2014 Indian Market

THE SANTA FE NEW MEXICAN | santafenewmexican.com

Indian SWAIA OFFICIAL GUIDE

2014 Artists Directory & Booth locator map

market

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rememberinG our GreAT Friend, THe ArTiST,

AllAn HouSer (1914-1994)

ÓWar PonyÒ 24 x 33 x 7.25" Bronze ed. 20 ©1978 Lifetime casting

Glenn Green Galleries had the pleasure of sharing 20 years of travel, fun and working together with Allan Houser from 1974 until his passing in 1994.

Visit us in Tesuque and at the Phoenician in Scottsdale to see the works of this master artist. See available artwork and timeline of our history with Allan Houser on our website glenngreengalleries.com

Allan Houser (Haozous)

by Barbara Perlman The definitive book on the artistÕs life and work Second printing, distributed by the Smithsonian Institution Press Published by Glenn Green Galleries 133 color illustrations, 183 Black & white duo tone illustrations 266 pages, hard cover

Allan Houser, Sandy Green, Senator Edward Kennedy and Glenn Green in Washington, D.C. photo © Glenn Green Galleries. Allan Houser signing a copy of the book about his life for Senator Kennedy.

Santa Fe-Tesuque: Gallery & Sculpture Garden (Five miles north of the Santa Fe Plaza) 136 Tesuque Village Road Scottsdale: The Phoenician Resort

Santa Fe, New Mexico 87506 6000 E Camelback Road

Take an online art tour:

505.820.0008

Scottsdale, AZ 85251 glenngreengalleries.com

2014 IN D IA N M A RKET 3

+ SculPTure GArden

THE PREMIER SOURCE JEWELRY FASHION RUGS

nadelbachphoto.com(c)

61 Old Santa Fe Trail | Santa Fe, NM 87501 505.983.9241 | maloufontheplaza.com

4 2014 IN D IA N M A RKET

August at the E ldorAdo 2014 sAntA fE indiAn mArkEt EvEnts

All shows are held in the DeVargas Room at the Eldorado, and continue Saturday, August 23 and Sunday, August 24, 10:00 am-5:00pm.

Hopi Mana with Bowl, ca. 1900

Dextra Quotskuyva

Ring by Sonwai, Bracelet by Edison Cummings

wedneSday, aug. 20, 2014

thurSday, aug. 21, 2014

Friday, aug. 22, 2014

deVargas room Show Opens at 2:00 pm (to 5:30pm)

deVargas room Show Opens at 4:00 pm (to 7:00 pm)

Major early pottery by Nampeyo

annual deVargaS OPening Now-famous early to mid-20th century artists who moved traditional jewelry onto the contemporary stage

deVargas room Jewelry and Pottery Show Opens at 11:00 am

Jewelry by Kenneth Begay A recently discovered collection of Western Apache baskets (ca. 1900)

Historic and contemporary American Indian pottery received by Marti in recent months; 20-25 jars and bowls

a SPecial exhibitiOn OF raymOnd SequaPtewa Jewelry

25 pieces made for Marti over the past year Unveiled at 2:00 pm

join marti at the eldorado martha hopkins struever

2014 IN D IA M A RKET 5 : www.MarthaStruever .cOM Santa Fe Gallery: (505) 983-9515 ON nline Gallery

MANITOU GALLERIES Join us for live paintng and sculpture demonstrations at our two locations in Santa Fe. Artists will be in attendance throughout the weekend. After you hit the market, be sure to visit our sculpture garden at 225 Canyon Road.

We’ll have opening night celebrations Thursday and Friday at 123 W Palace featuring Porvenir Mariachi.

SPECIAL HOURS 123 W Palace gallery hours are: Thu: 9:30-7:30 Fri: 9:30-7:30 Sat: 8-6 Sun: 8-5 225 Canyon Road gallery hours are: 9:30 - 5:30 every day

CLOCKWISE FROM TOP LEFT: Joe Cajero, Nurtured by Prayer, bronze, 72 x 33 x 33; Kim Wiggins, Children of Montezuma, oil, 36 x 48, Jerry Jordan, Listen to the Drum of our Ancestors, oil, 48 x 60; B.C. Nowlin, Alongside, oil, 48 x 60; Bryan Haynes, The Taking of the Cedars, acrylic, 16 x 24

ManitouGalleries.com · Santa Fe, NM 87501 123 W. Palace Ave. · 505.986.0440 | N225 6 2014 IN D IA M ACanyon RKET Rd. · 505.986.9833

INDIAN MARKET GROUP SHOW

Paul Rhymer

opening Thursday, August 21st 5-7:30 p.m. at 225 Canyon Road. Live sculpting and bronze-pouring demonstrations Thursday - Sunday, 11-4pm.

CLOCKWISE FROM TOP LEFT: Paul Rhymer, Song Dog, bronze, 64 x 45 x 30; Ethelinda, Weasel Tail, Blackfoot, 40 x 30, Liz Wolf, Dreams in Flight, bronze, 38 x 37 x 27

MANITOUGALLERIES ManitouGalleries.com 路 Santa Fe, NM 87501 123 W. Palace Ave. 2014 路 505.986.0440 | 225 Canyon Rd. 路 505.986.9833 IN D IA N M A RKET 7

Buying or Selling Indian Art? Know the Law! TC Cannon, Caddo/Kiowa, The Collector, 1971

Under the Indian Arts and Crafts Act, Native American art and craftwork must be marketed truthfully regarding the Native American heritage and Tribal affiliation of the producer.

Take Home a Treasure from Indian Country-Buy works produced by members of federally recognized Tribes.

For a free brochure on the Act, including how to file a complaint, please contact: U.S. Department of the Interior Indian Arts and Crafts Board Toll Free: 1-888-ART-FAKE or 1-888-278-3253 Email: iacb@ios.doi.gov • Web: www.doi.gov/iacb For additional information, please visit the Indian Arts and Crafts Board’s booth at theIN2014 Fe Indian Market.

8 2014 D IA N M ASanta RKET

Kansas City

September 19, 2014 – January 11, 2015 45th & Oak, Kansas City, Missouri nelson-atkins.org | 816.751.1ART The exhibition is organized by the musée du quai Branly, Paris, in partnership with The Nelson-Atkins Museum of Art, Kansas City, and in collaboration with The Metropolitan Museum of Art, New York. | Robe (detail), Central Plains artists, ca. 1800−1830.

Native tanned leather, pigment, porcupine quills, 58 3/8 x 88 1/4 inches. musée du quai Branly, 71.1886.17.1.

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1 0 2014 IN D IA N M A RKET

M AR I A SAMORA

PHOTO KEVIN REBHOLTZ PHOTOGRAPHY

August 20 – 24, 2014, Artist Reception: Thursday, August 21st, 5 – 8 pm

Blue Rain Gallery | 130 Lincoln Avenue, Suite C Santa Fe, NM 87501 | 505.954.9902 | www.blueraingallery.com

Maria Samora is also exhibiting at the 2Santa Fe Indian 23rd and 24th, 2014 at booth 311 FR-N 014 IN D IA N M AMarket, RKET 1August 1

The Real Look of Santa Fe

Palace Jewelers at Manitou Galleries

Palace Jewelers - Now Representing

Vernon Haskie

Roger Wilber

Arland Ben

Wes Willie

Kathy Adams, Wayne Aquilar, Carolyn Morris Bach, Gilda Baker, Amber Beata, Carl & Irene Clark, Stefani Courtois, Jeanette Dale, Walt Doran, Darryl Edwards, Cippy Crazy Horse, Charles Loloma, Al Nez, Louise Perkinson, Curtis Pete, Charlene Reano, Danny Stewart, Supersmith, Charles Supplee, Steve Taylor, Leo Yazzie, Yellowhorse and many more. Many artists will be in attendance during Indian Market.

Palace Jewelers at Manitou Galleries 505.984.9859

123 W Palace Ave

www.manitougalleries.com 1 2 2014 IN D IA N M A RKET

Rose B. Simpson Finding Center

August 9 - 31 Reception: August 22, 5-7pm

c h i a r o s c u r o 702 1/2 & 708 CANYON RD AT GYPSY ALLEY, SANTA FE, NM

www. chiaroscurosantafe .com

2014 IN D IA N M A RKET 1 3

505-992-0711

OBRZUT KIM SEYESNEM OBRZUT Santa Fe Indian Market

August 23-24, 2014 Booth #515SF

La Fonda Hotel Gallery Show

100 E San Francisco St Santa Fe, NM August 21-25, 2014 Exchange Room

“The Messenger” 33’’ H x 14’’ W

W W W. K I M O B R Z U T. C O M

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928.226.0690

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F L A G S TA F F, A R I Z O N A

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Santa Fe's Playground RATED

BY AAA

Listen closely....That’s the sound of winning flowing through 61,000 sq. ft. of Vegas-style gaming action, all within the heart of the Majestic Southwest. With over 1,200 slot machines, 18 gaming tables, a plush, friendly poker room and weekly slot and table tournaments, we’re Santa Fe’s playground and we’re waiting for you! Stay the weekend and experience Buffalo Thunder Resort & Casino’s unique Santa Fe accommodations that were designed with your ultimate comfort and luxury in mind.

BuffaloThunderResoRt.COM • 877-Thunder

1 6 2014 IN D IA N M A RKET 30 Buffalo thundeR tRail santa fe, nM

ALLAN HOUSER 2014 Indian Market Events

The Allan Houser Gallery 125 Lincoln Ave. Santa Fe, New Mexico (505) 982-4705 Gallery Opening Friday August 22nd, 6pm to 8pm

Douglas Miles “The Art of Apache Resistance”

Featuring

Indian Market Hours: Saturday, August 23, 10am to 5pm Sunday, August 24, 10am to 4pm

Allan Houser Studio and Sculpture Garden Saturday, August 23, 10am to 4pm Sunday, August 24, 10am to 4pm Indian Market Open House (free to the public)

Tours of the Allan Houser Archives and Historic Studio House, 10acre sculpture gardens featuring 80 outdoor works, and indoor gallery.

Special Event Sunday Only, August 24 1:30pm Lecture by Douglas Miles 30 minutes South of Santa Fe, off the historic Turquoise Trail Call for directions (505) 471-1528 “Force” 1990 Carrara Marble 26.5H x 26W x 27D

fineart@allanhouser.com www.allanhouser.com

KING GALLERIES + FAUST GALLERY CLASSIC TO CONTEMPORARY AMERICAN INDIAN ART

JOSEPH LONEWOLF, GRACE MEDICINE FLOWER

NATHAN YOUNGBLOOD

CHARLES SUPPLEE, CHARLES LOLOMA, CARL CLARK, RIC CHARLIE

NORBERT PESHLAKAI

TONITA ROYBAL, MARGARET TAFOYA, MARIA MARTINEZ, TONY DA

MIKE BIRD-ROMERO, CHARLES SUPPLEE, SONWAI, RIC CHARLIE, VICTORIA ADAMS

IMPORTANT COLLECTIONS OF CONTEMPORARY AND SIGNED HISTORIC POTTERY AND JEWELRY

AUGUST 18–24

SANTA FE INDIAN MARKET 2014

Join us at our space below the La Fonda Indian Shop & Gallery 100 E. San Francisco St., Santa Fe Open Daily 10 a.m. to 6 p.m.

FRIDAY, AUGUST 22 | 11 A.M. TO 1 P.M. Nathan Youngblood: New Works in Clay Norbert Peshlakai: New Jewelry in Silver & Gold Also, a special collection of pottery by Joseph Lonewolf and Grace Medicine Flower

7100 MAIN STREET, SUITES 3 & 4, SCOTTSDALE, AZ 85251. 480.481.0187 AND 480.200.4290 1 8 2 014 IN D IA N M A RKET

g e r a l d

p e t e r s

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Jimmy Calabaza

Carl & irene Clark

S an to Do min go

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Double Strand Turquoise Traditional Shell Necklace

Dragonfly Pendant & Chain

t ur quois e and s hell, 15 x 3 x 1 i n .

2 2 K g o l d w i t h v a r i o u s s t o n e s, 2 ¼ x 1 x ¼ i n . ( p e n d a n t) , 2 0 i n . ( ch a i n )

1 0 1 1 p a s e o d e p e r a lta , s a n ta F e , n e w M e x i C o 8 7 5 0 1 2 014 IN D IA N M A RKET 1 9

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505-954-5700

ON THE COVER: Kitty Leaken Haaku Dancer (Acoma Pueblo), 2013 Indian Market.

Indian Market Week: August 18-24, 2014 Indian Market Weekend: August 23-24

COVER DESIGN Deborah Villa OWNER Robin Martin PUBLISHER Ginny Sohn EDITOR Ray Rivera

SWAIA 22 Welcome to the 93rd annual Indian Market

EDITORIAL creative director Deborah Villa 505-986-3027 magazine editor Emily Drabanski copy editor Kris Ota

24 Where to park in downtown Santa Fe 26 Indian Market: Strength in numbers 30 SWAIA official schedule of events

ADVERTISING advertising director Heidi Melendrez 505-986-3007 marketing director Monica Taylor 505-995-3888

32 SWAIA Live Auction Gala 36 Alison Bremner brings Northwest designs to market

ART DEPARTMENT Elspeth Hilbert, Joan Scholl, Jeana Francis advertising layout Rick Artiaga

38 Indian Market fashion event

ADVERTISING SALES retail manager Art Trujillo, 505-995-3852 Vince Torres, 505-995-3830 Mike Flores, 505-995-3840 Wendy Ortega, 505-995-3892 Chris Alexander, 505-995-3852 Robert Harmon, 505-995-3822 Amy Fleeson, 505-995-3844

FEATURES 46 Norma Howard: The girl who had to paint 50 Kevin Red Star: Pushing into unknown territory

TECHNOLOGY technology director Michael Campbell

HONORS 56 Best of Show 2013: Jackie Bread Meticulous beadwork preserves memories

PRODUCTION operations director Al Waldron assistant production director Tim Cramer prepress manager Dan Gomez press manager Larry Quintana packaging manager Brian Schultz

58 Award winners 2013 70 2013 SWAIA Fellowships

DISTRIBUTION circulation manager Michael Reichard distribution coordinator Reggie Perez

ARTIST PROFILES 75 Theresa Secord: Baskets full of hope

WEB digital development Natalie GuillĂŠn www.santafenewmexican.com ADDRESS office: 202 E. Marcy St. hours: 8 a.m.-5 p.m. Monday-Friday advertising information: 505-995-3852 delivery: 505-986-3010, 800-873-3372 for copies of this magazine, call 505-428-7622 or email rperez@sfnewmexican.com

78 Patrick Dean Hubbell: What drives a rising star?

82 Frederica V. Antonio: An eye for detail

GENE PEACH

From the top, Randall Chito (Choctaw), pottery; Nocona Burgess (Comanche), painting; Roxanne Swentzell (Santa Clara Pueblo), sculpture 20 2 014 IN D IA N M A RKET

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P U B L I S H E D A U G U S T 1 7, 2 0 1 4

GENE PEACH

Lola Cody, Martha Schultz and Melissa Cody (Navajo/Diné) Three generations in front of Lola Cody’s 2013 rug

COURTESY

Norma Howard (Choctaw/Chickasaw) Choctaw Social Dance

CULTURE 84 Native Cinema Showcase: Music and movies 85 Native Cinema schedule 88 Museum of Indian Arts and Culture: Show honors Allan Houser and his legacy 90 Wheelwright Museum offers special events: Museum hosts auctions and special activities 92 Museum of Contemporary Native Art: Exhibition showcases Ric Gendron’s work

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Southwestern Association for Indian Arts Board

Welcome, enjoy and thanks!

Welcome to Santa Fe, home of the 2014 Santa Fe Indian Market.

STOCKTON COLT | CHAIR ROGER FRAGUA (JEMEZ PUEBLO) | VICE CHAIR ELIZABETH PETTUS | TREASURER BIDTAH N. BECKER (DINÉ) | SECRETARY SUSAN FOLWELL (SANTA CLARA PUEBLO) JENNY KIMBALL CHARLES KING ELIZABETH M. KIRK (ISLETA PUEBLO/NAVAJO) ANDREW MASIEL (PECHANGA BAND OF LUISEÑO INDIANS) L. STEPHINE POSTON (SANDIA PUEBLO) PAT PRUITT (LAGUNA PUEBLO) STEPHEN WALL (WHITE EARTH CHIPPEWA)

SWAIA staff DALLIN MAYBEE, J.D. (NORTHERN ARAPAHO/ SENECA) | INTERIM CHIEF OPERATING OFFICER CHARLENE PORSILD, PH.D. | CHIEF DEVELOPMENT OFFICER SHARON LOPEZ | OFFICE MANAGER AND FINANCE MARY ERPELDING-CHACON, CPA | FINANCE DIRECTOR DENISE KERON | DEVELOPMENT & MEMBERSHIP DIRECTOR MARINA YBARRA | MEMBERSHIP ASSOCIATE & EVENTS COORDINATOR MARY-CHARLOTTE GRAYSON (CHEROKEE) | ARTIST SERVICES & VOLUNTEER COORDINATOR JOHN PAUL RANGEL, PH.D. (APACHE/NAVAJO/SPANISHMESTIZO) | DIRECTOR OF PR & MARKETING JHANE MYERS (COMANCHE/BLACKFEET) | FILM PROJECT MANAGER JORDAN SKYE PAUL (LAKOTA/NEZ PERCE/HOPI/MOHAVE) | PR/MARKETING INTERN HENRY BROWN WOLF III (SANTA DOMINGO PUEBLO/ LAKOTA) | IM LOGISTICS COORDINATOR

It is my pleasure to extend a warm embrace and welcome you to beautiful New Mexico, the traditional homelands of 22 tribal nations and the host of the 93rd annual Indian Market. Santa Fe is unparalleled in its natural beauty, rich history and incredible accessibility to Indian art.

Culminating in Indian Market on Saturday and Sunday (August 23 and 24), Indian Market Week is an opportunity to not only experience the beauty of Indigenous culture but also enjoy all the richness that Santa Fe has to offer.

Every year for the past 14 years, I have loved making the trip to Santa Fe in order to participate as an artist in Indian Market. The trip offers much more than participation in another art show, however. I am able to reunite with friends, family, collectors and other characters who enrich my experience here.

There truly is something for everyone during Indian Market. Historians, educators and tourists alike can enjoy Museum Hill, where the Museum of Indian Arts and Culture and the Wheelwright Museum of the American Indian display an incredible visual narrative of Indigenous culture. Nearby are the Museum of Spanish Colonial Art and the Museum of International Folk Art, offering glimpses into a rich global history and great international art.

Downtown, visit more world-class museums, including the Museum of Contemporary Native Arts and the New Mexico History Museum, which will host Indian Market’s 14th annual Native Cinema Showcase.

Foodies who appreciate the amazing aromas and tastes of the Southwest can enjoy the wonderful regional dishes that present ever-evolving and creative uses of green chile. Those simply seeking to take in beautiful landscapes and inspiring scenery will see why it is no wonder that Indigenous peoples chose these lands now known as New Mexico.

Perhaps the most wonderful component of Indian Market week is the sense of community.

Native peoples from across North America, including Canada, descend upon Santa Fe to create and add to their own narrative. Our partners, including the National Museum of the American Indian, the Pueblo of Pojoaque and the Buffalo Thunder Casino and Resort, and the Institute of American Indian Art as well as individual business members and sponsors, like Blue Rain Gallery, Las Campanas, Studio X, Native Peoples magazine and The Santa Fe New Mexican, help offer a platform to that narrative. It is a story that is filled with real people who all love and want to experience or participate in Indian art.

I am grateful to the SWAIA board, whose expertise, professionalism and willingness to volunteer with the organization demonstrate an undeniable commitment to the 1,000 artists at this year’s market. I especially want to thank the SWAIA staff members, who once again weathered significant difficulty, but remained wholly committed to offering another unparalleled event. Coupled with an army of volunteers, many of whom return year after year, it is no wonder that this legacy event draws thousands to Santa Fe in order to become a part of something special.

I am truly humbled by the series of life events that led me to this place and to this position where I can lend my experiences to the stability and evolution of Indian Market. I can only hope that I can continue to serve this organization and this wonderful community. Please enjoy your experience as an essential component and integral part of this narrative. Without you, Indian Market would be less.

The SWAIA family thanks you all so much for being here.

Dallin Maybee, J.D. Interim Chief Operating Officer Southwestern Association for Indian Arts 2 2 2014 IN D IA N M A RKET

SANTO DOMINGO PUEBLO 2014 Annual LABOr DAY WEEkEND: SATurday, sunday & Monday

ArTS & CrAfTS MArkET

crafted products, traditional pottery, jewelry, Aug. 30 & 31, Quality baskets, contemporary sculptures, paintings, Indian September 1 food, farmers’ market, entertainment and much more!

