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THE MICACEOUS CERAMICS OF CHRISTINE NOFCH ISSEY MCHORSE The Jerome M. & Wanda Otey Westhe imer Distinguished V i siting Art ist Cha ir Septem ber 14, 201 3 - Janua ry 1 2 , 2014

Derk light: th~ Micaceous Ceramics of Christine Nofc;:hlssev McHorse Is organized by The Ceremlc Arls Foundation, New York, NY. in association with Clark + Del Vecchio. Santa Fe, NM, and curated by Ganh Clark and Mark Del Vecchio. fiUO IOMU Jl ,

MuseumofArt www.ou.edu / fjjma The University of Oklahoma Adm•ssion is always f ree t hanks t o t he generous suppon o f the Universit y of Oklahoma Oflice o r t he President and t h& OU Athlet ics Department.


David Nordahl

Nick Hermes

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Dan Bodelson

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Contact Danica M. Farnand

indianart@cowans.com 513.871.1670 x15 6270 Est e Ave. Cincinnati, OH 45232

cowans.com


TWO SOLO EXHIBITIONS - INDIAN MARKET 2013 - AUGUST 1- 31 OPENING RECEPTION- FRIDAY AUGUST 16TH 5:30 TO 7:30

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FINE ART


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Pictograph # 7

Acrylic on Canvas

60" x 72"

Dan Namingha © 2013

DAN NAMINGHA ARLO NAMINGHA MICHAEL NAMINGHA New Works

Opening Reception A u g u s t 1 6 , 2 0 1 3 5 - 7: 3 0 pm 125 Uncoln Avenue • Suite 116 • Santo Fe, NM 8750 1 • Monday- Saturday, 10 om -5pm 505-988-509 1 • fox 505-988-1650 • nimon~neort@namingha.com • namingha.co m


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Trading Co. 8 Cash Pa~ ONE OF THE MOST INTERESTING AND COLORFUL INDIAN TRADING COMPANIES IN THE WORLD 路 can be found in downtown Gallup on historic Route 66.

Established as traders on the Navajo Reservation since the 11Jrn of the cenllJry, the Richardson family continues a long and historic tradition in Gallup, New Mexico. The atmosphere inside recolk the old trading days, when Navajo families might travel lor several hours and then spend on entire day at the trading post, selling wool, trading blankets and jewelry to the trader lor food supplies and clothing, and exchanging stories with friends or neighbors seen only on these occasions. Wood floors, pew~ike benches, cases full of polished silver and turquoise jewelry, piles of rich~-colored Navajo rugs, and the sweet smell of aged leather saddles fill the interior of the store. Indian poHery, baskets, beaded ~ems, artifacts hundreds of unique, one-of-a-kind Indian art pieces ore displayed prominentlythroughout the store. 路


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The Tom Mittler Collection of Hopi and Zuni Katsina Dolls

Opening August 5th 4 to 6 pm

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"The diversity with in our culture is so huge. I am the tip of the iceberg. T here are so many more voices to come," says fashion designer Patricia Michaels.

••••• .,.,.. Heard Museum

56th Annual Guild

I NDIIAN !FAIR & MAR.KIEll

creating awareness +f·£.ill!•l§+

Paul Frank Ind us tries collaborated with fo ur Native American d<.·signtrs to create a collc:ctio n of c1orh ing and acc<.·ssories that \vi11 debut on Fr iday. A ugust 16 . during Santa Fe's Indian Market at the Museum of Con te mpo rary Native A r t~ ( MoCNA: iaia.ed u/m u~eum). The collection, Paul Fran k Prese n ts. features pieces by Lo uie Gong (Nooksack). Ca ndace 1-ialcro (Plains C ree/ Metis), Du~ti n .M.arrin ( Navajo). and Santa Fe ba~ed Autumn Dawn Gomez (Comanche; Taos) . "This Paul Frank Presmrs collaboration ls an opponunity co ralse awareness about cultural misappropriatio ns. which. unforrunarely. hap pen too often in product. pro motion. and fashion ... says Elie Dekel . president o f Saban Brands. tho company that r epresen ts Paul Frank Indus tries ... Our partnership with t hese fo ur taJe nted Native American designers was the di rect n.·stdt of o ur 3\\rakeni ng to this issue:. We: hope: the upcom ing collaboration \viii demonstrate: more appropr iate: ways to e ngage the Native: American communi ty."' The lim ited -ed ition collectio n will be sold i n MoCNA's store t hro ughout the weekend. SS

Official imagQfy of Pmtl Frank Presems

Traditional Ways in Contemporary Times Honoring Signature Artist Stetson Honyumptewa

March 1 & 2, 2014 Artists: Apply fo r the Fair today at heardgulld .org!

I Advance t ickets on sale beginning De<:. 1, 2013. Call 602.252.8840 x. 2276 or visit heard.org .

Stelson Honyumptewa (Hopi), Bobcat Katsina, 2001. Heald Museum Collectioo. Gif t of Ruth and Sid Sdlultz


Since 1982

&mtempwny & Old Pawn Soutf,weslel!IJJU!i(llt _!/;t &Jeweky

potent poet +Q•IJI;f+ Poet musician. and educator 'Beata 1Sosie· Peiia, who hails from Sa nta C lara Pueblo and El Rito. is che enviro nme ntal justice program coordi nator for Tev.ra \Vomen United. chair of Honor Our Pueblo Exi~cence ( 1-1.0.1'. E.). and a board member of the Bre arh of My 1-lean Birthplace. Havi ng grown up in the s hadow of Los Alamos Natio nal Laborarory. lSosie-l'ei\a has dedicated her profession:ll and creative energies to environmental

issues. Her poems. she says. rdlect "' the practice and pres .. e rvarion o f land -based knowledge. s piritualit)'. language. seeds. our Earth . and family." Pili/ Parker

A Mother's Moment ofClarity C&me outside with me, 1 have so much to show you while the sun is still shining in the sky ofmy thoughts. I may on6• be here for a moment, A

blink ofan eye,

A child can't stand it that we all have to die and on this day I find

.. . neither can I.

ifonly time could stop. Go back to the way it used to flow in a cycle ofseasons holding l1ands with eternity. Bifore time came in a Pandora's Box alongside the conquering plague ofdestruction, A time ruled by greed that ticks away to this day. A

bomb set to speed up the demise ofmemory,

Going against the tides that connect u.s to the moon.. My daughters! Remember that tl1e secret ofeternity is being in. the rnomen t, connected to everything real while breatl1ing the dreams of the past and the future.

