NavaJo Weaving ON THE PLAZA
Traditional Red Mesa Outline Vintage c. 1930’s 4’ x 7’
61 Old Santa Fe Trail, Santa Fe, NM 87501 505-983-9241 maloufontheplaza.com Online Shopping Available
ON THE PLAZA
Reversible Corn Maiden Necklace Sterling Silver Handmade Beads Godber Turquoise, Mediterranean Coral 61 Old Santa Fe Trail, Santa Fe, NM 87501 505-983-9241 maloufontheplaza.com Online Shopping Available
ANTIQUE INDIAN & ETHNOGRAPHIC ART SHOW One Show...Endless Treasures AUGUST 10 - 13, 2018 OPENING NIGHT PARTY Featuring Wine and Hors dâ€™oeuvres Friday, August 10 6 - 9 pm
Saturday, Aug. 11TH 10am - 5pm S unda y, Aug. 12TH 10am - 5pm Monday, Aug. 13TH 10am - 5pm
Continuing the tradition of being the longest running event of its type in the world! MORE INFORMATION AVAILABLE AT:
“Eagle Horse” • 40" x 30" • Acrylic
JOHN NIETO “HOMAGE TO PICASSO” - A New Series • Friday, August 17, 2018 • 5 to 7pm
VENTANA FINE ART 400 Canyon Road
Santa Fe, NM 87501
Navajo Squash Blossom Necklace & Cuff Sterling Silver & Gem Grade Spiderweb Kingman Turquoise
ON THE PLAZA
61 Old Santa Fe Trail, Santa Fe, NM 87501 505-983-9241 maloufontheplaza.com Online Shopping Available
Richard Zane Smith
August 16th - 20th Opening Reception August 16th, 5-7 PM Demonstration August 17th, 10-3 PM
The Best of the Best
Our Handpicked Finest!
Parade of the Artists August 17th 5PM
August 13 - 31st
100 West San Francisco Street, Santa Fe, NM 87501 (505) 986-1234 www.andreafisherpottery.com
Featuring the work of:
Pablita Velarde (1918-2006) Helen Hardin (1943-1984) Margarete Bagshaw (1964-2015)
Pablita Velarde “Corn Husker” casein water color - 9” X 7” c.1935
Margarete Bagshaw “Twist and Shout” Bronze with Gold Leaf and Inlay 80” tall ed. 3
Indian Market Opening August 17, 5:00pm to 8:00pm
Helen Hardin “Kokopelli” acrylic - 8” X 6”
201 Galisteo St. Santa Fe, NM 87501 - 505-988-2024 - www.GD3Dgallery.com
NOVEMBER 10, 2018
ANNUAL LIVE AUCTION
UPCOMING ONLINE AUCTIONS
Nat Youngblood (1916-2009), Corral, watercolor, 13 1/2 x 19 1/2 inches, $1,500-$2,000
San Ildefonso Pot, ca.1890-1910, polychrome ceramic, 10 1/2 x 11 1/2 inches, $4,000-$6,500
WESTERN DECORATIVE ARTS & OBJECTS August 11-26, 2018
David Halbach (b. 1934), Cochiti Visitors, watercolor, 13 1/4 x 20 1/8 inches, $1,200-$1,800
Helen Hardin, The Arrival of the Cloud People, acrylic on board, 19 1/2 x 15 inches, $15,000-$20,000
WINTER HOLIDAY SALE December 1-9, 2018
Boasting the third-largest art market in the United States, Santa Fe has long been a destination for new and seasoned collectors. Santa Fe Art Auction brings together an international profile of buyers and sellers of Western art amid the natural beauty of the “Land of Enchantment.” For over 20 years, SFAA has brought scholarship to carefully curating and proudly showcasing artwork by the Taos Society of Artists, the Santa Fe Art Colony, Early Explorer Art, Cowboy Artists of America as well as Native artists. FOR INFORMATION CALL : 505 954-5858 | EMAIL : CURATOR@SANTAFEARTAUCTION.COM | VISIT: SANTAFEARTAUCTION.COM SANTA FE ART AUCTION, LLC | 927 PASEO DE PERALTA, SANTA FE, NEW ME XICO 87501 | STAY CONNECTED
D a n i e l Wo r c e s t e r Chickasaw Bladesmith
Left to Right: Tiger Eye, True Colors & Purple Moon, 2018
found materials • old dominoes • sterling silver old billiard balls • discarded plowshare • auto coil spring
Indian Market Booth FR-N 329 580-504-8602 • email@example.com
Arlene LaDell Hayes
Annual Market Weekend Group Show: August 17 – 19 • Opening Reception Friday, August 17 • 5 to 7 pm
102 E. Water Street Santa Fe NM • 505.988.2727 • firstname.lastname@example.org • joewadefineart.com
A R LO N A M I N G H A
STRENGTH AND EQUALITY Indiana Limestone 24” x 36” x 6” Arlo Namingha © 2017
Representing Dan, Arlo, and Michael Namingha 125 Lincoln Avenue • Suite 116 • Santa Fe, NM 87501 • Monday–Saturday, 10am–5pm 505-988-5091 • email@example.com • namingha.com •
native arts magazine
SINCE 1922, NATIVE AMERICAN artists and avid collectors of their work have convened in Santa Fe for an annual August tradition. Other communities host similar events, but no others have the magnitude or command the respect that Santa Fe Indian Market does. Indian Market has not only longevity but also attracts the most artists—almost 1,000 each year—and the most collectors. Coupled with the many local galleries that offer truly authentic Native American art, you have an event that truly is the big daddy of them all. Respect comes from the long-standing history of showing only the highest quality of art from the very best artisans. Santa Fe Indian Market artists have been very carefully vetted and judged before inclusion in the show. For the collector, this has brought assurance that what you see at Indian Market is truly authentic and is of the highest quality. The awards presented on the eve of Indian Market emphasize the focus on quality and creativity shown by these outstanding Native American artists. It’s also a wonderful time to explore the many Santa Fe galleries that specialize in the finest Native American art. You’ll know the right galleries, because many of them are right here in this issue. I strongly encourage you, collector or not, to witness Indian Market and take the time to truly appreciate the state of Native American art today. These artists are creating beautiful works of art that speak to their traditions as they constantly employ new techniques to take this beauty to an even higher level. As you explore, look for the pieces that move you. Talk to the artists. It’s very possible the deeper meaning you perceive is also part of the artist’s intent. What’s more wonderful than when those meanings translate from their heart to yours? DAVID ROBIN
courtesy museum of indian arts and culture
17 Publisher's Note 18 Up Front
Gallup Native Arts Market, a talk on human rights, events at Indian Pueblo Cultural Center, and We Are the Seeds
22 Museum Spotlight
Current exhibitions at the Eiteljorg, Autry, Millicent Rogers, Heard, IAIA MoCNA, and MIAC museums
34 Indian Market An overview of events at the 2018 SWAIA Santa Fe Indian Market
36 Ethics in Collecting
22 A bolo tie by Verna Nequatewa (Sonwai), courtesy of Heard Museum
What’s showing, where and when, in the world of Native art, plus visits with painter Patrick ‘CloudFace’ Burnham, weaver Mary E. Kee, and jeweler Kenneth Johnson
45 Gallery Highlights
beals & co. showroom
courtesy maryhill museum of art
Beadworker and restoration expert Angela Swedburg talks fakes and forgeries, and some information about an often overlooked topic—repatriation of Native art and artifacts
A look at Native art in the local galleries santa fean
native arts 2018
news and happenings
Gallup Native Arts Market
Gallup Native Arts Market, August 9–11, 1–6 pm Thursday, 10 am–6 pm Friday, 8 am–6 pm Saturday, free to attend, 215 W Aztec, Gallup, gallupnativeartsmarket.org
Left: Brian Yatsattie (Zuni) carved this rabbit fetish from atlantasite. He will be showing his work at the Gallup Native Arts Market. 18
Above: Di Nali, a pictorial weaving by Phil Singer (Navajo). Although most Navajo weavers are women, more and more men are showing their weavings.
market This year’s Gallup Native Arts Market will feature the works of about 160 Native American artists in 112 air-conditioned booths and 10 outdoor covered booths. Started last year as an initiative by local Native artists to reclaim their direct presence in regional retail, the market also reinforces the importance of strong familial traditions shared through craftsmanship and artistic practices. The Keshi Foundation is collaborating with the City of Gallup for the market this year, ensuring a strong Zuni Pueblo presence at the show. The market provides invaluable exposure for up-and-coming artists by giving them the opportunity to exhibit beside recognized artists such as Veronica and Jovanna Poblano (Zuni), Jesse Johnson (Zuni), and Harrison Jim (Navajo). The weekend will be a family affair. Look for 16-year-old Navajo painter and storyteller Penelope Joe, who will be alongside her mother, jeweler Thema Tsosie (Navajo), and other multi-generational booths including one for Jaren and Robert Cachini (Zuni) and another holding three generations of Derrick Gordon’s family (Navajo). The Gallup community is also getting involved. Volunteers from the Rehoboth McKinley Christian Health Care Services behavioral health program will be helping out. The artists are role models for many of these volunteers, who are in a treatment program to overcome substance abuse. Newly arrived teachers from Teach for America will join the volunteer team, immersing themselves in Native American arts and culture and the local experience. The indoor and outdoor markets offer a diverse selection of fine crafts and artwork, including pottery, jewelry, and carvings in wood and stone. Last year’s market, the first, had 43 artists showing. More than three times as many are coming this year, old hands and neophytes at the art of selling their wares.—Priscilla Sonnier
Above: Edmund Cooeyate (Zuni) works on jewelry for the show in Gallup. On the right, an example of Zuni petit point jewelry.
