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IndIan sWaia official guiDe

2012 artists Directory


& Booth locator map

201 2 The SanTa F e n e w Me x ica n • wwwSa n Ta Fe n e wM e x i c a n.coM

Melanie Yazzie | aniMal encounters

ÓMarvin Tso Likes Green Chile CheeseburgersÒ

bronze ed. 15

ÓFred W. Begaye Gives Tours of His HomelandÒ

ÓHorse in AlaskaÒ

bronze ed. 15

40.5 x 53"

Monotype ©2011

ÓLevi Blacksheep Dreams of FlyingÒ

bronze ed. 15

YazzieÕs bronze Órez DogsÒ, as well as her paintings and prints reflect a quiet wisdom, compassion and vision with a deep appreciation for the landscape and culture in which she was raised on the DinŽ (navajo) nation. Watch an interview with Melanie Yazzie at selected collectons: Corcoran Museum, Washington, D.C., Museum of Art at the Rhode Island School of Design, Providence, RI, National Museum of the American Indian, Smithsonian, Washington, D.C., Denver Art Museum, Denver, CO, Museum of Fine Arts, Santa Fe, NM, Milwaukee Art Museum, Milwaukee, WI, Australian National Gallery, Canberra, Australia, Estonian Musuem of Art, Tallinn, Estonia. 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:


Scottsdale, AZ 85251

+ sculpture GarDen

On the Plaza, Santa Fe

photography: Eric Swanson

Packard’s Artist Reception Thursday, August 16, 5 to 9 PM

Scott Diffrient modern artifacts

Indian Market Hours

Friday, August 17, 10:30 AM to 6 PM Saturday, August 18, 7:30 AM to 6 PM Sunday, August 19, 9 AM to 6 PM 505.983.9241 or 800.648.7358


at the


2012 santa fe indian

market events

Photo: Š Addison Doty

all shows continue Saturday, August 18 and Sunday, August 19, 11:00am-5:00pm at the Eldorado (DeVargas Room).

Tuesday, August 14, 2012 2:00 pm, Open Seating, Zia Room

Wednesday, August 15, 2012 2:00 5:00 pm, DeVargas Room

Thursday, August 16, 2012 4:00 8:00pm, DeVargas Room

Friday, August 17, 2012 2:00 pm, DeVargas Room

Martha Struever Lecture: Master Jewelers of the Southwest

Richard & Jared Chavez Opening

Important Estate Collection of American Indian Pottery

A Loloma Discovery

Show-and-Tell: Pieces by 24 hard-to-get American Indian jewelers from the 30s, 40s, and 50s.

Richard, recognized master of stone inlay jewelry, displays his newest work as Jared unveils strikingly original Puebloan jewelry with Asian overtones.

Major Exhibition of American Indian Jewelry An Hour with McKee Platero

Join Marti at the Eldorado. martha hopkins struever

(505) 983-9515 online Gallery:

An important private collection of Loloma jewelry comes to light.


New works by Billy Schenck opening Friday, August 17th 5-7 p.m. at our 225 Canyon Road location. CLOCKWISE FROM TOP LEFT: Billy Schenck, Color Me Gone, oil, 28 x 32; Our gallery at 225 Canyon; Billy Schenck, Off Into the Night, oil, 30 x 32, William Suys, Morning Calf, oil, 48 x 36; Gail Gash Taylor, All the Pretty Horses, oil, 36 x 108

225 Canyon Road: 505.986.9833 Santa Fe, NM 87501

INDIAN MARKET GROUP SHOW @ 123 West Palace Avenue Preview: 8/16, 5-7:30 Opening: 8/17, 5-7:30 8/18 & 8/19: 8 - 6

Artist demos throughout the weekend CLOCKWISE FROM TOP LEFT: William Haskell, Valley of Shadows, drybrush, 22 x 15; Kim Wiggins, Old Canyon Road at Dawn, 30 x 40, Star York, Cat Call, bronze, 27 x 67 x 30; Liz Wolf, Dreams in Flight, bronze, 38 x 37 x 27; Ethelinda, Luna Rosa, oil, 52 x 72; B.C. Nowlin, Pride, oil, 30 x 40;

123 West Palace Avenue: 505.986.0440

Visit to view works by all gallery artists.

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: • Web: For additional information, please visit the Indian Arts and Crafts Board’s booth at the 2012 Santa Fe Indian Market.

