-day influences
During the week of Santa Fe’s 93rd annual Indian Market, the Museum of Contemporary Native Arts (MoCNA) presents solo exhibitions showcasing the work of artists who have close connections to Santa Fe but create very different kinds of art in dissimilar environments. The Desert Never Left “The City,” opening in MoCNA’s North Gallery on August 22 and running through December 31, features 21 oil, acrylic, and mixed-media paintings on canvas and paper by Mario Martinez, a former instructor at the Institute of American Indian Arts (IAIA), MoCNA’s parent organization. An Arizona native with strong ties to his Yaqui culture, Martinez has been painting in Brooklyn, New York, for the past decade. “Mario uses an abstract genre to draw upon the spiritual nature of his culture,” says MoCNA’s chief curator, Ryan Rice. “Sacred knowledge isn’t revealed in his work. He draws from animal and plant life from his home in Arizona and blends figurative [and] narrative [elements] to express his relationship to New York’s contemporary urban environment.” Martinez studied art in Arizona and earned a master’s degree from the San Francisco Art Institute. People, 48
Mario Martinez, Spring Thoughts II, acrylic on canvas, 36 x 36". Opposite: Yaqui Abstraction, acrylic and lace on canvas, 36 x 36".
courtesy of the museum of contemporary native arts
Detail from Da-ka-xeen Mehner’s wall installation Call and Respond, which comprises 12 hand drums made of rawhide (elk) and wood (cedar) and features a mold of the artist’s face. The individual drums are 20 x 20 x 8".
creatures from nature, and gray concrete buildings appear in his work, which has been exhibited at the Smithsonian’s National Museum of the American Indian in New York City and at the Heard Museum in Phoenix. In contrast to Martinez’s urban-influenced work is Da-kaxeen Mehner’s show Saligaaw (it is loud-voiced ), which centers on reclaiming the Alaskan Tlingit language. The show, in the South Gallery, also opens on August 22 and continues through the end of the year. A former student at IAIA and the University of New Mexico, the Alaska native is an assistant professor of Native Arts at the University of Alaska in Fairbanks. He drew from his family ancestry (Tlingit/N’ishga) and from his experience of having a Native American mother and non-Native father to create a wall installation of 12 rawhide hand drums called Call and Respond. Mehner made a mold of his face and put it in the rawhide on one side of the drum to produce a 3-D sculptural effect. “Visual images that express his disconnection and recon-
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Da-ka-xeen Mehner’s show “celebrates the lasting and profound relationship between the Tlingit language and song,” says Ryan Rice, MoCNA’s chief curator. nection to his Native language are projected onto the drums,” Rice says. “Accompanying the images are songs that he and his elementary school– age son have been singing together as a way for both of them to reconnect with their culture. The exhibit celebrates the lasting and profound relationship between the Tlingit language and song.” Running concurrent to the above shows are the exhibits Breach: Log 14, an exploration of historical ties to water and material sustainability by artist, filmmaker, and IAIA instructor Courtney Michele Leonard (Shinnecock Nation of Long Island, New York), and Rattlebone, a collection of paintings and related works by Spokane artist Ric Gendron (Arrow Lakes Band of Confederated Tribes of the Colville Reservation and the Confederated Tribes of the Umatilla). An opening reception for all the exhibits takes place on August 21 from 5 to 7 pm. Museum of Contemporary Native Arts, 108 Cathedral, Santa Fe, New Mexico, iaia.edu/museum
native arts 2014
artist portraits Native American art is admired around the world for the depth and beauty of its aesthetic, its meaning, and its craftsmanship. Here we celebrate a few of the potters, weavers, musicians, and Pulitzer Prize–winners who are not only thriving in their genres but are defining (and redefining) them as well. Photographs by Sergio Salvador
N. Scott Momaday Winner of the 1969 Pulitzer Prize for Fiction for his novel House Made of Dawn, N. Scott Momaday is credited with bringing Native American literature into the mainstream and, as a result, igniting a “Native American Renaissance” that inspired the likes of writers Sherman Alexie and Louise Erdrich, among many others. Today, in addition to writing, Momaday teaches in the Indigenous Liberal Studies program at the Institute of American Indian Arts (IAIA) in Santa Fe. “This fall semester he’ll be teaching a class called The Word as Sacred,” says Dr. Ann Filemyr, IAIA’s academic dean. “The class focuses on the Native American cultural conceptual framework in which the spoken word and the oral tradition is linked to spiritual beliefs about people, place, and time.” Momaday, a Santa Fe resident who is of Kiowa and Cherokee descent, has written more than 15 books comprising poetry, plays, and fiction, and in 2007 he was awarded the country’s highest honor for artistic achievement, the National Medal of Arts.—Cristina Olds 50
Aragon hand-paints his miniature pots before firing and glazing them.