Tiu abo.,·e work has hem exarpredfrom tlu poem 'A MorherS ,\ fommtof Clarity~ b)' Rcata Tm:it Pc11a and n:pnnuJ by permission

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contemporary classic coo king lieiei•i Native American cui~i ne i$ unique. lt encompa~se~ and spans three di~­

cincc cime period~: che pre-concact period. che fi rsc-concact period. and the govern menr-i~!iue period. I t~ roots and fou ndacio n are ancient. go ing back thousand~ of

year•. We know through both Native and \Ve!icern science that Native people~ used cheir extensive trade routes rhroughour che Southwesc co exchange ingredient~ w ith each other that c::une from aJI d ireccions.like chocolate or cacao from Mexico. quinoa from South America. abalone fro m

rhe West, wild rice from rhe Grear l akes region, and bison from the Plains. Specific locarions. such as Chaco Canyon. served as hubs for rhese trading roures. It v.:JSn·r unril rough.lysoo years ago. when they first encouncen.-od rhe Spanish. rh:u Nacive people had comact wirh an)•tme ourside the Americ.1S. ·n,e Spanish brought their own ingo.."dienrs from Europe, "~1kh eventual.ly fused wirh chose alread}r in exis-tence here. Some examples of first-.:onract foods incorporated inro Native American cuisine included sheep, pork beef. dairy. whea~ apples, peaches, pears. and apricots. \A11en Indian resc....Y~o':ltions were est.tblished. rhe United States govermnenr issued commodity foods to Native Americans, who had lost their ancesrra.l hunting grounds and in some case..<. theiragriculmra.l lands. ·n us led to the birth of &y bread and rhe Indian raco dishes created out of neces..<ity 1-lc"t'e (see opposite) is a recipe for one ofmy fu,1J!ite ancestral rrears. SunAOI\et Cakes. wltich, as )>:>u·u see. are easy to make and deiX:ious for bn.'akfust d.:s.«.n or asnack Lois E1lm Fn:mk

Sunflower Cakes servt:s 6 Many of the cribc~ and pueblos throughout rhc Somhwc..~r grow ~unflowers. I remem-

ber staying with families whose child1·en loved to walk in the garden while tl'ying to reach up and rouch rhe brightly colored plams that towered above rhem.

Before hybrid sunflower plants (so commonly seen today} we•·e cultivated. many tribe.< harvested wild varieties. The most common of these varieties was. and still is. the annu al sunflower (Hdiamhus annuus). which grows wi1d in open areas 'vhnc there is a lin k c.xm1 warcr avaibble. Roa.dsidc..~. fields. a.nd abandoned gardens :l.fe idea.l ha.bitars for t his plant. which net;!ds vt;!ry li ttlt;! care. grows faidy quickly, and pi'Oduce..~ a nutritious

seed that is delicious when ground. Sunflower ~eed~ rema.in an imponam commodiry ro the Pueblo people. Rich in vita-

mins. minerals. and oils. they have bt"en used widely b}' Indians since prehistoric tim('S. parched a.nd eaten whok· or ground into flour. The flowers of the wild varietk·s arc much smaller th:m their commerci:tlly sold relative, p roducing fewer seed~ and making cultivation more labor-intensive. Today many gardeners grow varktie..~ that yidd larger

seeds because they are better for grinding into meal Seeds put through a grinder can be mixed wirh flour o r cornme:tl for mu~h. breadrnaking, soups. st~;..'\VS. and cakes. The St;!t;!ds of both the wild and cultivated sunnowt;!rs

are used roday in a multitude of ways: whether raw. roasted. or ground. sunflower seeds are deliciOLL.~. Thi~ is one of my fa.vo ri[e sunAower recipes.

3 cups shelled sunAower seeds 3 cup~ wa.ter

5 tabkspoons finelr ground blue cornmeal 1

t:tble~poon sugar

L '2

cup sunflower or v(-getable oil

Conlbine the sunnowt;!r seeds and watt;!l' in a saucepan and bl'ing to a boil OVt;!l' high heat. Reduce the heat and simmer. uncovered. 15 minutes. until almost al1 the water has t-vaporatc:d. Rt·movc: from the ht"at. If t here's still a lot of water. drain the: excess water from the seed~. Place rhe moistened, cooked ~eeds in a food proce~~or. Add rhe blue cornmeal a nd sugar a nd proce..''\ three wdnutes, until t he seeds a re cornpletely ground

If there are still whole sec'ds around rhe edges of rhe food processor. scrape them imo t he: center with a spatula a.nd process again until th ey're ground. about one: more min-

ute. The dough wil l be quite thick. With you1' hands. shape the dough into round cake.< roughly the size of silver dollars. In a large skillet. hear the oilumil it's hor but not smoking. Place the cakes in the pan a.nd b rown th em two to thrt•c: minutt"S o n each side:. rurning o nce. Remove from the oil and par d ry with paper towels. Serve warm with

apricot sauce. peach honey. fre.<h he•·b jelly. 01' chile pepper jelly.- l.£f santa

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Shoo Goshorn. Removai{AncesJral Hcmel8fld) and Remov81 (ill<fi8n Territory}, mixe-d me-dia, e-ach 13 x 12 x 12'

"The pieces in the collection demonstrate the social, culturaL and historical issues that have impacted Native cultures through time." James H. N ottage the major repo!<itory and center for the presentation and interpn: ration of modern sculptu re. painting. installation wo rks. and o the r ex pressive representatio ns that demo nstrate the

vitality of Native contemporaf)' an today." he odds. "All of the pieces in the collection are important becau!<e they demon~trate thi~ vitality and the ~ocial. cultural, and historical i$~Ue~ that have im pacrc:d Native cultun.·s through time.'' O n the m useum's second Aoor. a special contin uing exhibit.

Muuohseettionki (translated as "T1le People's Place"), chronicles the hi$roryof lndiana·!< Native A1ne rican po pulation. including the Miami. Dd a\\'are. Po tawato mi. and o th<.·r tribes. R<.·maining space foc uses o n a wid c:sprc:ad Native: po pulation rhat spans fro m the western to the eastern coast o f the United States. as

fur north as Alask.1. and as for south as Mexico. "An 1800s Plains w:u shirt, a 1920s or 1990s katsina doll. an t8oos Navajo w<.·aring blank<.·r. a 2 0 12 Navajo tapestry \veaving. a 1930s po ttery vessel by Maria (Martinez] . a potte ry vessel

by Maria's grandson. o 1940s painting by Woody Crumbo. a modernist painting by George Morrison they all have power and ~igni ficance:· Nottage ~ays. -And they can all be found in

the Eitdjorg Muscum.' II!J Eiteljorg Museum <!{American Indians and Wc,1crn Art, soo W Washingron Srrw, Indianapol~, riteljorg.org santa

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Museum of

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MECI-IOOPDA TRillAL MEMBER Jacob Meders's prints blurthe lines o f how we perceive images o f Native Americans. teasing out the nuances of what he calls "the dialogue of assimilation and homogenization of culture" that's passed between the first Americans and evcr}rone who came after Columbus. In style and content many of Mcxlers's woodcuts riff directly on the ftrst published images o f the C.1ribbean island people Columbus mot in 1492 for instance. the torso of a Native American on the costumed k-gs of a European. l-Ie displays the five large woodcuts in severn] long sheets. each showing the same images arranged in varied sequences to scramble the narrative. "I like to look back in history at how Western culture created the image of Native pt'Ople," Meders says. "It's diverse and complicated I also s(·e how tho way Native people l'Cel about themselves has been influenced by media and culture pt'Ople looking in have as much influence as pt'Ople looking out I like to play with that dialogue. Nothing is black and white. How do we see ourselves. and what makes us see ourselves this way? l'm not looking at the answers. but at the questions. I '"'ant to get the viewer to think about them.

see those complicated issues. then try to bridge that gap of dialogue." You can sec what Meders means when he hangs the woodcuts with a time warp "15th· or J6th·century aesthetic" in his solo exhibition. Divided Lines, at tho Museum of Conte mporary Native Arts (MoCNA) in Santa Fe. Divided L{nes will be on view at the museum August 16 through December 31 along with two other shows. Steven ). Yazzie's Tlu Mountain and Cannupa Hanska Luger's Stereotype: Misconceptions of tlu Native Amtrlcan. ··Each artist provides a unique perspective on contemporarr realities that are personaJ . cuJtural. and part of the ongoing narrative o f social histories in America and beyond." says Ryan Rico. chief curator o f MoCNA.