Native Arts and Policy: Resilience and Rights Talk Join Walter Echo-Hawk (Pawnee), Indigenous rights lawyer, for his discussion of Native Arts and Policy: Resilience and Rights at the IAIA Museum of Contemporary Native Arts Thursday, August 16, at 6 pm. The IAIA and Association of Tribal Museums and Archives have partnered to establish dialogues surrounding the issues of how tribal and Indigenous archives, museums, libraries, and artists can assist in implementing human rights into national policies. Hawk will explore how the United Nations Declaration on the Rights of Indigenous Peoples has affected efforts to endorse and champion rights in the policies of nations throughout the world since its inception 10 years ago. Particular emphasis will be given to the responsibilities of all Native voices—leaders, teachers, politicians, cultural institutions, activists, and artists—to shape rightful standards into lawful realities.—PS
Native Arts and Policy: Resilience and Rights, August 16, 6 pm, free to attend, IAIA Museum of Contemporary Native Arts, 108 Cathedral Pl, creativesantafe.org
Sage Creek Gallery EXPERIENCE THE WEST
I N D I A N M A R K E T O P E N I N G R E C E P T I O N F R I DAY, AU G U S T 1 7 , 5 - 7 3 0 P M Artists Scott Rogers, Ken Rowe, & Vala Ola in Gallery All Weekend 4 2 1 C A N YO N R OA D, S A N T A F E N M 8 7 5 0 1 5 0 5 . 9 8 8 . 3 4 4 4
W W W. S AG E C R E E KG A L L E RY. C O M
Above: Michelle Lowden’s (Acoma Pueblo) exhibit Turquoise Kaleidoscope opens at the Indian Pueblo Cultural Center in early August.
events Located in Albuquerque, The Indian Pueblo Cultural Center’s (IPCC) museum is a gateway to the differing arts, histories, and cultures of the 19 Pueblos of New Mexico. Its permanent collections represent a variety of traditional rare artifacts, baskets, weavings, jewelry, paintings, murals, and photography, in addition to their recognized archive and library. Exhibits rotate throughout the year to showcase extensive collections and featured installations. The museum also offers a rich selection of public programs ranging from artist talks, markets, and community festivals to cooking classes. This autumn, event highlights include The Artists Circle Gallery Exhibit Turquoise Kaleidoscope by Acoma artist Michelle Lowden. Join Lowden at the public opening on Friday, August 3, from 5–7 pm to hear her discuss the themes she explores in her work, relating to symbolic narrative and the relationships between man and nature. Throughout the summer season, the IPCC presents traditional Native dances by local groups. Performances begin in August and start every Friday at 2 pm and Saturdays and Sundays at 11 am and 2 pm with weekend times continuing through September and October. Dancers include the Sky City Buffalo Ram Dance Group (Acoma, August 3–5), Kallestewa Dance Group (Zuni, August 10–12), Laguna Corn Dancers (Laguna, August 17–19), and Acoma Dance Group (Acoma, August 24–26). Celebrate local community new and old throughout Balloon Fiesta Week, October 6–14. The IPCC holds special events all week, with special hour-long traditional dances four times a day, Native art markets featuring arts and jewelry in the courtyard, and unique pueblo-inspired cuisine for breakfast, lunch, and dinner by onsite restaurant, Pueblo Harvest. These events run 9 am–5 pm during Balloon Fiesta Week and are free for members or with your museum admission.—PS
Indian Pueblo Cultural Center, 2401 12th St NW, Albuquerque, indianpueblo.org
Left: The comedy shows at IPCC on August 16, 8:30 pm. It’s the story of a frybread championship that gets way too serious. Frybread, of course, will be served.
museum exhibitions and dances Above: The Seeds Stage hosts musicians, dancers, poets, and other performers Thursday and Friday.
We Are The Seeds event August 16–17 the Railyard will fill with Native artists for We Are the Seeds. Although the organization is based in Philadelphia, its two directors—Tailinh Agoyo (Narragansett/Blackfeet) and Paula Mirabal (Taos Pueblo)—have deep roots in Northern New Mexico. This year’s event features around 60 Native artists, showing from 10 am to 6 pm each day. Exhibitors include painter Baje Whitethorne, Sr. (Navajo), potter Brenda Hill (Tuscarora/Choctaw), jeweler Fidel Bahe (Navajo), basket weaver Sally Black (Navajo), and jewelry designer Kristen Dorsey (Chickasaw). The performance stage will be busy from 11 am– 5:30 pm Thursday and 11 am–9 pm Friday, with master of ceremonies Sherenté Harris (Narragansett) keeping things moving. Other events include youth art workshops, a women’s spoken word poetry workshop, and a fashion show of the latest from ACONAV, designers Loren Aragon (Acoma Pueblo) and Valentina Aragon (Navajo). Thursday from 6–9 pm, We Are the Seeds puts on a benefit, a picnic dinner catered by Jambo Cafe. Bring a blanket to sit on and enjoy the evening and the community. Dinner is $20, and tickets are available through eventbrite.com.—Lisa J. Van Sickle
We Are the Seeds, August 16–17, 10 am–6 pm, free, Santa Fe Railyard Park, 740 Cerrillos, wearetheseeds.org
native arts magazine
amanda n. pitman
lisa j. van sickle
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ASSOCIATE PUBLISHER SALES EXecutive
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alicia inez guzmán, jon olney shellenberger priscilla sonnier, neebinnaukzhik southall
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ON THE COVER Rick Bartow’s Deer Spirit for Frank LaPena is part of the exhibition Rick Bartow: Things You Know But Cannot Explain currently on view at the Autry Museum of the American West. Read more about it on page 25. Photograph courtesy the Autry Museum
by Priscilla Sonnier
Eiteljorg Museum of American Indians and Western Art
The Eiteljorg Museum, located in downtown Indianapolis, is recognized for its collections and diverse exhibitions that make the art and history of the American West accessible to all ages. The museum’s collection, donated by founder and Indianapolis businessman Harrison Eiteljorg in 1989, has grown over the years and continues to be well represented in its eight permanent galleries and featured exhibitions. The museum’s collections focus on Western and Native American art and media from 1820 to contemporary artists, with some works coming from the museum’s successful artist in residence program. Art and artifacts represent the peoples of the West throughout the United States and Canada, their cultural significance asserted through traditional practices and their subsequent impact on modern interpretations of the West. In addition to its renowned collections and exhibitions, the Eiteljorg offers numerous public programs and is a local destination for families. The museum hosts art shows and sales throughout the year, including the annual Eiteljorg Indian Market and Festival, which brings together artisans from over 100 tribes in the US and Canada. Younger visitors can explore the dynamic history of the West in The R.B. Annis Western Family Experience. Specifically designed for children, the large space includes galleries, age-appropriate activities, and a stagecoach and wigwam to explore.
Left: The Legend of Wasgo, a red cedar totem pole by Lee Wallace (Haida), is similar to an Alaskan totem pole that ended up in Indianapolis after it was exhibited in the 1904 World’s Fair. To the museum’s delight, Wallace is the great-grandson of the carver of the original pole. nativeartsmagazine.com
engaging exhibitions, diverse subjects
Above: Visitors to the Eiteljorg enjoy paintings and sculpture on display in the Art of the American West Gallery, which is currently under renovation. It reopens November 10 with new work, including pieces by African-American, Asian-American, Hispanic, and Native artists.
Numerous works by Santa Fe artist Harry Fonseca (Nisenan/Maidu/Portugese/Hawaiian) (1946–2006) are currently on view in the retrospective Harry Fonseca: The Art of Living. On view through April, 2019, the exhibition features prints, drawings, paintings, correspondence and photographs collected over the years by Fonseca’s partner, Harry Nungesser. The Art of Living highlights the versatility of Fonseca’s styles throughout his career, and provides personal insights into the artist’s life through his relationships and sense of humor. Visitors can enrich their experience with nine specialized audio tracks available on smartphone, an archived interview with the artist, and discussions with curator Jennifer Complo McNutt. In November, 2018, the Eiteljorg reopens the renovated Gund Gallery and Art of the American West Gallery, which feature significant works by Western masters Georgia O’Keeffe, Frederic Remington, Charles Russell, Howard Terpning, and an impressive oeuvre by the Taos Society of Artists from the 1920s. Indigenous works from the permanent collection are displayed throughout the Native American galleries on the second floor. Objects range from conventional tools, weaponry, clothing, and baskets, to modern jewelry design, Hopi katsinas, and Inuit sculpture. Continuing exhibition The People’s Place focuses on the rich histories and traditions of the First Nations of Indiana, such as the Miami, Potawatomi, and Delaware. The romanticized and dramatic connections between the West and Hollywood are explored in The Reel West, an exciting exhibition on view through February 3, 2019. The exhibition combines original costumes, props, art, and images from several iconic films and television programs, with related events and films scheduled throughout. The result of years of research, planning, and traveling the country, The Reel West challenges and informs established dialogues relating to the representations of Native peoples, and closely examines the juxtaposition between idealism and reality onscreen.
Blue Rain Galleryâ€™s Annual Celebration of Native American Art During Native Art Week A U G U S T â€”
S TA R R H A R D R I D G E Artist Reception: Thursday August 16th from 5 â€“ 8 pm
Untitled Acrylic on canvas 30" h x 24" w
Visit blueraingallery.com for a complete listing of shows and events 544 South Guadalupe Street, Santa Fe, NM 87501 | 505.954.9902 | www.blueraingallery.com
by Priscilla Sonnier
Autry Museum of the American West
bringing together the stories of all peoples of the American West
Mateo Romero’s painting War Music II is included in the Autry’s Art of the West exhibit. Raised in urban California and educated at Dartmouth and the Institute of American Indian Arts, Romero’s connection to his Cochiti Pueblo heritage is strong.