Palhik Mana Hopi Katsina Navajo Weaving circa 1940’s

photography: Eric Swanson

Packard’s Artist Reception Thursday, August 16, 5 to 9 PM

Indian Market Hours

Friday, August 17, 10:30 AM to 6 PM Saturday, August 18, 7:30 AM to 6 PM Sunday, August 19, 9 AM to 6 PM On the Plaza, Santa Fe

In association with Steve Getzwiller

505.983.9241 or 800.648.7358


We Are the tlIngIt, hAIdA & tsIMshIAn from southeast Alaska. Our people were legendary traders who traveled great distances to share their stories and trade with other cultures. In this way, our artists could share their unique work and in return find inspiration. today, our artists still reflect our proud heritage in all they create. this weekend, we honor our ancestors’ traditions by traveling from our homeland in Alaska to new Mexico to share our story and art with you. Please stop by to share in our journey.

Don’t miss performances by the renowned Git Hoan Dancers, performing on the Sealaska stage!


SEALASKA PAVILION Cathedral Park, across from IAIA Museum Sealaska Heritage Institute

Fritz Scholder 1937 - 2005

Paintings, Drawings, Prints, Sculpture August 10 - September 15, 2012 439 Camino Del Monte Sol

c h i a r o s c u r o 439 Camino del Monte Sol, Santa Fe, New Mexico 505.982.3367

Emmi Whitehorse August 10 - September 8, 2012 Opening Reception, Friday August 17, 5-7 pm

Rose B. Simpson

c h i a r o s c u r o 702


& 708 Canyon Road, at Gypsy Alley Santa Fe, New Mexico 505.992.0711

Thursday, August 16, 5 to 9 PM

Indian Market Hours

Friday, August 17, 10:30 AM to 6 PM Saturday, August 18, 7:30 AM to 6 PM Sunday, August 19, 9 AM to 6 PM On the Plaza, Santa Fe

505.983.9241 or 800.648.7358

photography: Eric Swanson

Packard’s Artist Reception



1,200 slot machines, 18 gaming tables, poker room

Thrilling nightlife, bars, lounges

27-hole golf course

Seven restaurants, from fine dining to casual

Full service spa and salon

A world-class, museum quality collection of Native American artwork

Easy access to hiking, rafting and other outdoor adventures • 505.455.5555

Cover photo Kitty LeaKen Jody naranJo firing pots Cover design deborah ViLLa owner robin Martin publisher ginny sohn editor rob dean Editorial Creative direCtor deborah ViLLa 986-3027, dViLLa@sfnewMexican.coM

IndIan SWaia

24 Welcome to the 91st Indian Market 26 Where to park

Magazine editor pat west-barKer Magazine designers Linda Johnson, whitney stewart Copy editors sandy neLson, peg goLdstein, ashLey biggers

28 ‘The great community family reunion’ 30 SWAIA official schedule of events

advertising advertising direCtor taMara hand 986-3007

32 Art and awe at the SWAIA auction gala

art departMent

33 Thirteen Native jewelers give back — again

Manager scott fowLer daLe deforest, eLspeth hiLbert advertising layout ricK artiaga

34 New space to teach, celebrate young artists

advertising sales Kaycee cantor, 995-3844 MiKe fLores, 995-3840 Margaret henKeLs, 995-3820 beLinda hoschar, 995-3844

YEar oF tHE PUEBlo PottEr

cristina iVerson, 995-3830 stephanie green, 995-3820 art truJiLLo, 995-3820 nationals aCCount Manager rob newLin, 505-995-3841 nationaLs@sfnewMexican.coM

40 Potter powwow: Sustaining a traditional art 42 Honors, blessings follow potter Jody Naranjo

systeMs teChnology direCtor MichaeL caMpbeLL

MarKEt artiSt ProFilES

produCtion operations direCtor aL waLdron assistant produCtion direCtor tiM craMer

48 Midcareer mavericks explore new mediums

prepress Manager dan goMez press Manager Larry Quintana paCkaging Manager brian schuLtz distribution CirCulation Manager MichaeL reichard distribution Coordinator casey brewer web digital developMent geoff graMMer www.santafenewMexican.coM

52 New finds on old roads: Nocona Burgess 54 Painter Ryan Lee Smith redefines Native art 56 Tradition links generations of artists 58 Five easy pieces, five talented artists

address offiCe: 202 e. Marcy st. hours: 8 a.M.-5 p.M. Monday-friday advertising inforMation: 505-986-3082 delivery: 505-986-3010, 800-873-3372 for copies of this Magazine, caLL 428-7645 or eMaiL caseyb@sfnewMexican.coM.