40

nati v oa~t•mag:a-,; i n o.eom


Fred Jones Jr. Museum of Art

a manner of being

by Phil Parker

the enduring guidance of the Hopi Katsinam In the Hopi culture, katsinam are revered spiritual beings whose teachings and guidance help humanity in profound ways. These ancient deities are famously represented in dances during sacred ceremonies as well as in devotional carvings and doll-like wooden figures. The Fred Jones Jr. Museum of Art, on the University of Oklahoma campus in Norman, is hosting an exhibit through September 15 called Hopituy: Hopi Art from the Permanent Collection. Though there are as many as 300 distinct spirits within Hopi lore, Hopituy examines six specific figures portrayed in 170 objects: Angwusnasomtaqa (Crow Mother), Soyoko (Ogres), Koyemsi (Mudheads), Palhikmana (Dew Drinking Maiden), Angaktsina (Longhairs), and Nimankatsina (Home Katsina). The depictions of the Katsinam cover multiple mediums, including woodcarving, watercolor, basketry, and ceramics.

Alvin Navasie, He’e-e (Ogre Woman), mixed media, 6.25" 46

nativeartsmagazine.com

“For the Hopi, the Katsinam actively offer a way of living that strives for peace, balance, and self-respect that, when practiced, benefits the entire world,” says Heather Ahtone, the museum’s James T. Bialac assistant curator of Native American and non-Western art and the curator of Hopituy. “[The Hopi] follow these cultural practices not because other options aren’t available to them but because [the practices have] proven through centuries to be a manner of being [that] serves not only their own community but also humanity’s continuing need to seek balance with the earth. The Hopi follow the Katsinam in the 21st century because, it could be argued, [they are] needed now more than ever.” Consistent visual elements—color, geometric patterns, distinctive use of lines—are the staples of Katsinam depictions. According to Ahtone, the blueprints for their aesthetic designs are given to the Hopi by the Katsinam themselves. The practice of honoring these spirits has kept up through the centuries, even morphing into a market within modern society that allows Hopi artists to honor their heritage while earning a living. Pieces for the exhibition are pulled from the museum’s permanent collections, including gifts from University of Oklahoma President and Mrs. David L. Boren, James T. Bialac, Richard H. and Adeline J. Fleischaker, Dr. and Mrs. R. E. Mansfield, Tom F. Meaders and Rennard Strickland, and the Eugene B. Adkins Collection. Fred Jones Jr. Museum of Art, 555 Elm, Norman, Oklahoma, ou.edu/content/fjjma

Delbridge Honanie, Palhik Mana, cottonwood root, paint, feathers, leather, shells, 24". Top: Rick James, Crow Mother, mixed media, 18 x 15”.

images courtesy of the fred Jones Jr. Museum of Art, the university of Oklahoma, Norman, James t. bialac native American Art Collection, 2010.

“The Hopi follow the Katsinam in the 21st century because, it could be argued, they are needed now more than ever,” says curator Heather Ahtone.


Wheelwright Museum of the American Indian

hand-spun history

by Wil liam Travis

the development of Navajo textile design CELEBRATING ITS 76TH YEAR in 2013. the Wheelwright Museum of the American Jndian ha.~ long l.x't'n a showcase for historic and comempor'3t')' Native American ar·t Jts collection highlights llosron-born found~r Mary Cabot Whed"Tight's love of New Mexjco and her cornminnem to bui]ding and preser'\'ing the stare's cuhural identity. "Th is summn. the museum prtsc.·ms The Durango Collection' Native American Wta·ving in tht Southw<St, t86o- t88<1, an exhibit that runs through April 1014.

lklknown Navajo artis~ Third Phase Cflief 818/ll<e<, ca. 1875, weft-laced

!*lin weavt. llalld-sp~J~ wool.

..<le ciOih.

commercial wool yam, 73x 63'. This imaoe alld belcw image: fr<m lhe Dlll¥IQO Colectior\ ~nter ol SootlwieSl StudiQS, Fort Lewis Colege,

The bright colors and serrated diamond pattern in Navajo weaving became highly sought after, and weavers began to spin

IAlrM(II),

rugs for export and tourism. Produced in collaboration with the Center of Southwest Studies at f'Ort Lewis College in Durango. Colorado. the exlt ibition focuses on the dcvclopmc:m of tl'Xtile dl·sign. with mor<: than .24 Navajo and Pueblo te.xtiles tl'Om the center's collection on vle\V. Many of the rextiles are shO\\o'cased on mannequins and accompanied b)· jewelry fro m the \\~1eelwright's col.lecrion. 1-Ughlighrs include a bright~· colored hand-spun Saltillo sernpe from 1800 and an indigo blue and raveled red ll>ird J'ha.<e chiefblan.ket f1'0m 1875- -ll1ese examples. along with

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UnknaNn Navajo artist,. Serape. t;a. 1870, weft.taced plain weave. hoodspun nativt wool, trade cloth or bay.:aa, 62 x 45•

Colonldo.

othel's on displa)~ t1-ace the evolution of the signatui"C sen·ared diamond pattc.·rn that's so prominent in Navajo wc.·aving. 1he l'Xhibition is furthl·r embc:l-

lished by historic photographs. enlarged to life-si.ze, which illustrate the"\\)'< thl·S<.' textiles were \\lOrn and used O riginally. the ft1nction of Navajo weaving was to make clothing: robes. wraparound dresses. shirts.. and other items. Soon the: Navajo began to make: rugs as weU. l11e diamond pattern and bright colors bl:came highl)•sought after. and wc.·avc.·rs lxt,.Jan tO spin rugs for exporr and tourism. It is thought that the Nav:1jo learned weaving frorn their Pueblo neighbors when the lattel' sought refuge with the Navajo from Spanish conquistadors. Mary Cabot Wheelwright mainr.1u1ed a long-sranding intei'CSt i.n Navajo cuirun:. lhis interest was furthn fuc.·led b)• her 192 1 llll't"ring with Hastiin Klah. an ulAuential Navajo singer and W\!a\'CC Klah's desire to p!'CSCM! the Na\~jo het,mge ml"Shc.-d dfordessly with \·Vhet·lwright's interest in ~\n:ive American rd igions. A friendship Sl.'alecl they bl:gan \\QI'king tO\\Iltd creating a pem1anent record of the N"'~jo rdigion. Whedwright recorded the 1'-m.,jo Creation Srol)' dictat<xl by Klah. and other nan'ati><es. Frances N<'\\Wmb joull.>d their ell"Ott..~ meticulousl)' n._"-creating in tempera the: sandpainting-; usc:d during hc.-aling ceremonies. By the ear~' 1930s. Wheelwl'ight and KJah sought to create a museum that \\JOuJd showca..o;e their prcsc:rvation effor~. 'They summonc._-d architect \Villiam Pcnhallow HenderSon ro design a museum based on the hooghan. an octagon:d Navajo hou~ :md serting for religious ceremonie!>.lhe mll~um opened in 1937 (irs early names included the Navajo House ofPrarer and House of Navajo Religion). unveiling :m exm10rdinary coUecrion of audio recordings. wcavings. painting._' and other artifucrs related to Navajo ceremonial traditions. By the time it \V::t.S renamed rhe VVhedwright Museum of rhe ,;.\meric:m Indian in t977- the museum had expanded irs extensive collection ofNa,,-,jo art :md culrure and added work from other N:uive American arL"- Today. che museum continues tO uphold \\'hee-hvright's vision b)' rnounting numerous unique exhibitions of it$ rich collection of cradidoru.J :md conrempomry Native American :U' t'$. 1l!! Whtehvrighl Museum oftlu Americatl ltJdian, 704 Camino Lejo. whulwrighr.org santa