Allen Aragon Allen Aragonâ€™s concho belts, pendants, and bolo ties are miniature wonders that combine his talents as both a potter and a jeweler. The award-winning Navajo artist, raised on a ranch outside of Chaco Canyon, paints precisely detailed Acomastyle pottery, which he then embeds in sterling silver jewelry. His one-inch pots and silver jewelry can be seen at the Heard Museum Shop in Phoenix, the Museum of New Mexico Foundation shops in Santa Fe, and at his eponymous Albuquerque gallery.â€”CO
Aragon embeds intricately detailed pottery in sterling silver jewelry to create truly one-of-a-kind items.
native arts 2014
Emmett Garcia Singer and lyricist Emmett “Shkeme” Garcia has been around the world, but now he’s back home in New Mexico, where he focuses on his award-winning Native American reggae band Native Roots, which he started in 1997. The band’s body of work includes three CDs and a recently released single, “Tribal Wars.” Garcia, of Santa Ana/Jemez Pueblo ancestry, also writes children’s books based on traditional legends and mythology.—CO
Margarete Bagshaw, Flying Lessons, oil on panel, 24 x 24"
Margarete Bagshaw Clearly in the prime of her creative life, Margarete Bagshaw paints big. And bigger. Gazing at a 2 x 3' canvas from her recent past, she shakes her head. “I can’t go back there,” she says. A recent oil painting—a 12 x 7' piece—found a buyer even before its concept took form. Consider Bagshaw’s DNA: She’s the daughter of Helen Hardin and the granddaughter of Pablita Velarde, two of the most important painters in the history of Native arts. But Bagshaw’s Santa Fe–based work dances down a defiantly modernist path, unique unto her. “Spatial composition with an essence of spirituality” kick-starts her definition. From there, a limitless palette offers itself to a wonderland of abstract dreams conjured into life—a kaleidoscope of katsinas, mermaids, dinosaurs, and more. You can’t just look. You must listen.—Kate Nelson
native arts 2014
Jody Naranjo Part of a distinguished line of Tewa potters from the Santa Clara Pueblo, Judy Naranjo was selling her artwork under the portal of the Palace of the Governors at age 15 and to galleries at 19. Over the years, the IAIA graduate has cultivated her own contemporary look, working with browns and mid-range colors instead of the traditional black and white and employing a distinctive sgraffito technique. Naranjo also crafts whimsical, eye-catching animals in bronze, such as Pueblo Dog and Horsey.—CO
Honyestewa calls her latest basket design Pootsaya, a combination of Hopi coil and sifter baskets that she colors with RIT dye for brighter colors.
Iva Honyestewa Hopi/Navajo basketmaker Iva Honyestewa recently completed an artist’s residency with the School for Advanced Research (SAR) in Santa Fe. She creates traditional baskets featuring geometric designs woven from yucca, willow, and three-leaf sumac, originally used for sifting corn and drying fruit. Honyestewa owns Iskasokpu Gallery in Second Mesa, Arizona, and is revising a Hopi cookbook for the Hopi Pu’tavi Project.—CO Naranjo burnishes her clay vessels with a riverbed stone passed down to her from her great-great-grandmother, giving her pieces a glossy finish.
Above: Three-dimensional Turtle, yucca and willow, 15" Left: Spring Colors, yucca and willow, 10 x 5"
Gerald Pinto Gerald Pinto makes his plates, disks, and ollas using various techniques, such as carving and reverse-staining, glazing into an antique crackle, and, most recently, inlaying turquoise and copper to add texture and earth tones to his pieces. From his home in Vanderwagen, near the Four Corners region, Pinto sources local clay to make the pottery and cedar wood for firing it. His darker-toned pots are burnished to a fine polish by a piece of amber and then finished with pine pitch and mineral oil.â€”CO
Pinto is shown here with new items from his DinĂŠ-Bikeyah series.
native arts 2014
From left: Michael Namingha, Arlo Namingha, and Dan Namingha with Dan’s dog, Camden.