WiNNiNG iSN’t EVErYtHiNG, BUt … 63 Raising the bar: Best of Show 2011 64 Career-boosting wins: Best of Classification 2011 photos from top: kItty leaken, kItty leaken, jane phIllIps


2012 ind ian M ar K et




71 2011 Innovation Award winner breaks the code 72 2012 SWAIA Fellowship winners

CULTURE 100 Market moments: It’s not just about the art 102 Beyond buckskin and fringe: 2011 Clothing Contest 104 Art and music fuel Adrian Wall’s dual passions 106 Generation X: Film inspires a new generation 110 Native wordsmiths ink the indigenous experience 112 Fresh off the press: Reviews of four new books 114 91 years and counting: A history of Indian Market 116 Native American cuisine links past and present

AROUND TOWN 118 Bagshaw’s matriarchal line ‘breaks all the rules’ 120 New museum honors Native women artists 122 Much to do at local museums, galleries, pueblos

WHO’S HERE IN 2012 130 2012 Indian Market artist directory by medium 140 How to find everyone: Booth locator map 142 2012 Indian Market artist list by name

photos from top: courtesy, kitty leaken, jane phillips

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Welcome to the 2012 Santa Fe Indian Market Week. SWAIA BOARD Stockton Colt, Chairman Stephen Wall (White Earth Chippewa), Vice Chairman Dr. Jenny Auger Maw, Secretary Elizabeth Pettus, Treasurer Bidtah N. Becker (Diné) Nocona J. Burgess (Comanche) Jed Foutz Roger Fragua (Jemez Pueblo) Stephanie Pho-Poe Kiger (Santa Clara Pueblo) Jenny Kimball Charles King L. Stephine Poston (Sandia Pueblo) Pat Pruitt (Laguna Pueblo)

SWAIA StAff Tailinh Agoyo (Narragansett/Blackfeet), Director of PR & Marketing James Arquero (Cochití Pueblo), Zone Manager Bruce Bernstein, Ph.D., Executive Director Henry Brown Wolf (Kewa/Cheyenne River Sioux), Zone Manager Candy Carlson, Volunteer Coordinator Hana Crawford, Programming Manager & SWAIA Reporter Allen Duran (Tesuque Pueblo), Indian Market Manager’s Assistant Mary Erpelding, CPA, Finance Mary Grayson (Cherokee), Zone Manager Denise Keron, Development & Membership Director Sharon Lopez, Office Manager Jhane Myers-NoiseCat (Comanche/Blackfeet), Film Project Manager Paula Rivera (Taos Pueblo), Artist Services/Indian Market Manager Neebinnaukzhik Southall (Anishinabe), Summer PR Intern Whitney Stewart, Graphic Design John Torres-Nez, Ph.D. (Diné), Deputy Director Ellen Watkins, Summer PR Intern Marina Ybarra, Development & Membership Assistant