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300 Native American Artists!

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SANTA FE

FREE ADMISSION & PARKING Directions: Centrally located between Albuquerque and Santa Fe. Exit 259 , look for our signs

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Santo Domingo Pueblo

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Santo Domingo Pueblo Arts & Crafts Market P.O. Box 369 Santo Domingo Pueblo, NM 87052 505.465.0406

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D. WATER STREET LOT 100 E. Water Street Surface lot includes 156 spaces (4 disabled spaces) Hours: Monday through Saturday, 7 a.m. to 10 p.m.; Sunday, 7 a.m. to 9 p.m.* Rates: $2/hour; $10 maximum

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2014 IN D IA N M A RKET 2 5

SANTA FE INDIAN MARKET

Strength in numbers

JANE PHILLIPS

Left, John Paul Rangel; right, Dallin Maybee

Artists, volunteers and community

Robert Patricio (Acoma Pueblo), pottery

Eve “Little Shell” La Fountain (Chippewa), photography, film and paintings 2 6 2 014 IN D IA N M A RKET

STORY BY KIM BACA (NAVAJO/SANTA CLARA PUEBLO) PHOTOS BY GENE PEACH

It takes a village to raise a child, as the expression says, and the Southwestern Association for Indian Arts recognizes that it takes the support of about 1,000 artists to create the amazing Santa Fe Indian Market.

“Artists are the backbone of our organization, and SWAIA exists because of their graciousness and willingness to assist us with this event,” said Dallin Maybee (Northern Arapaho/Seneca), SWAIA’s interim chief operating officer.

The biggest Native art market on the planet — SWAIA’s 93rd annual Santa Fe Indian Market — takes over the Santa Fe Plaza Saturday and Sunday, August 23 and 24, with a showcase of North American Indigenous arts and culture.

The evolution and orchestration of the event involves a handful of SWAIA staff members, a dedicated board of directors, hundreds of artists and volunteers, and unimaginable coordination.

Indian Market is like art itself — constant yet changing and never finished.

Starting with a few dozen artists as a local indoor Indian fair in 1922, the annual event now includes about 1,000 artists from more than 220 tribes and draws more than 175,000 visitors from across the globe to buy and experience the best of Indigenous North American art and culture.

The show must go on While every year it’s a monumental task for SWAIA to produce the Santa Fe Indian Market, this year presented new challenges as well as new opportunities. SWAIA had a changing of the guard when the former chief operating officer announced his sudden resignation in April. But that’s when new opportunities blossomed.

SWAIA’s board acted swiftly to ensure that plans for the market — one of the biggest income generators for many artists — would still move forward. In May, the board announced that attorney and board member Maybee would switch hats to

serve as interim COO. Maybee, who also is an artist, creates beadwork, carvings, paintings, ledger art and clothing. He began showing in the market in 2001. In 2007, Maybee won Best of Show, Best of Division, Best of Classification and First Place — all for a beautiful pair of beaded children’s books.

The new interim COO was one of many people who either stepped up to volunteer or showed their support in other ways. Maybee, whose mother, textile artist Toni Williams, and brother, beadworker Ken Williams Jr., are both in market, didn’t give it a second thought when he was asked to lead the organization.

“When I was approached by the board, I thought this was a way to give something back,” said Maybee, who took leave from his full-time job as a prosecutor for the Gila River Tribe in Arizona.

Maybee wasn’t the only one who put his life on hold. John Paul Rangel, who worked with SWAIA while a Ph.D. student in 2008, moved back to Santa Fe from Vancouver, British Columbia, when he got the call to assume his old position of public relations and marketing director.

“A lot of my friends are artists. I felt like what happened was threatening to their livelihood,” said Rangel, who is of Apache, Navajo (Diné) and Spanish-Mestizo descent. “When I got the call, I said, ‘What could I do?’ And of course, I talked with my wife [market artist Lisa Hageman Yahgulanaas (Haida)] before I came here.”

Support poured in The wider community joined in, an essential ingredient to put the market on sound financial footing.

Maybee wants to assure artists and the public that SWAIA strives to grow a secure financial base. “SWAIA was able to continue through the recession in large measure because our community of artists, collectors, volunteers and donors has a clear idea of the importance of SWAIA and its ability to move forward,” he said.

“The recent financial difficulties were not something new, nor unexpected. What was incredible to witness, however, were the ways in which our entire SWAIA family recognized the importance of this legacy and fought to preserve it. While it is my hope that someday we will truly be self-sufficient, I know that our community will have to continue to assist SWAIA in moving forward year after year.”

This year an outpouring of support came not only from artists, but also businesses, friends, tribal leaders and SWAIA family members. Some came to answer the phone for a few days, others came to either donate art or offer moral support.

support SWAIA’s 93rd annual market

Clarence Cruz (Ohkay Owingeh Pueblo), pottery

L. Eugene Nelson (Navajo/Diné), mixed media, jewelry and paintings 2014 IN D IA N M A RKET 2 7

“We had board members come in town and ask, ‘How can we help and what can we do today?’ I also had two board members who came in to photograph and log in donations,” Rangel said. “These are people who have jobs, families and other commitments. It’s Native and non-Native coming in and helping; people wanting to be involved in this phenomena that happened.”

Sculptor and former board member Cliff Fragua (Jemez Pueblo), who often volunteers to receive art for judging or serves as a judge, was one artist who called to offer support.

“As far as my career as a sculptor, I owe a lot to SWAIA for giving me the recognition and awards,” said Fragua, who has been involved with Indian Market since 1979. “As artists, we need to give back to our community. And for me, SWAIA is a good organization. By supporting SWAIA … whether it’s the off season or it’s Indian Market weekend, it’s my way of giving back.”

Even in less-challenging times, SWAIA relies on about 700 volunteers to help coordinate the 700 booths that cover 14 downtown city blocks. Santa Fean John Berkenfield is one person who has been volunteering for nearly three decades, after he fell in love with the event during a trip to the Southwest in the 1980s.

“I know first-hand how much this market means to so many artists,” Berkenfield said. “Success … and participation at this market means such an enormous amount to artists and their careers.”

Valuable partnerships

Above, Josephine Seymour (Laguna Pueblo), pottery Below, Adrian Nasafotie (Hopi), Pueblo wooden carvings

Tribal leaders have also shown their support of SWAIA. “Tribal communities have been an essential part of our purpose for existing,” Maybee said. “Those Indigenous narratives are told through their respective artists, and it’s incredible to see the way in which the world clamors to hear that story.

“SWAIA currently partners with the Pueblo of Pojoaque and the Buffalo Thunder Resort and Casino, who are our title sponsor. Governor George Rivera recognizes the importance of SWAIA and its role in the promotion of Indian art and culture and has been a named sponsor for the last three years. We are truly grateful for his support. Additionally, SWAIA has been partnering with other pueblos in an effort to mutually assist each other in the promotion of our mutual artists.” Maybee cited SWAIA’s recent partnership agreement with Jemez Pueblo as an example.

Partnership with major museums remains a key element in SWAIA’s initiatives.

“SWAIA is extremely excited to partner once again with the National Museum of the American Indian (NMAI) on several initiatives,” Maybee said. “Our similar mission statements allow us to move forward in a beneficial partnership.

Additionally, we are partnering with the Museum of Indian Arts and Culture in presenting a tribute to Allan Houser as part of his centennial celebration [Legends, Legacies, and Living Artists: A Tribute to Allan Houser].”

The tribute event features a 5 to 7 p.m. reception Thursday, August 21, at MIAC. Tickets are $100 for general admission and $75 for members of SWAIA or MIAC. Reserve tickets by calling the museum shop at 505-982-5057. Also, several SWAIA artists will show a preview of some of their latest works for Indian Market. Virgil Ortiz, Jesse Monongya, Kenneth Johnson, Cliff Fragua, Doug Hyde and recent SWAIA Best of Show winners are expected to attend.

Thursday evening’s festivities culminate with a free 8 to 10 p.m. concert at MIAC, co-sponsored by SWAIA, NMAI and MIAC, featuring the talented Indigenous electronica dance group A Tribe Called Red. “It should be a fantastic kick-off event,” Maybee said.

Seeking artist input The key ingredient, though, will always be listening to what the artists need and want.

Maybee said he and board members will continue to seek input from the artists.

He appreciates artists’ counsel on the standards and development of accepted practices, materials and techniques. “We all have to participate in helping SWAIA grow, evolve and strengthen,” Maybee said.

For some artists, like Jamie Okuma (Luiseño/Shoshone-Bannock), a beadworker who creates contemporary Native American fashion and intricately designed shoes, Indian Market represents 75 percent of their annual income. After she returns home to the La Jolla Reservation, she’ll take a break, but then it’s right back to her studio.

“I live here in Southern California, and it was a year and a half ago when I last went to the beach — and I live 40 minutes away from it!” she said with a laugh.

“There are years I didn’t have any sales and it was really, really difficult. But it’s what I do. It’s what I love, and I just keep doing it.”

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Above, Atsatsa’ Antonio (Navajo Diné/Shawnee), diverse arts Below, Lisa Hageman Yahgulanaas (Haida), Raven’s Tail Weaving with John Paul Rangel

Navigating the market Whether you’re a first-time visitor to the Santa Fe Indian Market or have been coming for years, the mass of artists, collectors, entertainment and special activities, while exciting and fun, can be overwhelming.

The trick to enjoying the weekend — and the jam-packed week of activities preceding the event — is to either capture it in bits and pieces or figure out what’s crucial and sketch out your time. Use this guide to enjoy the market to the fullest.

“It’s best to make a game plan for time — it really does go by fast,” advised Comanche artist Nocona Burgess, who has been showing in market since 2002.

Beadworker Jamie Okuma (Luiseño/Shoshone-Bannock) recommends that visitors, especially those first-timers, try to make the preview on Friday night.

“Everyone puts out their best for judging, and there you’ll see the best, and you’ll be able to decide whom you’ll want to see,” said Okuma, who showed at her first market at the age of 18 in 1998. “The booth numbers and names are there. And plan on being [at market] the first thing in the morning, so that way the [700] booths won’t overwhelm you.”

Artists say visitors should try to enjoy the market as much as they can. “It really is encouraging, because it shows me that there is such a love and interest for the Native arts,” Burgess said. “People are literally crazy about Indian art. For such a small population, Natives cover all the bases artistically and represent many art styles, materials and traditions. It represents to me that people are able to make a living making their art and that there is an outlet for them to do so.”

To find your favorite artists, please refer to the artist directories which begin on on page 122.

SWAIA OFFICIAL SCHEDULE OF EVENTS Monday, August 18Sunday, August 24

11 a.m.-4 p.m. Saturday 1 p.m.-4 p.m. Sunday Buffalo Thunder Resort and Casino Cultural Stage on the Plaza showcases Native American dance, music and performance. Performers include Sihasin, Clark Tenakhongva, Kenneth Cozad, Tony Duncan & Darrin Yazzie, Louie Gonnie and Brianna Lea Pruett. Plaza Community Stage. Free.

The 14th annual Native Cinema Showcase, hosted by the Smithsonian’s National Museum of the American Indian (NMAI) and the Southwestern Association for Indian Arts (SWAIA), is a sevenday celebration of films and videos by and about indigenous peoples. Most screenings at the New Mexico History Museum, 113 Lincoln Ave. (See also Saturday 8 p.m. screening at Railyard Park, Cerrillos Road and Guadalupe Street.) For complete schedule see p.105 or www.swaia.org. Free.

Saturday, August 23 11:30 a.m.-12:30 p.m.

Tuesday, August 19 1 p.m.

Classification X Award Winners Film Screening is a film premiere for the winners of Classification X, SWAIA’s category for moving images in the following categories: Narrative Short, Documentary Short, Animation Short, Experimental Short and Feature Length. New Mexico History Museum 113 Lincoln Ave. Free.

Wednesday, August 20 5:30 p.m.

Kevin Red Star: Crow Indian Artist Book Signing, with remarks by Red Star. Proceeds from book sales during the week go to SWAIA. Collected Works Bookstore, 202 Galisteo St. Free.

Thursday, August 21 5-7 p.m.

Legends, Legacy and Living Artists: A Tribute to Allan Houser opening reception with Indian Market artists and designers. $100/$75 MIAC and SWAIA members. Call the museum shop for tickets, 505-9825057. Museum of Indian Arts and Culture (MIAC), Museum Hill at 710 Camino Lejo.

8-10 p.m.

A Tribe Called Red Concert, presented by NMAI, SWAIA and MIAC. MIAC, Museum Hill at 710 Camino Lejo. Free.

Friday-Sunday August 22-24

KITTY LEAKEN

3-4:30 p.m.

Fifth annual State of the Arts Symposium, presented by NMAI, SWAIA and IAIA. A panel discussion by educators, curators and experts about Native art. New Mexico History Museum 113 Lincoln Ave. Free.

5:30-9:30 p.m.

Sneak Preview and General Preview of AwardWinning Art gives viewers the first opportunity to see the best of Indian Market art. Sponsored by IAIA. Sneak Preview 5:30-7:30 p.m. $100 Members/ $150 Non-members. General Preview 7:30-9:30 p.m. $50 General admission. Santa Fe Convention Center 201 Marcy St. For tickets call 505-983-5220.

Saturday & Sunday August 23 & 24 7 a.m.-5 p.m. Saturday 8 a.m.-5 p.m. Sunday 93rd annual Santa Fe Indian Market is the world’s largest and most renowned Native American arts show. Santa Fe Plaza. Free.

10 a.m.-6 p.m.

10 a.m.-3 p.m.

SWAIA Artisan Supply Show Vendors sell supplies to SWAIA artists, as well as visitors. Hilton Santa Fe Historic Plaza Hotel, Mesa Ballroom, 100 Sandoval St.

Children’s Activity Tent, sponsored by First National Bank of Santa Fe, offers activities for ages 5-18, including painting, pottery, basket weaving and Native American contemporary music.

Washington Avenue. Free (materials provided).

Friday, August 22

Lifetime Achievement Allan Houser Legacy and Pov’ika Awards and SWAIA Fellowships Presentation on the Plaza. The Lifetime Achievement Allan Houser Legacy Award recognizes the contributions of a distinguished Native American artist to Native arts and culture. The Pov’ika Award recognizes service, leadership and support provided to the annual Santa Fe Indian Market and to Native artists and their communities. SWAIA Fellowships provide mentoring and financial support for emerging and established artists. Plaza Community Stage. Free.

2-2:30 p.m.

SWAIA Official Fashion Show will feature designers Orlando Dugi, Bethany Yellowtail, Jamie Okuma and Sho Sho Esquiero in Cathedral Park, East Palace Avenue and Cathedral Place next to the Cathedral Basilica of St. Francis of Assisi, one block east of the Plaza. Free.

5-9 p.m.

Santa Fe Indian Market Live Auction Gala is the most glamorous event of Indian Market Week and SWAIA’s major fundraiser. It features food, entertainment and the opportunity to bid on the highest quality Native art. La Fonda on the Plaza, 100 E. San Francisco St. $175.

For tickets call 505-983-5220.

8 p.m.

Native Cinema in the Park, presented by NMAI’s Native Cinema Showcase and SWAIA. Railyard Park, Cerrillos Road and Guadalupe Street. Free.

Sunday, August 24 9 a.m.-Noon SWAIA Fashion Event: Fashion and Designer Challenge begins with a fashion show. The popular clothing contest, now called the SWAIA Fashion Event: Fashion and Design Challenge, features categories for traditional and contemporary Native American fashions. Children and adults participate, with prizes awarded in a variety of categories.

1 p.m.

11:30 a.m.-2 p.m.

Classification X Award Winners Film Screening continues. New Mexico History Museum, 113 Lincoln Ave. Free.

Best of Show Ceremony and Luncheon honors award-winning artist. Sponsored by Native Peoples magazine. $200. Members only.

Santa Fe Convention Center 201 Marcy St. Call 505-983-5220 to become a member.

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2014 IN D IA N M A RKET 3 1

Glenda McKay (Ingalic-Athabascan)

Jamie Okuma (Shoshone-Bannock/Luiseno)

Jesse Monongya (Navajo/Diné)

Let the bidding begin SWAIA’S AUCTION BIGGEST YET

BY KIM BACA The most exciting auction for collectors of Native art and the biggest fundraiser for the Southwestern Association for Indian Arts (SWAIA) returns with a gala evening on Saturday, August 21, at La Fonda on the Plaza. The gala begins at 5 p.m. with a silent auction during a reception with cocktails and hors d’oeuvres, followed at 7 p.m. by a gourmet meal and the thrilling live auction. This year there’s something new — anyone seeking the best in Native art won’t have to wait until evening to start bidding on those one-of-a-kind collectibles.

Between 7 a.m. and 2:30 p.m. on Saturday, SWAIA will host a new daytime silent auction on the Plaza, as a prelude to the annual evening event. A variety of items, including jewelry, paintings, pottery and small sculptures, will be auctioned at the SWAIA booth during the day. SWAIA Interim Chief Operating Officer Dallin Maybee said daytime bidders will see a selection of diverse items in various mediums.

You’ll want to check out the auction early because many items will have a “buy it now” option. Any pieces that do not have that option, along with any unsold pieces that do, will be moved to La Fonda for display at the evening gala.

“The silent auction will close out on Saturday evening,” Maybee said.

“Exclusivity for those silent auction pieces will be preserved because whoever has purchased tickets to the gala will have ‘last rights’ at bidding on those pieces. … Not all the pieces will be on the Plaza, so it’s in a person’s best interest to go to the gala.”

Artists collaborated on concho belts This year, those who hold a gala ticket will also get to view and bid on the prized items of the weekend, two concho belts — one designed for women and the other for men — created by 32 award-winning artists.

The belts include bags made by Maybee (Seneca/Northern Arapaho) and Jamie Okuma (Luiseño/Shoshone-Bannock) and slipcovers created

by Maybee’s brother, Ken Williams Jr. (Arapaho/Seneca), and Orlando Dugi (Navajo/Diné). SWAIA hopes to have its biggest fundraiser yet — the individual concho pieces alone are worth between $200 and $5,200 and are made from abalone, coral, gold and silver. Each individual piece is as unique as its maker and reflects each artist’s inspiration.

Award-winning jeweler Myron Panteah (Navajo/Zuni) created a corn maiden for his gold and silver piece, as a tribute to his mother. “We use corn meal and pollen for offerings,” he said. “The kernels we use to

make bread with and feed ourselves, and the husks we use for tobacco.

Everything comes back to us, and most people refer to the corn as their mother.”

Contributing Tlingit artist Shaax’ Saani, who also goes by her American name, Janice Pealatere, had never seen a real concho belt until a few years ago when she arrived in the Southwest. She is now tying all the pieces together for the women’s concho belt, which is handstitched and created with two materials, a lining of soft black leather and a single sealskin, a hard-to-find item.

Although her daughter Mercedes Jack was a SWAIA fellow, this is Shaax’ Saani’s first time showing in Indian Market, a goal she set out achieve just a few years ago when she started turning fur, seal and other animal skins into contemporary fashion full time.

“I feel like I have something really truly remarkable to show and share with the world with skinsewing. It’s such a beautiful material, with such a rich tradition that is so sacred to me on so many levels culturally,” she said, adding that she’s also hoping to learn from her fellow colleagues this first year. “I want to support and I want to be involved in this huge experience that is really all about the artists.”

In the past the gala has generated an average of $265,000 to $300,000 for the organization. The money raised goes back into funding general operations, programming, internships and fellowships. John Paul Rangel, SWAIA’s public relations and marketing director, said the new day auction will give greater exposure to artists and raise more money for the organization. “There is an outpouring of support from the artists, who have all expressed their willingness to donate to the organization that produces the Santa Fe Indian Market, a show that has helped boost many careers.” Rangel said. “This is the type of reciprocal relationship that we would like to highlight, as it is tangible proof that we are living up to our mission statement. The organization and Indian Market are truly about the artists. This great event wouldn’t exist without them.”

Live auction gala When: 5 p.m. Saturday, August 23 Where: La Fonda on the Plaza Tickets: $175-$225. Purchase in advance at www.swaia.org or reserve by calling 505-983-5220. Also, call for more information on SWAIA membership and items available at the daytime silent auction.