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Masters of Art: Icons of the Native American Art Scene

John Nieto brings familiar faces vibrantly to life

Bruce King freedom in motion -n,c 6gurcs in Bruc(' King's impn.~sionL~tic paintings are in motion. traveling OCT(\~ plairtS and OVt'f mountains. oftl!n on thl· hunt

"Ufc is motion: it's integral to atmosphen.'. I tr}' to get thr~t t-ssencc into m} paintings." Sa}S King. who was raiSl--d on the;· On..::iJa n.--servation just outside GR'e'tl 1\ay. Wiscor~<in. "To survive. [Native Americansl had to hunt and be in tune with cl1~ life of their <'nvironm<·nt A lot is said about Indians living in harmon)'. but cl1eoo)' also recognizod the lilct d1at cl1cir surrounding$ were alive. What tho St)'le of imprt·s.~ionism alfo,,'S me to do is to c:tpture th:1t" King.'~ v.Qrk is shov." in Sama T 'c at Waxland<T Art <.f.lllcrr & Sculpture Garden. is a graduate of d1C lr\<tituto of Am<Tic:111 lrldian Art.< (I AlA) :111d "''lS irtOu· enc<'<l by m.1fl)' great:trti.<rs. from Jacl:sort l'ollackruld I'd I ldTernrur toT. C. Crumon ru1d R C. Gorman. OVLT tho l~= he ha.< tra>'Cicd cxtonsivdy to show hi< art and to k•arn from intL'rnational art fontmS in r utopc. Canach Australia and Ja(Xlll. King says that while he doesn't live in the past. he d<>CS embrace Native 1

ctLitun.\S "bccau."C' of their innatt' ~cnse ol lTt'edom. whkh is difl(-rem from

dt.-ml'cracy." he- nott·s. "1t's ont.· (l ( those virtuous spirit.ll of the past that comes out of )'OUr painting. Painting is work. but when 1 get into a painting I gl·t that inspirntion I like letting the paint talk to me." In addition ro his cart--er as a painter. King ha~ \\1ritten S<'rccnpla)'S LOr \Vcs Studi

ru1d also maintaitlS his abiding love for playing blue.< guitar. De-spite his succt"s as an artist. he considerS his three children accomplished college grnduatcs to be his grcatc.<t achkwments. "In m)' pra)'OrS I sa)' 'thank )'Ou· <'>CI')' day." Zelie PJ/on

·r he painting.< of John l"ieto are i11Stru1tly rccognv.able: bold ru1d briglu primruy C\-)lors. Native American aitd animal subjtXts. and a simplicit)' in line and lOrm "I <:mpiO)' a subject matte-r that is f.'tlniliar and cxpr<·ss it cl1e wa)' I SL'<: it.'' says the 77 ·year·old artist. whose New Mexico :111cc.<try dat<"'S back hundr<'<ls of)~=. l"ieto has become: an k\-XL of Native art and of comemp0rary artists in gcmcrnl. ~u1d hc: cuntinucs to makt· his painting.~ dc~pite somt· r<'Cent h<'alth setbacks. This summer. from August 16 d1rough ~.·ptt-mbcr Js. he will pR"St'nt new \vorks at a SL'•lo exhibition at Ventrula Fine Art "JLll11\~ had a series ofstroke.<. but we're so grateltrl cl1at he's able to paint. that he lov<'S to paint. :111d that he's living to paint." ~ys Conn.ic- Axton. owner of Ventana. Nieto has shown internationally in Paris ru1d Tol-·yo. and cad1 summer he has a solo ~how at /\ltamira l inc Art in Jackson I [ole. W)t,ming. in addition tu Vc:mana In the- JlJ8LlS, follow~ ingan exhibit at the: John f . Kcnn~;_·dyCcntt-·r tOr tht· 1\..rfOrming Ans in \Vashington. D.C .. Nieto met I' resident Ronald Rmgan in cl1c Oval L)ffice and pn:scntLxl him wicl1 the painting De/,;gale tolltt\'ihftt Hot&. The painting was btu re-d in the White 1 louse fUr till· duration of Reagan's K'm1 a.~ prt-sidcnt and has sinc1: been included in Rt·abran's pre.~idcntiallibrary. Nieto's distinctive work contimll'S to capt ivan· vicw~:rs and t•ngagc: thc:m with its powt·rfill imagt'l'}'and color. "l'tX>pk ah<olutdy low his work." Axton says. 'I k is still at the

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Masters of Art: Icons of the Native American Art Scene

Shonto Begay artistic interp-reter Though not aurobiogr:1phical in the ~trier ~en~ of the word. chc work of paim cr and illu!itr:uor Shonto

lxogay chmnidc< Dine life and culrurc. -The orti<r i< and <hould be rhc inrcrprerer of rheir own lifi: ond vi!iion ::m d worldview.'' Bcga)' !i::l)~· - , paim what I know: the spirit 1 fed, chc land that move..~ me and te mpered me. the hisrmy and culture rhac g:tve me myown language:· ·nu~ son of a weaver and a medicine m:m, Bcga)' feel!> c..~pecially connected co .. the chan~ and ::mcicnt prarcr.s said through coundc~~ night!i ... and he like n!\ the S\Virk do~. :md lines in h i!i painting.4\ co rhc component.~ of rho..~ chant~ a W3-}' of tr::m~Jating !iound into imag~ry. l ie dc..~ribt.--s a tinlC when a t iny microphone W:l!i wired up co one ofhi!i canva..~. capmring the microscopic pcrcu!i!iio n of hi.~ bru!ih,likc tiny drum bea~. -The vibr::uion of my b1u~h W:l!\ rolling :1cros.~ the canva~ m the microphone." he says. Begay anended the ln!\tirute of American Indian Arrs (JAIA) in the early 1970s and moved to

lkrkdcy"fcding 10 fecr 10ll md invincible:' he'")"· Later. he earned o BJ\. in drowing and an history from CaJArt!\ and ··married a hippie mu!\ician.·· [ nvimnment:J) activism is at rhe he:1rt of Begay's life and. ht..! says. is an intrinsic parr of being t\ative. "Jt's how we survive:· he notes. Ar his honlC: nt..!ar

Black Me.<;~. Ari7.0na.evel'}~hing is hand-built and solar-powered. "Every rime I wake up here I :tSk myself why I [would want robe) anywhere else inrheworld This is my horizon, my whole world. my universe.r rom Augu.s-r 16 through August 30. f\t..o-gay will be showing new works during a solo exhibition ar Mark Sublerre lvkdicine Man Gallery on Canyon l«>:ld E•~Tolpa

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"The artist is and should be the interpreter of their own life and vision and worldview," says Shonto Begay.