There is much in store for you this week in Santa Fe. Tour galleries, dine with friends, visit museums and enjoy spectacular summer weather — all a crescendo for the reason you are here: Saturday and Sunday’s 91st Santa Fe Indian Market. Indian Market comprises 14 square city blocks; 1,025 artists representing 160 tribes, nations and pueblos; the most discerning collectors and art appreciators; and the paramount and most innovative Native art. Santa Fe Indian Market is the grand family reunion. Whether we’re artist or collector, Native or nonNative, connoisseur or beginner, it’s all here for us each August. Certainly there are other venues where you can purchase and learn about Native art — but nowhere else is the congregation so strong and focused. Perhaps it is the creative energy of so many artists gathered together or the singularity of purpose of 100,000 people intent about and interested in art forms ancient and new. Indian Market is our wellspring; we return each year because it is the place to see friends and family, the place where we purchased our first piece of Native-made art or met a Native artist for the first time. Indian Market exhibitors bring new work and save their best ideas and materials for August as well. The diversity of art forms and styles invites you to learn and look and to spend a few dollars or more for the true first American art. We celebrate individual achievement but, significantly, Indian Market reflects Native culture by emphasizing the health and well being of all. A few years ago I asked some booth sitters — people who were camping overnight at an artist’s booth to purchase from her in the morning — why they didn’t just buy from a gallery or call the artist on the phone. It wouldn’t be the same, they said. Indian Market is about the opportunity to buy directly from the artist and they wouldn’t have it any other way! It might appear that Indian Market “just happens.” Market is in full bloom each August; during the other days of the year our staff and board as well as the artists plant and nurture the seeds you harvest during market week. Staff members work all year encouraging and assisting artists with applications, jurying artists, evaluating the previous year’s returning artists to ensure top-quality artwork, and raising the money to build the next Indian Market. The Southwestern Association for Indian Arts, the nonprofit organization that produces Indian Market, does not intervene in sales and takes no percentage of sales. Artists do pay booth fees, but this amounts to a little less than onethird of the cost of creating Indian Market. The Official SWAIA Indian Market Guide in your hand is a wonderful example of the partnerships that help create Indian Market. For many years, The Santa Fe New Mexican has been a trusted partner, from publishing winners’ names and booth locations to telling an insider’s story of artists and their work. The National Museum of the American Indian is our programming partner for the film festival that begins August 13, as well as the State of the Arts Symposium on Friday, August 17. Santa Fe University of Art and Design is another vigorous partner for the film festival, as well as a sponsor of Classification X, Indian Market’s Moving Images awards category. La Fonda on the Plaza hosts our annual Gala Auction and Dinner, and Collected Works Bookstore is our host venue for panel discussions, book signings and other educational offerings. Sealaska returns to Santa Fe presenting cultures and arts from southeastern Alaska. Other vital support this year comes from Indian Market’s official hotel, Hotel Santa Fe; Santa Fe Signs and Images;; Heritage Hotels; Native Peoples magazine; Native Jackets; and Conoco Phillips. We are grateful to our title sponsor Buffalo Thunder Resort and Casino. The vision of Pojoaque Pueblo Gov. George Rivera is everywhere evident in the beautiful resort and the art collections that fill every available space. A special thanks, too, to Carolyn and Bill Pollock of Carolyn Pollock Sterling Jewelry for their encouragement and support. To our wonderful volunteer corps we express our heartfelt appreciation. To the hundreds of artists who are the centerpiece of Indian Market, we extend our gratitude and admiration for all that they do. Last — but certainly not least — SWAIA thanks the many wonderful members and friends who make Indian Market possible: Without your support and attendance there would be no Indian Market. On behalf of the board and staff of SWAIA, we thank you for attending and being part of the 2012 Indian Market. Bruce Bernstein, Ph.D. Executive Director


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Celebrate Culture

Diverse cultures, authentic art and vibrant traditions have shaped the centuries-old story of Albuquerque. Come experience the history that continues to unfold with premier cultural events, distinctive attractions, museums and shopping.


Take a short trip to visit some of the citys spectacular attractions and activities: Indian Pueblo Cultural Center

Daily traditional dances, art demonstrations and more celebrating Native American culture.

National Hispanic Cultural Center A look into the art and culture of New Mexico and its multicultural roots.

Sandia Peak Aerial Tramway

Historic Old Town

A cultural gem with 5 museums and over 100 shops, galleries and restaurants in the area. Stop by the visitor information center in Old Town to pick up your free Official Visitors Guide and Vacation Planner.

A thrilling 2.7 mile ascent to the 10,378-foot peak of the Sandia Mountains. Once atop the peak, the view is a panorama of more than 11,000 square miles of spectacular beauty.

Albuquerque Information: 800-284-2282

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El Museo Cultural de Santa Fe



             






























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Feb. 2012 - C ty of San a Fe GIS D v s on - JDG

* Facility closes one hour earlier between November and May. ** Rates vary during special events.

H. RAILYARD PARKING Camino de la Familia and Paseo de Peralta Surface parking includes 675 spaces Hours Open 24 hours / 7 days week Rates $1/hour

G. CANYON ROAD LOT 777 Canyon Road Surface lot includes 50 spaces (2 disabled spaces) Hours Open 24 hours / 7 days week Lot serviced by pay and display machine Rates $1 80/hour $9 maximum



Ca ny

Santa Fe Pick-up shuttles run every 20 minutes (pending traffic and weather conditions) Monday through Friday - 6:30 am to 6:30 pm Saturday - 7:30 am to 6:30 pm EP ALA No service on Sunday. E ALAM CE ED A AV ST E

Santa Fe Pick-up Route Santa Fe Pickup Stop Plaza Park



Point of nterest

Museum of Contemporary Native Arts

Palace of the Governor's



North Railyard & Park

Downtown area

Public Access Parking Lot


New Mexico History Museum

Public Access Parking Garage

Parking Facilities


His to

r Santa Fe Rive




New Mexico Museum of Art

Plaza Park Detail





F. ARCHDIOCESE LOT 251 E Alameda Street Surface lot includes 174 spaces (5 disabled spaces) Hours Open 24 hours / 7 days week Lot serviced with 3 paystations Rates $2/hour $10 maximum (Lot accommodates RVs and buses for an additional fee)