From top: Arlo Namingha, Four Directions #1, white yule marble, 6 x 12 x 41"; Dan Namingha, Dawn, mixed media on canvas, 50 x 40"
Michael Namingha, Galisteo Basin #1, archival pigment print on acrylic plate, 30 x 40"
They share a last name—a formidable one in the art world—and a healthy dose of familial talent to boot, but the Naminghas—father Dan and sons Arlo and Michael— are Santa Fe natives whose Tewa-Hopi roots and generational perspectives have influenced their artistic expression in distinctly different ways. Dan’s vibrant paintings and geometric sculptures reflect his homeland and his heritage. Arlo is a jewelry maker and scupltor who works in wood, stone, clay, and bronze, while younger brother Michael’s digital inkjet images, printed on paper and canvas, are spare and decidedly contemporary. Their family-owned-and-operated gallery, Niman Fine Art in Santa Fe, specializes in the artwork of two generations of Naminghas.—Amy Gross
the naminghas’ tewa-hopi roots and generational perspectives have inspired their artistic expression in distinctly different ways. 56
Will Wilson Diné photographer Will Wilson is looking back to look forward. Using a 140-year-old lens and the same collodion wet-plate process used by photographer Edward S. Curtis in the early 20th century, Wilson creates startlingly evocative black-and-white portraits of his very modern subjects, who are asked to bring one item of personal signficance to their sittings. A collection of works from his AIR (Auto Immune Response) series and selections from his CIPX (Critical Indigenous Photographic Exchange) project will be on view through April 2015 in a multimedia exhibition at the Wheelwright Museum of the American Indian.—AG Left: Wilson’s self-portrait, from his CIPX project, showing at the Wheelwright Museum of the American Indian
native arts 2014
Darren Vigil GrAy Darren Vigil Gray was born on the Jicarilla Apache Reservation in Northern New Mexico and traveled the powwow circuit as a young man. At age 15, he attended the Institute of American Indian Arts and began to pour his profound interpretations of nature and landscape into paintings. He has always integrated symbol and myth into his work, a combination of his Native culture and his cutting-edge visions of life. “My culture,” he has said, “sustains and nurtures me in the most gentle and positive way. Like the deer, I have an absolute faith and reliance on the natural world. Like my ancestors who came before me, I prefer to approach my art with wild abandonment, freewheeling nature, and spontaneous activity.” Vigil Gray describes his early work as more experimental; today he paints “more deliberately, though still with bravado and gesture,” he says. “I have a thing about action painting, expressionist art. That’s where my heart has been.” Vigil Gray is represented in museums and private collections around the world, and in 2002 he had the rare opportunity to be featured in a midcareer retrospective at the Wheelwright Museum of the American Indian. In 2010, he was recognized by the mayor of Santa Fe for excellence in art, and in 2013 he was a recipient of the Governor’s Award for Excellence in the Arts.—Zélie Pollon
The Painted High Desert, acrylic on paper, 30 x 44"
art sample TBD
Buffalo Fields Forever-X-file, acrylic on canvas, 18 x 24"
Frank Buffalo Hyde
“I realized when i started [painting] that the work i wanted to see wasn’t being made here,” says frank buffalo hyde.
Fragmented. That’s one word that Frank Buffalo Hyde uses to describe modern American existence for indigenous people. But, he explains, it’s “not necessarily a bad thing.” To his way of thinking, the word refers to “how Native people are involved in every spectrum of contemporary life.” Born in Santa Fe, where he’s also now based, Hyde, who is of Onondaga and Nez Perce heritage, grew up in Upstate New York and attended the Institute of American Indian Arts. “Santa Fe has been important in my artistic development in that I realized when I started [painting] that the work I wanted to see wasn’t being made here,” he says. “I didn’t see anything that represented my contemporary experience.” Hyde created his own genre of sorts, one that incorporates Native references (the buffalo features prominently) and nods to the pop art sensibilities and color schemes of Robert Rauschenberg and Jim Dine. “The universal mind is the collective unconscious we all share via popular culture and world events,” Hyde says. “I draw upon that to comment on our lives.” The artist’s series of 13 paintings called SKNDNS: Native Americans on Film, which showed at Legends Santa Fe in 2012, is now part of the permanent collection of the Smithsonian Institution’s National Museum of the American Indian. —Eve Tolpa
Puck Ficasso Study, acrylic on canvas, 50 x 62"
native arts 2014
in a good place Poteet Victory is right where he wants to be by Donna Schillinge r
Artist Poteet Victory in his studio, with two works from his Abbreviated Portraits series in the background: HWD HGHS (left) and MRLN MNRO, both oil on canvas, 48 x 48".