Frank Buffalo Hyde genre-creating painter Fragml!nrcd. ·n13t·s one \Vord that Frank 13uffil1o 1-Jydc t.L.<;C.~ m dc.,<ieribc modern AmericiD exi~rcnce for indigcnoLL~ !X'oplc. Bur. he explain~. iis - nor nccf...'SSarilr a bad thing ·· To his v.-ay of thinking. rhc V~rord refers co "'how Narivc JXY~plc are involved

in C\'et')' sp~;.'Ctnun of o._"lnte~npor:~ry life.·· Born in Sama Fc. wht.:re he's also now bas....'•c.:L l lydc. who is of Onondaga and Nez Perce heritage. gtew up in Upstate t-;ew York and arrend~d the 1nsrinl!c of llrnerican 1ndbn Arts (J A1A) . .. Santa Fe has been imporranr in my arrisck developmenc in rh~t 1 reillized when Tstarre-d [painting) char chc work I wanted co St.."C wasn't being rnadc here... he sars "I didn't sec :1nything that represented my contemporary experience .. l lydc created his own genre of sorts. one th3t incorporates l'\arivc ,·cfercnce.< {th~ buffalo fcan•res prominently) and nnds ''' rhc pop art s~n$ibilities and color schemes of R<'bc>rt Rau$Chcnbcrg and )im Dine "The uniwrsal mind i.s che colk.'c:rive unconscious \ve ~I share '~a popular culnu·c and \\rorld evcnrs:· l lydc says "I draw upon rhar ro conwncnt on our lives:· Ills work can be s~;.-cn :u Legends .Sarna Fe. and ar v;:~rious institutions amund the country, including rhe II'\'Cl.uois l nd1~U1 Museum in I lowes Cave. New York. and the \Vheelwrighr Must.:um of d1e American 1ndi;:m in .Santa Ft..!. l lydc~ ifhewer"Cn·r an artist '"and rrn not just an artlst.. mind )'On..

he would probably be .. a se-rial killer. or an advertising c'Xccurive:· {11e's jokingalx1ut rhc advertising thing. r1ghr?) Hur seriously. 1\'llks: 'Tm rctlly~,.-xciced ;Jbc,ur the Spaceport in So·urhen1 New M..::xico I \V~Ult ro go into space·· CT


VINTAGE NATIVE AMERICAN BLANKETS CIRCA 1915-35

Handbags • Belts • Accessories

~~41

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Lifestyle Boutique

DEYARGAS CENTER {Across from STARBUCKS &. SANTA FEBAR &. GRILL) 1876

986-9091 Paseo de Peralta

~UEEN'S

D

RANSOM

Preston Singletary groundbreakiHg glass artist Preston Singlc:tary's \\'Ork didn't always fea t ure: th<.· imagery of his Tlingit heritage. In t he early rears of his career. he: p racticed a broad range: of

Curopean glass-blowing techniques. It wasn·t unril t988 that Singletary started to c:xperim<.·nt with incorporating Native: dements into his pieces

"dabbling:·,. he pur. it. and copying design< from bool:s. lly 1995. he decided ro hone hi~ focu.s. t::1king cl::t..~~cs on Northwc~t coastal im::1gery :tnd soliciting critical inpur. MThe rr::msition was li ke reinventing my~clf. bur it was fulfilling in the end because it i~ about d1c con nection to community,

family. and hi.,ory:· say• the Seattle-based artist. ··1 thinl: that people who s:1w the new work rc!>pondcd ro it because it wa!> more personal.'' Gla."!i i!i not con!iidcred a cu~tomary vehicle fo r T lingir motifs. but Singletary po!ii t~ that new technologic~ a nd materials m::ty represent :1 fururc dirccrion for indigenou!i art. -The ccd:1r trees rhar we have been using fo r carving a re becoming more r::1rc," he nore.s. ··a!i a rc material~ for other rr:~dirion:1l objccrs ... I low i!i the character of his work .shaped by hi~ c hoice of medium? Singlet:11·y caJI~ wood the ~morh cr ll1::ltcrial" rh:lt h i!imrically brought structure to tradition::tl forms. ::md he admit..~ it can be a challenge to create the !iamc cffccrs w ith gb.ss. Nevertheless. he finds it m be ··a compcJiing mareria1 to .showc:1sc symbolism. Somcrimcs }'Ou c::m look :lt chc gb~!> and sec a det:1il chat is highlighccd a!> a rctlcccion or ::t..~ :1 shadow.'' he s:1y~ . ·· 1 like co chink of it :1~ :1 spirit w ithin the piece:· ET

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ARTIST PORTRAITS '

BY SUSAN HEARD PHOTOGRAPHS BY GUNTHER MAIER

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VIRGIL ORTIZ STORY OF VO For some trne now. Cochrb's own Wg.l Ortoz has ~ geat onternatJOnal success as a W>tly, highly

rnaginative potter ("My figures are a re.ival ol Clay W0<1<s ~ by ""' 19d>-oentury Mexican sod& shows that came here." he says) and edgy deSig- ol pnmariy lealhef apparel and accessones. A skjled las/loon-shoot stylist and makaop att>st. OrtiZ's viSIOnS are getong evermore ambitoous and fantastJcal "I'm becomong quite an out·there storyteller." he expla~<>S­ "k's the best way I know ol to ensure that our art forms-especially pottery-and other customs and lore survive at Coch<t1 wol >nto the future." Evolutron, Ona's pottery show at this year's lnd•an Market, is his arnstic interpretabon ol the Pueblo Revolt of 1660. '1 want to relate that history from the Pueblo point of view, to educate the world, of course. but especially to •nspire our ondigenous kids here by gett~ng them •ntorosted. So I've created and incorporated over 19 last· foiWard superhero characters that represent al the pueblos ol New MeXIOO." Ortiz plans to make a teature lolm on the same sub,ecl, and Evoiubon WIU aoquaont the ~ """' the characters well before they hot the bog screen. Hls colocllon ol Silk scaM!$ and new VO Leather Luxe gatments ..:;oopooates. as ;~ways. ancient NatNe moots. But R also "chamets" the futunsbC aesthebCa ol SIBf Trek. "I'm a product ol that, as wei as ol S/llf WillS, and my characters wtll wear pieces ike these. The story kind ol jumps back and forth between t 680 and 1lle year 2180." For now, VISit vwgilortiZ.com to sign up lor a compl•menlary p<em1er ossue of Orta's own sideshow, the VO Clay+Art+Fsshton magazine; chck on tho press links to read h•s Evoluttoll e·book. klnggsllerles.com

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ARTIST P O RTR A ITS

CLIFF FRAGUA THE SECRET LIFE OF STONE Oiff Fragua might well be something akin to an earlh whispe<e<. The soft-spoken Jemez Pueblo native holds his family and oommunity near to his heart, finding the sustenance and inspiration he needs to liberate exquisite sculpted fO<ms from their host material right on his home turf. "I've been to many parts of the wo~d," he recounts, "and though each place has been fascinating, there's no'Nhere else like Jemez; it's where I come frO<n." The artist creates luminous scolp· tures from marble, alabaster, granite, calcite, lime· stone, and bronze, using glass, turquoise, shell, and feather elements as welL "In my culture, the stone is a living thing that has been on this earth much longer than man has,• Fragua says. "I am the mediator between the stone and the tools; I wO<k with the stone's spirit rather than imposing my own will." singingstonestudio.com

THE

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IS A THIEF.