C. SANTA FE COMMUNITY CONVENTION CENTER 119 S Federal Place Bi-level underground parking garage includes 522 spaces (13 disabled spaces) Hours Monday through Saturday 6 a m to 9 p m Sunday 7 a m to 9 p m Rates $2/hour $10 maximum **







E. CATHEDRAL LOT 215 Cathedral Place Surface lot includes 172 spaces (7 disabled spaces) Hours Open 24 hours / 7 days week Lot serviced by 2 paystations Rates $2/hour $10 maximum











Museum of Contemporary Native Arts



Georgia O'Keeffe Museum

B. SANDOVAL GARAGE 216 W San Francisco Street Multi-level aboveground parking garage includes 404 spaces (8 disabled spaces) Hours Monday through Saturday 6 a m to 11 p m Sunday 7 a m to 11 p m * Rates $2/hour $10 maximum **

















Info C en W M ter A RC YS T

E To uri st


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

























A. RAILYARD GARAGE 503 Camino de la Familia Tri-level underground parking garage includes 404 spaces (15 disabled spaces) Hours Open daily 6 a m to 9 30 p m Rates $1 89/hour $5 25 maximum











Georgia O'Keeffe Museum





450 T AV E G R AN


1 inch = 900 feet


















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Parking in Downtown Santa Fe



























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‘The greaT communiTy



2012 ind ian m ar k et

photos by Kitty LeaKen

family reunion’

Indian Market welcomes old and new art forms, artists, visitors By Patricia West-Barker

HigHligHts August 13 7 p.m. Native Cinema Showcase opening night presented by Sundance Institute. Free. New Mexico History Museum, 113 Lincoln Ave. (505-476-5200)

August 16-18 7:30 p.m. Thursday 5:30 p.m. Friday 1 p.m. Saturday

Native Cinema Showcase: Classification X Winners Awards for Narrative Short, Documentary Short, Animation Short, Experimental Short and — for the first time — Feature Film. Each of the three screenings is followed by a Q&A with the Classification X winners moderated by Jhane Myers NoiseCat, SWAIA film coordinator. Free. New Mexico History Museum, 113 Lincoln Ave. For information, call (505) 476-5200.

FridAy, August 17 11:30 a.m.- 2 p.m. Best of Show Ceremony and Luncheon Ticketed event. Santa Fe Community Convention Center, 201 W. Marcy St. For tickets, call (505) 983-5220. 3 p.m. Third Annual SWAIA: State of Native Arts Symposium Free. New Mexico History Museum 113 Lincoln Ave. (505-476-5200)

5:30-7:30 p.m. Sneak Preview of Award-Winning Art

7:30-9:30 p.m. General Preview

of Award-Winning Art Ticketed events. Santa Fe Community Convention Center, 201 W. Marcy St. For ticket information, call (505) 983-5220.

sAturdAy, August 18 7 a.m.-5 p.m. 91st Santa Fe Indian Market Free. Santa Fe Plaza.

Noon-1 p.m. Houser, Povi’ka, and Fellowship Awards Presentation Free. Santa Fe Plaza Stage

5-9:30 p.m. Santa Fe Indian Market Live Auction Gala at La Fonda on the Plaza. Ticketed event. For more information or to order tickets, call (505) 983-5220.

sundAy, August 19 8 a.m.-5 p.m. Santa Fe Indian Market continues.