Explore the soul of the American West in the heart of Los Angeles. A local favorite, the Autry Museum’s world-class exhibitions and public programming share and honor the unique experiences of the peoples and landscapes of the West. The ongoing exhibition Art of the West combines visual and material culture into a cohesive narrative, shaped by the Indigenous traditions of the Southwest and the artists inspired by its unbridled beauty. Works reflect the diversity of the American West, ranging from traditional objects, representations of Westward expansion and the railway, to contemporary reflections of a land as both “destination and home.” The essence of the exhibition is well represented in 24
Mateo Romero’s 2008 War Music. Born and raised in Berkeley, California, Romero lives in Pojoaque Pueblo. He honors his Southern Keresan Cochiti heritage through his depiction of six warriors cautiously meeting in the vast expanse of the Rio Grande. The warriors dominate the landscape behind them, their spears piercing the hazy desert sky, as the red wraps on the horses legs juxtapose the blue skies above, anchoring them to their homeland. The figures serve as the connection between land and sky, with humanity ruling the realm in between. Art of the West is the first exhibition to explore how shared inspirations and values express themselves in the works of artists across time and culture. Historical works by Thomas Moran
Noteworthy Works by Seven Pueblo Painters Exhibiting Through September 2018
Untitled - Owl and Skunk Artist: Alfonso Roybal (1898-1955) Awa Tsireh Origin: San Ildefonso Pueblo Medium: Watercolor 3-7/8” x 5-3/4” image size Provenance: Personal Collection of Martha Hopkins Struever
221 Canyon Road Santa Fe
and Frederic Remington contrast with rarely seen pieces from the Autry’s Southwest Museum of the American Indian Collection, and the work of modernist masters such as Georgia O’Keeffe, Virgil Ortiz (Cochiti Pueblo), and Luis Tapia. Rich stories of land and culture continue in Human Nature, an exhibition focusing on the diverse history of California. Divided into four narratives— Salmon, Fire, Desert, and Plants—these subjects harmoniously weave traditional subject matter with modern ecological insight to illustrate how we can learn from ancient practices and use them to care for our environment. Visual arts are paired with soundscapes and multimedia, creating an immersive and interactive exhibition to inspire and reinforce the lessons passed down from our elders. The connections between tradition and modernity are well represented in Northern Californian and Maidu/Hamowi Pit River artist Judith A. Lowry’s Dao-Lululek, 2012. Lowry’s large-scale figurative and allegorical works are inspired by the ancestral creation stories of Northern California, passed down to her by her father. Dao-Luluek is a vivid example of pictorial storytelling, as three figures emerge from the flames, captivating the viewer in a moment of excitement, fear, metamorphosis, and renewal. Contemporary Native American scholarship and art combine in the retrospective show Rick Bartow: Things You Know But Cannot Explain, on display through January 6, 2019. The work of Mad River Band Wiyot artist Rick Bartow (1946–2016) is divided into key themes such as Self, Dialogue, and Tradition. His large-scale works, like Deer Spirit for Frank LaPena, unify animal and human forms to embody a metaphysical experience through artist and culture. Things You Know also highlights Bartow’s personal growth through his art and relationships with 20th century masters Francis Bacon, Robert Rauschenberg, and Jean-Michel Basquiat.
Above: Rick Bartow’s acrylic painting, Deer Spirit for Frank LaPena, was completed in 1999. The show, Rick Bartow: Things You Know But Cannot Explain, was planned while the artist was still living. Spanning 40 years of his work, the exhibit has been widely shown.
native arts 2018
by Priscilla Sonnier
Millicent Rogers Museum the heritage of the American Southwest
Millicent rogers museum
THE COUTURE TREASURE OF TAOS, The Millicent Rogers Museum is a testament to its namesake, New York socialite and Taos transplant Millicent Rogers (1902–1953). The granddaughter of Standard Oil co-founder Henry Huttleston Rogers, she is remembered for her unique sense of style, pairing high fashion designs with Native American–made Southwest jewelry. After visiting Taos after her breakup with actor Clark Gable in 1947, she decided to stay, having become enraptured with the New Mexico landscape. Rogers’s Taos lifestyle at her custom adobe house, Turtle Walk, was documented in publications such as Vogue and Harper’s Bazaar, and Rogers continues to inspire designers such as Karl Lagerfeld and John Galliano. Rogers’s own talent as a designer has been explored in recent years, through exhibitions such as American Jewelry from New Mexico (on view at the Albuquerque Museum through October 14, 2018), which proudly showcases a silver and moonstone cuff and necklace set, and a Millicent-themed popup show at the Hayward Luxury Gallery, Manhattan. Founded in 1956 by her youngest son, Paul PeraltaRamos, in memory of his mother, the museum has one of the finest collections of locally crafted jewelry, in addition to the family’s extensive personal collection of traditional Southwestern arts. Exhibitions change frequently between the 15 galleries to represent over a millennia of regional history and culture, and to accommodate over 7,000 works in the permanent collection. Large-scale bronze sculptures such as Emergence by Michael Naranjo (Santa Clara) and Running Star by Wilson Crawford from a design by Millicent Rogers can be viewed by taking a short walk around the museum grounds. The building itself exudes a sense of familiar charm and intimacy, as the heart of the museum was originally the home of Rogers’s close friends Claude and Elizabeth Anderson. Expanded in the 1980s, the kiva fireplaces and warm adobe walls reinforce the institution’s strong connection with the local community. Left: This matching necklace and cuff, silver set with moonstones, was designed by Millicent Rogers. Pieces from her jewelry collection can be seen at the Millicent Rogers Museum.
Kevin Red Star, Crow
“Crow War Party” 2012. Acrylic on Canvas. 48” x 60” (framed 54” x 66”). Published in Red Star book.
Fritz Scholder (1937-2005)
Above: Millicent Rogers was often pictured with one or more of her dachshunds.
The Taos community is supported through the Taos Watercolor Society show and sale, August 17–September 16, 2018. The show represents 12 of the society’s signature artists, focusing on local subject matter and differing techniques. Community issues are also explored in Water That Sustains, a special exhibition running through January, 2019, which examines the thorny issue of water rights in the Southwest. On a National Scale is a remarkable exhibition highlighting the challenges surrounding the 1953 exhibition Contemporary American Indian Painting at the National Gallery in Washington, D.C. Shortly before Millicent’s death, her mother, Mary Rogers, an accomplished painter who exhibited at the De Young, Santa Barbara, and Pasadena art museums, was inspired by her daughter’s passionate collecting of Native art. She struck up a friendship with fellow artist and former art instructor at the Santa Fe Indian School, Dorothy Dunn, and the pair corresponded to plan a major exhibition of American Indian paintings. On a National Scale features letters between Mary Rogers and Dunn, various museum directors from New York, Boston, and Paris, and the original exhibition catalogue that included 115 works by 59 artists. Ephemera is accompanied by selected works exhibited at the National Gallery from Millicent Rogers’s personal collection and contemporary works purchased through a fund in Mary Rogers’s memory. The exhibition will be on display through April, 2019.
“Galloping After Leigh” Aquatint, 44” x 63” circa ’70’s in Rome, Italy.
Three floors of Legendary Art from private collections.
Windsor Betts Art Brokerage House 143 Lincoln Ave @ Marcy • (505) 820-1234 • email@example.com santa fean native arts 2018 27 windsorbetts.com
by Priscilla Sonnier
Heard Museum advancing American Indian art
THE PERSONAL LIVES and cultural practices of the Southwest’s peoples harmonize with once-in-a-lifetime specialty exhibitions at the Heard Museum in Phoenix. The permanent collections contain over 40,000 objects, with a particular focus on contemporary Native American fine art and the historic cultural experiences of the Southwest. Spanning from pre-history to the present, Indigenous artifacts and artworks include Hopi katsina dolls, Navajo and Zuni jewelry, Navajo textiles, plus a variety of ceramics and basketry from the Southwest, California, the Northwest, and Great Basin. The museum’s 4,000 works of contemporary fine art represent the evolution and strength of the American Indian Fine Art Movement from the 20th century through today. Modern masters including Allan Houser (Chiricahua Apache)(1914–1994), Julian Martinez (San Ildefonso)(1897–1943), Linda Lomahaftewa (Hopi/Choctaw)(b. 1947), and Pablita Velarde (Santa Clara)(1918–2006) are well represented, in addition to guest curated installations by practicing Native American artists in their Masterworks Arts and Artists Series. Exhibitions and local connections are continually supported by the Heard’s diverse public programs and artist markets. Upcoming events include Indigenous Peoples Day on October 8, 2018, which includes live performances, outdoor activities, and market vendors. Veterans and their families will be honored on November 12, 2018, in the Heard Museum’s Sunset Ceremony Tribute, where former service members can enjoy dinner, free admission for themselves and a guest, coupled with an evening ceremony Right: A Central Yup’ik dance mask, ca. 1900, is on loan from the National Museum of the American Indian, Smithsonian Institution. It is from Napaskiak Village, Kuskokwim River, Alaska.
NMAI PHOTO SERVICES
Above: This bolo tie from the collection of Quincalee Brown and James P. Simsarian shows Sonwai’s classic use of colored stones set in 18-kt gold.
Pablo Antonio Milan “Master of Color” 2018 Indian Market Show Reception: Friday, August 17, 4 – 7 pm
“Blue Mirage” acrylic on canvas, 60 x 72”
A Navajo Second Phase Chief Blanket, ca. 1860–1865, is from the Fred Harvey Fine Arts Collection at the Heard.
and live performances. Visitors also enjoy free admission on the first Friday of every month and expanded experiences on second Saturdays, with differing local entertainment, outdoor programs, and an artist marketplace. On display October 6 through March 10, 2019, Sonwai: The Jewelry of Verma Nequatewa is the first comprehensive exhibition of the Hopi jeweler’s work. Nequatewa is recognized for her innovative designs and as one of the finest Native American lapidaries. Her career began through an apprenticeship with her uncle, Charles Loloma (Hopi) in 1966, and she continued working at his studio for over 20 years, developing her unique sense of design, style, and skill while creating works that revere traditional Hopi life through the stones’ physical and spiritual connection to the earth. The exhibition’s title refers to the artist’s signature, Sonwai, the Hopi feminine word for beauty that Nequatewa has put on every piece since 1989, as a reminder that beauty is found “all around.” The major exhibition Yua: Henri Matisse and the Inner Arctic Spirit goes on view from October 29 through February 3, 2019. The Heard will be the only institution in North America to display these pieces by the legendary 20th century French artist Henri Matisse and explore how Yup’ik and Inuit culture influenced and inspired his work. The exhibition includes many pieces by Matisse never before shown in the United States, and will reunite dozens of Alaskan Native masks that have been separated for more than a century. Through Matisse’s own works, traditional Yup’ik masks and objects, ephemera, photographs and film, Yua explores the unexpected spiritual connections that transcend culture, time, and talent.
native arts 2018
by Priscilla Sonnier
Museum of Contemporary Native Arts
increasing understanding and appreciation of contemporary Native arts
Above: Fritz Scholder (Luiseño)(1937–2005) taught at the Institute of American Indian Arts (IAIA) from 1964–1969. Scholder painted Native Americans as they were in the middle of the 20th century, not as romanticized historic figures. He also painted abstracts, such as New Mexico Number 1, which is included in Action/Abstraction Redefined, showing at IAIA Museum of Contemporary Native Arts.