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Marla Allison (Laguna Pueblo)

Maria Samora (Taos Pueblo)

Concho belt artists Inspirational Woman’s Belt Keri Ataumbi (Kiowa), Butterfly Veronica Benally (Navajo/Diné), Butterfly Fritz Casuse (Navajo/Diné), Butterfly Jennifer Curtis (Navajo/Diné), Buckle Marian Denipah (Navajo/Diné/Ohkay Owingeh Pueblo), Butterfly Jolene Eustace (Zuni Pueblo/Cochiti Pueblo), Butterfly Carlton Jamon (Zuni Pueblo), Concho Bryan Joe (Navajo/Diné), Concho Kenneth Johnson (Muskogee/Seminole), Butterfly Samuel LaFountain (Chippewa), Concho Jacob Morgan (Navajo/Diné), Concho Verma Nequatewa/Sonwai (Hopi), Concho Eric Othole (Zuni Pueblo/Cochiti Pueblo), Butterfly Myron Panteah (Navajo/Diné), Concho Shaax’ Saani (Tlingit), Belt Liz Wallace (Maidu/Washoe/Navajo/Diné), Concho Robin Waynee (Saginaw Chippewa), Butterfly

Warrior Belt

Vincent Kaydahzinne (Mescalero and Chiricahua Apache)

Upton Greyshoes Ethelbah (Santa Clara Pueblo/White Mountain Apache)

Allen Aragon (Navajo/Diné) and Sunshine Reeves (Navajo/Diné), Concho Derrick Gordon Sr. (Navajo/Diné), Concho Tim Herrera (Cochiti Pueblo), Concho Ivan Howard (Navajo/Diné), Concho Al Joe (Navajo/Diné), Concho Alex Sanchez (Navajo/Diné), Concho Cody Sanderson (Navajo/Diné), Concho Olin Tsingine (Navajo/Diné), Concho Lyndon Tsosie (Navajo/Diné), Concho Kee Yazzie Jr. (Navajo/Diné), Concho The sharkskin belt was donated by Tom Taylor.

Bags Dallin Maybee (Northern Arapaho/Seneca) Jamie Okuma (Luiseño/Shoshone-Bannock)

Slipcovers Orlando Dugi (Navajo/Diné) Kenneth Williams Jr. (Northern Arapaho/Seneca) 2 014 IN D IA N M A RKET 3 3

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it’s generational art.

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2014 ARTIST DESIGNED COLLECTION FELLOWSHIP RECIPIENT SWAIA’S SIGNATURE

formline

Tlingit artist Alison Bremner brings Northwest touch to market designs

BY KAY LOCKRIDGE If it takes a lifetime to master formline, an artistic expression of the Northwest Coast First Nations, 24-year-old Alison Bremner from southeast Alaska is well on her way to accomplishing the task.

The Southwestern Association for Indian Arts (SWAIA) selected Bremner as its 2014 Artist Designed Collection Fellow, and her artwork adorns all of SWAIA’s promotional materials for this year’s Indian Market.

Many attribute the term “formline” to Bill Holm, who first used the expression in a book in 1965 on Northwest Indian art to describe the curving lines often defined by an outside black line with a secondary line of red. Sometimes the colors are reversed.

These lines seem to echo the curved shapes found in traditional carvings such as totem poles.

John Paul Rangel, SWAIA director of public relations and marketing, noted that Holm’s interpretation of the style is a more formalistic interpretation that discounts history, narrative and tradition.

“Formline may employ crest iconography, which is family history based on things and images nearby,” John Paul Rangel said. “This includes animals and birds, representing both the natural environment and supernatural environment. Formline art portrays family history, including lineage and property ownership.

“Members of Pacific Northwest tribes recognize a family’s history, culture and heritage by the designs portrayed on clothing and tattoos. Formline art tells a story, and each line has meaning. Alison brings her take to all of this with the designs she has created for SWAIA.” Rangel said he considered Bremner and himself a team, collaborating closely with the printer. Indian Market visitors will see these designs on a variety of what Rangel calls memorabilia from the market.

“SWAIA’s purpose is to promote artists and their work,” Rangel noted. “This fellowship is another avenue of exposure for talented artists. It’s important to Alison and to the organization. These products will provide memories of her, her art and SWAIA.” The SWAIA Artist Designed Collection Fellowship program evolved last year from the long-standing Poster Artist program and was brought to fruition by then-Public Relations and Marketing Director Tailinh Agoyo. Navajo artist Ehren Kee Natay was the first recipient, and his designs were seen all over the market in 2013. “This was an amazing opportunity for me last year,” Natay said. “I worked very hard, as I know Alison has this year. She will see benefits long into the future.”

“Indian Market is a dream come true for me,” Bremner said. “I had been to Indian Market twice

before with two dance groups that were facilitated

by Sealaska Heritage Institute in Juneau [Alaska’s capital] when SWAIA began its outreach to Northwest Coast artists. This will be my first participation as an artist with a booth showing and selling my work.”

While becoming a full-time artist only in the past year and a half, Bremner said she had “artistic inclinations” while growing up. While she said she has strong support from her family, it was only recently that she learned a distant cousin also is an artist. “He contacted me on Facebook,” Bremner laughed. “His artwork is more traditional, while mine portrays traditional designs in a contemporary fashion.”

Bremner’s sense of humor is often reflected in her designs. It’s not unusual to spot a drawing of a pair of sunglasses or high heels incorporated into her artwork.

Bremner’s art includes weavings, small sculptures, paintings, drums, regalia and jewelry, noting that she is bringing a variety of her work to market this year. “I’m focusing on quality, not quantity,” she said.

Bremner credited Tsimshian master carver David R. Boxley as her inspiration. Boxley has created totem poles throughout the Pacific Northwest, as well as providing cultural performance art and education across the area, Bremner added.

Bremner’s work is part of a group show, Claiming Space: Voices of Urban Aboriginal Youth, at the Museum of Anthropology in Vancouver, British Colombia, for which she designed the T-shirt. She also designed a skateboard for Trickster Company, a Native design company based in Juneau. Her work appears in galleries in Seattle, Washington, where she currently resides; in Portland, Oregon; and in Vancouver. Bremner’s art is included in the permanent collections of the British Museum in London and the Burke Museum in Seattle.

“SWAIA is proud to offer young, emerging artists the opportunity to present their work to an international audience,” said Dallin Maybee, Arapaho/Seneca artist and interim chief operating officer of SWAIA. “Our 3 6 2014 IN D IA N M A RKET

Alison Bremner (Tlingit)

organization offers immense exposure to the Artist Designed Collection Fellow through our marketing campaigns and the memorabilia designed specifically for the Santa Fe Indian Market.

“As our Indian Market family presents these artists’ work, we are grateful to them for their creativity and willingness to lend themselves and their work to strengthening the SWAIA community,” Maybee said.

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Santa Fe Indian Market Fashion Event

colorful regalia & sizzling fashion STORY BY NEEBINNAUKZHIK SOUTHALL (CHIPPEWAS OF RAMA FIRST NATION)

Participants travel great distances to compete.

Perhaps you’ll see a woman from the Northwest Coast, proudly decked out in a red-edged button blanket and a painted hat woven from spruce root or a girl with characteristic Iroquois patterns of white beads on her leggings, skirt edge and moccasin cuffs. While shy children may need to be led to the front of the stage, other participants boldly show off their outfits in dramatic poses, to the delight of the audience, all adding to the excitement of this must-see competition.

PHOTOS BY GENE PEACH

One of the most popular and photographed Indian Market events will sport a new name this year. Formerly known as the Native American Clothing Contest, the SWAIA Indian Market Fashion Event: Fashion and Design Challenge will showcase regalia and fashion designs alike on the Plaza Community Stage from 9 a.m. to noon on Sunday, Aug. 24. The name change reflects a shift in how the event will be presented, Fashion design competition to better reflect the event’s celebration, although Whether in the form of a ball gown or an outfit it will maintain its competitive aspects. for a night out on the town, Native fashion The words “traditional” and “contemporary” designers combine an exciting array of colors, will be set aside for the more specific descriptors materials, silhouettes and techniques. Capes, of “regalia” and “fashion,” which better dresses, vests and jackets are decorated with encapsulate the usages and intents behind the a variety of bold designs, from geometrics to respective clothing designs, as both may include old and new influences. florals. Beadwork glitters across an elegant collar.

Regalia made by individuals, friends and Models showcase curve-skimming dresses and families centers on the connection to and sexy corsets with a Native twist. Silks and satins relationships with their Native communities. flow as the models stride to the front of the stage.

“They are creating culturally specific clothing Looks are styled down to the details — that reflects culture, that reflects heritage, that observe closely and you might catch a quillwork reflects family and that reflects tribally specific embellishment on a model’s high heels. Whether styles,” explained SWAIA’s Director of Public involving leather straps and sustainably Relations and Marketing John Paul Rangel. In harvested seal fur, glittering beads and elk contrast, he added, the fashion designs are, in a teeth or an avant-garde silhouette, each outfit ISAAC CORIZ (Kewa Pueblo), Men’s sense, about “expressing ourselves back to the is a stunning presentation of the designer’s Northern Traditional Powwow regalia world,” with all the individualism that implies. individual aesthetic.

While most eyes are focused on the stage, The fashion competition represents diverse the offstage guest judges also generate a lot of Native talent, some of whom have gone on to excitement. Past celebrity judges have included show their collections in major fashion shows across both Canada and the United fashion designer Tom Ford and Twilight actor Chaske Spencer. Rangel said to States. expect surprises in the judging area again this year.

While the regalia and fashion contests will have new branding under the identity of the SWAIA Indian Market Fashion Event: Fashion and Design Challenge, expect Regalia competition all of the excitement of previous competitions, and don’t forget to bring your Within the regalia classification, artists from all across Native America interpret camera. diverse time-honored forms and styles, both classically and innovatively. Created in a variety of ways, whether woven, sewn, appliquéd or beaded, these outfits represent countless hours of time and dedication by the artists. It takes an observant eye to Details see all the details and components in one outfit.

Saturday, August 23 The regalia worn reflect the tribal identity of those who model the clothes.

2-2:30 p.m.

Southwestern Native participants are decked out in silver, turquoise, coral and SWAIA Official Fashion Show mosaic jewelry made by family and friends. Chances are you will see a Navajo girl Features fashion designers: Orlando Dugi, Bethany Yellowtail, Jamie Okuma clothed in rich velvet or wearing a biil (rug dress), with wrapped moccasins on her and Sho Sho Esquiero. Cathedral Park, East Palace Avenue and Cathedral feet. Some young Pueblo children will take to the stage in full dance attire, as would Place next to the Cathedral, one block east of the Plaza. Free. be seen on a Pueblo feast day. If you’re fortunate, an Apache crown dancer may make an appearance.

Sunday, August 24 Every year, there’s something new to see, whether hot pink lane-stitched beads 9 a.m.-Noon adorning the top of a fringed Plains hide dress, neon green ribbons on a Pueblo SWAIA Fashion Event: Fashion and Designer Challenge man’s ribbon shirt or bright colors woven into a Pueblo woman’s manta. A male Plaza Community Stage. Free. fancy dancer is the picture of splendor, with a headdress, layers of ribbons, a full set of beadwork accessories and brightly colored feather bustles.

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PHILLIP ONE SUN BREAD (Comanche/Kiowa/ Blackfeet), Chicken Dance Powwow regalia

White Mountain Apache Crown Dancer regalia made by MACK HENRY

TASHA CLARK (Kiowa/SouthernCheyenne) models J.T. WILLIE (Navajo)

MALACHI TSOODLE-NELSON (Navajo/Kiowa), Cheyenne Dog Soldier regalia

AMBER BENALLIE (Navajo) models J T WILLIE (Navajo)

WAKEAH JHANE (Comanche/Blackfeet) models ORLANDO DUGI (Navajo)

Hoop Dancer ShanDien LaRance models designer PENNY SINGER (Navajo)

Designer RACQUEL BEGAY (Navajo), “Forgive and Live” jacket

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JAI PO MAKOWAPING HARVIER (Pojoaque & Santa Clara Pueblos)

MARIA LOPEZ (Navajo)

First place All SW Tribes Girls 6-10 model ASIANNA (Navajo and Laos), designer KARYL BEGAY OLSON

Powwow Fancy Shawl Dancer MAITYAITSA FRY (Laguna/Acoma/Cherokee/Chickasaw) models clothing made by AARON FRY, First place girls 0-5 Northern and Southern Plains

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33993

Norma Howard, Coming Home

NORMA HOWARD

BY ARIN MCKENNA

SWAIA/NADELBACHPHOTO.COM

Humidity hangs in the air along the southern bayous. Neighbors stop to visit after a long day’s work.

Children gather corn in the fields.

These poignant images permeate the work of Norma Howard.

Using tiny crosshatched brushstrokes, the watercolorist pulls back the curtain on the everyday lives of her Choctaw and Chickasaw relatives and ancestors. Her palette of earth tones elicits both a sense of place and nostalgia for a simpler time.

Howard, a self-taught artist from Stigler, Oklahoma, attributes her success to the five-year-old girl inside her who drew because she had to. She didn’t decide to paint on a whim. Instead, art was more like a necessity — and so powerful that it could fulfill desires for things other children longed for.

“We were real poor when I was little,” she recalled. “These other little kids … would have some things that I wished I could have. So I would go home and draw it, and I felt like I had it. That’s how I got started.

Because I knew I couldn’t afford a Chatty Cathy doll or a bicycle. So I would visualize it in my head and draw it. And somehow, when you draw something, you feel like you own it.”

At 11 or 12, Howard started painting. When she picked blackberries with her mother, Howard was allowed to sell door-to-door what she picked, and she used the money to buy watercolors at the Ben Franklin store. Only her family saw her work, and Howard never dared to imagine herself as a professional artist. She painted for the love of it.

Even at an early age, Howard’s bond to her Choctaw/Chickasaw heritage permeated her art. Playing in the woods as a child, Howard would imagine she was surrounded by other tribal members, and then she would put those imaginings on paper.

Howard did not show her work until she was 36, inhibited by well-meaning advice her mother gave 4 6 2014 IN D IA N M A RKET

Norma Howard, Choctaws Along the Bayou

The girl who had to paint her based on her own experience. “She said that because people don’t like Indians, they’re not going to buy Indian art,” Howard recalled. “She wasn’t doing it to put me down. She was protecting me. And that was embedded in me.”

her to apply for a fellowship. Howard followed his advice and won one of the coveted awards. She has earned numerous honors since then, including Best of Classification at the 2013 market for Choctaws Along the Bayou.

The turning point

A voice for her people

In 1995, however, Howard decided to show at the Red Earth Native American Cultural Festival. It changed her life. “I know it may not be big to other people, but to my naive self in those days, it was the biggest thing in my life and my career,” Howard said.

Howard had few expectations that her impressionistic style could compete with the modern genres that were ascendant at that time. When the third-prize winner was announced, and it was not Howard, she resigned herself to winning nothing.

When she heard herself declared the first-place winner, she was shocked.

“My heart was beating faster than a little bunny rabbit,” Howard said. “My knees were shaking, and, literally, I felt like I could not walk up there and get that money and that medallion. I put my head in the palm of my hand and sat there like that.” The 32 paintings Howard had brought were all sold by 11 a.m. For a woman who grew up in poverty, believing her art could never sell, the experience was overwhelming. She thought it was a fluke, but she won again the following year.

That was also the year Paul Rainbird, president of the Southwestern Association for Indian Arts at the time, spotted Howard’s work. Rainbird urged Howard to apply for Indian Market. During her first market in 1997, Rainbird encouraged

Howard still lives in Stigler, on acreage her grandmother was forced to relocate to at the turn of the 20th century — land where her mother, father and other family members are buried. Part of her mission as an artist is giving voice to her family and her ancestors, whose visions and struggles went unnoticed in the wider world.

Her father and brother, now deceased, were two of her strongest inspirations.

“They would talk to me — those deep thoughts, their visions. My dad passed away in ’77. I was almost 18 years old when he passed, and yet his visions are still around because I’m putting it out.”

Chronicling events from her ancestral history is also close to Howard’s heart.

Her father’s people suffered through the infamous Trail of Tears, which uprooted Southeastern tribes in the 1830s and pushed them into Oklahoma. Her mother’s people were later coerced to relocate to Oklahoma in 1903, during what is known as the “second removal” of the Mississippi Choctaws.

She compares the Trail of Tears to the 9/11 terrorist attacks on the World Trade Center. “Sometimes it kind of bothers me that they say the Trade Center was the worst terrorism in the United States history. And it’s not. If you ask us Indians, it’s not.”

Howard does not understand the pressure to forget all those who died on that

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Norma Howard, Evening Walk

1,200-mile forced march, including women and children. “People have been telling my people for decades to forget the old days, move on. You can’t do that. I can’t,” Howard said. “If people had told the families of those at the Trade Center — their daughters, their mothers or all them — to forget it, to just move on, what would people think of them? They would think they were mean-spirited. Well, same thing with us.”

Howard keeps those memories alive through her paintings. “My ancestors that did the Trail of Tears, their vision died, but it passed on to their kids, and then it went to my grandma, and it went down to my mother, and then it goes to me. And I’m the one who presented that at Indian Market. So that’s powerful. That’s the power behind me.”

Passing on those stories motivates Howard. “I’m in the position where people can listen. … At the end of the day, that’s what I’m put on earth for, to speak for the people who couldn’t.” Howard still seems bemused by her success. “I’m thinking to myself, I must be doing something right,” Howard said. “And I’m not going to take all the credit. My ancestors, my brothers, my sisters, all their hardship … they’re going to take the credit with me.”

Above all, Howard credits that five-year-old girl who cherished her heritage and ignored derogatory language — and just had to draw. “I could have listened to everybody and just stayed at home. But that little girl in me, that five-year-old [who] had a vision, she beat out everybody.”

Howard plans to bring one of her signature pieces to the market again this year, honoring her family’s history and heritage through her art.

Norma Howard, Field Workers

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Norma Howard, Picking Blackberries

Norma Howard, Stick Ball (detail)

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Kevin Red Star, Visionary’s Well Being Dream 50 2014 IN D IA N M A RKET

Crow artist Kevin Red Star

Pushing into unknown territory

STORY BY DANIEL GIBSON | PHOTOS BY KITTY LEAKEN

When more than a thousand artists gather for the Santa Fe Indian Market, many of the younger creative souls will turn their hopes to the future. They may envision themselves in 30 years as having led creative lives, with their artwork entrusted to private collections and museums around the world, their names widely known to art connoisseurs and critics. They might, in short, dream of living the kind of life one of their own has in fact led — Crow Indian painter Kevin Red Star.

In August 1962, Red Star made his first airplane flight, arriving in Santa Fe from Montana to join in the inaugural class of the Institute of American Indian Arts.

It was a defining moment in launching the contemporary American Indian art movement. Here he joined fellow students T.C. Cannon (Caddo/Kiowa), George Flett (Spokane) and Doug Hyde (Nez Perce/Assiniboine/Chippewa), and faculty and administrators that included Lloyd Kiva New (Cherokee), Fritz Scholder

(Luiseño), Allan Houser (Chiricahua Apache) and Charles Loloma (Hopi). It was the beginning of a remarkable career among a stellar cast of other aspiring artists, which continues to play out these many years later.

“Many of us had come from places where we were treated badly by non-Indian instructors who looked down on you and didn’t promote you, even though you were good,” Red Star noted in this writer’s just-released book (see sidebar), which documents his life and art. “It was a blessing to have that situation turned around, and given a better opportunity, the kids naturally excelled. We saw the instructors as successful people, personable professionals, and they were Indian artists. They were our models, at least mine.”

Following a stint at the San Francisco Art Institute and some lean years back in Montana playing in a family band while continuing to paint, Red Star gravitated back to Santa Fe. Here he settled into a studio alongside Crow painter Earl Biss and other Native and non-Native artists. He recalled, “We shared a great deal in those days — clients, ideas, experiences. We wanted to encourage everyone.

The camaraderie was really important early on.” Soon Red Star and many of his associates were securing local and out-of-state gallery shows from New York City to Beverly Hills. The good times rolled and their careers with it. A 1980 article in the

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Apsalooke Lodges

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Book profiles Crow artist

Kevin Red Star in his studio

New York Post stated Red Star was “the embodiment of a blossoming group of new American Indian artists. He gives a special strength to his subject — men, women, children or horses — so they appear to float in space, timeless components in an ever-changing world.”

Since then, the artist has divided his time between Santa Fe and Montana, where he maintains a studio in Roberts and lives nearby in Red Lodge, just outside the Crow reservation.

Several times in his long career, Red Star has served as a judge for the painting, print and photography category at the Santa Fe Indian Market. He noted, “It’s the best of the best, so it’s a fun but also difficult job that requires an expert eye. I really enjoy doing it, giving back to the community that has done so much for me.” He explains, however, that he has actually never exhibited in Indian Market. “I was lucky enough to begin showing in galleries right away. But I owe a debt to the event because it brings in so many collectors who also visit the galleries after touring the booths. So it’s been a big boost to my work.”