Above: LTEN JN, oil on canvas, 48 x 48"
hen you visit McLarry Modern at 225 Canyon Road in Santa Fe, don’t be surprised if you see one of the most in-demand contemporary Native American artists creating right before your eyes. And don’t be surprised if he stops to chat with you, too. Multitasker extraordinaire Poteet Victory, who’s of Cherokee and Choctaw heritage, promises that you aren’t going to disturb him. “I can paint, talk on the phone, and do 10,000 other things at once,” he says. “For the first 20 years of my career I didn’t get to meet my clients,” Victory notes, adding that most artists “work in a vacuum,” isolated from other people. In his current studio, located in the gallery he co-owns, Victory interacts daily with collectors of his work—and loves it. “When we first moved into this [space], I knew I was going to paint right in this room.” Victory’s day starts at 9 am (maybe a little later on days when he goes to the gym). He paints his abstract works until 1:30 pm and then breaks for lunch and siesta before putting in a few more hours in the afternoon. Barring something unusual, this is his life. Every day. “Maybe some would say I’m a workaholic,” he muses,
M O D E R N C L A S S I C S
“but I don’t see it that way. I just think I’m focused.” Victory credits much of his success to the “certain dedication” he brings to his work. He’s had the opportunity to observe and advise younger artists, many of whom, after an initial measure of success, often ease up on their work, enjoy late night parties, and see their careers suffer as a result. Not so with Victory, who, according to his artist’s bio, has “refined his unique style of painting on his own through many years of habitude.” Victory spent a large portion of his life on a 1,000-acre cattle ranch in Idabel, Oklahoma, his childhood home, to which he returned after living in Hawaii, Dallas, New York City, and (in previous years) Santa Fe. He’s been back in the City Different since 2009 and is very pleased with his current setup. “This studio is great for me. Open, airy, great lighting,” he says. The artist notes that he has no aspirations to move again. Knowing that he can easily set up a studio anywhere in the world, he’s contemplated living in France and Italy, but he’s concluded that there’s nowhere he’d rather be than where he currently finds himself on Canyon Road in Santa Fe.
Above: GRGA OKEF, oil on canvas, 48 x 48” Left: WL E NLSN, oil on canvas, 48 x 48"
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around the block Native American artwork draws serious collectors to the auction circuit by Rodney Gross Unknown artist, Iroquois Figural Ball Club from the collection of Marvin L. Lince, iron, wire, and wood, 20" (Cowan’s)
Above, left: Unknown artist, Eastern Woodlands Carved Wood Belt Cup, maple burl and cotton string, 5" (Heritage). Above, right: Unknown artist, Cherokee Bandolier Bag collected by Michael Francis, wool and beads, 29 x 13" (Cowan’s). Left: Maria Martinez and Popovi Da, Red Plate with Feather Design, clay, 14" (Altermann). 62
IF YOU FIND YOURSELF wishing that Santa Fe’s annual Indian Market never had to end, take heart. Several auction houses throughout the country offer Native American and Western art and artifacts throughout the year to discerning collectors and art lovers. In Santa Fe, Altermann Galleries & Auctioneers (altermann .com) has been specializing in American Western art since 1978. Owned and operated by father-and-son team Tony and Richard Altermann, their location at 345 Camino del Monte Sol will host auctions on August 16 and December 7. (Altermann’s seasonal gallery in Scottsdale, Arizona, typically schedules its own auction in April.) A third location recently opened in Dallas. You can create an online profile that will match you with art that interests you and allow you to bid at upcoming auctions. Or, you can submit your own pieces: Altermann’s experts are happy to evaluate them or assist you with offering them for consignment. Cowan’s Auctions, (cowansauctions.com) led by PBS’s History Detective and Antiques Roadshow appraiser Wes Cowan, has been serving the needs of the auction world for nearly 20 years. Cincinnati-based Cowan’s is one of the few major auction houses that specializes in American Indian and Western Art. Two live auctions of Native American art are conducted each year, along with two or three online-only sales; expect to see exceptional beadwork, clothes and garments, blankets, pottery, basketry, moccasins, jewelry, and more. Just recently, Cowan’s acquired and sold the Marvin L. Lince Collection of American Indian Weaponry and Accoutrements. Many of the pieces sold above estimate and in the $50,000–$60,000 range. Established in London in 1793, Bonhams (bonhams.com) has grown into an international network of sales rooms featuring fine art and antiques with 60 specialist departments, including
Above: Margaret Tafoya, Red Pot with Snake Design, clay, 9 x 9 x 9” (Altermann). Below: Unknown artist, Sioux Boy’s Pictorial Beaded and Fringed Hide Shirt, sinew, beads, and hide, on metal stand, 17" (Heritage).
everything from coins to automobiles. Their San Francisco location hosts four to six auctions per year featuring Native American works, including Southwest weavings, jewelry, baskets, beadwork, and pottery, plus Northwest Coast and Eskimo art and artifacts. Among the more noteworthy recent auction items at Bonhams were classic Navajo weavings from the Hicks Family Collection of Oklahoma, including one manta that realized $125,000. Heritage Auctions (ha.com) is said to be the third largest auction house in the world and bills itself as “The World’s Largest Collectibles Auctioneer.” Headquartered in Dallas, Heritage boasts more than 874,000 online subscribers who can bid for items in real time. Their American Indian Art department offers such items as vintage photographs by D. F. Barry, Navajo rugs, beaded Sioux clothing, and Hopi pottery. In the past 12 months Heritage Auctions has sold almost $1 billion worth of collectibles.