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RAMONA SAKIESTEWA DIVINE ITERATION Consummate weaver and architectural·element designer Ramona Sakiestewa has been having a lot of fun lately turning her considerable talents to smaller· scale "deconstructed and reoonstf\JCied" paper and print work. "lfs 1he same Idea of layering colors as in weaving, but you get such instant gratification, .. she explains. Sakiestewa uses different weights of paper for endless layenng possibilities, as well as silk and spun polyester. She paints on the surfaces, using watercolors and ink on paper and acrylics on the syn· thetic fabric. She often adds woven detailing, some· times using metal, leather, or wood. "tt's kind of a per· sonal signature to include some form of weaving in my work," Sakiestewa says. "After all, I'm a weaver first and foremost." The artist paints and draws on count·

" I ' M A WEAVER FIRST AND FOREMOST."

less sheets of paper, takes them apart. then glues or machine·sews them back together, sometimes adding decorative stitching. Sakiestewa, represented by Eight Modem Gallery, is taking part in Zane Bennett ContempO<ary Art's Native Vanguard show through August 23. ramonasakiestewa.com ll&flt&

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A RTIST PORTRA ITS

PARADIGM -SH IFTER Not quite 30, Rose B. Simpson is already among

ROSE B. SIMPSON

Santa Fe's most acdaimed multimedia artists

focused on expanding social consciousness via media criticism. Employing a wide range of genres to concurrently explore and express what she terms

her search for "pure, raw truth and integration" and for ways to "b<eak and 1ranscend the barriers of stereotyping," whether they apply to issues of gender or cultural identity, Simpson, who not long ago reiUrned to Santa Clara Pueblo after finiShing her education on the East Coast and in Japan,

uses layers of metaphor to investigate how young Native people can reclaim themselves from their pop-culture captors. Simpson has spent much time

lately pondering several of her Pueblo's protec· tive containers: clay vessels, adobe houses, even automobiles. "I'm doing clay sculptures of human

forms with wheels- extensions of our legs in motion that highlight the dynamic between earth and body, between body and armor. And I'm sculpting some

female warriors, Amazonian archers wearing armor made of found metal. I figure that if I can learn to dlange from something I've made, maybe it can

reach someone else and awaken them, too."

chiaroscurosantafe.com

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ESTELLA LORETTO HEIGHTENED AWARENESS S<:Uptor and paolter E - Loretto has boon making a11 ,.;nee she can remember. 'fd wake up., the momng with my parents. who were bOth aiiiStS.• she recalls, "and stall patntlllQ and shap1I1Q day." loretto was already sellong her art to cienls as a fourth-grader, and she's been a prohfoc fixture on Santa Fe s.nce. From Jemez 1'\Jeblo, loretto os the preem nent NatJVe American woman worlt~ng on monumental bronzes. Famous wo<ldwide for her slatue at the St. Franas Cathedral of Katen Tekal<witha, the first Native Amencan to be canonized, loretto oontmues to etoata large- and medJum-s1ze sculptures, masks, and paintings. But she's more and more drawn to smaller-even wearable-projects, such as fino jowelry based on her well·known images. ller Hummingbird Blessings and Star Oanoor lines onclude bracelets, pendants, oarnngs, and rings ol gold, silver, and d•amonds. Her Catchong a Falling Star desogn os a painting wrth a removable solvor brooch as the fogure's face. Loretto recently sculpted a 23·inch Katen for Indian Mali<ot. "She's so humble, so sweet. and a little dotforent from the one at the cathedral." the artiSt says. She plans to make a Katori cameo of gold and solver, with doamonds senMg as the saint's starlit bad<gound •People can wear her close to their heal1.• shA erpla..s. loretto's Seeds of Ch8nge senes featt.<es fallficated abstract bronzes of various sizes wtth ·a beautlf\A low of feminne energy ., the modde. on the form of seeds shooting up-praye<s for a new plantng orne: She's just f.,ished pu~· tong the panna on a new 7-loot poece: a man exuding vital ty, a near·nude •moon dancer" who is "happy to be walking in balanoe on Mother Earth as he holds tho moon in one hand and a star on the other. That's my journey, too," Loretto says, "to stay grounded, to lrve on harmony wtth everything and everyone here, whole Illy to catch a star." este//a/oretto.com

LORETIO IS THE PREEMINENT NATIVE AMERICAN WOMAN WORKING IN MONUMENTAL BRONZES. 111'1111 I Olin

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ART I ST P O RTRA IT

GREGORY LOMAYESVA LOSS IN THE AGE OF TECHNOLOGY Sometime Santa Fe hipster-provocateur Gregory Lomayesva has the heart of a romantic and the

range of a renaissance man. These days, he's also a Penitente of sorts, just now emerging out of a yea~ong solitary search for what he calls "absolution" from post-breakup anguish. The result is his new show, Ghost- 3D paintings, worked in acrylic or a graphite-powder silkscreen·

ing process-that represent a private conversation about unfinished emotional business. A central visual and conceptual motif is the "icon"' of the iPhone. "I think this is a commentary on love in the digital age." Lomayesva explains, •with the iPhone as creator and destroyer of relationships, the

modern weapon of warfare and love." 11!1 fulfeyecontact.com

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by Amy Gross

historic renovation

La Fonda's makeover calls for the craftsmanship of several Native American artists

LA FONDA O N Ti lE P LAZA, thatgrandedameofSanta Fe hotels. is enjoying a bit of pampering in 20 13- In the second phase of a t h ree-parr renm':ltion project <pearheaded by Barbara Felix of Barbara Felix Architecture + Design, most of t he hi~toric hotel'~ 178 rooms are being extensively remodeled. wid1 an end dace sl:ued fo r sometime rhi~ fall. Felix previously renovaced the hotel'~ re~taurant. La Plazuela. in 2009. earning a Heritage Pre!>ervacio n Award fo r maintaining t he h i~toricaJ integrity o f t he property. The final pha.e o f t he renovation will center on the hotel'!> public spaces. As employees of t he Harvey Company. legendary Santa Fe archicect John Gaw Meem and Sourh west archicecc-designer Mary Jane Colter collaborared o n La Fonda's expansion in the early 1900s. -n, e t hree era< of the ho tel's development 1919, 1926. and 1949 are evid ent in t he Spanish-Pueblo Revival archicecrure and decor." Each e ra !>peaks to what was happening ac che time: · sa~ Felix. -our goa.l in the renovacio n \vas to keep t he t hree eras d i$tinct bur also to unify t hem design-wi~e:· \Vorking w it h Bradbury Stamm Consrrucrion, Felix and her

ream of de~igners took their cues from rhe ho rel's colo rful history. ·'T11e ho rel has aJways had a mix of Native Ame rican and Spani~h inAuences:· say~ Felix, pointing out guesr room doo rs fra med in a Native American ~}·mbol fo r clouds and hand pa.imed tin doo r number~ in t he Spani$h style. Each design is unique. Six Native American arrisr~ were hired ro hand -paint t he hotel'< hund reds of headboard• again, without d u plicating a ~i ngle parrern. 11-te renovated gue~t room~. ~ome feamring o riginal Colrer-de~igned chandeliers, tile muraJ~ in the barh room ~howers. antique trasteros. and original tin mirror~. are wa rm and comfortable in the fo lk-art .ryle t hat i< distinctly l a Fonda. Colored concrere Aooring from the 19 19 era fo r year~ hidd en by carpeting has been carefully and lovingly re.rored to irs original glory. MAny place we co uld fi nd hi~torical ~igni ficance in the ho rel, we \Vorked to pre~erve it .. say~ Felix. \Virh ~ix years of her life already invesred in the p roject and mo re work ahead Felix, like her archirectu ral forebear~. i$ incorporating her own legacy into La Fonda o n t he Plaza the next era of a Santa Fe landmark. ll!l santa

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Abtwe: Unknerwn artJst,

lAte ClaSSIC NiN8JO Child's W8ar1t1g Bm/JIIht. wool, 55 x 33' (Heril>ge). AbOve, nght: UJj:llOWI'I

artist Sioux Bf!ltded and OwiNJd Horseh<Nr Wit

Shill, qlilled bib. b!!adwork,. hOIM!ha•r. 30 l( 44'1Cowan'st. Far n!11t: Uf'ltnown artist.