The IAIA Museum of Contemporary Native Arts (MoCNA) is committed to progressive Native arts scholarship and challenging traditional artistic boundaries, in an effort to strengthen Native discourses nationally and internationally. Born from humble academic roots through a student honors program in the 1960s at the Institute of American Indian Arts (IAIA), the Museum’s collection now has 7,500 works dating from 1962 or later, many on display at their downtown Santa Fe location. Their 2018–2019 exhibition schedule features a powerful lineup of transcendental symbolism around the globe, ranging from midcentury modern masters, to established artists and up-and-coming talent. Action/Abstraction Redefined shows prominent works from the MoCNA permanent collection created in the 1960s and 1970s. Selected paintings, sculptures, and works on paper reflect how contemporary artists such as George Morrison (Chippewa)(1919-2000), John Hoover (Aleut) (1919–2011), T.C. Cannon (Kiowa/Caddo) (1946–1978), Alice Loiselle (Chippewa), and others responded to stereotypical expectations of Native arts through experimentation with midcentury movements such as abstract expressionism, color field, and hard-edge painting. Hank Tobin’s 1966 Northwest Design abstracts traditional forms from his Tulalip/Snohomish heritage and contrasts them against a vibrant orange background, echoing color field aesthetics from the West Coast scene in the 1960s. The result is a mysterious image, a partial recognition of an otherwise recognizable figure from the past, yet its visual impact retains its original narrative strength through expressive and modern usage of color. The exhibition will be on display in the Kieve Family Gallery through July 7, 2019. Storytelling, language, and the resonating strength of symbolic narratives are explored in Holly Wilson: On Turtle’s Back and Rolande Souliere: Form and Content, both on view until January 27, 2019. Both artists embrace different aspects of communication, Wilson through narrative figures, and Souliere by deconstructing the geometric patterns in Ojibway, Cree, and Inuit syllabics. On
Turtle’s Back, located in the South Gallery, highlights Holly Wilson’s (Delaware Tribe of Western Oklahoma/Cherokee) newest mixed media works. Installations created from bronze, wood, and encaustic present fragmented passages of the human experience. Wilson’s Bloodline from 2015 depicts waifish figures traipsing atop varying layers of earth. These humanoid figures present her stories to the audience, connecting viewer to artist through visual expressions of family history and personal experiences. Form and Content, (Hallway Gallery and Honor Gallery) is Michipicoten First Nation and Australian National Rolande Souliere’s newest large-scale wall painting exploring visual form and symbolism through language. Fields of contrasting horizontal orange stripes are spatially interrupted by interwoven lashings of blue which, from a distance, reveal a harmonious geometric design, built by chevrons, circles, and rectangles—shapes that reference cultural syllabic forms of Indigenous language and modern abstraction in Western art. Meeting The Clouds Halfway (Anne and Loren Kieve Gallery) is a unique collaboration between Tohono O’odham basket weaver Terrol Dew Johnson and Tucson/New York–based architects, Ben Aranda and Chris Lasch. The artworks, which blend contemporary basketry with architectural design combining tradition with modernity, explore the Tucson desert as a destination of inspiration and opportunity. Each basket is constructed from the natural materials found in the desert: rock, copper, wood, and grass, and is representative of Tohono O’odham practices and their place in modern living. This exhibition, organized by the Museum of Contemporary Art, Tucson, and guest-curated by Alexandra Cunningham Cameron, will be on display through December, 2018.
Above: Expanding Horizons, an exhibit of paintings by Darren Vigil Gray (Jicarilla Apache/Kiowa Apache), opens August 16 and runs through February 16, 2019. Gray’s 2018 painting Bringing the Light of Day was done with acrylic on paper.
native arts 2018
by Priscilla Sonnier
Museum of Indian Arts & Culture
premier repository of Native art and material culture
Above: Seed Jar (ca. 2005) by Les Namingha is made from clay with various pigments painted across the vessel.
The Museum of Indian Arts and Culture (MIAC) houses one of the finest art collections in New Mexico. One of eight museums and seven historic sites in the state-run Museum of New Mexico system, the MIAC, part of the Laboratory of Anthropology, provides an enriching experience to visitors and locals alike, allowing them connect and honor the Southwest through featured exhibitions, public and educational programming, and artist residencies. Long-term exhibition Here, Now and Always is an immersive multimedia experience enhanced by the inclusion of 1,300 artifacts from the museum’s permanent collections. This unique exhibition is the result of eight years of close partnership between museum professionals and local Indigenous communities, in a well-curated statement reinforcing the importance of generational storytelling in the Southwest. The voices of 50 Native American elders guide you through the exhibition hall, as their stories give life to the traditions, artworks, and treasures of their communities. Through their songs, poems, and stories, visitors can truly connect with the rich history of the objects and peoples represented before them. MIAC’s close connection with the local community is also reflected in its newest exhibition. What’s New in New: Selections from the Carol Warren Collection, located in the
ENORMOUS FORMS Pueblo Dough Bowls and Storage Jars Exhibiting through September 2018
221 Canyon Road Santa Fe
San Ildefonso Very Large Polychrome Storage Jar 17” height x 18-1/4” diameter
Lloyd Kiva New gallery, features some of the best examples of contemporary Native American pottery to be shown together in recent years. The exhibition showcases over 200 pieces of pottery, jewelry, painting, and sculpture from some of the Southwest’s most well-regarded artists, such as Dan Namingha (Hopi/Tewa), Jody Naranjo (Santa Clara), Tony Abeyta (Navajo), and Autumn Borts-Medlock (Santa Clara), among others. Carol Warren, a former MIAC volunteer, began her collection after unknowingly purchasing an original Jody Naranjo piece from a New York gallery. Within a year of her first purchase, Warren moved to Santa Fe and quickly immersed herself in developing her knowledge of Native arts and culture. She began to volunteer at the MIAC gift shop and collections department, refining her taste and appreciation over 26 years at the museum, expanding her collection and building relationships with many of the artists represented in What’s New in New. The exhibitions curators, C.L. Kieffer Nail, Valerie Verzuh, and Antonio Chavarria, wanted to reflect Warren’s passion for not only her collection, but specifically her interest in how artistic skill and talent passed and evolved through families of artists. Pieces such as Les Namingha’s Seed Jar, ca. 2005, shows the Zuni/Hopi/Tewa artist’s adherence to historic pottery traditions and Pueblo imagery, which were learned from and fostered by his aunt, Dextra Quotskuyva, at Hopi. Curator C.L. Kieffer Nail expressed the importance of exploring the “diversities and polarities in [their] artworks, influenced and learned from the older generations.” These rich family connections anchor the exhibition, as multi-generational families of artists, when viewed together, lend new perspectives to their individual works.
Historic Acomita Dough Bowl Circa 1830s 9-1/4” depth x 18” diameter
courtesy museum of indian arts and culture
Very Large Historic Cochiti Pueblo Storage Jar 21-1/2” height x 21-1/2” diameter
Above: A contemporary cast glass work from Tammy Garcia, Element III (ca. 2007). santa fean
native arts 2018
SWAIA Indian Market Overview
by Neebinnaukzhik Southall (Chippewas of Rama First Nation)
Indian Market brings people from all over the world to Santa Fe to shop, making it a people-watcher’s paradise.
SWAIA—Santa Fe Indian Market week overview of events
Pat Pruitt (Laguna Pueblo) poses with his zirconium and titanium sculpture Sentinel v1.0. Pruitt won Best in Show for the piece in 2017.
The Southwestern Association for Indian Arts (SWAIA) presents its 97th year of the vibrant Santa Fe Indian Market, featuring nearly 1,000 juried Indigenous artists from across the United States and Canada, working in a variety of media, including jewelry, pottery, sculpture, baskets, textiles, painting, photography, and more. Indian Market takes place on Saturday, August 18, from 7 am–5 pm, and Sunday, August 19, from 8 am–5 pm, on and around the Plaza in downtown Santa Fe, with many associated events leading up to and occurring throughout the weekend. The free 18th annual Native Cinema Showcase, presented in association with the National Museum of the American Indian, runs from August 14–19 and features Native films screened at the New Mexico History Museum. Saturday evening, Disney’s Coco shows for Family Night at the Railyard Park on Cerrillos Road at 8 pm. Go to swaia.org for a full schedule of showtimes. On Thursday, August 16, from 7–10 pm, the free Indian Market kick-off party commences at the Santa Fe Community Convention Center. It includes a preview of the fourth annual IM:EDGE, a curated show in the main lobby. The exhibit highlights Native
artists exploring activism and identity, corresponding with the aims of Project Indigene, a collaborative project between several of Santa Fe’s Native arts–related institutions. All work in the show is for sale. Friday, August 17, attendees will have a chance to see Indian Market’s ribbon-winning entries at the Convention Center. The Best of Show ceremony and luncheon from 11:30 am–2 pm highlights the Best of Show and Best of Classification award winners and their work (tickets $150; limited to purchase by SWAIA members). The event is followed by the sneak preview of award-winning art from 2–4 pm, with Best of Show artists present (tickets $150, $100 for SWAIA members). The general preview of award-winning art takes place from 6–8:30 pm (tickets $50). IM:EDGE is on display through the weekend events. On Saturday and Sunday, a variety of free music, dance, and performing art events occur from 9 am–4 pm at the Plaza stage, the Santa Fe Community Convention Center, and Cathedral Park. Saturday also marks the day of SWAIA’s lavish fundraiser, the live auction gala, and reception at La Fonda on the Plaza. The event begins at 6 pm with a silent auction and cocktails in the hotel’s La Terraza, followed by the live auction gala and dinner in the Lumpkins Ballroom, featuring a menu created by a Native chef. This year, a fashion show is included in the fundraiser (tickets $225–$5,000). Two special Sunday events highlight the artistry of Native-designed attire. The popular Native American clothing contest begins at 9 am and continues until noon on the main stage in the Plaza, featuring individuals of all ages dressed in gorgeous regalia and fashion. The event is free and always draws a crowd. Next up, the glamorous Indian Market Haute Couture Fashion Show from 2–3 pm at the Santa Fe Community Center, where designers Cody Sanderson (Navajo/Diné), Maya Stewart (Chickasaw/Creek/Choctaw), Sho Sho Esquiro (Kaska Dene), Decontie & Brown (Penobscot), Pam Baker (Kawgiulth/Squamish), Yolonda Skelton (Gitxsan), Adrian Standing Elk Pinnecoose (Diné/Southern Ute), and collaborators Jamie Okuma (Luiseño/ShoshoneBannock) and Keri Ataumbi (Kiowa) send their creations down the runway (general seating $25, standing room free, space is limited).