While Santa Fe and its institutions have played central roles in Red Star’s career, his wellspring of inspiration is directly linked to his Crow heritage.

All of his paintings in oils and acrylics — and his far more limited number of prints and works in clay and other media — refer to his tribe: their great leaders of the past, their heritage as great horsemen, ceremonial dancers, the stately women who hold the families together, and the lands and animals they revere. Tepees in a driving snowstorm suggest abstract art but are firmly rooted in the Montana plains. Scouts carefully wiggle through the tall prairie grasses in search of the vital buffalo. Warriors holding iconic shields prepare for battle. Their dignity, resourcefulness, pride and determination

ride off the canvas and into the world at large.

“Basically, I’m a romanticist,” he told the late writer Stephen Parks in Southwest Art in 1980. “I like that life of the old days, that closeness to nature. If there is an overall vision to my work, I guess it’s that there is a lot to be learned from the way things were.”

Besides caring for his large extended family, including his three daughters and adopted son, and his large circle of friends, Red Star has also shown a lifelong interest in mentoring Native students and young artists. Does he have any words of encouragement or advice to the eager young artists pouring into Santa Fe right now to fulfill their destiny?

“There is a need to go beyond the borders the teachers and society have set,” he stated. “You have to have some goal — just try! It’s OK if you fail, but try! You need to take chances. I have taken some chances; that’s what makes me a little different. I ventured out, not really knowing exactly what I was seeking.”

Red Star counsels hard work, personal discipline and opening up to the creative process. “When it is going right, it is like something else takes over.

Something carries me. Before I know it, I’ve been at it for three, four hours. I should be tired but I feel good, I am focused. I mix the right pigments. If you go to work daily and get the flow of production going, the energy will go out and bring you what you need.”

For Kevin Red Star, the returns are in, and at age 70 he is doing perhaps the best work of his entire career.

He has pushed out into unknown territory, scouting the global fine art terrain. It is a dangerous journey, full of pitfalls, enemies and disappointments. But with faith, dedication and vision, he has returned to tell the tales and open a path for other Native artists to follow.

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The first comprehensive book profiling the life and work of Kevin Red Star has just been published.

Kevin Red Star: Crow Indian Artist (Gibbs Smith) is a large-format book consisting predominately of reproductions of Red Star’s best art works (about 150 images) over his 50-year career, including his student days, plus historic photos of the Crow people and their material culture, and documentary photography of the artist, his family, his working environment, Crow Fair and other Montana scenes that inspire the artist’s work. The photography is by Kitty Leaken of Santa Fe, whose previous projects include the book Contemporary Native American Artists.

The text, by Daniel Gibson of Santa Fe — who served as editor of Native Peoples magazine for 12 years — details the pre-eminent American Indian artist’s early reservation childhood among his large traditional family, his years at the fledgling Institute of American Indian Arts in Santa Fe, his difficult early years as a professional artist and his subsequent career. The book, which closes with a look at Red Star’s present life, also includes a foreword by W. Richard West (Southern Cheyenne), comments by a variety of art critics and a summary of the artist’s exhibitions, museum holdings, awards and honors.

Kevin Red Star at book signing

Attend a book signing and hear remarks by Crow painter Kevin Red Star at the release of Kevin Red Star: Crow Indian Artist, Wednesday, Aug. 20, 5:30 p.m., Collected Works Bookstore, 202 Galisteo St., Santa Fe (505-988-4226). The artist, photographer, author and publisher will be present. Proceeds from sales of the book during the week go to the Southwestern Association for Indian Arts (SWAIA), the sponsor of Indian Market.

ortega s O N

T H E

P L A Z A

Trunk Show Friday 22nd

FEDERICO

101 W. SAN FRANCISCO ST

10:00 am - 6:30 pm

SANTA FE

505-988-1866

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OPEN 7 DAYS

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SWAIA/NADELBACHPHOTO.COM

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BEST OF SHOW 2013

TOP HONORS

CLASSI FI CATI O N V I I I • B E ADWORK & QUI L LWO R K

Jackie Bread (Blackfeet)

A storyteller

Artist’s meticulous beadwork preserves memories

BY ARIN MCKENNA Last year’s Best of Show winner, Jackie Bread, calls herself a storyteller. As on her award-winning piece, Memory Keeper, the stories she illustrates through her beadwork are personal — oral histories handed down from her Blackfeet grandmother to her father to her.

The people depicted on the stunning beaded box and on two sepia-toned beadwork “photographs” inside it are all relatives. A man named Thunder, or Jim Night Rider, who was married to one of her father’s great aunts, is depicted centrally on the lid.

He is surrounded by images traditionally painted on Blackfeet tepees: the night sky, flat lines representing the plains, stripes symbolizing the winds, triangles for mountains and freshwater pearl and silver disks depicting fallen stars.

Inside are beaded replicas of two vintage photographs taken by T.A. Hileman in the 1920s and passed down through her family. One is of Little Dog, who was one of her father’s great uncles, and the other of Mrs. Middle Rider, or Not Real Bear Woman, who was married to another of her father’s great uncles.

“They’re not just photos of people: They’re photos of my family,” Bread said. “My dad’s 87, so he experienced seeing all these people and has personal stories about them. And it’s made so much more rich by the stories within my family. “Beadwork is really timeconsuming. So I spend lots of hours … thinking about the stories that I know about them, just kind of making a connection there.”

Bread designed the photographs as necklaces, or “wearables.” “Traditional arts … were art, but they were always functional,” she said. “So I love to keep that component in my work.”

Memory Keeper epitomizes Bread’s signature photorealistic style. She draws inspiration from photos taken between the 1800s and 1930s, meticulously capturing details, from facial expressions to the folds in clothing.

Embracing technical challenges Despite creating beaded pictorials for 30 years, accurately rendering faces still challenges Bread.

“One bead out of place can change the whole thing, can change shadows and highlights. … You have to get it just right.”

Memory Keeper, with its three-dimensionality and sepia tones, appealed to Bread’s love of solving technical challenges. Bread spends as much time planning logistics — such as how to fit the lining in a box or how to perfectly align a border pattern — as she does in actual construction.

For the most part, Bread taught herself to bead.

Her grandmother, who was a beadworker, died before she was born, and her father only remembered a few techniques, which he shared. Her family lived in an isolated part of the Blackfeet Reservation in Montana, with no beadworkers to mentor her.

Bread was drawn to her grandmother’s pieces. “’I love this, I want to do this, I want to figure this out,’” she recalled feeling. She began “messing around” with beads when she was five years old. As she grew older, she began examining her grandmother’s pieces until she could recreate her stitches. By 10 she was “figuring things out,” and by age 12 she was selling her work.

Bread eventually earned a degree in twodimensional arts and museum studies from the Institute of American Indian Arts and began showing at Indian Market in 1999.

Process adds to artistry Bread, who makes her home in Great Falls, Montana, makes no more than four large pieces a year, in addition to commissions and small salable pieces.

She focuses on one piece at a time. Memory Keeper required 15 hours of work a day for two months.

Bread is up to the challenge of the labor-intensive art form. “Beadwork … is not something that I think somebody would willingly do as a career unless they just really loved it, because it is so time consuming. I think I just have a really deep love for it, period.”

The process is an adventure for Bread. “I’ll have it kind of planned out … but it never turns out that way. …

It starts evolving and sort of takes on a life of its own.

But that’s the fun part. I think that’s the artistic part.”

Bread is not discouraged on the rare occasions when she has to tear out and redo work. Patterned pieces such as the decorative borders sometimes require reconstruction to meet her standards. “The way I do it, it’s all got to line up. I can’t have an extra bead in there,” Bread said. “And, surprisingly, it’s still fun.”

Despite being the recipient of several major awards — an Indian Market Fellowship in 2012, the Institute of American Arts Distinguished Alumni Award in 2006, three Best of Show awards at other markets and a Montana Circle of American Masters award — Bread was still astonished to receive the 2013 Best of Show.

“I can’t think of any bigger honor,” she said, “or any bigger surprise.”

For this year’s market, Bread plans to work on a collaborative piece with her husband, Diné (Navajo)/ Apache wood-carver Nathaniel Bread.

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GENE PEACH

GENE PEACH

TOP HONORS

CLASSIFICATION WINNERS

2013 BEST OF CLASSIFICATION BEST OF SHOW Jackie Bread (Blackfeet) CLASSIFICATION I JEWELRY

Earl Plummer (Navajo/ Diné) CLASSIFICATION II POTTERY

Troy Jackson (Cherokee) CLASSIFICATION III

PAINTINGS, DRAWINGS, GRAPHICS AND PHOTOGRAPHY

Norma Howard (Choctaw/ Chickasaw) CLASSIFICATION IV

WOODEN PUEBLO FIGURATIVE CARVINGS AND SCULPTURE

Bryant Honyouti (Hopi) CLASSIFICATION V SCULPTURE

Larry Yazzie (Navajo/ Diné) CLASSIFICATION VI TEXTILES

Isabel Gonzales (Jemez Pueblo) CLASSIFICATION VII DIVERSE ARTS

Babe and Carla Hemlock (Mohawk) CLASSIFICATION VIII

BEADWORK & QUILLWORK

Jackie Bread (Blackfeet) CLASSIFICATION IX

YOUTH (17 YEARS AND UNDER)

Joseph Youngblood-Lugo (Santa Clara Pueblo) CLASSIFICATION X MOVING IMAGES

Jamison Chas Banks (Cherokee/ Seneca-Cayuga) CLASSIFICATION XI BASKETRY

Shan Goshorn (Cherokee)

Award-winning baskets They Were Called Kings by Shan Goshorn

Top of the class Artists you’ll want to meet

STORIES BY ARIN MCKENNA | PHOTOS BY GENE PEACH

A repeated chorus from those receiving the coveted Southwestern Association for Indian Art’s Best of Classification and Best of Show awards is how honored they feel. Artists labor months on that special piece they plan to enter into competition, knowing their work will be in the ring with many other exceptional works of art. Winning top honors at the Santa Fe Indian Market can guarantee a successful market and has launched or accelerated many careers.

Even today, American Indian artists (outside the realm of SWAIA’s Indian Market) must contend with biases that consider traditional arts as “craft” and segregate even sculptors or painters from the mainstream by adding labels such as “Native American” before their titles.

A few hours spent at the Indian Market Preview of Award-Winning Art would disabuse those who hold that misconception. The hall is filled with hundreds of pieces of outstanding work submitted for the highly competitive judging.

With so many fine pieces to choose from, the judging itself is often a long and difficult process, especially for those top awards, and it frequently results in surprising choices. Artists often arrive at the awards ceremony completely unaware that they have won the prestigious award, and they are shocked and moved to see their work displayed on the central dais.

Every piece on display during the preview deserves the title “fine art,” regardless of the materials or techniques utilized in its crafting. A hand-coiled pot — whether traditional or in the contemporary style of last year’s Best of Classification winner, Troy Jackson — can be a masterpiece. The precision and aesthetic beauty of handmade textiles, such as Isabel Gonzales’ Best of Classification hand-embroidered manta, can rival or surpass the brilliance of many contemporary paintings.

This year’s preview is Friday, Aug. 22, at the Santa Fe Community Convention Center, 201 W. Marcy St. The sneak preview is 5:30 to 7:30 p.m., with the general preview 7:30 to 9:30 p.m. Call 505-983-5220 for tickets.

As always, last year’s Best of Classification winners are among the best of the best, beating out many worthy rivals for the coveted award. Get to know these amazing artists, featured on the following pages.

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CLASSIFICATION I: JEWELRY

CLASSIFICATION II: POTTERY

EARL PLUMMER (NAVAJO/DINÉ)

TROY JACKSON (CHEROKEE)

Shaping his vision in silver and turquoise

A coalition of cultures

Earl Plummer’s Best of Classification award for his squash blossom necklace, Bluebird Blue, holds special significance for him. The necklace represents a year’s worth of work and innovation, and the recognition is satisfying.

Although Plummer has won several first- and second-place ribbons, he has also seen master works eliminated from judging because SWAIA was stymied by which category to place them in. But last year, the artist’s creative vision resonated with judges.

One of the most unusual things about Bluebird Blue is a series of beads formed by sandwiching inlaid turquoise circlets between open silver saucer beads. “I was trying to figure out a bead that was different than all the beads that we ever see. I wanted something that would bloom out, and stand out, nothing simple and round,” Plummer said.

For this piece, Plummer made his own hand punch for the saucer beads, to get the size and flare he wanted.

The segments of the bead are joined by tubing soldered to the inside of the bead. Each bead took three to four hours to create.

The turquoise circlet was also time consuming.

Plummer used a cobbled inlay, in which each piece was squared off, and then set individually. For greater accuracy in cutting and sanding, Plummer hand held each tiny stone without tweezers.

The blossoms are attached to silver beads textured to create the illusion of sunlight sparkling on windblown water. Plummer hand punched each bead 110 times to achieve that effect.

Each blossom was hand shaped from flat sheet wire.

Plummer created a master copy, to which he exactly matched each blossom. He filed the solder lines to near invisibility.

As with all his work, the piece was created from the most elemental materials. “Everything I do is all handmade. It starts off with a flat sheet of metal. There’s nothing cast, there’s no shortcuts to it,” Plummer said.

“Everything I do is all natural stones, too.”

Plummer learned jewelry making by watching his relatives, and by age 13 he was supporting himself by going on the road selling his work. He describes making his jewelry at that age in a traditional Diné home: “You can just picture me in a dark house, with no lights, no electricity, no TV, with just my stamp tools, learning to stamp and shape. That’s all I needed.”

Plummer quickly progressed from simple stamp work to more complex pieces, eventually finding his niche in his signature contemporary inlay. “The more I found something new, the more people would want it,” he said. Plummer juried into Indian Market in 2006.

What began as a means of earning an income has blossomed into an enduring vocation. “If you have a vision, you can hold that vision and create anything you want, because silver can go into any shape,” Plummer said. “Every time I try to build something new and different. There’s not enough time to do all these new ideas.”

Potter Troy Jackson calls his work a “coalition of two cultures.” His modern pieces often challenge the viewer and offer the opportunity for deep reflection.

“My mother’s Cherokee and my dad is white,” Jackson said. “So we have a little bit of controversy sometimes because of the way each one was raised, with their beliefs and their way of life.”

Some of Jackson’s works, such as the awardwinning The Industrial Contemporary Vessel, explore far-reaching ideas. The tall clay vessel, overlaid with images of gears and fish, makes a statement about the industrial revolution.

For Jackson, the piece highlights the contrast between European technology and American Indian spirituality. “Fish and water are being transported, and these things are a way of life. That’s where the Native American side is for me, and I’m very concerned about it, because things like water and fish are life sustaining.

I find it difficult to think that they could be used for profit or gain. I find it difficult to think that we have to pay money for water when it is a life-sustaining commodity.”

Sometimes Jackson’s work delves into more personal history, as in a vessel covered in jigsaw-puzzle pieces.

“I was not raised as Cherokee,” Jackson said. “So this piece deals with me putting pieces together of my heritage, and going back and just discovering for myself where my mother came from, where she was raised, because she was raised Cherokee.”

Jackson’s work is characterized by his own technique of applied “overlays.” After creating the vessel, he scores sections destined for relief placement. He then cuts those shapes from the clay and applies them to the vessel with a slip. When the piece is fired, the silica in the slip becomes molten and bonds the applied sections to the vessel as it cools — if all goes well.

Drying and firing present challenges, especially on large pieces. “These pieces just get bigger and bigger and bigger. One piece was so large I had to build on to my kiln to fire it,” Jackson said, remarking on the difficulty of reaching high enough temperatures for those pieces.

Large pieces tend to warp and twist in both the firing and cooling phases, producing cracks and splits in the clay that can decimate as much as 60 percent of the kiln load. “There are two types of firings,” Jackson said.

“One is called Christmas, and one is called Halloween.

If your kiln [load] comes out good, that’s Christmas. If everything doesn’t come out good, that’s Halloween.

You really do get frustrated sometimes. You spend several months on a piece and it just gets destroyed.”

The artist’s penchant for sculptural and large pieces is spurring him to explore bronze. “Clay is so unpredictable, in terms of the end product,” Jackson said. “I would like to have something a little more stable.”

2014 IN D IA N M A RKET 59

Earl Plummer

Troy Jackson

CLASSIFICATION III: PAINTINGS, DRAWINGS, GRAPHICS AND PHOTOGRAPHY

CLASSIFICATION IV: WOODEN PUEBLO FIGURATIVE CARVINGS AND SCULPTURE

NORMA HOWARD (CHOCTAW/CHICKASAW)

BRYANT MAVASTA HONYOUTI (HOPI)

Odes to everyday life

Sharing his experience

Norma Howard’s watercolors are like doorways into bygone eras.

Howard depicts stories from her family’s history, sometimes painful memories such as the Trail of Tears, but more often scenes of everyday life from her parents’ and grandparents’ eras.

“What I do is natural,” Howard said. “Every person [who] was close to me was Indian. … It’s not like it was unfamiliar territory for me. What I see is what an Indian would see.”

Howard’s award-winning piece Choctaws Along the Bayou demonstrates the artist’s uncanny ability to step into a time and place she never knew. Howard’s ancestral homeland and the daily lives of earlier generations are living presences in her mind.

“My grandma’s family lived around the Alabama and Mississippi line. So I started looking at that location and kind of visualizing it,” Howard said. “That was where they would have some good river canes, because my grandma, she was a basketmaker. She would split it and dye it with berries and weave it.

“Sometimes they would have an old wooden boat or some type of tree trunk. I never saw it with my eyes, but I see it when I visualize. They would go in the woods and pick nuts and berries and things like that. So the woman has a burden basket at her back.”

Howard draws on her own memories of playing in the woods or picking berries with her mother to infuse life into places and activities she has never experienced. “That’s one of my sacred times, the time my mother and I would go and pick blackberries,” Howard said.

Many of the simple scenes Howard depicts seem to be imbued with that sacredness, conveying a sense of peace. Such a reaction would please Howard. “What it’s all about is at the end of the day, did you give someone good energy? … That’s what we’re here on this earth for, believe it or not.”

Howard cultivates her visions by avoiding cell phones, the Internet, casinos and anything else that could be a distraction. “I don’t want it to ruin my mind,” she said. “I don’t want to see other people’s work and get ideas from it.”

Many of the artist’s ideas are drawn from both dreams and waking states. “My dreams are very important to me,” said Howard. “And being an artist, you’re in touch with your inner thoughts, your inner soul, your inner imagination.”

Each painting gets her undivided attention. “I put every thought, my heart, my soul — everything in that one. And I … hardly think about what I’m going to do next when I’m doing the painting, because it has an effect on that painting.”

Howard is unabashed about her focus on bygone eras. “A lot of people say, forget the past,” she said. “Not me. I say, forget the future. Because you don’t know what the future is. It’s unknown. … I go by now and the past.”

Bryant Mavasta Honyouti likes to work small. Honyouti’s 2013 Best of Classification piece, Tsi’rom (Birds), is approximately six inches tall.

On that diminutive piece of wood, he meticulously carved and painted four katsina figures, several birds and a myriad of bird-related symbols.

“It was a little piece, but I put a lot of detail into it and a lot of work into the intricacy of it,” Honyouti said. “I wanted to include actual birds in there and I wanted to have different types of bird katsinas and different symbolism of what they represent and what they bring, how they’re treated.

Even on the bottom it had bird tracks.”

Honyouti began carving at age 16, learning from his father, grandfather and uncles. His father, Ron Honyouti — who has won several awards for his miniatures — also inspired his love for small, intricate Honyuti with Katsin’mamant plaque carvings.

Honyouti calls his work “a fusion of contemporary- with traditional-style figures,” something reflected in his color palette. He mixes and thins acrylic paints to mimic the subtle earth tones derived from mineral paints.

The carvings portray the entire range of the artist’s experience. “I get my inspiration from people, ceremonies that are happening, nature, dreams sometimes, things that I’ve experienced,” Honyouti said.

This year the artist worked on a piece depicting the powerful Soyoko, the disciplinarians who visit Hopi villages in the winter. “They remind everyone [of ] the proper way to behave, the proper way to interact and to be respectful. I guess you could use it as a reminder, what they represent, and to watch yourself,” Honyouti said.

Other carvings capture gentler scenes of everyday life, as the artist shares his personal experiences. One piece honors his grandfather, depicting the knowledge his grandfather passed on to him about Hopi farming.

Another piece was carved for Honyouti’s sixth-grade students. “A lot of my students were starting to do the social dances back in January, and a lot of them were dancing Buffalo [Dance]. So I made a Buffalo Dancer carving, just to share that moment with them,” the artist said.