9 a.m.-Noon Native American Clothing Contest, Free. Santa Fe Plaza

It can be hard to remember that Indian Market

has more to offer visitors than the best annual Native art sale in the United States — perhaps the world — when more than 1,000 artists fill more than 600 booths in the 14 city blocks surrounding the Santa Fe Plaza with a wide, wild and colorful array of jewelry, pottery, paintings, photography, bead and quillwork, basketry, textiles, carvings and sculpture, among other diverse art forms. Although the heart of market — now in its 91st year — always has been (and always will be) the opportunity to buy authentic, handcrafted work directly from carefully vetted Native artists representing more than 150 tribes, nations and pueblos, those two days are now preceded by a weeklong schedule of activities that have nothing to do with art sales. “We’ve taken the idea of Indian Market weekend and expanded it to Indian Market week,” said Bruce Bernstein, executive director of the Southwestern Association for Indian Arts (SWAIA), the organization that produces Indian Market and its associated programs and projects. “We want people to come, immerse themselves, and learn more about Native culture so that when it comes to purchasing or collecting, they have more information.” The weeklong festival schedule also allows SWAIA to embrace more diverse art forms and to reach out to a wider range of visitors than in the past. “The last five years have been about trying to match Indian Market more to who Native people are today,” Bernstein said. “So the idea of expanding art categories — and getting rid of some of the multitude of [Indian Market] rules about art making — has to do with reflecting that there is more available to people than ever before.” One of the more visible additions to Indian Market is the expansion of the Native Cinema Showcase — a collaborative effort of SWAIA and the Smithsonian Institution’s National Museum of the American Indian — into a weeklong film and video festival (from August 13-19 this year). SWAIA’s inclusion of moving images as Classification X three years ago made film an official market art category, with awards in five subcategories, and it acknowledges that film is “an expanding universe filled with potential,” Bernstein said. It also brings an event that long had been on the outskirts of market “into the middle of market, alongside the baskets and jewelry.” Stephen Wall (White Earth Chippewa) — an artist, chairman of Indigenous Liberal Studies at the Institute of American Indian Arts and vice chairman of the SWAIA board of directors — noted that there was some resistance to including film as an art category when the board first started talking about it. But film, he said, is an important, if different, outlet for younger Native artists. “And maybe it isn’t all that different,” Wall said. “We’re used to seeing paintings, and somebody starts telling the story of their painting, and that painting is like a snapshot of that story, one theme out of that whole story. I can make a sculpture and tell how that sculpture came about, the whole back story on that, but that’s still a freeze frame capturing a part of that story, whereas the film itself is the whole story.” Film, Wall predicted, “is going to become more and more important in tribal communities. You can take pretty decent video on iPhones, you can take decent video on iPads, you can download editing devices and put together a pretty decent film — and then what do you do with it? Having Classification X provides a venue to begin to sort through and identify those young emerging artists who have a vision and a story to tell.”

The larger emphasis on film is just one of the ways Indian Market now incorporates more events that bring out what Bernstein calls the narrative aspects of Native art. People may not realize it, he said, but “artwork is about narrative. An artist is telling you something about his or her life. Film is an easy way to see that, [but] pottery is along the continuum as well. What we want to do is get people more in tune with that narrative, hear more from artists about what their narratives may or may not mean to them.” Events that tell the stories behind the art — in addition to the conversations that artists have always had with people who come to their booths — include readings and book signings, music and dance performances. Sealaska, a big hit in 2011, returns to the market stage with Native dancers and cultural performers from southeast Alaska. New this year is the Buffalo Thunder Stage on the Plaza, featuring traditional Pueblo songs and dances. Diversity, longevity and relationships are other words that Bernstein said can help visitors understand the true mission and meaning of Indian Market. “The beauty of market,” Bernstein said, “is its diversity. In the middle of market you’ve got people who are absolutely communitybound in terms of where they do their artwork, keeping those culture-specific art forms very much alive. And then on the other end of the spectrum, maybe in the booth right next to that person, is somebody who has gone off to art school and is doing something that appears at first blush to have nothing to do with their own community.” Diversity is what fuels market’s growth — not in the number of artists included in the show but in the number of new types of art included under the Indian Market umbrella. Indian Market also has longevity, Bernstein said, “that is unlike anything else, except Native cultures themselves.” Some families have been involved with market for six or seven generations now, and many of the same Native communities that participated in the first market in 1922 are still involved. Individual artists show for five, 10, even 30 years. “So what you see in longevity,” Bernstein said, “is an artist’s work over a long period of time. Unlike a publication or exhibition or gallery show, where you have a very thin slice of time, you really get a sense of an artist and his or her understanding of the world.” Longevity also means that even as market stretches to include new art forms, new tribes and new programs to appeal to more diverse audiences and artists, it continues to honor its own history. SWAIA’s focus on Pueblo pottery and the establishment of a Potters Educational Fund this year are part of that honoring, Bernstein said. “Pottery is what Indian Market was created around. We don’t want to get way out in front of ourselves in terms of just going with the low-hanging fruit. We have to take a lesson from what has kept Native communities strong in New Mexico.” Perhaps most importantly, though, Indian Market is about relationships. “Relationships include the artist to his or her work, the artist to his or her community and family and the relationship of artists and their collectors and appreciators,” Bernstein said. “Market is indeed the wellspring, the origin place for Native art; it’s the first place where many people perhaps bought their first piece of Native art, and even if they’re not buying anymore, they come to renew those relationships. “This the annual gathering, [the time to renew] those relationships where you maybe see someone once a year. It’s the grand community family reunion.”