A buffalo dancer performs at the 2017 market.
Below: Dancers from Zuni Pueblo. Yes indeed, those are real pots on their heads, and the women balance them perfectly.
97th annual Santa Fe Indian Market, August 18–19, free except for special ticketed events, Downtown Santa Fe, swaia.org
The Haute Couture Fashion Show usually sells out. Here, a model wears designs by Jamie Okuma (Luiseño/ Shoshone-Bannock).
native arts 2018
ethics in collecting
a conversation with contemporary beadwork artist and restoration expert Angela Swedberg fakes, forgeries, and ethics with Amanda N. Pitman
When did you first notice an issue with fakes and forgeries in beadwork? Do you think it will continue to be prevalent? Fakes have been an issue for centuries. The beadwork forgeries (what I know best) have been out there for decades. Recently, the images on websites like Pinterest and easy-sell sites like eBay have made the internet the Wild West of fakes and foolery. There is a huge cottage industry in the United States and Europe, copying work or making new, old-style artworks that are sold as antique. There are some clever people who have dealt in the art and artifacts arena for decades, who are known to others in the business as being shady. They are pretty much given a pass, as the money and greed involved are blinding. The danger I see now is that collectors who bought items 20, 30, or 40 years ago, not knowing they actually possess fakes, put them in legacy exhibits or books, or give/sell them to institutions. Having fake works in collections of legitimate art adds provenance to the fakes. What it also does, unfortunately, is distort the historic record. 36
Courtesy of Maryhill Museum of Art
Angela, thank you so much for taking the time to talk with Native Arts. Tell me a bit about your background and where your expertise lies. I started beading when I was five years old. It is a long story as to how I got to where I am now, restoring historic Native bead and quillwork as well as being a contemporary artist. After working as a banker of all things, I quit my job in 1989 and canoed across the Canadian Arctic. I hitchhiked home (with my canoe) and just couldnâ€™t go back to that life. Local art dealers noticed I had beadwork skills and started asking me to repair items. It grew from there. I have put in thousands upon thousands of hours of academic study and hands-on examination of historic work. Having unfettered access to some impressive private collections is a learning experience few get these days. It also gives you a good sense of what is right about an item and what is wrong about it. I work for various tribes, dealers, and museums, both restoring historic items and creating new works.
What are the top ethical concerns with fakes and forgeries? There are a number of concerns, even with previous work of mine. I did commissions for people and did them well, having no idea they would end up represented as the real deal in accredited museums, or sold for major amounts of money. It made me take a very hard look at what I was doing. But what truly concerns me: Are we changing the historical record? As buyers of historic art, we drive the narrative of what is desirable and valuable. This ends up leading not only to fakes, but also to enhanced work. We come to expect something that has a modern aesthetic and is not historically accurate. This happens from the top—million-dollar war shirts—all the way down to the bottom—badly made $200 pipe bags on eBay. People believe these fakes are real, and there is an emotional toll when they find out the truth. This hurts modern Native people simply trying to make a living. It is impossible for them to compete with the beadwork that comes from Europe—illegally, might I add. Some of the makers come to the United States every year with suitcases full of quill and beadwork, and sell it for cash. They make a pretty comfortable living. Trading posts and gun shows are full of dubious work. It might be sold first as non-Native, but once it’s on the market and changes hands, sooner or later it becomes “Indian” and “old.” There also is a large re-enactor population, both here and in Europe, which gathers each year and uses these items. With use, the items acquire wear. Unless you know exactly what to look for, it’s difficult for people to determine what is real.
Glass elk ladle (detail), by Angela Swedberg, hand-sculpted, off-hand glass, antique Italian seed beads, porcupine quills, ochre painted brain-tanned hide, 28" high
What can those interested in historic works or collectors do to identify fakes and forgeries? This is the super difficult part. First, if you want to buy great historic art, work with ethical dealers with stellar reputations. They are out there. I have worked with some dealers for 30 years who never once asked for any kind of foolery when restoring artwork. They will send me photographs to ask my opinion on pieces. Sometimes they have been fooled, but they’re ready to admit it in the name of ethics. Unless one is highly knowledgeable, buying artwork at places like gun and antique shows, where you see more fakes than genuine works, is really dangerous. The supply is finite—historic works are getting harder and harder to find. Identifying fakes is fraught with problems. When making a determination, you had better know what you’re doing, because if you make accusations and are wrong, you just defamed someone’s property and lessened its value. That can be subject to legal action. The pitfalls are great, and my best advice is to work with legitimate, honest people who stand behind what they sell. santa fean
native arts 2018
ethics in collecting
by Jon Olney Shellenberger (Yakama)
taking a look at repatriation
Above: Plateau corn husk bag, artist unknown, 1930s
Ralph Sampson, Jr. (Yakama)
I WAS SITTING IN my mother’s living room, looking at Yakama family heirlooms my mother brought out, and listening to her wealth of knowledge about each piece. I began to wonder about the lengths I would go to retrieve them from an auction house or museum. I also began to wonder about this term sacred we all hear so often in reference to Native artifacts. We hear it used so often, the lines between sacred objects and secular works of Native art become blurred, especially to collectors. There doesn’t seem to be one working definition that can be easily grasped by those outside tribal communities. According to the Native American Graves and Repatriation Act of 1990 (NAGPRA), the Federal law protecting Native American human remains and sacred objects, sacred objects are defined as “. . . specific ceremonial objects which are needed by traditional Native American religious leaders for the practice of traditional Native American religions by their present-day adherents.” The 1990 Senate Committee Report on NAGPRA elaborates that the intent wasn’t to designate every object as sacred, but only those that are used in Native American religious ceremonies. That definition, however, is still too broad and unclear to outside entities. With lack of familiarity of Native American religious ceremonies, it is inevitable that many of these objects end up in private collections and auction houses despite Native American tribal protests. Lately, the relationship between auction houses and tribes has become strained. To tribes, the protection of the sacred is of the highest priority. Early in May 2018, a sacred pipe of the Lower Sioux Community of Minnesota was scheduled for auction and was immediately met with protest by the tribe. The sacred pipe was a peace offering to a United States soldier from Dakota Chief White Dog during the US Dakota War of 1862. The pipe was in the possession of a Boston family, and went up for auction with a $20,000 opening bid. An anonymous buyer bought the pipe for double the asking price and returned it to the tribe. These types of third-party benefactors are not uncommon in the return of sacred tribal objects. These exchanges are typically kept confidential, and for good reason. The monetization of sacred objects is taboo to most tribes, but with no supporting legal authority to have the items repatriated, tribes are left with little choice.
Ralph Sampson, Jr. (Yakama)
a few ins and outs of a little-discussed topic
Above: Plateau corn husk bag, artist unknown, 1930s
Native Arts: What items are typically okay to purchase at auctions? Jon Shellenberger: Items that were altered for tourists or created for a non-ceremonial purpose. For instance, some katsina dolls are altered so as to not replicate ceremonial regalia. The same standard should be applied to Native art as with Western art. If the piece is being auctioned for the sake of art, then the artist should really be a part of the appeal. If an auction house is selling a 500-year-old piece of pottery by an unknown artist, that isn’t the same standard. They are auctioning off an artifact with multiple layers of cultural identity. It is important to capture each of those layers to ensure authenticity and cultural sensitivity towards tribes.
Under NAGPRA, dealing in human remains and funerary objects is illegal. When it comes to proving an item is sacred, however, the burden of proof is on the tribe. The law is vague in its application to private collectors and auction houses. “Auction houses are really savvy about knowing what items to pull in order to avoid altercations with tribes,” says Robert Taylor, NAGPRA Coordinator for the Nez Perce tribe. “Their interests are profit-driven, and they aren’t bound by the same obligations as museums, which receive federal funding.” Taylor also adds that certain museums associated with academic institutions are resistant to returning sacred objects when there is a lack of proof or provenance. The Safeguard Tribal Objects of Patrimony Act, a bill sponsored by New Mexico Senator Martin Heinrich, has been before House and Senate committees since 2017, and it is moving through the legislative process. The bill would increase penalties for trafficking and would obligate the Department of Interior to form tribal and Hawaiian Native working groups to advise on issues pertaining to trafficking of human remains, funerary, and sacred objects. This law provides a start at increased discourse on the issue of sacred object protection at the national level.
NA: What items do buyers need to be more wary of? JS: Anything with medicine in it such as sage, sweetgrass, corn pollen. These could be medicine bags, pouches, or bundles. Those are personal items with significant spiritual value. Beaded clothing, bags, and personal jewelry have the potential to be buried with humans. Incised dentalium, shell necklaces, and moccasins with beaded soles. All of these can come from a burial context. People need to know that there is still an epidemic of items being stolen right out of Native graves to be sold for drugs.
Below: Rose Olney Sampson (Yakama) pictured with ceremonial berry baskets. Large basket, Sophia Thomas Heck (Cowlitz), 1940s; middle basket, Klickitat basket, artist unknown, date unknown; left basket, Sophia Thomas Heck, 1950s. Sampson is the granddaughter of Heck.