He was “overwhelmed” to win Best of Classification. When he began carving in earnest three years ago, he was reluctant to show his work. His wife, Carmen, urged him on, saying, “This is something new, something different, and you’ve got to share it.”

Honyouti also does relief carving on plaques and plates, as well as pendants and earrings made from cottonwood roots.

Experimenting with different styles and techniques keeps the work “fun.” He senses that the figures he carves appreciate that exploration. “To me, I can see that they’re happy, too, that they’re enjoying this time, too, and that really makes me feel good about what I’m doing,” Honyouti said. “As an artist, I put a lot of my energy and my expertise and my emotions, even prayers, into what I do, and it comes back as a quality piece, or something that surprises you, too.”

6 0 2014 IN D IA N M A RKET

THE PREMIER SOURCE JEWELRY FASHION RUGS

nadelbachphoto.com(c)

Artists Scott Dirient and Douglas Magnus

61 Old Santa Fe Trail | Santa Fe, NM 87501 | 505.983.9241 | maloufontheplaza.com 2 014 IN D IA N M A RKET 6 1

CLASSIFICATION V: SCULPTURE

CLASSIFICATION VI: TEXTILES

LARRY YAZZIE (NAVAJO/DINÉ)

ISABEL GONZALES (JEMEZ PUEBLO)

Passing down stories

Keeping a rare art alive

In many ways, Larry Yazzie’s award-winning sculpture Talking to the Holy Beings characterizes his approach to art. “I’ve come to believe that art is very spiritual. It comes from way down deep inside your soul,” Yazzie said.

“A lot of what I live every day comes out in the work that I produce.”

The sculpture, Yazzie said, “represents prayer. Our elders teach that the sacred beings that are responsible for placing us on this earth reside in the eastern sky in the heavens,” Yazzie said. “So we’re taught to offer them corn pollen. Corn pollen is very sacred to our people. It’s the essence of life for us.”

As Yazzie was creating the piece, which depicts a Diné woman offering pollen to the Holy People at dawn, he pictured his wife, his mother, grandmothers and female clan relatives. He carved images from the Navajo reservation’s landscape into the limestone base, another representation of feminine energy.

“We’re told that the earth is our mother. The water’s our mother. There are a lot of representations of mother in nature. Everything that we have that gives us life comes from the earth. So we’re taught to have respect for the female.”

The execution of Talking to the Holy Beings presented several challenges, including combining two different types of alabaster, separated by a slab of white marble, through a process called laminating.

When laminating, the sculptor refines the surfaces of each stone so they join snugly, and then he secures the stones with threaded bolts and industrial strength epoxy. The sculpting itself can be challenging if the stones have varying degrees of hardness.

Yazzie also likes the challenge of balancing intricate detail with simple, elegant lines.

The sculpture’s strong, bold stance is offset by design elements such as intricately carved beaded earrings.

The artist never does preliminary sketches, even for commissioned pieces. “I’ve done some eight-foot monuments in this manner,” he said. “I tell my clients that if they want the best that I can do, they have to allow me the freedom to create. … Most of the time I don’t have any idea what I’m creating. It just happens spontaneously.”

Yazzie is moving more and more into abstract work. He also finds himself unconsciously incorporating stories told by Diné elders. “When I’m finished with a piece, I look at it and there’s that story I was told. It came through,” Yazzie said. “So then, I believe, it’s spiritual. It needed to come through for some reason. It needed to be told over again.”

For Yazzie, telling those stories is important for future generations.

“Our children are losing connection with the traditional [belief ] system and the culture, the language,” Yazzie said. “The children of the future are going to be looking at art. They’re going to be looking at that to identify themselves. So I think of leaving something for them. I believe it’s a very spiritual thing.”

Isabel Gonzales began embroidering her award-winning manta just as she begins all her pieces.

“When I start my manta or whatever big piece I’m going to start, then I’ll go and say prayers to all the ones [who] used to sew a long time ago — [who] are gone,” Gonzales said. “I will ask them, ‘I’m going to do a piece. Come and help me with whatever you’re going to help me with.’”

A manta is a rectangular blanket worn as a shoulder blanket or wrap-around dress.

Because traditional embroiderers are rare, Gonzales’ work is sought after by those who wear the attire for Pueblo ceremonies.

The artist’s design incorporates traditional Puebloan symbols such as rainclouds, ceremonial kiva steps and butterflies. Butterflies are one of Gonzales’ signature images. She fell in love with them as a child, when she and her siblings herded sheep in an area filled with willows and butterflies.

The precise, geometric designs on the piece were created without a pattern.

When asked how she achieves such precision, Gonzales responded, “It surprises me sometimes, too.” She said the key is starting from the center and continually counting.

“If I miss one stitch, it will off balance the whole thing. So I have to know what I’m doing,” she said.

Large creations such as a manta take more than a month to complete. Gonzales gives herself set times to start and finish a piece, working eight hours or more a day. She uses either commercial or handwoven cloth, supplied by whomever commissions the piece, and prepares by respinning commercial yarn on a drop spindle.

Gonzales learned to cross-stitch in elementary school, winning first place at the New Mexico State Fair as a fifth grader. In junior high school, she began weaving belts.

When she went to high school her mother nudged her back into traditional embroidery by encouraging her to make a kilt. Once she became proficient at that, her mother urged her to try a manta.

Gonzales resisted, intimidated by the amount of work, but her mother insisted she could do it and started her off. “When you’re a teenager, you don’t want to do things like that,” she said. “You want to go out with your friends. But I completed that one piece, and I was really proud of what I did.”

The tradition continues: Gonzales has passed the tradition to her daughter Melanie, who is passing it on to her own daughters. Gonzales has also taught the art at Pojoaque Pueblo’s Poeh Cultural Center. “That was part of my mission, to teach others how to embroider and carry that work from generation to generation,” she said.

Winning Best of Classification last year brought a special satisfaction. “I was so honored to get it,” Gonzales said, “because [the manta] is a work of traditional art, and it has a lot of meaning, not only to myself, but [also] to the Pueblo Indians.”

6 2 2 014 IN D IA N M A RKET

Indian Market Booth 905 CAT

215 S. Muskogee Avenue Tahlequah, OK 918 - 453 - 5728 www.cherokeear tscenter.com

Š 2014 Cherokee Nation. All Rights Reserved.

2 014 IN D IA N M A RKET 6 3

CLASSIFICATION VII: DIVERSE ARTS

CLASSIFICATION IX: YOUTH (17 AND UNDER)

CARLA HEMLOCK (MOHAWK), DONALD HEMLOCK (MOHAWK)

JOSEPH YOUNGBLOOD-LUGO (SANTA CLARA PUEBLO)

A passport to history

Preserving his family heritage

Carla and Donald “Babe” Hemlock have strong personal connections to the international story told by their award-winning cradleboard, Continuing the Legacy.

In 2010, the British government refused to accept the Iroquois Confederacy passports carried by the Iroquois Nationals lacrosse team, thereby denying the team its chance to compete in the quadrennial World Lacrosse Championship.

The passport issue became personal when the couple’s son Kanentokon was detained in El Salvador while returning from a conference in Bolivia. He and his companions were in limbo for four weeks, threatened with imprisonment and deportation to Bolivia.

Both the lacrosse team and Kanentokon were told they could travel if they would declare either Canadian or United State’s citizenship, an offer they refused. The Iroquois Nation, a sovereign entity, saddles both countries.

“So we were throwing around this idea of how do we get the story out, not only about our passports, but then we [also] started to incorporate the whole lacrosse story,” Carla said.

Continuing the Legacy combines a historical timeline for lacrosse, which originated with the Iroquois centuries ago, and the Hemlocks’ personal connections to the sport.

Babe carved and painted the back of the Mohawk-style cradleboard. Ironically, his research turned up an 1868 photo of a Mohawk lacrosse team that traveled to England to play for Queen Victoria. “And they went as Mohawk citizens,” Carla noted.

The Iroquois name for lacrosse means “little brother of war,” and the cradleboard’s background depicts warriors locked in fierce competition.

“It was not played as a sport game. It was played as an alternative to settle a dispute, instead of going to war,” Carla said.

Among images of modern lacrosse players, Babe included his father, one of his uncles and his grandfather. Two players in the foreground have suitcases with stickers representing all the countries that have accepted Iroquois Confederacy passports.

Carla’s beadwork on the front of the cradleboard continues the personal story, with an image derived from a photograph of one of Babe’s great nieces cradled in a lacrosse stick pocket. The girl’s father plays lacrosse.

This is the couple’s first collaborative work. Carla is known for her beaded quilts and Babe for his cradleboards. Both are self-taught.

Carla started beading when her first child was born, beading strictly for family for 20 years. That changed in 2004, when the Memorial Hall Museum in Deerfield, Massachusetts, included one of her quilts in an exhibit and her work “took off.”

Babe was in high school when he finished a cradleboard his brother had started. “I still have it today, and all of my four kids were actually in the board,” Babe said.

A Southwestern Association for Indian Arts board member spotted the couple at the opening of the National Museum of the American Indian in Washington, D.C., and encouraged them to apply for market. They began showing in 2006.

Joseph Youngblood-Lugo is very conscious of carrying on a family tradition. His mother is famed potter Nancy Youngblood. His great-grandmother, Margaret Tafoya, was a recipient of the prestigious National Endowment for the Arts National Heritage Fellowship.

Tafoya told the NEA that her family had been potters for “as far back as records exist.”

Tafoya set the standards for the family’s pottery making, insisting on traditional techniques for digging the clay, hand-coiling and polishing the pieces, and firing them outdoors. “She was very adamant about all her descendents doing pottery the old way,” Nancy Youngblood once told The Santa Fe New Mexican, adding, “She said, ‘I don’t want people saying 100 years from now they wish they could do this the traditional way, but no one remembers how.’” That philosophy has been passed down to Youngblood-Lugo, winner of the 2013 Classification IX award for youth 17 and under.

“My mom’s been a huge influence on me, because she really wants us to keep the tradition going,” Youngblood-Lugo said. “Our family keeps everything traditional, and she wants to see that continue on even after she stops making pottery some day.”

Youngblood-Lugo began “messing around with” the clay and trying to shape it when he was two or three. “I basically grew up with it all my life. I’ve been in a booth every year, pretty much since I was a toddler. So that’s been my life,” he said. “Since I could talk it’s always influenced me, and once it got to the point where I could actually sit down and have the patience to do it myself, it just made sense.”

The teen entered the market when he was around 11, noting that “it’s a lot of work and practice, but it’s definitely worth it.”

2013 was Youngblood-Lugo’s last year in the youth market, and he has since juried into the adult market. “Since it was my last year in youth, I really wanted to go big. I wanted to do something that would be my last youth piece, something that would really matter,” he said. “So my favorite design, which is actually most of our family’s favorite design, is the serpent. So I thought, how many serpents can I place on the piece?”

Youngblood-Lugo carved four Avanyu (water serpents) around the side of the pot and two more on the bottom, working to find the right balance between “going big” and “looking ridiculous.” “I was hoping to get everyone’s attention, and I was happy to see I did,” he said.

“The main direction I’m trying to focus on is keeping the tradition going, while at the same time, there’s only so much you can do with traditional,” Youngblood-Lugo said.

“I’m trying to be a fresh new artist, while still keeping everything traditional. I don’t want tradition to die, but I don’t want everyone to see me as just another Santa Claran artist.”

6 4 2 014 IN D IA N M A RKET

2014 IN D IA N M A RKET 6 5

CLASSIFICATION XI: BASKETRY

CLASSIFICATION X: MOVING IMAGES

SHAN GOSHORN (CHEROKEE)

JAMISON CHAS BANKS (CHEROKEE/SENECA-CAYUGA)

Stories in warp and weft

Through the lens of the past

Shan Goshorn transforms traditional Cherokee baskets into an entirely new genre by using such things as shredded photographs and reproductions of treaties for her materials. Every Goshorn basket tells a story.

Goshorn’s award-winning piece They Were Called Kings is a set of three baskets that tell the story of three Cherokee warriors who journeyed to England in 1762 to meet King George III. Goshorn wrote, “The delivery of their orations and their exotic appearances made a fascinating impression on British society, who became convinced that their guests were foreign royalty.”

Newspapers and magazines had daily coverage of the Cherokees’ activities. The inside of the basket is woven with reproductions of those accounts, along with the king’s royal coat of arms.

For the warrior images, Goshorn photographed three contemporary members of the Warriors of AniKituhwa, a Cherokee dance group, wearing their own 18th-centurystyle clothing. Members of that warrior society, who once provided the first line of defense for the Cherokee people, now serve as cultural ambassadors and role models.

“Even though that’s an homage piece to a historical time for the Cherokee, I like using contemporary photographs to show that we are still here, and that we are not just in the archives of the Smithsonian. We are living people. We’re an active part of contemporary society today but firmly rooted in our traditional past.”

As with many of her pieces, even the weave tells a story. A Cherokee single-weave style, in a pattern called Water/Mountains, symbolizes how the warriors traveled from their mountain homeland across the ocean.

Much of Goshorn’s work is political in nature. She won the 2012 Innovation Award for her piece Removal, woven from paper reproductions of the Indian Removal Act of 1830 to symbolize how American Indians were forced to leave their homelands.

“I’ve been a political artist ever since the 1990s, but this art form is the first time that I really feel that I’ve found a genre that engages people,” Goshorn said.

Seventy-five percent of Goshorn’s effort begins before she starts to weave, involving up to a year of research. Four recent fellowships provide Goshorn the time and means to research at places such as the Smithsonian’s National Museum of the American Indian. She received a 2013 Southwestern Association for Indian Arts Discovery Fellowship, a 2013 Eiteljorg Contemporary Art Fellowship, a 2013 Smithsonian Artist Research Fellowship and a 2014 Native Arts and Cultures Foundation Artist Fellowship.

The support allows Goshorn to focus on work she finds meaningful. “I put a lot of effort into the work, but everything is happening seamlessly, because I believe that I am being led by the ancestors, who are impatient to have their stories told,” Goshorn said.

A silent, sepia-toned film named Cibola: Seven Cities of Gold took the 2013 Classification X award.

The movie reflects director Jamison Chas Banks’ penchant for exploring contemporary issues through the lens of the past.

Banks studied film at the Institute of American Indian Arts in the 1990s, but he began his career in earnest four years ago, when digitized technology opened the field for small-budget video production.

Cibola’s protagonists are American Indian prospectors searching for gold. The idea evolved when genealogical research revealed that Banks’ six-times great-grandfather on his mother’s side was a Cherokee Confederate soldier in the Civil War. For Banks, it was no stretch of the imagination for someone like his ancestor to head for the SWAIA/NADELBACHPHOTO.COM gold fields.

“He was a hybrid of those two worlds, and I started to think, this man lived in this world and he spent money, like I do. So you have to make money,” said Banks, who imagines that he might have quested for gold if he had lived during that period.

“The message is that we live in a world that is bound by capital,” he said. “And what is capital? It’s really at its root gold. … At some point we all endeavor for riches on some level.”

Depicting American Indians in a stereotypically Anglo role also appealed to Banks.

“I wanted to put in these Native American characters so I could talk about how the stereotype is just that,” the director said. “These people had multifaceted lives. Maybe people didn’t see it, but I’m trying to add to that collective history of film by saying this is one other perspective that’s absent that needs to be expounded upon.”

Banks set out to make a Western. When his research unearthed a silent film called The Indian Squaw, he knew he wanted “the feel” of that movie for Cibola. “It’s silent, and in that silence there’s a bit of an enigma, a bit of a mystery that’s unspoken. When you start to put dialogue into a film, that mystery vanishes. … I wanted to keep that kind of integrity, of the original silent films, but also give it this new edge where the Native people are the main protagonists of the film.”

Banks grounds his work in research based on inspiration. “I’ll see these glimpses, and it’s like something that somebody keeps putting in my head and won’t let me get rid of it,” he said. “It’s a record that keeps skipping, and at some point I have to give in and go do research on this thing.”

For Banks, surrendering to those “glimpses” is a “leap of faith.” “I realize that it’s more than me,” he said, “that there are higher forces at work.”

Historic themes dominate Banks’ work. One current project, St. Louisiana Purchase, juxtaposes the exile of Eastern tribes to “Indian Territory” west of the Mississippi with Napoleon’s exile.

Another raises issues about “enemy combatants” by depicting American Indian warriors incarcerated in St. Augustine, Florida, during the Indian Wars.

6 6 2 014 IN D IA N M A RKET

MEET ARTIST VERMA NEQUATEWA THURSDAY, AUGUST 21, 2-4 PM

SANTA FE

53 OLD SANTA FE TRAIL | UPSTAIRS ON THE PLAZA | SANTA FE, NM | 505.982.8478 | SHIPROCKSANTAFE.COM 2014 IN D IA N M A RKET 6 7

INNOVATION AWARD

2013 TRADITIONAL PUEBLO POTTERY AWARD

JAMIE OKUMA & SANDRA OKUMA (LUISEÑO/SHOSHONE-BANNOCK)

JAMES EBELACKER (SANTA CLARA)

Fashion statement

Working in tandem with pots

SWAIA/NADELBACHPHOTO.COM

It was a lucky coincidence that a jacket created by Jamie Okuma (Luiseño/ShoshoneBannock) and a bag designed by her mother, Sandra Okuma (Luiseño/ShoshoneBannock) were the perfect fit for each other. That combination garnered the Southwestern Association for Indian Art’s 2013 Innovation Award.

The discovery happened when the Okumas were preparing for the spring 2013 Heard Museum Guild Indian Fair & Market. “It just so happened that the bag was finished and her jacket was finished, and we put them together and it looked so cool,” Sandra said.

“And we said, ‘This is an ensemble. This looks really great.’ It wasn’t intentional.”

Jamie’s black Italian shearling jacket is a striking fusion of styles. “I was pleased with the final look of it, being very, very modern and contemporary with basically traditional parfleche designs. I thought that was a successful combination,” Jamie said.

Sandra’s black handbag accented with beadwork and fringe adds just the right flair to the jacket.

This was the first time they had entered into competition together, but the mother and daughter have consulted on pieces before.

Sandra began painting and drawing as a child. Her first award at Indian Market was for painting, in 1998, the first year she and Jamie showed at market together.

Sandra continued to pursue fine art while working as a graphic designer for Universal Studios and MCA Records, where she created logo designs, billboards, ads and album covers for the likes of The Who, Sonny and Cher and Lynyrd Skynyrd.

Sandra taught herself how to bead. She evolved from making traditional strikea-light pouches to handbags with vintage silver frames and eventually to bags for everyday use. Her skills as a seamstress are also integral to her designs. “Everything I did influences what I do today. It’s an accumulation of a lifetime of inspiration from many different sources. But graphics play a big part,” Sandra said.

For Jamie, the award bolsters her recent move into fashion design. She is best known for her multimedia sculptures of traditionally outfitted American Indians.

Those pieces garnered Best of Show in 2000, 2002 and 2012 and Best of Classification in 2011.

Jamie told The Santa Fe New Mexican last year that she planned to move away from that art form to concentrate on fashion design, with her ultimate goal being to have her own fashion label. She is now creating clothing, accessories and beaded shoes.

A pair of her beaded shoes was included in an exhibition at the Musée du Quai Branly in Paris earlier this year. The artistic creation will move to the Nelson-Atkins Museum of Art in Kansas City in September and then will travel to the Metropolitan Museum of Art in New York City in March 2015.

Both women have won awards before, but this one was unexpected. “I think of all the awards I’ve gotten, this was the most shocking. I never expected that,” Jamie said. “It was a wonderful surprise,” Sandra said. “And it’s thrilling to win together.”

Santa Clara potter James Ebelacker has fond childhood memories of Indian Market, when he would nap under the table shared by his mother, Virginia Ebelacker, and his renowned grandmother, Margaret Tafoya (Corn Blossom). He learned his art from the two women, creating his first clay animals at around seven years old.

His award-winning piece was a meticulously polished pot, nearly 20 inches high and more than 16 inches wide. His grandmother was also lauded for her unusually large pieces.

Throughout a 31-year career in the Air Force, Ebelacker created a few pottery pieces on each visit home. “Through that time I never lost sight of who I am and what dynasty I came from,” he said. He would work from 6 or 7 a.m. until midnight, always delving deeper into the techniques.

SWAIA/NADELBACHPHOTO.COM Like all potters, Ebelacker has lost his share of pieces, but his losses have decreased as his technique improved. “It’s almost like a math problem,” he said. “You have to start it out right from the get-go, because if you skip a few steps, it’s all going to be for naught. Firing pots can be challenging. I have plenty of scars,” said Ebelacker, who now wears protective gear, “because I took up the bigger pieces, and the fires are bigger and it can be dangerous at times.”