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SWAIA OffIcIAl Schedule Of eventS Clara Pueblo) with his new book, Inner Vision: The Sculpture of Michael Naranjo. Q&A with the author will follow.


auguSt 13-19

The 12th Annual Native Cinema Showcase Free admission. SWAIA and the Smithsonian Institution’s National Museum of the American Indian present a seven-day celebration of films and videos by and about indigenous peoples in connection with Santa Fe Indian Market. All films will be shown at the New Mexico History Museum; all films subject to change. For complete schedule, see pages 107-108 or log onto


auguSt 17 11:30 a.m.- 2 p.m. Best of Show Ceremony and Luncheon Santa Fe Convention Center, 201 W. Marcy St. Ticketed event. This exclusive event is central to the identity of the Santa Fe Indian Market, as it notes the acknowledgments of Native artists who often work for years to create the stunning artwork entered for judging and a chance to be named Best of Show. For tickets, call (505) 983-5220.


auguSt 14 8:30–10 a.m. SWAIA and MIAC Present Breakfast with the Curators: Indian Market Highlights with Bruce Bernstein, Executive Director of Santa Fe Indian Market. Museum of Indian Arts and Culture, 710 Camino Lejo, http://www.miaclab. org/. Tickets — $35/ $30 for Foundation members, museum admission included — available through the museum shop: (505) 982-5057. For more information, call (505) 476-1247 or (505) 476-1271. 4:30 p.m. SWAIA and Collected Works Bookstore Present A Conversation with Bruce Bernstein, Ph.D., Executive Director, SWAIA Collected Works Bookstore, 202 Galisteo St. (505-988-4226) Free admission. Bruce Bernstein discusses the history of the Santa Fe Indian Market in his new book, The Santa Fe Indian Market: A History of Native Arts and the Marketplace. Book signing to follow.

Kitty LeaKen


2012 ind ian m ar k et


sealaska Pavilion


auguSt 15

4:30 p.m. SWAIA and Collected Works Bookstore Present Contemporary Native American Artists Collected Works Bookstore 202 Galisteo St. (505-988-4226) Free admission. Author Suzanne Deats and photographer Kitty Leaken discuss their recent release, Contemporary Native American Artists. They will be joined by 14 artists featured in the book for a signing and Q&A.


the Classification X winners, moderated by Jhane Myers NoiseCat (Comanche/ Blackfeet), SWAIA film coordinator.


auguSt 16 4:30 p.m. SWAIA and Collected Works Bookstore Present Inner Vision: The Sculpture of Michael Naranjo Collected Works Bookstore, 202 Galisteo St. (505-988-4226) Free admission. As part of the SWAIA Native Literary Arts Reading Series, this special evening features sculptor Michael Naranjo (Santa

3 p.m. Third Annual SWAIA: State of Native Arts Symposium New Mexico History Museum. 113 Lincoln Ave. (505-476-5200) Free admission. A panel discussion about quality in Native American art and Indian Market. What is it? How do we know when we see it? Museum directors from the Autry National Center of the American West, Eiteljorg Museum of American Indians and Western Art, Heard Museum and the National Museum of the American Indian engage in a roundtable discussion about the current and future direction of Native arts. Preview of Award-Winning Art 5:30-7:30 p.m. Sneak Preview 7:30-9:30 p.m. General Preview Santa Fe Convention Center, 201 W. Marcy St. Ticketed event. SWAIA’s Artist Awards Sneak Preview

auguSt 16-18

Native Cinema Showcase: Classification X Winners New Mexico History Museum, 113 Lincoln Ave. (505-476-5200) Free admission. 7:30 p.m. Thursday 5:30 p.m. Friday 1 p.m. Saturday This special program features the SWAIA Indian Market moving image “Classification X” winners. This category is the 10th and one of the more recent classifications to be added for judging. Awards for Narrative Short, Documentary Short, Animation Short, Experimental Short and — for the first time — Feature Film 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. Three screenings will be presented, each followed by a Q&A with

Kitty LeaKen

Baby Persephone Maybee in Best of show outfit with her parents, naomi and Dallin Maybee, 2011 sWaia indian Market native american clothing contest

SWAIA OffIcIAl Schedule Of eventS gives SWAIA members the early opportunity to see the best of Indian Market art after the Best of Show Awards ceremony. The General Preview that follows opens the doors to the public for a glimpse at the award-winning artwork. For tickets call (505) 983-5220.