openings | re vie ws | p e o p le
Santa Clara Pueblo ceramic artist Rose B. Simpson inherited a creative legacy from both her mother, sculptor Roxanne Swentzell, and her father, wood-and-metal artist Patrick Simpson. And while Simpson has pursued numerous avenues of expression—including printmaking, drawing, creative writing, music, and dance—she’s best known for her autobiographical sculptural pieces incorporating mixed-media. Her latest body of work features large-scale busts, which can be seen in her exhibition at Chiaroscuro Contemporary Art (August 9–August 31, reception August 22, 5–7 pm, 702 ½ Canyon, chiaroscurosantafe.com,).—Eve Tolpa
Rose B. Simpson, Guardian, ceramic and mixed media, 26 x 11 x 13"
Indian Market Show Pablo Milan Gallery, 209 Galisteo pablomilangallery.com August 22–August 30 Reception August 22, 5–7:30 pm Three artists share the spotlight in this Indian Market show. Fifth-generation New Mexican Pablo Milan’s expressionistic acrylic paintings use loose brush strokes and dynamic colors to convey Southwestern scenes; self-taught wildlife sculptor Jess Davila brings a contemporary sensibility to his marble, alabaster, sandstone, and limestone pieces; and Don Brewer Wakpa calls on his Cheyenne River Sioux heritage to represent what he terms the “pride and spirituality of my people.”
by Eve Tolpa
Don Brewer Wakpa, Burn for the Buffalo, acrylic on canvas, 24 x 48"
A Family Affair: The Pottery of Rebecca, Amanda, and Daniel Lucario Andrea Fisher Fine Pottery 100 W San Francisco andreafisherpottery.com August 22–August 24, Reception August 22 4–7 pm Ultra-traditional Acoma Pueblo potter Rebecca Lucario digs her own clay, builds her pieces using coil construction, creates black paint from wild spinach juice, renders her intricate miniaturized black-andwhite designs with a yucca brush, and, in most cases, uses ground-firing rather than a kiln. Along with works by her children Daniel and Amanda, who use the same artistic methods, she unveils more than 60 new pieces.
Bruce King: Old Light, New Color Waxlander Art Gallery & Sculpture Garden 622 Canyon, waxlander.com August 12–August 25, Reception August 22, 5–7:30 pm Waxlander unveils new oil paintings by Bruce King that represent a change of direction for the artist, in terms of placing more emphasis on light, incorporating more subtlety of color, and applying paint with brushes rather than a palette knife. “The land is alive, and I seek to capture that,” says King, who was raised on the Oneida reservation in Wisconsin. “I try to show how the land supports the humans.”
Bruce King, First Right of Diplomacy, oil on canvas, 46 x 66"
Rebecca Lucario, geometric plates, native clay with natural pigments
Annual Indian Market Group Show Gallery 822, 822 Canyon, gallery822.com August 22–ongoing, reception August 22, 5–8 pm In celebration of Indian Market weekend, Gallery 822 offers an exhibition showcasing new work by all represented artists, living locally and throughout the West and working in a wide range of mediums: sculpture, jewelry, horsehair baskets, watercolors, and more. Highlights include Joshua Tobey’s wildlife bronzes, Carol Swinney’s plein air landscapes, and Robert Taylor’s acrylic paintings that integrate Native American imagery and storytelling and reflect his Crow, Blackfeet, Osage, and Cherokee heritage. Robert Taylor, Sufficiently Breathless, acrylic on canvas, 30 x 24"
native arts 2014
exhibits by Eve Tolpa
Annual Celebration of Contemporary Native American Art Blue Rain Gallery, 130 Lincoln, Ste C, blueraingallery.com August 20–August 24, receptions August 20, 21 & 22, 5–8 pm A series of receptions unveil the work of a dozen or so celebrated Native painters, jewelers, and sculptors, including ceramist Cannupa Hanska Luger, glass artist Preston Singletary, and mixed-media painter Mateo Romero. On August 22, the gallery hosts a special pottery show with work by Tammy Garcia and Richard Zane Smith; on August 22 and 23, Prescott, Arizona–based Bronzesmith Foundry offers bronze patina demonstrations.
Preston Singletary, Little Bear, blown, sand-carved glass, 18 x 9 x 6"
Nocona Burgess, Hopi with Coral Adobe, acrylic on canvas, 24 x 30"
Nocona Burgess: The Power of a Woman Giacobbe-Fritz Fine Art, 702 Canyon, giacobbefritz.com August 22–September 7, reception August 22, 5–7 pm Santa Fe–based Comanche painter Nocona Burgess (who is also a flute player) employs a contemporary sensibility, featuring graphic compositions and a bold color palette, as he brings attention to the culture, identity, and influence of a historically overlooked group: Native American women. Before the show’s opening reception, the artist is hosting a meet-and-greet starting at 4:15 pm, followed by a lecture and question-and-answer session.