Haid8 AqJiUile Pipe, argillite. 17 IBof'lh311lS).

Rioht Unknovlf! artist, westem G!tbl L8kes 8af1 Head Ctub, iron, 21 " (Boollaons).

far left: NalllpEJVo,

Hopi Po/;c/;fome Srora!}l} JtN, CQn'ln.c. 17' 17' (Bonhams). left Unk1WlWn Apache artist, AttcmN Coiled Sl(J(8!}e Jar. wilklw Md det~~l's claw,

2S' (Her~oge)

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Auction Report 1-Ieri tage A uctions D1a.com) is based i n Dallas. but don't let geography get in the way o f bidding. As wdl as holdi ng live auctions o f the more trad itio nal kind. the company's online: databas<.·. wh ich boasts more tha n 7SO.ooo memb<."rs. allows bidders to partici pate in liv<: auctions from the: comfort o f their homes. Onli ne art sales co ntinue to pop up all across th(.· Inter net. placing 1-k ritage Auctio ns at the: forefro nt of what's to come:. T h<.· company offers a \\'ide range of sp("cializatiun. including co ins. comics. and t•ntertainment items and holds two auctio ns in Dallas evt.·ry year (in May and Nuvt.•mber) dedicated to American Indian Art Cowan's Auctions (cowanauctio ns.com) is based in Ohio and prides itsdf as being the Midwest's most~ tru.sted auction house. In 20 1~· it holds fivt auctio ns fo r America n Indian art. with one: s pecifically fo r American Indian jewelry. This year an £astern Plains thrt<:· bladcd k nife club. ca. 1870. was realized for S18o .ooo. l!l

Above. leh to 1ight: Unknown 8ftlst, Cet1l!81 Pl8ins Bear Claw Necklace, sinew. trade cloth. otter fur, bea1claws, 17' (be$' ci&NS 4': Cowan's). Unknown artiSt, Nava1'0 Sandpamtmg lrCkaving, wot(. 63 x 50' IHenwge). UnknO\vn artist. MetJs Quilled Hide Knife Sheath With Dag Kmfe. buckhide. 1\and·carved horn 1\andle, lxass. steel. 14' (Cowan'sl

left: KQIWli!th BEig&y. Ntt•1JJfJ SJ""r PIMter. st&rlu1g sliver. 16" IHQottlge). Abow: Utlk.nCIWtl ~St.

Northwest C08st SIOI"ffe Box. bentwood, 24 x 17 X9' IBonhamsl.

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exhibits Amy PO()(, Ancient Rhyrhm,

oil on canvas, 36 x 48•

Steven Paul Judd, Hopi, act~lic on canvas,

24x 30"

Native Vanguard: Contemporoty Masters Zane Bennett Contemporary Art, 435 S Guadalupe zanebennettgalle.y.oom, through August 23 Reception August l 5, 5-7 PM Local :lrrist and aurhor Raoul Paisner curates :an exhibition of p:lintlngs. cer:lmics. we:'lv in~. :tnd

lccwres/par•els by m;~sh;rs S\lch as T. C. Cannon. Jolm Frodorov. Edgar I leap of Birds. Ro.xannc Swentzdl :tnd N. Scolf fvfomad:ay. All exhibited work is considered <.ontemporar y. with s poci:ll :lttention de ..,med tO sped fie dme periods such as fht" 1950s. '6os. and '90s.

Pablo Milan + Don Brewer Wakpa: Annual Indian Market Show Pablo Milan Gallery, 209 Galisteo, pablomilangallery.com August I &-September 7, reception August 16. 5:30-8 PM D on Brewer \ Vakpa (C heyenne River Sioux T ribe) a nd Pablo M ibn bot·h

c.re:ne ~t r iking. conte mporary p:linting.~. Mi l:an's colorful, spont:wt:ous pieccs-inspir~d by l1is New l\h:xk.o roots- an; exhibited alongside \Vakpa·s bright aaylic depicl ionsof Nalive A merica n culrure. wh ich oflen fearure

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New Works Gallery 822, 822 Canyon gallery822.com August 16-ongoing Reception August 16. 5-8'"' Gallery 821 <:tdebr:ate$ :all o f its :~rtists in <1 grotlp exhibition of new \llOrks Genres on display r:ange from bmnze

wildlife a nd figur:'lti\'e s<:ulpt ure t CI plcfn air l;~ndscape paintings. jewd ry. and

horst"h~tir baske ts .


Maria Martinez and Family 15th Annual Show and Sale Marl< Sublette Medicine Man Gallery. 602A Canyon medicinemangalle•y.oom, August 19- 23 Maria M;~rtinez's kon ic blackware pottery is t"xhibitcd duri ng a four-da}' sale at Mark Sublcne fvfed icine M:tn G :alleq•. More d un 70 pieces are Clll

d ispl:l)', including works by M:uti nez"s son, Popovi D.-. ;md other ~lm ily members from San lldcfonso Pueblo.

Contemporaty Narive American Group Show Chia•o~uiO Contempora•y Art, 702 ~ Canyon chiaroscurosantafe.com, August 1&-September 14 Reception Augustl6. 5-7 PM ChiarC~scurQ ContempQr:lry Art exhibits work br artist Rick Bartow (VViyot). whose paintings. sn•lp· tures. and mixed-media pieces often fearure anim:tls :lnd sdf-pCirtr:lits, :lnd Rose B. SimpltOn (S:lnt:l Cb r:l l'\teblo). who is of Nat i\'e ;~n d Anglo descent ;md whose work o fte n t"xplores the scrugglc of moving between tr:tdiriona1a nd colonist worlds. Pieces from the Fritz $d1C1lder :1nd H:arrr Fon!te<.:l est:ltes :'Ire also on displa}'·

Rick Bartow, Wer Dog, acrylic on canvas. 36 x 48"

Annual Celebration of Contemporaty Native American Art Blue Rain, 130 lincoln blueraingallery.com, Augustl4-18 Jeff Slim (Dint), 1-lrnu n ) oe (Navajo). T;unmy Garcia (S;mca C h ra Pueblo). l~chard Zan< Smith (\V)•:t.J\dCitte), :and m an y o ther ;utists displ:t}' swlpture.

paj nti ngs. pot ce-q•. and jC\\'dry during 1 he g:tllery's annual celehr:ttion of contempor:lr)' N:ltive

;ut Sec bluerai ng;~llery.com f"or information :about receptions. e\'el\t$, sales, :an d demCIIlStr:u iCIIlS during t he fou r· day C\'Cnt