“I think if you respect the clay, it in a way respects you. You try to make the clay pretty. You try to honor those who have put their hands on the clay before.”

Large pots present their own challenges, as they tend to collapse. “It’s got to be a good day,” Ebelacker said.

The potter “removes himself” while the clay sets. “Then, when I come back, maybe it’s ready and maybe it’s not. So we work in tandem, me and the pots.”

He said that the clay influences every piece. “Mother Clay tells me what it wants to be, and that’s the way we go. And lo and behold, it’s a beautiful shape — the curvature, the lines.”

Despite the challenges, the work “brings me a solace, a satisfaction and just a peace of mind,” he said. “Both my mother and my grandmother have passed, so I do it as an homage to them.”

Ebelacker’s connection to his grandmother was rekindled during Indian Market last year, when he discovered that King Galleries had one of her large storage jars.

“I reached in and felt on the inside, and she had her handprints in there,” he recalled.

“If a piece of clay could talk to you, and if your [deceased] grandmother could talk to you, she just did, right there. And it just took [my] breath away.”

That experience inspired him to make what he calls a “grandmother” pot: Built with six-foot coils, it is 27 inches high and 26 inches wide, with a circumference of 85 inches.

At the time this guide went to press, Ebelacker was still working on that piece. If the pot “decides to come out,” Ebelacker will bring it to market.

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Hal & Margie Hiestand

101 W. SAN FRANCISCO ST

SANTA FE

505-988-1866

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2014 SWAIA FELLOWSHIPS

Awards recognize creativity, originality and artistic achievement

BY KAY LOCKRIDGE

Art, at its best, provides a bridge between generations and through time itself. Now in its 34th year, the SWAIA Fellowship Program offers financial and mentoring resources to both emerging and established artists.

The 2014 Fellows, along with the winners of the Lifetime Achievement Award and the Pov’ika Award, will be honored Saturday, Aug. 23, from 11:30 a.m.-12:30 p.m., on the Plaza Community Stage.

SWAIA YOUTH FELLOWS

SWAIA DISCOVERY FELLOWS

Artists 17 and younger are eligible for these awards, which carry a stipend of $500 for the purchase of supplies and/or to fund research projects to assist young artists in pursuing their artistic endeavors.

These awards provide $5,000 for artists to explore their creative processes and push the boundaries of their respective art forms. Whether the art form is traditional or contemporary or the artist emerging or established, he or she is encouraged to expand artistic goals through travel and research.

TAYLOR TALIMAN (NAVAJO/DINÉ) PHOTOGRAPHER Taylor Taliman epitomizes the type of young artist who qualifies for the SWAIA fellowship. “I was really excited and shocked [when I was notified] that I had been accepted to receive this fellowship,” the 13-year-old photographer said. “I was happy that I would be able to be a part of this SWAIA program and use it to exhibit my photographs and be able to use the money to purchase more film, a camera lens and time in the darkroom. I hope to make SWAIA proud.”

The youngster uses a camera — a Pentax K1000 — used by his maternal grandfather when the latter was in college 40 years ago. Taliman noted that he prefers to use film for his photography rather than digital images. He enjoys developing and printing the black-and-white film in a commercial darkroom in Flagstaff, Arizona.

“I like putting the film onto paper and seeing the image on a larger scale and adjusting the different shades and effects of the photo,” he explained. “I try to look for things that are interesting and different using different angles to get a unique perspective.” He enjoys photographing “unique land formations, wildlife and especially horses.”

JI HAE YEPA-PAPPAN (JEMEZ PUEBLO) VISUAL ARTIST AND BALLET DANCER For 12-year-old Ji Hae Yepa-Pappan, art always has been a family affair. From an early age, she has worked and traveled with her parents — father Chris, who is a painter, and mother Debra, a mixed-media photographer — as they pursued their artistic endeavors. YepaPappan’s drawings feature people and things that are important to her, including dance and characters from both books and movies.

“The fellowship is a big deal,” she said with excitement, “and it’s an amazing opportunity to sell work, get publicity, meet brilliant people and [develop] my artistic future.” Yepa-Pappan noted that she used the stipend to buy new paintbrushes and several canvases, as well as a pair of point shoes for ballet.

“I don’t plan to dance at the market, but I will be doing some drawings and perhaps some paintings, if I can find time,” she added. As always, her parents will be by her side.

SIERRA EDD (NAVAJO/DINÉ) PAINTER AND VISUAL ARTIST At 18, Edd is the youngest artist to receive a Discovery Fellowship and among the most recognized. One of four artistic sisters, all under the age of 21, Edd also was awarded a past SWAIA Youth Fellowship, and in 2010, she won first place in the Youth category and the judges’ special “smile award” for her artwork.

“When I received this award [early last spring], I realized … that I had a serious problem: I had finished only two and a half paintings,” the recent high school graduate said. “I was excited for what I can achieve with a new opportunity, but I am still apprehensive [about] the responsibility that comes with being recognized.

“Along with receiving a great recognition, I gained an intimidating expectation for me to perform well and deliver my own style of art. My goal … is to communicate the complex matrix of contemporary Native American lifestyle, as well as ultimately initiate a reflection of our history.

“This year at the Santa Fe Indian Market, I hope that I may have the ability to convey a glimpse of that meaning through my artwork,” Edd said.

ELIHU JOHNSON (CHICKASAW) BOWYER AND FINE ARTISAN This multitalented artist uses recycled and natural objects to create bows and weapons, which are both art and functioning tools that encompass elements of history and Native culture. Johnson noted that each bow has a unique story and individual style that tells the story of the warrior who carried it.

He said he will use the grant for travel and research in learning more about various American Indian tribes and their great warriors. He will also purchase supplies to create new weaponry, quivers and arrows.

70 2014 IN D IA N M A RKET

SWAIA/SANTA FE ART INSTITUTE RESIDENCY FELLOWS These Residency Fellows receive a two-month residency before, during and after Indian Market at the worldrenowned Santa Fe Art Institute, including a private studio and $1,000 for supplies for each of the two months.

Residents have the unique opportunity to create, share, interact and exchange ideas with artists and writers from around the world.

LUANNE REDEYE (SENECA) PAINTER AND PRINTMAKER “As a representational and figurative artist, my work is an intersection of autobiography and community,” said Redeye. “I depict my Native culture and the relationship between perception and experience through genre scenes and portraits. My work makes visible that which is invisible.”

Now 29 years old, the outspoken artist challenges the observer’s senses and beliefs by pointing out societal misconceptions, including by some Native Americans, about Native hopes, dreams and efforts.

“I speak of the importance of a Native identity … by challenging the misconceptions through my art … not to prove authenticity but to disprove what others think is ‘authentic.’”

Redeye will use the two months in residency to produce work that explores these misconceptions and challenges.

MONTE YELLOW BIRD SR. (ARIKARA/ HIDATSA) PAINTER AND LEDGER ARTIST Known in the art world by the name given him through ceremony, Black Pinto Horse, Monte Yellow Bird Sr. has received numerous awards throughout his long career and said this fellowship might be the “most wonderful” of all such recognition.

“My life as an artist, educator, humanitarian and storyteller … is wrapped up with the Residency Program,” he said. “Through [the program], I will be able to use all my skills to research, create and share various ideas and programs for both Native Americans and others who seek to know us. I am a community builder, in terms of both existing and new communities. I could not ask for a better opportunity and platform than the two-month SWAIA/ Santa Fe Art Institute Residency Program.

“Indian Market always has been a most important event in my professional and personal life, and I expect market this year to be bigger and better than ever. I am proud to be involved in the market and to have been selected for this award.”

Yellow Bird tells stories using a vibrant application of oil paint on canvas in the form of First Nations’ icons, specifically Plains tribes, enhanced by three-dimensional elements such as shells, feathers and beadwork. He also creates drawings using colored pencils on antique ledgers, work indicative of 19th-century American Indian ledger style.

Photo by Taylor Taliman

Ji Hae Yepa-Pappan

Sierra Edd

Elihu Johnson

Luanne Redeye

Monte Yellow Bird Sr.

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Don Lucas

Dennis Hogan

101 W. SAN FRANCISCO ST

SANTA FE

505-988-1866

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SANTA FE INDIAN MARKET

Running Eagle Takes Her Enemy • 19”x 36” • Ledger Art on Antique Paper

ARTIST OPENING

TERRANCE GUARDIPEE BLACKFEET LEDGER ARTIST

AUGUST 22ND • 6-8PM 203 WEST WATER ST

fine western & contemporary art

203 West Water St. & 713 Canyon Road • Santa Fe, NM 87501 www.casweckgalleries.com • 505.988.2966 2 014 IN D IA N M A RKET 7 3

Medicine Otter Hat • 36”x 19” Ledger Art on Antique Paper

Robert Taylor

Indian Market Group Exhibition Friday, August 22th 5 - 8 pm

Robert Rogers

Joshua Tobey

GALLERY 822 822 Canyon Road Santa Fe, NM 87501 74 2014 www.gallery822.com IN D IA N M A RKET 505.989.1700

Theresa Secord preserves traditions through advocacy for art and environment

BY NEEBINNAUKZHIK SOUTHALL The creative life work of Theresa Secord, a member of the Penobscot Indian Nation, is all about preserving rich cultural traditions. The artist weaves her ash and sweetgrass baskets using the same wooden forms and tools that her great-grandmother used, handed down from the 1800s. She also creates the same shapes that her great-grandmother wove many years ago. Secord often accents her baskets with purple and pink lines.

The colorful hues are created the traditional way, using wild Maine blueberries and raspberries. “I prefer to use the natural dyes,” Secord said.

Secord, along with other Natives from Maine, has been working to ensure that traditional ways continue to be handed down through the generations. “We have a lot of advocacy for the art and the environment among the tribes,” Secord said. The four tribes in Maine — the Maliseet, Micmac, Passamaquoddy and Penobscot — are working together to save basketry traditions through the Maine Indian Basketmakers Alliance (MIBA), founded by Secord and others in 1993 (www.maineindianbaskets.org).

“The tribes here have active forestry programs,” she explained. They, along with the state and federal forest services and the University of Maine, are working to preserve the ash forests, which face devastation due to the invasive emerald ash borer that has already spread into adjacent New Hampshire. With a potential reduction in ash trees, it’s hard to predict the future of Maine basketmaking, particularly with pressure on the resources from widespread usage.

Adapting and conserving “Tribal people are so adaptable,” said Secord, and they are doing their best to meet these potential changes head-on. “Trying to conserve is probably the best thing.” Secord advocates exploring alternative materials to weave with to conserve ash. She uses cedar bark, a nontraditional material in Maine basketry, in several of her pieces for its “great color and texture” as well as aromatherapeutic qualities.

With less future availability of ash, she also sees the opportunity to revive other cultural methods of creating, such as working with basswood fiber, which is employed in making bags and sashes and has not been extensively used in 90 years.

How will a reduction in ash affect the pricing of baskets? “Everything is unpredictable,” Secord answered. As the future holds many unknowns,

BASKETS FULL OF HOPE 2 014 IN D IA N M A RKET 9 75 2014 5

Theresa Secord (Penobscot)

basketmakers have been documenting their knowledge with the University of Maine in an effort to preserve their rich culture.

The making of baskets is an old industry, with many components. “People have been selling baskets to tourists on the east coast of Maine since the 1840s,” Secord stated. Natives and non-Natives alike utilize traditional baskets, which they carry on their backs while hunting, fishing, trapping and canoeing.

“There’s an old system in place,” revealed Secord.

When it comes to a single basket, “as many as four or five people have been involved.” To obtain their materials, male basketmakers harvest the ash. Then a son or grandson may hand pound the log to process the material. Sweetgrass is picked along the coast of Maine and may be sold to other basketmakers for as much as $45 a pound. There are braiders in the industry who braid the sweetgrass and sell it to basket makers by the yard in up to 100-yard bundles. The ash used in baskets is sold rolled up in splints. Secord added that the tools also have to be handmade, as well as the wooden forms used to shape the baskets. Unlike some tribes, both men and women are heavily engaged in the basketry industry in Maine and have been, historically.

While Secord visited her family on the reservation throughout her youth and spent time with her basketmaking great-grandmother, she didn’t begin weaving until some years later. When her tribe,

together with the Passamaquoddy tribe, won a record 300,000 acres of their land back through the 1980 Maine Indian Land Claims settlement, the tribal administrators began calling up young tribal members with natural resource degrees.

Equipped with a master’s degree in geology, Secord went to work for the Penobscot Indian Nation. While there, she connected with a friend of her greatgrandmother’s, Madeline Tomer Shay, who not only mentored her in their language but also taught her basketmaking. “It became this great friendship for five years,” said Secord. Together they joined with elders in Maine’s tribal communities to form MIBA, with a mission to save the ancient basketry traditions, which has been Secord’s focus as the founding executive director for the past 21 years.

New generation inspired When they began the group, young people weren’t making baskets. With effort, they turned this around.

“We taught a new generation to weave,” said Secord.

Now, four generations are involved in making baskets.

“I love this intergenerational aspect,” she said.

Additionally, it functions as a positive social activity for communities, as a counterpoint to social ills.

“We’ve been able to offer an alternative,” said Secord.

The fruits of their efforts can be particularly seen in 976 6 2 014 IN D IA N M A RKET 2014

the example of Passamaquoddy basketmaker Jeremy Frey, a member of the group who notably won Best of Show in 2011 at both the Heard Museum Guild Indian Fair & Market and the Santa Fe Indian Market. “Never did we imagine that a young man with his remarkable skills and artistry would come along!” remarked Secord.

MIBA was also successful in increasing the value of Maine basketry. During the 1950s, with a lack of options in rural areas, many people sought opportunities elsewhere, reducing the numbers of potential basketmakers. A number of Secord’s mother’s generation left their communities to go to nursing school in Portland, Maine. “Basketry making was becoming associated with poverty,” noted Secord.

Baskets continued to be sold very cheaply through the years. “We were able to turn around the low price.”

The prices of baskets went from $30 to $300, and even $3,000 in some cases during the past 20 years.

Basketry now serves as a good source of income for tribal members, which also provides additional incentive for its preservation.

In May, Theresa retired from her position as executive director of the Maine Indian Basketmakers Alliance. She continues to focus on her artwork and works as a consultant, training artists in professional and business-development areas.

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WHAT DRIVES A RISING STAR?

BY NEEBINNAUKZHIK SOUTHALL While visitors look forward to chatting with long-established artists at Indian Market, the event also offers the opportunity to meet a new, exciting generation of artists. Patrick Dean Hubbell is among the younger artists whose work catches collectors’ eyes. In fact, as Cowboys & Indians magazine noted in June 2013, Hubbell “is one of the hottest rising stars in the art world.”

Patrick Dean Hubbell’s work is at once cerebral and emotional. He explores different artistic methods and philosophies, while at the same time expressing his own inner life and perceptions of the world.

Ever since this Diné artist graduated in 2010 with a Bachelor of Fine Arts degree in painting and drawing from Arizona State University, he has worked as a professional painter. In this short time, he’s produced an impressive amount of work and has several series that he is expanding simultaneously. For Hubbell, there’s a sense of balance and enjoyment in working this way.

The artist’s work encompasses a variety of mediums, such as acrylic on canvas, mixed media, charcoal and oils. “I like to think of myself as pretty well-rounded

CONTEMPORARY PAINTER PATRICK DEAN HUBBELL THRIVES ON CREATIVE EXPRESSION

Above, That Which Makes Up Space 11 Facing page above, Between Here and There 16 Facing page below, Patrick Dean Hubbell (Navajo/Diné)

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Above, Untitled Appropriation No. 7 Middle, Between Here and There 20 Below, Eclectic Reasoning

with different mediums,” he said. His surfaces are a range of sizes, and he hopes to work very large scale at some point in the future.

The highly gestural quality of his brushstrokes in several of his series, such as Between Here and There, indicate a strong influence of Abstract Expressionism. Bold areas of color in other series, such as Abstracted Landscape and Ubiquitous Nature, call to mind color-field and hard-edge painting.

Hubbell’s abstract work is quite striking. He’s also very competent at realistic portrayals of subjects, as can be seen in his series Look on the Brighter Side, where his depictions of old-time Natives wearing shades are often combined with backgrounds of stripes, zigzags and solid areas of color.

He toes the line between abstraction and realism in the paintings of the Almost A Portrait series, which utilize expressive brushstrokes and a limited palette. His work can be enjoyed visually, while also appreciated for its intellectual framework and spirit, as the imagery within the paintings at times functions as a symbolic, personal vocabulary of the artist.

Hubbell’s acts of art making are the culmination and interaction of many factors. His father, Roy Hubbell, a graphic designer, had an early impact on the artist, impressing his young son with his intricate pen and ink drawings, which incorporated techniques of stippling and crosshatching.

Hubbell’s contemporary training at school has been fundamental to his development. “I’ve been painting since I graduated high school 10 years ago,” he said, noting that his artistic interests were sparked in high school.

“When I got to Arizona State, I really started to be a part of it.” Throughout his time at the university, he experimented with different ways of working. He “gravitated toward the figure” and also began developing abstract work, as well as combining the two approaches. In the Phoenix area, he was exposed to the work of other artists as he had the opportunity to attend many art openings.

Research is also important. He cites the influence of European masters, whom he has come to know and appreciate through studying art history, and he is also following the work of various contemporary artists. “I like to think of my work as my own investigation of different theories,” Hubbell said.

Delving into color theory has affected how he looks at the world. “Where I’m originally from — my mom’s and my grandma’s place — it’s beautiful, it’s different,” he said. Hubbell grew up in Navajo, New Mexico, as well as the area around Window Rock and Fort Defiance, Arizona, and he has grown to appreciate these surroundings, looking at them through new eyes due to his explorations with color.

“A lot of the inspiration I pull from is nature,” Hubbell revealed, noting “the impression it has on us through time and space” and “the way it has a sense of movement.”

Hubbell also finds inspiration in his own home in Window Rock, Arizona, where he lives with his wife, Andrea Ashkie, a photographer, whom he credits as a “main inspiration and motivator,” and his daughter, Kamri Mae. Hubbell works in his studio, a garage modified to fit his purposes. “I try to paint at least every day or [do] something related to my studio’s environment, at least.”

One method Hubbell uses to stimulate his creative process is freewriting.

This may include jotting down his thoughts as he’s working, expressing his feelings or noting the brand of paint he’s using or the different mediums employed. His writing is not about being perfect, but rather about documenting his process and better understanding himself and his art.

“I feel creative expression is essential to me to be happy, to remain in balance,” Hubbell shared. For the young artist, it’s about taking care of his emotional, physical, mental and spiritual sides. “It has a lot to do with balancing all aspects of my life.”

To find out more, visit: www.patrickdeanhubbell.com.

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NEEBINNAUKZHIK SOUTHALL

Frederica V. Antonio (Acoma Pueblo) 182 02 2014 2014 IN INDDIA IANN M MAARKET RKET

An eye for detail ACOMA PUEBLO POTTER FREDERICA V. ANTONIO ENJOYS AMAZING COMEBACK

BY NEEBINNAUKZHIK SOUTHALL

Frederica V. Antonio’s geometric pottery designs are so intricate that one passerby at the Native Treasures art show this past May asked, “Excuse me, do you have to use a magnifying glass?”

No, there are no magnifying glasses used here — Antonio relies on her eyes alone as she paints her sensational pots. The Acoma Pueblo artist’s work has such a level of refinement that she has won awards at the Santa Fe Indian Market, the Inter-Tribal Indian Ceremonial in Gallup and the New Mexico State Fair in Albuquerque.

Antonio’s current work is especially significant, considering her amazing comeback from a serious impairment that could have halted her art career altogether. During 2005 and 2006, the potter was experiencing problems with her vision.

“I started to lose my eyesight on the left side,” Antonio said. “I thought I wasn’t going to paint anymore. I started to get real bad headaches.” She went to the doctor and then got an MRI, which revealed that she actually had a brain tumor blocking her optic nerve. “In 2007 I started painting [again] after I had surgery to remove the tumor,” Antonio said. She was grateful that she could see again.

Making pots has long been an important aspect of Antonio’s life. “I’ve been doing traditional [pottery] for 26 years now,” she said. At age 17, she learned to build pots from her now mother-in-law, Mildred Antonio. The gray clay that Frederica Antonio uses to make her pots comes from Acoma Pueblo. Her husband, Randy Antonio, who is a flintknapper, or stone-tool maker, gathers the clay, as does her father and her nephew. They park at the bottom of a hill where the clay is found. From there, they hike with a wheelbarrow to the top of the hill and then collect big chunks of clay.