Masters of Art
Steven Paul Judd
Steven Paul Judd, Au Guafi Thai, acrylic on canvas, 30 x 40"
Prolific visual artist Steven Paul Judd is countering prevailing stereotypes of American Indians. His work is filled with humor, integrating pop culture and mass-media images of, say, the Hulk, Batman, or alien spaceships with Native faces. His popular works include his paintings Hopi, which is a play on Shepard Fairey’s famous 2008 Hope poster of Barack Obama, and Lego My Land, featuring two Lego figures in Native dress. The Kiowa/Choctaw artist notes that he’s always contemplating the kinds of images he thinks go unrepresented. “I just make what I want to see,” he says. “I can’t find it, so I make it.” A member of the Writers Guild of America, Judd was a staff writer for the Disney XD series Zeke and Luther, and he’s produced or co-produced several projects, including the 2006 PBS documentary Silent Thunder, about the late horse tamer Stanford Addison. Judd is currently directing a “tough guy antihero” film called Ronnie BoDean, starring Wes Studi and executive produced by Chris Eyre, and he’s about to release a collection of short stories called The Last Powwow, which he co-wrote with Thomas Yeahpau and says is some of the best writing he’s ever done.—Zélie Pollon Zane Bennett Contemporary Art, zanebennettgallery.com 66
Yazzie Johnson and Gail Bird, Three-strand Necklace, square freshwater coin pearls with smithsonite and rose quartz clasps and three satellites (two blue chalcedony and one rainbow quartz), 20"
Yazzie Johnson and Gail Bird: Native American Contemporary Jewelry Zane Bennett Contemporary Art 435 S Guadalupe, 505-982-8111 zanebennettgallery.com August 21, reception August 21, 4–6 pm In honor of Indian Market, Zane Bennett presents the work of Yazzie Johnson (Navajo) and Gail Bird (Laguna/Santo Domingo), contemporary jewelers who met as children and have been collaborating for more than 30 years. Inspired by ancient petroglyph imagery, their pieces—whether bolos or bracelets, belt buckles or pins—incorporate unusual stones (such as opals, agates, and keshi pearls) and can be found in museum collections worldwide.
Great selection of authentic Indian jewelry at affordable prices Open 7 Days
Above, clockwise from top: Jesse Monongya, Shandiin, 18-kt yellow gold and leather bolo tie with gold tips; The Bear, 18-kt yellow gold, coral, and turquoise reversible pendant with gold bead necklace; Colts Over Monument Valley, 18-kt yellow gold, coral, and opal
221 W. San Francisco St.
Masters of Art
Jesse Monongya wants people to know where he comes from. Part Navajo and part Hopi, he was adopted and raised by his grandmother on the Navajo Reservation in New Mexico, near the Two Grey Hills Navajo rug center. Monongya learned about perfecting one’s craft and technique by watching the master weavers work. Despite being bussed off to an American Indian boarding school, with his grandmother’s guidance he never lost sight of his spirituality and of his culture’s traditional prayers and dances—all of which inspire his worldrenowned, award-winning inlay jewelry pieces. Monongya creates strikingly vibrant and intricate works, from his Monument Valley belt buckle, which includes three layers of inlay work, to his White Woman Moccasin necklaces, featuring diamonds and multicolored stones from around the world. “Indian art is not just turquoise and coral anymore,” Monongya says. “It’s going to a higher level—for example using new diamond equipment for carving.” This August Monongya will be showing his work at Santa Fe’s Indian Market, where he’s donating one of his belt buckles for the event’s Live Auction Gala. Participating in events like Indian Market and having his work seen in top museums around the country is important to Monongya. “With my very high standard of inlay work, I wanted to give back to the younger generation to show them that they could be like me,” he says. “I made it through into the big world, and so can they.”—ZP jessemonongyestudios.com santa fean
native arts 2014
Masters of Art
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Inspired by pop culture and comic books, Cochiti potter Diego Romero masterfully depicts his subjects—which center on issues surrounding Native American culture, history, and politics—as if they were Greek mythical narratives he was imprinting in clay. Romero calls himself a chronologist of the absurdity of nature, and The Huffington Post recently recognized one of his strikingly beautiful bowls as one of 11 contemporary American Indian artworks that blend tradition and experimentation. That precise combination of traditional Mimbres-style pottery with a pop-art sensibility has also garnered the Berkeley-born artist a place in New York’s Metropolitan Museum of Art. Romero says that this year he’ll enter a special piece of pottery—a “classic Diego signature piece”—for judging at Santa Fe’s Indian Market while also creating more experimental works for the Indigenous Fine Art Market (also in Santa Fe) and hopefully other modern shows like SOFA, where last year he displayed a series of works centered on Chia Pet heads. “I turned them into spouted vessels and then painted them Cochiti-style groovy,” Romero says. “They were interesting, and I had good luck with them.” “I’m grateful that I get to get up [every day] and do pottery,” he adds. “That’s what the Creator had intended for me.”—ZP Robert Nichols Gallery, robertnicholsgallery.com