Ralph Sampson, Jr. (Yakama)
NA: What items should be/are off limits? JS: Katsina ceremonial masks, pipes, Kwakwaka’wakw ceremonial masks, medicine pouches, Sundance related items; Yeibichairelated items should be off limits and considered sacred. Those are just some off the top of my head. Anything related to ceremonies is not created for the sake of creating art; they had a spiritual purpose, and collectors can get hurt by the power of some of these objects. The collectors may not believe in Native spirituality, but the original owners survived according to those beliefs for millennia. NA: What can a conscientious buyer to do avoid, for lack of a better term, stepping on toes? JS: A buyer should determine where the object came from and if the source is legitimate. A good place to start would be to contact the respective tribe’s tribal historic preservation office or a member of its cultural committees. They are the ones who manage repatriation of sacred objects, human remains, and associated burial items for their tribe. Moreover, they are knowledgeable about collectors with shady pasts and can help you find out if an item is likely to stir up trouble. santa fean
native arts 2018
openings | revie w s | p e o p le
Flying Blue Buffalo installation form & concept 435 S Guadalupe formandconcept.center August 17–November 17 Reception August 17, 5–7 pm Armond Lara tackles a long and difficult chapter in New Mexico’s history through his Flying Blue Buffalo sculptures: the centuries-long practice of the abduction and enslavement of thousands of Native children. Lara’s own grandmother, who was Navajo, was taken and put into forced servitude by a Mexican family. The kidnapped children, forced to become field hands and domestic servants, were referred to as Lost Bluebirds by their grieving families. Lara combined this name with the strength and resilience of the buffalo in his sculptures. The installation consists of 75 hand-painted buffalo, cast in resin from molds made from 3-D prints of Lara’s original sculptures. Each buffalo represents a single enslaved child known to history, with oral and written accounts of these children’s stories available as part of the exhibition. On Saturday, August 18, Lara convenes a panel of historians to discuss the legacy of slavery in New Mexico.—Lisa J. Van Sickle 40
Above: Armond Lara, Flying Blue Buffalo 1, carved pine, mixed media, 10 x 22 x 15"
Above: Patrick Burnham’s mural Flutter, can be seen in Albuquerque at the Home@Uptown apartment complex.
by Neebinnaukzhik Southall (Chippewas of Rama First Nation)
Albuquerque-based Hopi/Navajo artist Patrick ‘CloudFace’ Burnham lives a life defined by creativity. His alias refers to “the constant shifting of the face of a cloud,” which expresses his need to engage in diverse artistic forms, whether painting, breakdancing, creating and producing music, or DJing. “It’s hard for me to not be active in all these things,” he states. “I feel like I get so much from being involved, that I really just wouldn’t want it to be any other way.” Burnham began painting in childhood, though he took a break when he became involved in the hip-hop scene. However, the visual impact of graffiti pulled him back into painting. He incorporates the influence of graffiti letterforms into his current paintings, adding texture and dimension with “fragments of letters” and calligraphic strokes. “At this point, I’m able to marry all the different influences that I’ve had over the years in my art.” His portraits feature skin tones in brilliant hues. “I’ve really been coming back to this place where I’m just using so much of the primary colors,” he shares, noting that he will render shadows in dark blue, or highlights in pinks and yellows. “I just feel like there’s just so much more life in using all the colors.” CloudFace depicts “animals native to New Mexico,” notably birds—many of which are sacred to the Navajo and Hopi. His frequent paintings of hummingbirds also honor his late brother Michaelis, a significant influence in his life. “My older brother was also an artist, and he really gravitated towards hummingbirds,” he shared. Recently, Burnham painted a large hummingbird in a 60-foot mural at the Home@Uptown apartments. Guests at Nativo Lodge in Albuquerque can also sleep surrounded by his hummingbirds in his artist room entitled Arrival/Departure. Burnham can also be found doing live painting at various music events, an almostweekly practice of his since about 2007. “The paintings are influenced very much by the environment that they are painted in,” he said. He described live painting as “very much a dance itself,” which is evident in the expressive, energetic quality of his brushstrokes. “When you’re performing a painting, at least for me, I don’t feel that there’s the time to sit and contemplate too much,” he said. “I’m in front of a crowd of people, so I don’t really ever stop.” Just how he likes it.
Above: Summer Nights, acrylic on canvas, 30 x 54"
Right: Between Worlds, acrylic on canvas, 30 x 54"
Patrick ‘CloudFace’ Burnham at Beals & Co. Showroom, 830 Canyon, santafeexports.com
native arts 2018
Mary E. Kee textiles, family, tradition by Neebinnaukzhik Southall (Chippewas of Rama First Nation)
Above: Navajo weaver Mary Kee stands next to her magnificent 65 x 37" Ganado textile, handwoven from commercial wool yarns.
NAVAJO WEAVER Mary E. Kee, who turned 55 on July 2nd, has been creating textiles for most of her life. Her skill shows in her precise rugs, some of which are over 3 x 5'. Taught the basics of weaving by her grandmother, Lucy Lee, and her mother, Ellen L. Billie, she wove her first rug at eight years old. However, she only became serious about weaving as a young adult. “I didn’t really get into weaving until after ’82, after my high school year and I started a family,” Kee reveals. Textiles provided additional family income. Kee lives in Arizona in the Klagetoh area near Ganado, with her husband Leon, with whom she occasionally consults for rug color schemes. They have four children—two daughters, Racheal and Stephanie, whom Mary taught to weave, and two sons, Leander and Kevin, as well as grandchildren. Kee proudly relates that when Racheal was attending Ganado High School, Racheal’s rug design was recreated in tile in the school’s pavilion. Kee predominantly weaves in the red-dominant Ganado style, as well as the Two Grey Hills and Klagetoh styles, using commercial yarn. She begins by drawing a pattern, sometimes modifying a previous design. Kee weaves a “life line” in her textiles, and about 10 years ago, she started including her initials, MK, joined together. She credits Bill Malone, who formerly ran the Hubbell Trading Post in Ganado, Arizona, as a source of stylistic input for her rugs. As she works fulltime, she reserves the evenings and weekends for weaving—a large textile may take eight months to a year-and-a-half to weave. “If I want to finish one, I just have to commit myself to sit at it,” she says. Kee’s dedication has brought her recognition: one rug appeared in an issue of Arizona Highways, and several have won ribbons in the Gallup InterTribal Indian Ceremonial. Mary and Racheal Kee were also included in The weavers way: Navajo profiles, a book by Carter Allen. When asked if her grandchildren take an interest in her weaving, Kee responds, “They just love to have them.” She recently wove her older granddaughter, Kaitlyn, a red, blue, and grey biil (rug dress) for her 8th grade graduation. Her younger granddaughter, Riley, a kindergartener, received a red, black, and gray dress. “At first she wanted pink! I told her I was scared to use different colors,” she laughs. Kee worked on two looms simultaneously to create each dress—one for the back of the dress, and one for the front. She notes, “I have to weave with the design at the same pace all the way up.” While she predominantly sells her work closer to home at venues such as the Hubbell Trading Post, visitors to Santa Fe can find several of Kee’s exquisite textiles at Malouf on the Plaza. Mary E. Kee at Malouf on the Plaza, 61 Old Santa Fe Trl, maloufontheplaza.com
Above: A highly intricate design marks this Ganado weaving by Mary Kee. It measures 65 x 44" 42
Last year, Malouf on the Plaza contracted with the television program Informed|Rob Lowe to highlight Native American arts with an emphasis on, and interviews with, the Glasses, a seven-generation Navajo weaving family, and silversmith and jeweler White Buffalo (Comanche/Navajo). Filmed during the 2017 Indian Market, the informational piece, entitled Upward Trends in Western Jewelry, can be viewed at: http://informedseries.com/informed-ptv-tra-malouf.html
Saturday, September 15, 2018 5:30–8:00 pm at SITE Santa Fe • • • • •
JOIN US FOR
$125 per person (covers the cost of one spay/neuter) Complimentary wine, beer, and hors d’oeuvres Meet our doggie ambassadors Special auction Valet parking
To purchase tickets or to become a sponsor, visit us at www.espanolahumane.org, call AJ at 505-753-8662 or email firstname.lastname@example.org.
A UNIQUE SALE OF NATIVE AMERICAN ART FROM PRIVATE COLLECTIONS pottery, jewelry, textiles, paintings, baskets, carvings—vintage and contemporary. whether you are a new or a seasoned collector, come find your own treasure! Saturday & Sunday • September 22–23, 2018 Museum of Indian Arts and Culture Museum Hill • Santa Fe
Early Birds • Saturday, 9–10 am • $25 Saturday and Sunday, 10 am–5 pm Free Admission www.nativetreasures.org Photos by Carol Franco
s t u d io
Kenneth Johnson master of metallurgy by Al ic i a In e z G u z m á n p hoto g ra p h s by Ga b r i el la Ma r k s
Kenneth Johnson (Muscogee/Seminole) recently opened Studio 411 where, for now, he’s in the process of setting up shop. The space is thus far spare, but a coffee table he designed with alternating bands of patterns based on a stamped prototype sits just across from his desk. Now represented by Manitou Galleries, Johnson once began an undergraduate degree in engineering where he learned the concepts of metallurgy. When he became a jeweler full-time, those concepts, down to the atomic behaviors of metals, became hands-on. Best known for his stampwork and engraving, Johnson recently added repoussé to his technique—hammering into the back of a piece of metal to create an intricate low relief image—after taking a workshop with master silversmith Valentin Yotkov. Embracing repoussé played into the longtime jeweler’s philosophy of metalwork; where one process may not suffice, another surely does. He recently completed crowns for the Alabama-Quassarte Tribal Town and the Muscogee (Creek) Nation pageants using the repoussé technique. Johnson has made jewelry for Supreme Court Justices Sonia Sotomayor and Sandra Day O’Connor. Justice Ruth Bader Ginsburg also owns a pair of Johnson’s earrings, which she purchased at Indian Market. This fall, Johnson will be the artist-in-residence at the Institute of American Indian Arts with his Muscogee Canoe Paddle Project— canoe paddles carved from cypress from the Everglades, then cast in bronze to honor the use of the traditional canoe. Johnson also hosts a pop-up show at the Ralph T. Coe Center for the Arts on August 16, where he was recently named as one of the organization’s board members. Johnson also chairs the Muscogee Arts Association. Kenneth Johnson at Manitou Galleries, 123 W Palace, manitougalleries.com
Left: An 18-kt gold sun and star link bracelet, tufa cast, engraved detail, set with sapphires, rubies, and diamonds.
Above: Kenneth Johnson uses a ball peen hammer against a metal stamp to add designs into silver twist bracelets.
Left: The finished pieces show his skill in creating ornate pieces by stamping and twisting the metal.
Below: Johnson uses a wide range of metals and techniques to create these silver and gold rainbow bracelets.