Next, the clay is ground into a fine powder. Pottery shards are also reused — they are ground into powder and mixed in with the clay. After further processing, Antonio forms the prepared clay into a variety of shapes, including seed pots, long vases, jars and even experimental square pots. She creates shiny areas on her pots through polishing.

While it only takes a day or two to make the pots, applying a pattern can take one or two weeks. “I use a yucca leaf. I chew it down to fibers, and that’s how I make my fine lines,” Antonio explained. She’ll use two or three fibers for a brush.

Placing her hands around the rim of a pot, she shows how she often uses her fingers to make the initial measurements to begin a pattern. When she first places her guidelines on the pot, she doesn’t know what the resulting design will look like, but rather develops it during the process of painting.

“You have to count, too, so the pattern will come out even,” the potter noted.

At first, Antonio’s designs used to be black and white, “all checkerboard,” but she later began exploring other patterns and incorporating color. After she fills in areas with color, she often relines any surrounding black lines.

A number of her pots feature a patterned band several inches wide at the top, with another pattern covering the rest of the pot below. Just last year, Antonio said, she’d developed a distinctive style that she calls a “four seasons pot,” with different patterns covering four separate quadrants.

The paints Antonio uses are all made from natural materials, which she gathers with her husband. For example, she uses black onyx, pounded into powder, for black paint and sandstone, which makes up her yellow paint.

Combining white slip with red pigment produces pink. Black and pink paint produces brown. The white background on the pot is the fired clay itself.

The colors within her pottery hold meaning as well — red represents the sun, white represents Mother Earth and black represents clouds. The lines and dots in her patterns represent rain and raindrops.

Since her medical recovery, not only has Antonio been able to refocus on her own art, but she is also passing on her process to her 6-year-old granddaughter Leah, who has taken an interest in painting pottery. The artist gets Leah started by lining the pots for her and then has her fill in the blocks with colors. “She wants to keep doing it,” Antonio said. “She gets her yucca and chews it and makes her lines.” These beginnings are promising, as Leah sold the pots she painted right away during Acoma’s feast day in September.

Antonio participates in the American Indian Arts Marketplace at the Autry Museum in Los Angeles, the Heard Museum Guild Indian Fair & Market in Phoenix and SWAIA’s Santa Fe Indian Market and Winter Market.

The colors within her pottery hold meaning as well — red represents the sun, white represents Mother Earth and black represents clouds.

The lines and dots in her patterns represent rain and raindrops.

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THE 14TH ANNUAL NATIVE CINEMA SHOWCASE

Music and the movies

NATIVE CINEMA SHOWCASE ADDS MUSIC TO THE MIX

BY HARLAN MCKOSATO (SAUK/IOWAY) Film and music have a natural bond. It is virtually impossible to find a film these days without a wellthought-out soundtrack to accompany it. Native filmmakers have followed this trend and many have stepped out of the box when it comes to music and film. The Santa Fe Indian Market’s Native Cinema Showcase will highlight both film and music during this year’s 14th annual event.

Once again the showcase, popularly known as Class X and presented by the Smithsonian’s National Museum of the American Indian (NMAI) and the Southwestern Association for Indian Arts (SWAIA), is a weeklong event, beginning on Monday, Aug. 18, and running through Sunday, Aug. 24, with most screenings held at the New Mexico History Museum just off the Plaza.

A man who has years of experience in both the film and music world, John Trudell of the Santee Sioux Tribe in Nebraska, recently expressed his thoughts and opinions about Native film, music, identity and culture from his home in the San Francisco Bay Area. Trudell is acclaimed for his leadership role in the American Indian civil rights movement in the late ’60s and ’70s and is the focus of the 2005 award-winning documentary titled Trudell.

“We live in a political time and the ‘Institution’ has decided we can’t tell them our truth,” said Trudell, whose movie career began with a role in Pow Wow Highway and includes roles in Thunderheart, Smoke Signals and Dreamkeeper, among others. “For Native people our truth does not live in America’s political system, religious system or their economic system, but the truth does live within us. Nobody’s going to speak our truth for us. Our truth has to come out through the culture and the arts. Music and film both generate a certain kind of energy. This is how we speak our truth.”

Trudell, an acclaimed recording artist, will introduce A Tribe Called Red, the DJ crew out of Ottawa, Canada, at this year’s showcase. The group performs Thursday night, Aug. 21, at 8 p.m. at the Museum of Indian Arts and Culture. The group has set the global electronic scene and urban club culture on fire since 2010. The group, made up of DJ Shub, DJ NDN and DJ Bear Witness, mixes traditional powwow vocals and drumming with cutting-edge electronic music.

Their second full-length album, titled Nation II Nation, was nominated on the shortlist of the Polaris Music Prize as one of the 10 best Canadian albums of the year, and the recording was also nominated for four Aboriginal Peoples Choice Music Awards for Best Group, Best Producer, Best Album and Best Cover Art. “I see it as a natural blend to put music with visuals,” said Trudell, whose ability to express fundamental truths was captured in his 1986 album with legendary Kiowa guitarist Jessie Ed Davis titled AKA Graffiti Man. “Within the Native community, film is starting to evolve — writing and production. But the Native music scene has been evolving over the past 25 years.

John Trudell (Santee Sioux)

I think music and film are designed to go along with each other.

“The key is having Native writers in music and film.

We have the technical ability and we have talented people, so we have the parts. There was a time when Native bands covered other people’s music. Now, Native musicians are doing their own writing. We need writers to tell our story. What I see evolving is people in our communities emerging and writing, and I think they’re very formidable.

“I believe film is art. I think there needs to be emphasis put on film. It completes the identity of who a contemporary Native is. We’ve got Natives in theatre, in music, we have visual artists. We have Natives in every aspect of the art world. In the technological age we live in, art continues with or without that technology, so it makes sense for Native artists to use that technology.”

John Paul Rangel, SWAIA director of public relations and marketing, agrees that new means of expression are valuable for Native artists. “Native film and music at this year’s Santa Fe Indian Market has so much to offer in bringing a fresh, inspiring and contemporary approach to sharing culture through new media,” Rangel said. “Art in Native America is really a representation of the Native people creating it, so we see filmmakers, musicians, singers and DJs exploring new and innovative ways to share culture and heritage so that it is representative of the changing face of Native America and our communities.”

Throughout the week the showcase will give visitors the opportunity to screen the Classification X: Moving Images entries and winners. Jhane Myers, 184 04 2014 2 014IN INDDIA IANNM MAARKET RKET

Details THURSDAY, AUGUST 21 8-10 p.m.

DJ crew A Tribe Called Red Museum of Indian Arts and Culture, 710 Camino Lejo. Free

(Comanche/Blackfeet) Project Manager for the Native Cinema Showcase, said that on Saturday night at dusk (around 8 p.m.), NMAI and SWAIA will present Movie Night at the Railyard Park. She added that there is no admission fee for showcase events.

Class X — given the moniker because it is the 10th SWAIA classification in the market — is divided into five divisions: Narrative Short, Documentary Short, Animation Short, Experimental Short and Feature Length. Winners are selected in each division, and there’s also a Best of Class X winner, who is then eligible for the Best of Show for the entire Indian Market.

Trudell expressed that the overall world of art can have a healing effect on our Indian children. He added that we have to get our kids, especially on the remote reservations, to like themselves and believe they have opportunity.

“It gets kind of complicated but everything is about energy. Everything that happens on this land is about energy, or spirit,” stressed Trudell. “As individuals, as a Native community, we’ve been traumatized by a technological civilization. As long as this trauma is used against us, we forget to like ourselves. We’re living in a trauma that doesn’t like us. How do we find a way to communicate reason? How do we make sense of it?”

The answer could be film, music and art.

THE 14TH ANNUAL NATIVE CINEMA SHOWCASE AUGUST 18–24, 2014 FREE ADMISSION

Southwestern Association for Indian Arts and the Smithsonian Institution’s National Museum of the American Indian present a weeklong celebration of Native cinema, featuring films and videos by and about Native peoples. Screenings are held at the New Mexico History Museum, 113 Lincoln Avenue, 505-476-5200, with one Saturday night screening at the Railyard Park, Guadalupe Street and Paseo de Peralta, (505) 982-3373, www.railyardsantafe.com.

All films and screening times are subject to change.

Visit www.swaia.org or www.santafeindianmarket.com for updates.

MONDAY, AUGUST 18 7 p.m. Incident at Oglala FOR MATURE AUDIENCES (USA, 1992, 89 min.) Director: Michael Apted Interviews recall the turbulence of the Pine Ridge Reservation when, on June 26, 1975, mounting antagonism between the U.S. government, tribal government and Lakota traditionalists resulted in the deaths of many, including two FBI agents. The subsequent trial ends in the conviction of American Indian Movement member Leonard Peltier.

In Person: John Trudell (Santee Sioux).

Preceded by ištínma/to rest (USA, 2013, 8 min.) Director: Andres Torres-Vives; Writers: Jesse Antoine Short Bull (Lakota) and Andres Torres-Vives A Lakota man reconciles with his father.

TUESDAY, AUGUST 19 1 p.m. Indian Market Classification X Winners 2014 (Repeats at 1:00 p.m. Sunday, August 24) Screenings of the Santa Fe Indian Market Classification X: Moving Image winners for Narrative Short, Documentary Short, Animation Short, Experimental Short, Feature Length and two Youth Divisions. The awards recognize an artist’s dedication and skill in working with new media and innovative art forms while retaining a commitment to traditional creation and technique.

Following the screenings, a Q-and-A with attending winners will be moderated by Jhane Myers (Comanche/Blackfeet), Film Project Manager.

7 p.m. Kumu Hina (USA, 2014, 77 min.) In English, Hawaiian

and Tongan with English subtitles. Directors: Dean Hamer and Joe Wilson During a momentous year in her life in modern Honolulu, Hinaleimoana “Hina” Wong-Kalu, a Native Hawaiian māhū, or transgender, teacher uses traditional culture to inspire a student to claim her place as leader of the school’s all-male hula troupe.

But despite her success as a teacher, Hina longs for love and a committed relationship. As Hina’s arduous journey unfolds, her Hawaiian roots and values give her the strength and wisdom to persevere.

Preceded by Wakening (Canada, 2013, 9 min.) In English and Cree with English subtitles. Director: Danis Goulet (Cree/Métis) The Trickster, Weesagechak, played by Sarah Podemski (Saulteaux), must confront the ferocious, cannibalistic Wendigo in hopes of ending her people’s suffering.

WEDNESDAY, AUGUST 20 1 p.m. Navajo Film Themselves (Total running time: 118 min.)

Project Directors/Producers: Sol Worth and John Adair Worth, Adair and Richard Chalfen traveled to Pine Springs, Arizona, in the summer of 1966, where they taught Navajo students how to use cameras to produce documentary films. All filmmaker biographies are on Penn Museum’s website: http:// www.penn.museum/sites/navajofilmthemselves/.

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A Navajo Weaver (USA, 1966, 20 min.)

Director: Susie Benally (Navajo) A demonstration of Navajo rug weaving by Alta Kahn, from the raising of the sheep for wool through the gathering of other materials to the completion of the woven artwork.

Untitled (Second Weaver) (USA, 1966, 9 min.)

Director: Alta Kahn (Navajo) Young weaver Susie Benally demonstrates how a belt is woven on a belt loom.

Old Antelope Lake (USA, 1966, 13 min.)

Director: Mike Anderson (Navajo) This film tells the story of Antelope Lake — its source, place, use and surroundings.

Intrepid Shadows (USA, 1966, 15 min.)

Director: Al Clah (Navajo) Alfred Clah was an artist from a community outside of Pine Springs. In 1966, he was a 19-year-old student at the Institute of American Indian Art. The Navajo Silversmith (USA, 1966, 21 min.)

Director: Johnny Nelson (Navajo) A silversmith demonstrates the making of a little Yeibechai figure from the mining of the silver, through the smelting process, design and finishing.

The Shallow Well (USA, 1966, 20 min.)

Director: Johnny Nelson (Navajo) A family constructs a traditional shallow well.

The Spirit of the Navajo (USA, 1966, 20 min.)

Directors: Mary Jane Tsosie (Navajo) and Maxine Tsosie (Navajo) The Tsosie sisters made a film about traditional Navajo culture in the hopes of learning more about it themselves.

Preceded by Doing the Sheep Good (USA, 2013, 25 min.)

Director: Teresa Montoya Teresa Montoya’s (Navajo) first film, Doing The Sheep Good, traces the return of iconic Navajo-made films from 1966 to their community of origin, highlighting the fluid continuities between past and present, researcher and community.

7 p.m. Craters of the Moon (USA, 2013, 77 min.) Director:

Jesse Millward Molly (Breeda Wool) and her troubled husband Roger (Cody Lightning, Cree) are on a cross-country road trip when they get into a scrape at a highway rest stop — and decide to run.

Disoriented by a blizzard on the back roads of the Idaho lavarock desert, the couple becomes snowbound. Their relationship strains under the pressures of starvation, hypothermia and wild dogs. It’s a slow-burning psychological thriller that builds to a horrifying climax at The Craters of The Moon National Monument and Preserve.

In person: Cody Lightning.

Preceded by Amautalik (Canada, 2014, 7 min.)

Director/Writer: Neil Christopher; Producer: Louise Flaherty (Inuk) Two young friends are spending the day away from their camp.

Unfortunately for them, an ancient land spirit — an amautalik — is also in the area. Luckily, one of the youngsters uses lessons learned from his difficult life to think quickly and navigate a tricky situation.

Also preceded by The Orphan and the Polar Bear

(Canada, 2013, 9 min.) Director/Writer: Neil Christopher; Producer: Louise Flaherty (Inuk) According to Inuit oral history, animals long ago had the power of speech, could shift their appearances and could even assume human form. In the film, a neglected orphan is adopted by a polar bear elder. Under the bear’s guidance, the little orphan learns the skills he will need to survive and provide for himself.

THE 14TH ANNUAL NATIVE CINEMA SHOWCASE THURSDAY, AUGUST 21 12 p.m. Mann V. Ford (USA, 2010, 106 min.)

Directors: Maro Chermayeff and Micah Fink Mann V. Ford tells the story of the Ramapough Mountain Indian community’s epic battle against two American giants: the Ford Motor Company and the Environmental Protection Agency, which failed to ensure that Ford cleaned the land of deadly toxins and erroneously declared the community safe and free of toxic waste.

3 p.m. Road to Paloma (USA, 2014, 91 min.)

Director/Co-Writer: Jason Momoa; Producers: Brian Andrew Mendoza and Jason Momoa After his mother is brutally raped and murdered, a young Mojave man runs from the law after meting out his own justice on the perpetrator. Traveling across the desert, he says his goodbyes to family while making new friends, knowing the price he will pay for taking a life.

7 p.m. Among Ravens (USA, 2014, 103 min.)

Directors: Russell Friedenberg and Randy Redroad (Cherokee); Producer: Heather Rae (Cherokee) Set against the idyllic lakeside of McCall, Idaho, family and friends gather for an Independence weekend celebration.

When an unusual and unexpected newcomer arrives — a bird photographer named Chad — the balance is shifted between the self-absorbed adults and the lone child, Joey, a girl of remarkable insight.

8 p.m. Rhymes for Young Ghouls FOR MATURE AUDIENCES (CANADA, 2013, 88 min.) In English and Mi’gmaq with English subtitles. Director/Writer: Jeff Barnaby (Mi’gmaq) Set on the Red Crow Mi’gmaq reservation in 1976, the film explores a government decree stating that every Indian child under the age of eighteen must attend residential school, meaning imprisonment at St. Dymphna’s (St. D’s) and being at the mercy of “Popper,” the sadistic Indian agent who runs the school. At fifteen, Aila (Kawennahere Devery Jacobs, Mohawk) is the weed princess of Red Crow and begins hustling with her Uncle Burner (Brandon Oakes, Mohawk) to pay Popper a “truancy tax,” keeping herself out of St .D’s. But when Aila’s drug money is stolen and her father Joseph (Glen Gould, Mi’gmaq) returns from prison, the precarious balance of Aila’s world is destroyed. Her only options are to run or fight … and Mi’gmaq people don’t run.

Preceded by #nightslikethese (USA, 2014, 14 min.)

Director/ Writer: Hannah Macpherson; Co-Directors: Amber Midthunder (Assiniboine-Sioux) and Shay Eyre (Lakota/ Cheyenne/Arapaho) Rowan (Amber Midthunder) and Cali (Shay Eyre) are two fifteen-year-old girls obsessed with their phones. They experience life through their social media with a series of hashtags, selfies and texts from boyfriends and bullies. When the night’s escapade takes a disturbing turn for the worst, we learn how disconnected and desensitized social media has made these troubled teens.

SATURDAY, AUGUST 23

FRIDAY, AUGUST 22 1 p.m. Spirit in Glass (USA, 2014, 57 min.)

Director: Penny Phillips A celebration of Native American Plateau art and culture, this film explores the themes of origin and adaptability of the pictorial beadwork tradition during the Reservation Period in the Plateau.

Through the beadwork, one can glimpse the heart of a people, their history, their creativity and their unconquerable spirit.

Preceded by Three Poems by Heid E. Erdrich (Total Running Time: 13 min.)

Pre-Occupied (USA, 2013, 7 min.)

Directors: Heid E. Erdrich (Ojibwe) and R. Vincent Moniz, Jr. (Nueta); Writer/Producer: Heid E. Erdrich (Ojibwe); Art Director: R. Vincent Moniz, Jr. (Nueta) The poem “Pre-Occupied” was originally written for 99 Poems for the 99%, an online anthology. Poet Erdrich creates a visual landscape of associations and references that match the tremendous irony of how the word “occupy” can be interpreted.

The poem strives to reveal the distracted human mind at a particular point in history.

Indigenous Elvis Works the Medicine Line

(USA, 2013, 3 min.) Director: Elizabeth Day (Ojibwe); Writer/ Producer: Heid E. Erdrich (Ojibwe); Actor/Singer/Dancer: R. Vincent Moniz, Jr. (Nueta) The poem “Indigenous Elvis Works the Border Crossing” is one in a series in which the poet explores the familiar character of a man who has an “Elvis vibe” going on. Often this man works as a casino guard or museum security.

Lexiconography 1 (USA, 2013, 3 min.)

Directors: R. Vincent Moniz, Jr. (Nueta) and Jonathan Thunder; Writers: Heid E. Erdrich (Ojibwe) and Margaret Noodin (Ojibwe); Producer: Heid E. Erdrich (Ojibwe) “Lexiconography 1” is one of a series of poems Erdrich has written in collaboration with Margaret Noodin. Her original English text is translated into Anishinaabemowin and then back into English to reveal tensions between the languages as Noodin sees them.

5 p.m. Future Voices of New Mexico

(Program running time: 90 min.)

Introduced by Marcella Ernest (Bad River Band of Ojibwe), project director of Future Voices of New Mexico, an organization working with high schools and underrepresented communities to encourage students to tell stories through film and photography, the fourth annual Future Voices of New Mexico Native Youth Film Festival showcases outstanding film and video by young and emerging filmmakers.

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1 p.m. Yakona (USA, 2014, 85 min.)

Director: Paul Collins and Anlo Sepulveda Yakona, which means “rising water” in Coahuiltecan, is a visual cinematic journey through the crystal-clear waters of the San Marcos River in Texas and its headwaters at Spring Lake, one of the oldest inhabited areas in North America. Follow the river that has seen mastodons die on its banks, movements of the Native tribes of North America, Spanish explorers in search of the fountain of youth and modern man as he builds dams, roads and bridges.

Preceded by HuyHuy (Trade) (USA, 2013, 5 min.) In Chinuk Wawa with English subtitles.

Director: Sky Hopinka (Ho-Chunk Nation) A deal between two men threatens to unravel as tensions rise in this contemporary look at Indigenous language and culture.

3 p.m. Something to Talk About: Shorts Program (Total Running Time: 90 min.)

Injunuity: The Great Law (USA, 2013, 5 min.)

Director: Adrian Baker (Hopi/Filipino/German/Welsh/Choctaw) When settlers arrived in the New World, one of the first cultures they encountered was the Haudenosaunee, a confederation of tribes that had been practicing representative democracy for hundreds of years. How much influence did that existing democracy have on our Founding Fathers and on documents such as the Declaration of Independence and the U.S. Constitution?

More than you may know.

Mohawk Midnight Runners (Canada, 2013, 16 min.)

Director: Zoe Leigh Hopkins (Heiltsuk/Mohawk); Writer: Richard Van Camp (Tlicho) When Grant (Cody Lightning), a Mohawk man, tragically loses his best friend, he finds his way through his sorrow by remembering his departed friend’s favorite activity: streaking. Grant turns his midnight runs through the reserve into a spiritual honoring that his friends envy. This is a comedic story about brotherhood and how we choose to honor those who we’ve lost far too soon.