Diego Romero, Wild Things, clay, 11 x 5"
Julian Coriz, Tall Water Jar, polychrome redware, 12 x 8"
Artist Julian Coriz begins his lightweight, one-of-a-kind vessels and plates by collecting red clay from the ground at Santo Domingo Pueblo. He takes two weeks to sift and dry the dirt until it settles into a fine dust, and then he hand-coils each bowl, never touching a pottery wheel. Pigment comes from ground stone, in earthen colors, with an occasional blue. The painting is done freehand with a fine brush, after which the pieces are fired once, using cedar logs or cow pies. Everything comes from the earth and is handmade, says Carol Kucera, who’s been representing Coriz since he walked into her gallery roughly four years ago carrying a blue laundry basket of pots gently covered in towels. “When he uncovered them I was dumbfounded,” she recalls. “I said, ‘You’re doing these? You’re so young.’ As an artist, I can tell good art when I see it.” Coriz comes from a family of artists (mostly jewelry designers) and says he’s been creating art since he was 10 years old. And while the softspoken artist won’t let his face be captured in photos, his art can be found in Santa Fe at the Carol Kucera Gallery and at the Wheelwright Museum of the American Indian’s Case Trading Post.—ZP Carol Kucera Gallery, carolkucera.com
227 don gaspar santa fe nm
since 1981 fetishes jewelry pottery
Travis Lasiloo: Eagle
John Suazo, Flight, pink alabaster, 11"
Taos sculptor John Suazo has been perfecting the art of simplifying for more than 40 years. Using basic tools, he creates stunning, sinewy sculptures that are often abstract and mystical and exude a certain grace, sense of movement, and depth of spirit. “My work is simple, but it’s taken me many years to make it that simple yet elegant, to make it flow,” Suazo says. His motivation as an artist largely comes from “Taos Pueblo, the mountains, and stories from my grandmothers and grandfathers when I was growing up,” he says. “These stories inspire me to create.” Suazo loves making life-size pieces, using his preferred limestone for outdoor works. Other favorites include Utah alabaster (colored green, orange, or brown) and Arizona red sandstone, which comes out of Monument Valley and which he gets from the Navajo Nation. Suazo begins each piece without any kind of blueprint. Instead, he believes that the stone speaks to him, tells him stories, and guides his work. “At the end, it seems that everything comes out as it was planned,” he says. “The story fits perfectly.”—ZP Jane Hamilton Fine Art, janehamiltonfineart.com
Travis Lasiloo Eagle ad.indd 1
5/14/14 10:01 AM
Rena de Santa Fe
Only in Santa Fe - Only from the Artist
Original paintings, signed prints, limited edition figurines
Studio hours by appointment only (505) 466-4665
www.renadesantafe.com santa fean
native arts 2014
Masters of Art: Icons of the Native American Art Scene
The Torres Gallery Robert Rivera, Gourd Spirits Mask, 17 x 14" Robert Rivera challenges the boundaries of gourd art by continually evolving and creating new and innovative art pieces from the lowly gourd with his interpretations of ancient and present cultures. Also featuring Yellowman, Dyanne Strongbow, Ben Nelson, George Down, and John Saunders. 102 E Water St, El Centro Galleries 505-986-8914, torresgallery.com
Joe Wade Fine Art
Phillip Vigil, Untitled, mixed media on paper, 30 x 22"
“I never dreamed of being an artist,” says 33-year-old Phillip Vigil. “I had other plans and dreams.” Luckily for lovers of Native art, Vigil’s passion—thanks to a healthy dose of parental encouragement—has become his career. From pastels to collages, and from acrylic paintings to blackand-white ink drawings, Vigil explores the parameters of what different mediums have to offer. “Being self-taught, I always have to look beyond what I think I can do,” he says. Inspired by his family of artists, Vigil is currently exploring what he calls the intimacy of art. “I feel like everyone is trying to make big things,” he says. “I kind of like the intimacy of working so small [with ink]. I can work anywhere. I can go to a park and draw, go for a walk and sit down and draw. [I like] the immediacy and not being pinned down in the studio all of the time.” Though still early in his career, Vigil, a fourth-generation artist, already has a growing following and has been represented at Shiprock Santa Fe for the past five years. To other young artists, he suggests that they “go out and make their own dreams come true. Go out and do it, not just talk about it.”—ZP Shiprock Santa Fe, shiprocksantafe.com 70