Pablita Velarde, Cats, casein watercolor on Crescent mat board, 10 x 11"
GOLDEN DAWN AND 3D GALLERY Pablita Velarde
Golden Dawn and 3D Gallery in downtown Santa Fe carries the work of three generations of artists: Pablita Velarde (Santa Clara Pueblo) (1918–2006), her daughter Helen Hardin (1943–1984), and granddaughter Margarete Bagshaw (1964–2015). Velarde was the first female student to study with the renowned teacher Dorothy Dunn at the Santa Fe Indian School. In a life of many other firsts, Velarde forged a painting career at a time when women were often discouraged from pursuing work outside the home. Although Velarde was widely traveled, she preferred painting images from Native culture, using pigments she ground herself.—LVS Golden Dawn and 3D Gallery, goldendawngallery.com santa fean
native arts 2018
CHIAROSCURO CONTEMPORARY ART Rick Bartow
Specializing in contemporary art, mainly abstract, Chiaroscuro carries the work of a number of Native American artists. Emmi Whitehorse (Navajo), Rose B. Simpson (Santa Clara Pueblo), and Rick Bartow (Mad River Band of Wiyot Indians) are among the immediately recognizable Native artists at the gallery. Bartow (1946–2016) is currently being honored with the traveling exhibit Things You Know But Cannot Explain. The exhibit, now at the Autry, was formerly at IAIA Museum of Contemporary Native Art. Chiaroscuro carries pastels, acrylics, and woodcarvings done by Bartow. The artist’s work is deeply personal, a reflection of his mixed heritage, his service in Vietnam, and his study of other contemporary artists.—LVS Chiaroscuro Contemporary Art, chiaroscurosantafe.com
Right: Rick Bartow, Bull Disguise, pastel and graphite on paper, 43 x 30"
FORM & CONCEPT Heidi Brandow
In the middle of the Railyard district, form & concept has become a hot spot for cutting-edge contemporary art. Multidisciplinary artist Heidi Brandow’s work is filled with whimsical characters and monsters often combined with words taken from poetry, stories, and personal reflections. Her heritage, Native Hawaiian and Diné, is visible in her work through questions of defining and redefining personal identity by challenging authority and deconstructing mainstream assumptions about Native Americans. Her work also engages personal, cultural, and historical experiences while incorporating the perspectives of critical theory.—Amanda N. Pitman form & concept, formandconcept.center
Left: Heidi Brandow, Elevated, mixed media on panel, 24 x 24"
Josh Tobey A Must See One Man Show! Meet Josh and Jojo at Santa Fe Indian Market August 16-19, 2018
Location at the Coyote Den below the Coyote Cafe 132 W. Water Street Thursday 16: 3-9pm Friday 17 thru Sunday 19: 11am-9pm Private Collector’s Party Thursday 16: 4-8pm. Contact us at 361-688-7766 email@example.com www.joshuatobeystudios.com Eat at the Coyote Cafe & Cantina 505-983-1615!!!
Joy of Life
Ed. 30 56” H x 14” D x 14” W
ANDREA FISHER FINE POTTERY Robert Tenorio
Andrea Fisher Fine Pottery has been one of the premier galleries for Southwestern Native American pottery, Mata Ortiz pottery, and select non-Southwestern Native American pottery since 1993. The gallery, in the heart of downtown Santa Fe, is one place to purchase pottery from traditional pottery masters such as Robert Tenorio (Kewa/Santo Domingo Pueblo). Tenorio is one of the foremost Pueblo potters working today, and is known for his polychrome pots with striking geometric designs, sometimes including animals, created in the traditional Santo Domingo-style.—ANP Andrea Fisher Fine Pottery, andreafisherpottery.com Right: Robert Tenorio, untitled, clay with pigment, 4 x 14 x 14"
BLUE RAIN GALLERY Lisa Holt and Harlan Reano
This year marks 25 years of incredible contemporary art for Blue Rain Gallery and founder Leroy Garcia. With a collection spanning multiple media and genres, Garcia states, “I look for refinement and innovation. Over the years, the gallery has become more diverse. Now it is a mixture of everything— contemporary, Native, regional, Hispanic, and glass art, among others genres.” Blue Rain carries the work of Lisa Holt (Cochiti Pueblo) and Harlan Reano (Kewa/Santa Domingo Pueblo). The two work together; Holt makes the ceramic forms and Reano paints them, using natural pigments. Their pieces are fanciful, but refer back to traditional Pueblo pottery.—ANP Blue Rain Gallery, blueraingallery.com
Left: Lisa Holt and Harlan Reano, Dragon, natural clay and pigments, 20 x 11 x 13"
Our newest addition!
Doylene Hardin Land
“El Camino del Milagro” 40” x 30” oil on canvas
“The Wedding Gift” 24” x 18” oil on canvas
Indian Market Opening August 17,2018 - 5:00 to 8:00 pm 201 Galisteo St. Santa Fe, NM 87501 - 505-988-2024 - www.GD3Dgallery.com
THE RAINBOW MAN
The Rainbow Man, opened in 1945, has been owned and operated by Bob Kapoun and his wife Marianne since 1984. They are leaders in the Santa Fe art and collectibles market with a wide variety of new and old works including Edward Curtis photographs, mosaic jewelry from Angie Owen, folk art from Ron Rodriquez, vintage jewelry, weavings, and other handmade works of art.—ANP
The Rainbow Man, rainbowman.com
The Rainbow Man carries both new and vintage jewelry such as these Zuni earrings from the 1940s.
Left: Artist unknown, Cochiti Pueblo, lidded jar, clay and pigment, 14 x 18 x 18"
Since 1978, the owner of Adobe Gallery, Alexander E. Anthony, Jr., has provided both seasoned and new collectors with a gallery of historic and contemporary American Indian art and a wealth of knowledge to accompany it. The gallery’s mission is to “facilitate building quality Southwestern art collections around the world and to help educate new collectors in the historic pueblo pottery market.” Located on Canyon Road, the gallery houses everything from art to pueblo pottery, baskets, katsina dolls, old silver and turquoise, and other Southwestern collectibles.—ANP Adobe Gallery, adobegallery.com
de Fe Santa Fe Rena deRena Santa Rena de Santa Fe Only in Santa Fe - Only from the Artist Only in Santa Fe - Only from the Artist
SUNWEST Only in Santa Fe -ON Only from the Artist THE PLAZA Depending on which side of Sunwest on the Plaza you enter first, you will form a completely different impression of the business. The shop is on the west side of the Plaza. The door a little farther north leads into a charming gift shop with toys for children and mementos of the Southwest for the grownups. The door to the south takes you into a gallery of some of the finest pottery and jewelry around. Sunwest carries pottery by Joy Hope Navasie (Hopi/Tewa) (1919–2012), also known as Second Frog Woman–Yellow Flower. Navasie worked in a traditional style, with red-and-black designs set against a cream background. Her elegant work has a timeless appeal.—LVS Sunwest on the Plaza, sunwesthandmade.com
Joy Hope Navasie, hand-coiled pottery with white slip and pigment
• Original paintings • signed prints
• Original paintings • Original paintings • signed prints • signed prints • limited edition figurines
• limited edition figurines
• limited edition figurines Studio hours by appointment only
Studio hours by appointment only Studio hours by appointment only
(505) 466-4665 Original Paintings
Signed Prints Limited Edition Figurines
(505) 466-4665 www.renadesantafe.com
OF SANTA FE Gregory Lomayesva
Canyon Road • Santa Fe NM 4-1688 • lamesaofsantafe.com
225 Canyon Road • Santa Fe NM • 505-984-1688 • lamesaofsantafe.com
native arts 2018
Below: Ben Nighthorse, wide triangular bracelet, sterling silver, turquoise, lapis lazuli, blue opal, sugilite, rosarita, 6 1/2 x 1 1/4"
SORREL SKY GALLERY Ben Nighthorse Campbell
You may remember Ben Nighthorse Campbell (Northern Cheyenne) as captain of the 1964 Olympic judo team, or might know him as a former representative and senator from Colorado. If you are Shanan Campbell Wells, owner of Sorrel Sky, you think of him first as, well, Dad. Nighthorse shows his exquisite jewelry solely at Sorrel Sky at both their Durango, Colorado, and Santa Fe locations. He works in both silver and gold, set with precious and semiprecious stones. Although his work is contemporary, Nighthorse often uses animal imagery and petroglyph designs, giving his jewelry a Native American flair.—LVS Sorrel Sky Gallery, sorrelsky.com
LA MESA OF SANTA FE Gregory Lomayesva
La Mesa of Santa Fe is known for their variety of home décor including dinnerware, pottery, glass art, lighting, furniture, and fine art, among other items. They represent more than 50 contemporary artists. Painter and sculptor Gregory Lomayesva, of Hispanic and Hopi heritage, creates folk art pieces full of flair, as well as stunning semi-abstract portrait paintings. He states, “I don’t identify myself too much with either culture because I don’t want to be pigeon-holed. I think that doing art based on ethnicity limits the playing field, so I try to express myself as an artist whose playing field is the world.”—ANP La Mesa of Santa Fe, lamesaofsantafe.com Left: Gregory Lomayesva, untitled, acrylic on canvas, 40 x 40"
Elmore Indian Art presents Steve Elmore Indian Art
Nampeyo and Hopi Aesthetics: 839 Paseo de Peralta • Santa Fe NM 87501 A Prelude Modernism (505) 995 - 9677 to • Elmoreindianart.com
839 Paseo (505) 995 -
Above: Arlo Namingha, Eclipse, Indiana limestone, 15 x 20 x 5"
NIMAN FINE ART Arlo Namingha
YOUR DESTINATION FOR NATIVE AMERICAN MODERN YOUR ART DESTINATION
Niman Fine Art specializes in the work of the Namingha family: internationally known artist Dan, contemporary sculptor Arlo, and mixed media photographer Michael. This family-owned-andoperated gallery has been at its Lincoln Street location since 1990, and provides a modern perspective on American Indian art. Arlo Namingha creates pieces significantly different than the work typically associated with the Namingha name. Though he grew up carving katsina dolls, in his early 20s, Arlo turned his carving knives to wood sculpture. Today, he works in wood, clay, stone, and fabricated and cast bronze.—ANP
Opening August 10, 4 - Vintage 7 p.m.Jewelry
Steve Elmore Indian Art 839 Paseo de Peralta • Santa Fe NM 87501 (505) 995 - 9677 • Elmoreindianart.com
Niman Fine Art, namingha.com