Special Exhibit: Hop1 and Zuni Pueblo Katsina Dolls Adobe Gallery, 221 Canyon, adobegallery.com August 5-3 1, reception August 5, 4--6 '"' Collecror Tom Mitclcr displa}'S his t"Xpansivc coiJcCfion of Hopi and Zuni Pueblo karsin:a dolls during an exhibitiCIIl :'It AdCihe G:lllery. .tvlltt ler's 48 carvinglt, by a rtiStS such <IS Marlin Pinto (Hopi) and lowell TaJashoma Sr. (Ho pi). were made in the e:arl)' and late 20rh century :wd rem:lil\ in theirorigin:tl condit iCin.

l owell Talashoma Sr.. Huhuwa (Cross Legged) KatsiM DoH, wood, stain, pairll. 7' tall santa

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SP CAl AOV[RTISING S::(. ION

Joe Wade Fine Art Michelle Chrisman, Sunset Illumination, oil. 12 x 24" Joe Wade f ile Art. Santa Fe's premier art gallery since 1971, offers an exteosiv. colec-tion of emerging, established, and a.:;Ciai ned artists' wo1k. The galle-y, locat.ed ot~e bk>ct south of the histo1ic Si'nta Fe Plazi' in El Centro, shoviO;lSes a varied selec· tion of ori gin~ paintilgs and t:wonze sculptlles yt~ar·round . Open I 0 AM- 5 PIA Monday through Sat\J'day Md 10 AM- 4 PM Sunday.

102 East Water St, 505-988-2727, joewadefineart.com

The Great Southwest at Hillside Rosie Yellow hair, Navajo, TrtHI of UltJ, sandpainting, 24 x 17" The Great Southwest iNes up to its name by providing a great selection of both traditional and con temport~ry Southwest jewel,, arts, Santa Fe Rai..oad, Pe(l(fleton diShes, and unique items. Representing well-lnown regional intists including David Caricato. Richard Lindsay, Lawrence Baca, Rick Lowenk81'll), leon Loughridge, PetfH Onega, and many othe(S. A4>praisal services. 671 SR 179, A-CT 2, Sedona, AZ 86336

Southwest Accents Kachina Doll Navajo Rug. ca. 1925. 69 x 44• Souttnnest Accents offers a untque collection ol fine

Navajo weavings. Visit Booth 45 at Whitehawk Indian

Show AuiPSI 11-13 ond view the Oe Jong Collection at southwestaccentssf.com.

505-983-0084, suedejong@aol.com

928·282·0248, greatsouthwestart.com

The Rainbow Man Since 1945 Fine Native Americi'n pawn jewelry. contemporary jew· el1y, pottery, folk art, Otigi\al photographs, photogravu1e-s,

goldtones by Edward S.

Linle Bird at Loretto Mtchael Horse, 1870 United States Territories.

water color on antique map, 27 x 35" Known fOt' depictions of bfiildy toh:nd n.ming ho1ses and ind9loot--b:tilg buffalo on antique maps. ledger paper and deeds. Join us for our 26th arn.aal lndian Mar1<et show featuring Michael Horst, jeweler Ray Tracey and Amado Peiia.

211 Old Santa Fe Trail, 505-820-7413, info@kivaindianart.com 76

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Curtis, vintage Mexican jewally, colle-ctible Hispanic folk art and fine crafts. featlling paintings by Tom Russel. folk art by Roo Rodri(JJBZ. and je\vet1y by Angie Ov~ and Steven Tiffany. 107 E Palace Ave

505-982-8706 rainbomn@aol.com rainbowman.com


a

Exclusive, Affordable Art Only in Santa Fe - Only from the Artist

The SF Art Collector Recent Paintings, leah arld Stan Goldberg Artists' receptioos: friday, August 16, 5-71'1.4,

Saturday, Au~J,Jst 17, 10 A~.t-1rM and J.-5 "'"' This Galisteo att team has been telling IN stories of indigenous rJeople-s through their provocative pairllitiO$ for 20 years. The unusual way they infuse theif mineralbased palette into the canvas evokes the very way their honored subjects live in harmony with the planet. 217 Galisteo St. 505·988·5545

PAINTINGS, PRINTS, SIGNED NOTE CARDS, HOLIDAY DECORATIONS

UMITED EDITION RGURINES

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For more than 35 years, American Indian Art Magazine has been the premier magazine devoted exclusively to the great variety of American Indian art. This beautifully illustrated quarterly features articles by leading experts. the latest information about current auction results, publications, legal issues, museum and gallery exhibitions and events. American Indian Art Magazine, continuing to bring you the best in American Indian Art.

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T aos Blue Gallery David John, w..,rer MaidfJn, ac:rylk on carwas, 30 x 18'' Toos Slue Gallerv in Taos, New Mexico, represents Native American and contemporary artists whose fine handcrafts ilclude jewelry, pottery, paintings, sculpture, wind chines tl(ld much more! Visit us on historic BerH Street for an inspiOOg and unccxnmon shopping experience. 101 Bent St, Taos, NM 8757 1, 575-758-3561 info@taosblue.com. taosblue.com

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EVENTS

August August 2 Sherman Alexie Reading. The Institute of American Indian Arts hosts a scholarship fundraising event with American Book Award-winning author Sherman Alexie to benefit students in the institute's new MFA creative writing program. $50, 6 PM. IAIA Auditorium. 83 Avan Nu Po, 50~24-2365, iaia.edu. August 9 SWAIA Children's Art Opening. SWAIA presents an unveiling of wolks by SWAIA Youth Mentees and Indian Education Program participants. Free. 6-7 PM, Collected Wol1<.s Bookstore & CoHeehouse, 202 Gai steo. 505·9884226, swaia.org. August 12 St Clare feast Day. Santa Clara Pueblo celebrates is patron saint with IOOSic. food, and activities. Free, Santa Clara Pueblo, 505-753-7330, indianpueblo.org.

AFFORDABLE PERSONALIZED IIATS FOR MEN AND WOMEN

August 14 IAfA Benefit Dinner. The Institute of American Indian Arts wil host its annual benefit dinner and auction to raise money for scholarship students. with more than threedozen pieces of art from students and alumni. $175. 5:30PM, La Fonda on the Plaza, 100 E San francisco, 505424-2310. iaia.edu. August 17-18 Santa Fe Indian Market Weekend. The 92nd annual Indian Mart<et is one of the wo~d's most prestigious Native American art shows. Featli'E!s more than 1.000 artists. f ree. Saturday 7 AM-5 PM, Sunday 8 PM-5 AM, Santa Fe Plaza, swaia.org. August 17-18 Buffalo Thunder Resort and Casino Cultural Stage on the Plaza. The Plaza stage showcases Native American dance. music. and performance. Grammywinning singer Radmilla Cody will pelfoon Sunday. Free, 1 ~ PM, Santa Fe Plaza. swaia.org

THE HATSMITH

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August 17-18 Portal Artisan Celebration. Portal artisans oHer music, handcrafted art, a Native specialties food booth, snow cones. pickles, and traditional Indian dances. all in the shady Palace of the Governors courtyard. free, 10 AM-5 PM, New Mexico History Museum/Palace of the Governors. 113 Lincoln. 505·476·5200, nmhistorymuseum.org.


Native Arts Magazine 2013 Digital Edition  

Native Arts Magazine 2013 Digital Edition (from the publishers of the Santa Fean)

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