Arlene LaDell Hayes Two Messengers mixed media, 48 x 36" Joe Wade Fine Art, Santa Fe’s premier art gallery since 1971, offers an extensive collection of emerging, established, and acclaimed artists’ work. The gallery, located one block south of the historic Santa Fe Plaza, in El Centro, showcases a varied selection of original paintings and bronze sculptures yearround. Open Monday–Saturday 10 am–5 pm and Sunday 10 am–4 pm. 102 E Water St 505-988-2727 joewadefineart.com
S PECIAL A D V ERTI S ING S ECTION
The Rainbow Man Cochiti Pottery Figures, photo by Brooke Williams Antique & Contemporary Native American Jewelry, Pottery, Folk Art, Original Photographs, Photogravures & Goldtones by Edward S. Curtis, Vintage Mexican Jewelry, Collectible Hispanic Folk Art and Fine Crafts. Featuring Paintings by Tom Russel, Folk Art by Ron Archuleta Rodriquez, Jewelry by Angie Owen, Steven Tiffany, Greg & Dyaami Lewis and Jennifer Jesse Smith 107 E Palace Ave, 505-982-8706, email@example.com, rainbowman.com
Little Bird at Loretto
Southwest Accents Rare Four Panel Germantown Blanket, c. 1880, 76 x 67" Southwest Accents offers a unique collection of fine Navajo weavings. Visit Booth #50 at the Whitehawk Indian Show, August 15-18. View the De Jong Collection at navajotextiles.net. Also by appointment in Santa Fe. 505-983-0084 firstname.lastname@example.org
David K. John, Spring Return, acrylic on canvas, 60 x 80" Celebrating 27 years of outstanding contemporary Southwestern art, jewelry, and sculpture. Featured artists : David K. John, Ray Tracey, Michael Horse, David McElroy, Mary Hunt, Denny Wainscott, Spencer Nutima, Marie Barbera, Michael and Stephen McCullough, Ellen Alexander, Roark Griffin. Wednesday, August 20 through Sunday, August 24. 211 Old Santa Fe Trl, 505-820-7413, email@example.com littlebirdatloretto.com
Tresa Vorenberg Goldsmiths
Boots & Boogie Santa Fe’s premier gallery of fine handcrafted boots. Elegant while still being comfortable. Owner Roy Flynn will personally and expertly size you in the finest and most beautiful alligator boots—both belly and hornback, in myriad colors, and at the most competitive prices in the industry. Boots & Boogie utilizes five bootmakers and is committed to style, elegance, customer comfort, and satisfaction. Whether it’s the classic alligator or any of the hundreds of other designs available, Boots & Boogie outfits you with style. 102 E Water St, in El Centro Mall one block southwest of La Fonda 505-983-0777, santafebootsandboogie.com
Heyoka Merrifield, White Buffalo Woman Shrine, sterling silver, bronze, turquoise and carnelian, 3 x 2 x ¾" Wildly imaginative handcrafted designer jewelry by over 35 artists. Heyoka Merrifield visits the gallery on August 9 from 11 am–5 pm. His mythical creations of sacred art in jewelry and sculpture are always featured. 656 Canyon Rd, 505-988-7215 TVGoldsmiths.com
native arts 2014
| D AY TRIP |
Many mysteries surround Chaco Culture National Historic Park (commonly referred to as Chaco Canyon), like why did the Chacoan people settle in this inhospitable landscape, and why did they leave after creating a booming community? A good way to explore the clues left behind is to put on your hiking boots, pack up your camping gear, and immerse yourself in this amazing park, which is home to the largest collection of pueblos in the Southwest. Stop by the visitor center to learn about the latest seasonal events, like Indian dances, campfire talks, and astronomy programs, and pick up selfguided walking tour brochures for the six major sites along the nine-mile paved road. You can also take a ranger-led tour of Pueblo Bonito, the most celebrated and central site in Chaco. Located about 3.5 hours from Santa Fe (with 20 miles of rough dirt road at the end), the closest hotel accommodations are in Farmington. Campers who make advance reservations can enjoy stargazing from deep within the parkâ€™s cliffs of Gallo Wash. For more information, visit nps.gov/chcu.â€”Cristina Olds 80
National Park service
Chaco Culture National Historic Park
A One Woman Show by Kathleen Wall
Show Runs Through January 4, 2015 Admission $10.00 213 Cathedral Place, Santa Fe, NM 87501 505-988-8900 www.PVMIWA.org info@PVMIWA.org
Published on Jul 15, 2014