TRUE WEST Nocona Burgess
True West, which opened near the Plaza in December, 2014, shows both contemporary and Southwestern paintings, sculpture, pottery, weavings and jewelry crafted mainly by Southwestern Native American artists. Gallery owners Lisa Sheridan and Craig Allen have strong ties with their artists, including YOUR DESTINATION NATIVE AMERICAN MODERN ART Comanche painter NoconaFOR Burgess. Burgess depicts exceptionally modern representations of Indigenous men and women from various tribal nations of North America. He explores the cultural context, life story, and identity of each sitter, urging us to update our perceptions of Native people.—ANP True West, truewestgallery.com
Left: Nocona Burgess, Atlanta, acrylic on canvas, 48 x 36"
native arts 2018
SPE C IAL A D VERTISIN G SE C TION
WINDSOR BETTS ART BROKERAGE HOUSE
Alex Windsor Betts, who lends her name to Windsor Betts Art Brokerage House, knows great art. In 1988, she opened Windsor Betts Art Brokerage House after realizing that the galleries could not resell their artists work on the secondary market, due to a conflict of interest for the artists. Her business offers the largest inventory of prominent contemporary and historic art from the Southwest on the secondary market. Betts not only takes consignments from individual collectors, but from important estates as well. The inventory is constantly changing due to what Betts calls the 5 Ds: divorce, death, departure, debt, and downsizing.—ANP
Scarlett’s Antique Shop & Gallery
Welcome to Scarlett’s—a favorite shopping haven of locals and visitors alike. We feature a beautiful array of authentic, high quality Native American jewelry by many award-winning artists. Whether you prefer the sleek contemporary look or traditional Classic Revival style, you are sure to find your treasure from the Land of Enchantment at Scarlett’s! At-door parking available. 225 Canyon Rd, 505-4732861 ScarlettsGallery.com (for preview)
Windsor Betts Art Brokerage House windsorbetts.com
Little Bird at Loretto Sacred Spaces by Mary Hunt 20 x 24” Celebrating 31 years of outstanding contemporary Southwestern art, jewelry and fine art glass. Featured artists - Mary Hunt - David K .John Michael Horse - Denny Wainscott - Spencer Nutima Connie Baker -Ellen Alexander -Roark Griffin. Thursday August 16th through Sunday, August 19th 8 am - 7 pm. 211 Old Santa Fe Trail, 505-820-7413 sflittlebird.com
Shallow Water Bird, Anthony Gchachu, silk hand painted coat, photo Kitty Leaken A highly creative art-to-wear gallery, featuring one of a kind painted coats by emerging and acclaimed national and local artists. Each piece is carefully painted by hand and sewn in New Mexico. The gallery is located in Plaza Galeria on historic Santa Fe Plaza. Open Thursday through Monday 11 am - 5 pm. Native Voices an exhibit of the painted coats of Marla Allison (Laguna), Anthony Gchachu (Zuni), Lorne Honyumptewa (Hopi), David Naranjo (Santa Clara), Shelley Patrick (Muscogee), Opening Reception Friday, August 17, 3 - 6 pm. August 17 to September 8, 2018. 66 E. San Francisco St 505-699-0339 SingularCouture.com
Above: Vidal Aguilar, clay and pigment, 16 x 14 x 14"
Right: Ray Tracey,
Native American Group Show Sunburst Bear Pendant, Sorrel Sky Gallery sterling silver, turquoise, spiny oyster, 1 1/2 x 2 1/4" 125 W Palace sorrelsky.com August 16–31 Reception August 16, 5–7:30 pm Sorrel Sky celebrates the gallery’s Native American artists during the week before Indian Market. Jewelers Ray Tracey (Navajo) and Ben Nighthorse (Northern Cheyenne) and painter Kevin Red Star (Crow) are among the artists who will have work displayed. Owner Shanan Campbell Wells says of Indian Market, “The authenticity of the artwork, the sense of history and culture, it’s truly a must-see event for visitors and collectors. I’ve been attending since I was very young, and I always feel like I’ve learned something new, been taught something valuable, simply by walking through and talking with various artisans.”—LVS Below: Richard Zane Smith, Lidded Wyandot Floral, pigment on clay, 7 x 10"
Above: Maiyah King, Sanctity, acrylic on canvas, 20 x 16"
Soul of Nations Group Exhibition form & concept 435 S Guadalupe formandconcept.center August 17–September 15 Reception August 17, 5–7 pm Soul of Nations is a nonprofit that works with Indigenous communities across the Americas. This exhibit features 15 artists, ages 15–18, who were finalists in the group’s Brea Foley Art Program. The artists, from 11 different tribes, each have a piece in the exhibit, centered on the theme Honor the Earth. This year, hundreds of applicants applied to the program. From the 15 finalists chosen, three took part in a residency at New York University’s Tisch School of the Arts. The show at form & concept not only displays the students’ work, but also gives them experience in the world of galleries and art marketing.—LVS
Richard Zane Smith: New Works Andrea Fisher Fine Pottery 100 W San Francisco andreafisherpottery.com August 16–20 Reception August 16, 5–7 pm Demonstration August 17, 10 am–3 pm Richard Zane Smith (Wyandot Nation of Kansas) is honored with a show during Indian Market at Andrea Fisher Fine Pottery. While the shapes and some of the designs on his vessels refer to traditional Native pottery, his work is decidedly contemporary. Echoes of 1,000-year-old corrugated pottery also are visible in his pieces, but are overlaid with intricate patterns of a color and design of Smith’s own. Along with his show of new works opening Thursday, Smith will be at the gallery on Friday, August 17, demonstrating his techniques. His demonstration will be followed by the gallery’s annual Best of the Best show, with a parade of participating potters beginning at 5 pm on the 17th.—LVS
Imprint Ralph T. Coe Center for the Arts 1590 B Pacheco coeartscenter.org August 14–March 15 Reception August 14, 5–7 pm The result of a year-long collaboration with six respected printmakers, Eliza Naranjo Morse (Santa Clara Pueblo), Jamison Ch s Banks (Seneca-Cayuga/Cherokee), Jason Garcia (Santa Clara Pueblo Tewa), Terran Last Gun (Piikani), Dakota Mace (Diné), and Jacob Meders (Mechoopda/Maidu), Coe curators Bess Murphy and Nina Sanders (Apsáalooke) present an exhibition that extends beyond the walls of the gallery. Working with Meow Wolf, Axle Mobile Contemporary, and repurposed newspaper boxes, the artists have been donating art around Santa Fe and into the hands of a diverse population. Watch social media for announcements of print giveaways and a family printmaking workshop.—LVS Left: Jamison Ch s Banks, untitled (The Bountiful South Series), acrylic serigraph, 22 x 15" santa fean
native arts 2018
Enormous Forms Adobe Gallery 221 Canyon adobegallery.com August 6–September 29 Reception August 6, 5–7 pm Adobe Gallery takes a look at exceptionally large examples of Pueblo pottery. Enormous Forms is a collection of 20 pieces from 10 different pueblos, all distinguished by their size as well as by their craftsmanship. The pieces are dough bowls and storage jars, made for personal use. Most date from the late 19th and early 20th centuries. Each is a testament to the technical skill of the person who formed it, and each piece is an example of the designs and decorative elements typical of that pueblo.—LVS Above: Poteet Victory, Shards of the First People, oil on canvas, 72 x 72"
Above: Artist unknown, Hopi polychrome pictorial storage jar, clay, 16 x 16" Below: Monte Yellow Bird, Thunder Butte Pony, oil on canvas, 18 x 24"
Indian Market Group Show Manitou Galleries 123 W Palace manitougalleries.com Reception August 17, 5–7:30 pm Just a block west of the Plaza, Manitou Galleries’ Downtown location is in the midst of Indian Market. They kick off the weekend with a show and reception for all of their represented artists, with mariachis and cocktails to add to the festivity. Native artists, including Monte Yellow Bird (Arikara/ Hidatsa) and George Rivera (Pojoaque Pueblo) show alongside non-Native painters and sculptors including Kim Douglas Wiggins and Jerry Jordan. Manitou also has a large jewelry department. Tsali Hall (Navajo), Jennifer Curtis (Navajo), and Kenneth Johnson (Muscogee/Seminole) are among the silversmiths who show their exquisite work on Palace Avenue.—LVS Nampeyo and Hopi Aesthetics: Prelude to Modernism Steve Elmore Indian Art 839 Paseo de Peralta elmoreindainart.com August 10–October 10 Reception August 10, 4–7 pm The great Hopi/Tewa potter Nampeyo (1856–1942) started out as a traditional tribal potter. Over time, she studied ancient pottery designs, such as pieces from the village of Sikyatki, and incorporated them into her work. Through her seven-decade career, Nampeyo’s pottery became simultaneously more abstracted and more her own. During her lifetime, Nampeyo was considered a modern artist, and her work was widely exhibited. While Picasso and other European artists drew on designs of faraway tribes as inspiration for their work, Nampeyo made the journey from the ancient and indigenous style of her own ancestors to become an acclaimed modern artist.—LVS Right: An assortment of pottery by Nampeyo.
Poteet Victory Victory Contemporary 225 Canyon victorycontemporary.com August 10–24 Reception August 10, 5–7 pm Poteet Victory had a few careers before turning to painting. Born in Oklahoma of Cherokee/Choctaw heritage, his résumé sports stints riding bulls in the rodeo, bartending, and running a company that silkscreened graphics onto T-shirts. A job in his teens as an artist’s model planted seeds, though, and he eventually pursued painting at the Art Students League in New York. Victory is fascinated by myth and symbol, and has studied the work of Carl Jung, Joseph Campbell, and others. His abstract paintings explore these themes along with memory and archetype. Victory’s Abbreviated Portrait Series evokes the faces of celebrities with just a stroke or two of color, allowing the viewer’s mind to fill in the rest.—LVS
Rebecca Begay SunwestHandmade.com /concho-story
AUGUST 15-19, 2018
THE HILTON OF SANTA FE CANYON BALLROOM
100 Sandoval Street Santa Fe, NM 87501
ON THE PLAZA 56-58 Lincoln Ave Santa Fe, NM, 87501 505-984-1364