The Ways: Clan Mother: Healing the Community

(USA, 2013, 5 min.) Director/Producer: Finn Ryan Molly Miller of the Stockbridge Munsee Band of Mohican in Bowler, Wisconsin, is an elder healer. She explains her role in the community to bring back Native language and cultural healing practices. As a Clan Mother, she is a leader in the current grassroots efforts to help young people and bring the community together by restoring traditional culture.

THE 14TH ANNUAL NATIVE CINEMA SHOWCASE Alaska Dispatch: Alaska Native Rapper, Rebel, Shares Positive Message with Youth (USA, 2014, 4 min.)

Director: Tara Young Samuel Johns, who raps under the name Rebel, uses music to reach out to Native youth in a way that is relevant to their lives.

The Ways: Powwow Trail: Keeping the Beat

(USA, 2013, 5 min.) Director/Producer: Finn Ryan This is a profile of Dylan Jennings of the Bad River Band of Lake Superior Chippewa in Oneida, Wisconsin. Contemporary powwows bring together Native Americans from many different nations and provide communities a chance to gather and celebrate. Jennings, a traditional singer and dancer, reflects on his multiple identities as college student, member of his tribe, youth mentor, and dancer and singer on the powwow trail.

The Ways: Living Language: Menominee Language Revitalization (USA, 2013, 5 min.) In English and Menominee.

Say Yes (Canada, 2012, 10 min.)

Director: Shane Belcourt (Métis) Say Yes is a short film adapted from the Tobias Wolff short story of the same name.

Love of My Life (USA, 2014, 3 min.) Director: Steven Judd (Kiowa/Choctaw) The latest love song by R&B/Pop artist Spencer Battiest (Seminole Tribe of Florida).

Alaska Artist Joel Isaak, Fish Skin Designer (USA, 2014, 3 min.) Director: Tara Young Artist Joel Isaak has spent the last few years working with an unusual material: fish skin leather. At a recent fashion show in Anchorage, he showed off some of his latest garments and collected an award for his contribution to preserving a traditional Alaska Native process.

The Ways: Lady Thunderhawks: Leading the Way

Director/Producer: Finn Ryan Living Language explores the relationship between culture and language through the eyes of a father, Ron Corn Jr., as he attempts to teach his daughter, Mimikwaeh, to be a firstlanguage speaker of the Menominee language. With the loss of their language, Ron and Mimikwaeh’s journey may be one of the last chances to keep the Menominee language alive.

(USA, 2013, 3 min.) Director/Producer: Finn Ryan This is a profile of Jessica House of the Oneida Nation in Oneida, Wisconsin, a senior at the Oneida Nation High School and captain of the Lady Thunderhawks girls’ basketball team. The story explores the role of the basketball team in the community and highlights the importance of language and culture in school.

The Ways: Language Apprentice: Bringing Back the Ho-Chunk Language (USA, 2013, 6 min.) In English and

8 p.m. Program at Santa Fe Railyard Park, Guadalupe Street and Paseo De Peralta

A Common Experience (Canada, 2013, 11 min.)

(USA, 2013, 96 min.) Director: Sam George Eddie Aikau was a shy young islander who battled against cultural and racial bias to become one of Hawaii’s most famous surfers and a pioneering lifeguard at one of the most dangerous beaches on earth. He fought to retain the dignity of his people in a new Hawaii that had been reduced to a mere tourist poster image. During his epic journey to Tahiti in 1978 on the Polynesian voyaging canoe Hōkūle’a, he gave one last courageous effort to save not only the lives of his shipwrecked crewmates but also the soul of Hawaii itself.

Hoocąk. Director/Producer: Finn Ryan Arlene Blackdeer of the Ho-Chunk Nation in Tomah, Wisconsin, is a language apprentice for the Hoocąk Waaziija Haci Language Division of the Ho-Chunk Nation. She shares her experience in her community’s effort to revive the Ho-Chunk language. The story highlights the role of elders in the community.

Director: Shane Belcourt (Métis) An adult woman faces and addresses the complexity of being the child of a residential school survivor. The film is based on the play Dear Mr. Buchwald by Yvette Nolan (Algonquin from Kitigan Zibi) and stars the playwright herself.

Alaska Dispatch: Athabascan Old-Time Fiddle Music (USA, 2014, 4 min.) Director: Tara Young The 31st annual Athabascan Fiddle Festival in Fairbanks, Alaska, draws people of all ages and continues to thrive, connecting to the days when fur traders and gold miners traveled up and down the Yukon River.

The Ways: Prayers in a Song: Learning Language Through Hip-Hop (USA, 2013, 4 min.) In English and

Anishinaabemowin with Anishinaabemowin subtitles.

Director/Producer: Finn Ryan This is a profile of Tall Paul of the Leech Lake Band of Ojibwe in Minneapolis, Minnesota. Tall Paul, a hip-hop rapper, explores the connections between language and identity through his music, illustrating some of the struggles of the urban Native experience.

The Ways: Lake Superior Whitefish: Carrying on a Family Tradition (USA, 2013, 4 min.)

Director/Producer: Finn Ryan The film shares the story of the Petersons, a commercial fishing family in Hancock, Michigan. Pat Peterson explains how treaties made with the U.S. government protect her people’s right to hunt and fish in the ceded territories that once belonged to them.

Though they initially faced opposition and prejudice when they moved to the area to fish, this family business is now an integral part of the community.

Injunuity: Two Spirit (USA, 2013, 4 min.)

Director: Adrian Baker (Hopi/Filipino/German/Welsh/Choctaw) Two spirit means “A person of First Nations or Native American descent possessing both a male and female spirit.” This is an umbrella term used to describe the fluidity of First Nations/ Native American gender identity and sexuality with respect to traditional tribal roles. Featuring: Mica Valdez (Mexica), Nazbah Tom (Navajo/Diné), Arlando Teller (Navajo/Diné), Charlie Ballard (Anishinaabe/Sac and Fox) and Esther Lucero (Navajo/ Diné).

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Hawaiian: The Legend of Eddie Aikau

Preceded by Row (USA, 2013, 5 min.)

Director: Erick Paredes; Producer: Houston Cypress (Miccosukee) A spiritual journey on the river serves as a delicate expression of all that life offers.

SUNDAY, AUGUST 24 1 p.m. Indian Market Classification X Winners (Also at 1 p.m. Tuesday)

3 p.m. Empire of Dirt (Canada, 2013, 99 min.) Director: Peter Stebbings; Producers: Jennifer Podemski (Saulteaux), Geoff Ewart and Heather Dahlstrom; Writer: Shannon Masters (Cree) A rich portrayal of three Anishinaabe women opens with Lena Mahikan (Cara Gee, Ojibwe), a single mother struggling to make ends meet in Toronto. When her headstrong daughter, played

by Shay Eyre (Lakota/Cheyenne/Arapaho) attracts the attention of child services, they flee to Lena’s hometown in rural Ontario, where her mother, played by Jennifer Podemski (Salteaux), reluctantly takes in the two. In the weeks that follow, each one must come to terms with her anger, her actions and what it means to be family.

Preceded by Sisters (Canada, 2014, 4 min.) In Atikamekw.

Director: Jon Riera The latest music video from Ottawa-based DJ trio, A Tribe Called Red, featuring the female vocals of powwow group Northern Voice.

FOOTPRINTS OF A GENTLE GIANT

Centennial anniversary honors Allan Houser’s influence and legacy Photographer Dorothy Grandbois (Turtle Mountain Chippewa) first met Allan Houser when she was a photography student at the Institute of American Indian Arts. Houser, who was teaching at IAIA at the time, had agreed to let her come to his studio to photograph him.

She arrived to find fruit and water laid out in the studio. The generosity surprised her. “Is someone else coming, too?” she asked Houser. “No, this is for you,” he replied. Houser also offered Grandbois his time, spending the day showing her his paintings and sculptures and discussing her future as a photographer.

Grandbois, who now teaches at IAIA, curated Footprints: The Inspiration and Influence of Allan Houser, on exhibit at the Museum of Indian Arts & Culture (MIAC) in honor of the 100th anniversary of Houser’s birth and the quiet, powerful influence he had on Native artistic expression. Six pieces will be exhibited in the museum, while 18 sculptures will be on display at the Milner Plaza just outside MIAC through May 2015.

Five monumental artworks by the Chiricahua Apache sculptor were brought in for the exhibit, accompanied by more than 15 life-size and monumental sculptures by notable artists who Houser made time for, either as a teacher at IAIA or as a mentor in his studio.

Grandbois pointed out that Houser’s teachings are evident in each piece. Although created in unique styles, these artworks reflect “the detail of character and the pride in every piece, making [the artist’s] own voice come through the work.”

Artists thanked Grandbois when she asked them to participate, she said. “They were just so humbled. One of the things they learned from him is to be humble.

The work speaks for them.”

Through his early paintings and, later, through sculpture, Houser quietly developed a powerful artistic voice. Work by Native artists was becoming Americanized when he began working as an artist in the late 1930s, Grandbois said. “He was reclaiming the Native culture,” she said. “He really changed how Native

American art was perceived. He put that pride back into it, that power of who we are as Native people.”

Houser grew up on a farm in Oklahoma near where his grandparents were held as prisoners of war during the U.S. war against Indians in the late 1800s. He began drawing and carving as a child and came to Santa Fe in 1934 to study painting with Dorothy Dunn at the Santa Fe Indian School. By 1939, Houser was exhibiting his work, and his 60-year career as an artist took off.

Houser’s work is in the collections of the Smithsonian Museum of American Art and the National Portrait Gallery in Washington, D.C., and major museums in North America, Europe and Japan.

His Offering of the Sacred Pipe is on display at United States Mission to the United Nations in New York City.

Works by Houser included in the MIAC exhibit are Homeward Bound, Affection, As Long as the Waters Flow, He Will Be Home Soon and Ready to Dance. These join two other large Houser sculptures previously on loan to the museum from Allan Houser, Inc., for a total of seven pieces on display. All are imbued with the harmony and beauty for which the artist is known.

The exhibit also includes works by Houser’s sons, Bob Haozous (Chiricahua Apache) and Phillip Mangas Haozous (Chiricahua Apache), along with Doug Hyde (Nez Perce/Assiniboine/Chippewa), Don Chunestudey (Cherokee), Tony Lee (Navajo/Diné), Estella Loretto (Jemez Pueblo), Oreland C. Joe (Southern Ute/ Navajo/Diné), Craig Dan Goseyun (San Carlos Eastern White Mountain Apache), Larry Ahvakana (Inuit), Cliff Fragua (Jemez Pueblo), Rollie Grandbois (Turtle Mountain Chippewa), Robert Shorty (Navajo/Diné) and Bill Prokopioff (Aleut).

Details

Legends, Legacy and Living Artists: A Tribute to Allan Houser reception with Indian Market artists and designers: Thursday, Aug. 21, 5-7 p.m. $100/$75 MIAC and SWAIA members. Call the museum shop for tickets, 505-982-5057.

Exhibition Dates: Through May 31, 2015 Museum of Indian Arts and Culture

Open daily 10 a.m.-5 p.m. Check website for prices.

710 Camino Lejo, 505-476-1250. www.indianartsandculture.org

Above, Bob Haozous (Chiricahua Apache), Santa Fe Table, 1989, steel, 96 x 48 x 48 inches Center, Don Chunestudey (Cherokee), Pony Ride, 2000, Tennessee pink marble, 48 x 13 inches Bottom, Doug Hyde (Nez Perce /Assiniboine /Chippewa) People of the Red Tail Hawk, 2012, 62 x 76 x 40 inches Facing page, Allan Houser, Migration, 1994, bronze sculpture, New Mexico Fine Arts Museum, Santa Fe 1 08 2 014 IN D IA N M A RKET

CLYDE MUELLER

BY KAY BIRD

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From left, work by Bryant Mavasta Honyouti (Hopi), Teri Greeves (Kiowa), Mike Bird-Romero (San Juan and Taos Pueblos) and Dolores Curran (Santa Clara Pueblo)

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expanding on tradition WHEELWRIGHT MUSEUM ACTIVITIES OFFER EXCITING PRELUDE TO MARKET

BY REE SHECK

Observe award-winning artists at work, bid on exceptional pieces of Native American art and peruse tag-sale items for finds that delight collectors — all at the recently renovated Wheelwright Museum of the American Indian at 704 Camino Lejo on Museum Hill in Santa Fe. The Wheelwright continues its tradition of offering two days of special activities on Thursday and Friday of Indian Market week.

Events kick off on Thursday, Aug. 21, with Artists’ Day at the museum’s Case Trading Post, featuring four Native artists who hold top awards from the Santa Fe Indian Market and other well-known shows around the country. Ken Williams (Arapaho/Seneca), manager of the museum shop, said visitors can meet artists between 11 a.m. and 2 p.m. Williams is himself a beadwork artist, who this year counts 13 years of showing at the Southwestern Association for Indian Arts’ Indian Market.

Among featured artists is Teri Greeves (Kiowa). She uses beadwork to tell stories on not only jewelry and deer hides but also sneakers, umbrellas, books and chairs. She took Best of Show at the 1999 Indian Market and holds other awards and honors from Indian Market, the Heard Museum and the Eight Northern Indian Pueblos Arts and Crafts Show. In 2003 she received the Eric and Barbara Dobkin Fellowship from the School for Advanced Research.

Dolores Curran (Santa Clara Pueblo) has earned acclaim for her hand-built miniature tribal pottery, having created her first piece when she was 9 years old.

In 1993 she won Indian Market’s Best of Classification. A member of the famed Santa Clara Naranjo family, she specializes in redware and blackware.

Mike Bird-Romero (San Juan and Taos Pueblos) uses stones and sterling silver to create necklaces, earrings, bracelets, pins and other accessories, sometimes incorporating petroglyph designs and miniature carved animal figures. His work is found in collections from the Heard Museum in Phoenix to London’s British Museum. In 2007, he received the Museum of Indian Arts & Culture’s prestigious Living Treasure Award.

Bryant Mavasta Honyouti (Hopi) does sculptural katsina carving. He has been winning Indian Market awards since he was 15, receiving the 2013 Best of Classification in his medium. The young carver has also developed twodimensional plaques depicting themes of Hopi life and culture.

The excitement of Friday’s popular Annual Benefit Auction begins on Thursday from 4 to 6 p.m., with the silent auction and preview of Friday’s live auction items under a tent on the museum grounds. “This is the largest single fundraiser we do annually,” said Leatrice Armstrong, the Wheelwright Museum’s assistant director. “It is extremely important to the financial well-

being of the museum.” Founded in 1937, the privately funded Wheelwright Museum is the oldest nonprofit independent museum in New Mexico.

“Auction items come from collectors all over,” said Armstrong, “but about twothirds are from New Mexico.” Most of the pieces, she said, come from collectors who are downsizing their collections, but donations also come from museum patrons, volunteers and the artists themselves. “Initially for textiles only,” she said, the auction, now in its 39th year, “has morphed into a showcase for Native American art.”

On Friday, Aug. 22, beginning at 9 a.m. on the museum’s terrace, up to eight artists who regularly have their works at the Wheelwright will be demonstrating their skills, which include pottery making, weaving and katsina carving.

Although the Collectors Table is open from 10 to 11:30 a.m. Friday in the museum library, Armstrong advises an early arrival to garner a place in line for the much-anticipated tag sale.

The action of the live auction begins at 1 p.m. Friday, under the gavel of auctioneer Russell Kloer. Typically, offerings include pottery, katsinas, beadwork, basketry, jewelry, fetishes, leather, textiles, sculpture, mixed media and even gift certificates and in-kind donations.

Between events, visitors can view Diné photographer Will Wilson’s exhibit, which opened in May in the museum gallery. His thought-provoking works combine digital technology and historic photographic processes to explore topics such as the impacts of cultural and environmental change on Indigenous peoples.

Armstrong added that visitors will see the results of a construction project that doubles the space for museum exhibition and public programming. A new gallery wing will be inaugurated in 2015, but changes are immediately visible in the new parking facilities and the extensive native-plant landscaping. An expanded Case Trading Post shows off a new gallery. Regular patrons of the iconic museum shop, modeled after a Navajo trading post, however, need not worry: It still welcomes visitors with its squeaky wooden floor, pot-bellied stove and ornate antique cash register.

Details Wheelwright Museum of the American Indian Open daily 10 a.m-5 p.m. Free admission.

704 Camino Lejo, 505-982-4636, www.wheelwright.org

Thursday, Aug. 21

11 a.m.-2 p.m. Artist Day — Meet the artists 4-6 p.m. Annual Benefit Auction Preview & Silent Auction

Friday, Aug. 22

9 a.m.-Noon: Artist Demonstrations 10-11:30 Collector’s Table 1-4 p.m. Annual Benefit Auction

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MOCNA EXHIBITION SHOWCASES

30 years of Ric Gendron’s work

BY UNDRELL PERSON (CHOCTAW)

If you met contemporary artist Ric Gendron, you wouldn’t necessarily say that he’s trying to shake things up. He has an easygoing personality, and his Rattlebone paintings, while vibrant and colorful, sometimes portray sullen or expressionless figures.

But there’s more beneath the surface — in both the paintings and the painter. “I see Rattlebone as a tribute to my family, friends and influences,” said Gendron about his traveling exhibition, which opens with an artist’s reception on Thursday, Aug. 21, at the Institute of American Indian Arts’ Museum of Contemporary Native Arts (MoCNA). “It speaks to my growing up in and around the Colville Reservation” in Washington state.

Created by independent curator Ben Mitchell, Rattlebone features 50 paintings and mixed media works that reflect a vibrant and lyrical visual exploration and chronicle one man’s experiences, memories and identity. Drawing from Western pop culture and his own Native heritage, Gendron’s works illustrate rich and diverse expressionistic narratives that merge the traditional with the iconic, producing images that reflect the influences of two very different worlds. A dual-enrolled member of the Arrow Lakes Band of Confederated Tribes of the Colville and the Confederated Tribes of the Umatilla, Gendron was born on the Colville Indian Reservation and grew up in Coulee Dam and Spokane, Washington. The artist is heavily influenced by a diverse range of artists and musicians, such as Fritz Scholder, Jean-Michel Basquiat, R. Crumb, Hunter S. Thompson, T-Bone Walker and John Coltrane.

Gendron borrowed the title of his exhibition from a 1998 Robbie Robertson song that depicts an Indian living in the modern world. “I chose the song because it moved me. I felt it spoke to Native people here and now,” Gendron explained. The artist has been described as an expressionist but prefers to avoid labels altogether. “Rattlebone deals with me being an artist, partner, father and grandfather — my daily walk in life as a person. The art fills in the blanks,” he said.

“My artwork is part of me. I need it in my life like air, water, my children,” Gendron added. “Without it I would wither and die. It is my lens to the world and my life, to see the beauty in everything — whether it’s a grain of wood, salt, rock or a snake. My artwork lets me tell my history and story.”

Gendron said, “There are a lot of self-portraits in the show, not of me physically but spiritually.” He said he hopes observers of the exhibit “see me as a person living life in a world I’m still trying to understand.”

When asked if Rattlebone is a retrospective of his work (he also has published a book with the same title), Gendron was quick to reply, “When I first talked to Ben, the word ‘retrospective’ came up, then quickly went out the window. As an artist, I feel I’m just getting started. I have a lot of life to live and a lot more art to create.”

Gendron, who studied art in his home state of Washington at Cornish College of the Arts, Eastern Washington University and Spokane Falls Community

Ric Gendron, Rattlebone, 2012, acrylic on canvas, 48 x 36 inches

College, has exhibited throughout the United States, including at the Heard Museum and the Eiteljorg Museum of American Indians and Western Art. This year will be Gendron’s 18th year as a participant in the Santa Fe Indian Market, but Rattlebone will mark the first time one of his exhibitions will be featured in a museum during the event.

The artist looks forward to returning to Santa Fe for Indian Market. “What I love most about market is 19122 22014 014 IN IND DIA IAN NM MAARKET RKET

getting to see friends [who] you only get to see once a year. Hanging out, catching up, joking and laughing — it’s another community I’ve become part of,” he said.

DETAILS Rattlebone Opening Reception: Thursday, Aug. 21, 5-7 p.m.

Exhibition Dates: Aug. 22-Dec. 31 Museum of Contemporary Native Arts 108 Cathedral Place, 505-983-8900, www.iaia.edu/museum/

THE WoRKS oF

chris and PaT PruiTT Artists’ reception. Thursday, August 21st, 5:30-10:00 pm. RSVP Pruitt@TomTaylorBuckles.com

108 E. SAn FRAnciSco STREET, SAnTA FE nM 87501 505-984-2231 TomTaylorBuckles.com

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