auguSt 18 7 a.m.-5 p.m. Santa Fe Indian Market Santa Fe Plaza. Free admission. The 91st Annual Indian Market — the world’s most prestigious Native American arts show — opens with more than 1,100 artists, food and demonstration booths, entertainment and more. Noon-1 p.m. Houser, Povi’ka, and Fellowship Awards Presentation Santa Fe Plaza Stage, Downtown Santa Fe. Free admission. The Houser Award is the highest honor that SWAIA bestows upon a Native artist. The annual award recognizes the contributions by a distinguished Native American artist to Native arts and culture. This year the award celebrates the enduring contributions of Pueblo potters to the Native arts world and Santa Fe Indian Market. The Povi’ka Award will recognize the service, leadership and support that SWAIA volunteers provide to the annual Santa Fe Indian Market. The 2012 SWAIA Discovery, Residency and Youth Fellowship recipients will also be honored. 1-4 p.m. Buffalo Thunder Stage at Santa Fe Plaza Stage. Free admission. A new addition to the 2012 Santa Fe Indian Market, the Indian Market Stage is a two-day showcase of Pueblo dances, music and performance. Audiences will experience rich Pueblo traditions and cultures and further expand the deep connections of Pueblo artists and Santa Fe Indian Market. Alaska’s Git-Hoan Native Dance Group also performs. 5-9:30 p.m. Santa Fe Indian Market Live Auction Gala at La Fonda on the Plaza. Ticketed event. The Gala Dinner and Auction is the most glamorous event during Indian Market week. Guests enjoy a fabulous evening of gourmet food and entertainment while bidding on stunning Native art. The auction features prized works from Native America’s most renowned artists and attracts the most discerning patrons from around the country. This is the largest and most important fundraising event for SWAIA. For more information or to order tickets, call 505-983-5220.

Kitty LeaKen


auguSt 19 8 a.m.-5 p.m. Santa Fe Indian Market continues. Santa Fe Plaza. Free admission. 9 a.m.-Noon Native American Clothing Contest Santa Fe Plaza, Downtown Santa Fe. Free admission. Among the many cherished traditions at the Santa Fe Indian Market, the Native American Clothing Contest is one of the most beloved and anticipated events. For more than 20 years, the NACC has been the most photographed event at the Santa Fe Indian Market. The contest includes categories for traditional and contemporary Native American fashions, features child and adult participants and awards prizes in more than 20 categories. 1-4 p.m. Buffalo thunder Stage at Santa Fe Plaza Stage continues. Sealaska Stage Santa Fe Plaza, Downtown Santa Fe. Free admission. Sealaska Corporation and Sealaska Heritage Institute feature southeast Alaska Native artists and cultural performances by David Boxley and the Git-Hoan Native Dance Group. Multiple performances throughout the day.

ensure the success of santa fe IndIan market for generatIons to come Join the southwestern association for Indian arts sIgn me uP! I want to support sWaIa’s year-round efforts to bring native arts to the world. name address city/state/Zip Phone(s) email my annual membership gift will be: $50 $150 $275 $550 $1,500 $2,500 $5,000 Payment information: check enclosed, payable to sWaIa Please bill my credit card (circle one) VIsa mc ameX dIscoVer

signature (name as it appears on card) return this form to: sWaIa P.o. Box 969 santa fe, nm 87504 sWaIa does not share membership/donor information with any other organization or business. membership gifts are tax deductible to the extent allowed by law. for more information about the benefits of various levels of individual membership or business partnerships, call denise keron, membership/development director, at (505) 983-5220, ext. 223.

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A stAr-spAngled evening detAils The 2012 SWAIA Auction Gala and Dinner takes place on Saturday, Aug. 18, at La Fonda on the Plaza. The evening begins at 5 p.m. with cocktails and the silent auction in La Terraza, the garden patio atop the hotel. A few live auction pieces will also be offered at this time. Dinner and the live auction continue at 6:30 p.m. in the Lumpkins Ballroom. Tickets — $150 for general seating and $225 for preferred seating — often sell out before the event. To reserve a seat, call Denise Keron at 505-983-5220, Ext. 223, or order online at

Art, Awe And more At the SwAIA AuctIon GAlA And dInner By BarBara Berkenfield

dAvId vAldez/ cArolyn pollAck jewelry

ALSo In ThE LIvE AucTIon KAThLEEn WALL, jemez pueblo, Touched My Heart — native clay ShAWn BLuEJAcKET-RoccAMo, Shawnee, necklace D.Y. BEGAY, diné, The Sand Storm wool weaving DYAnI REYnoLDS-WhITE hAWK, Sicangu lakota, Wicozani (Good health and happiness) — oil on canvas uPTon EThELBAh, jr., Santa clara pueblo/ white mountain Apache, Dawa Father Sun — Steatite JoDY nARAnJo, Santa clara pueblo, Thinking Outside the Box — pottery MELISSA coDY (diné), oRLAnDo DuGI (diné), KEnnETh WILLIAMS (Arapaho/ Seneca), Universal Grace collaborative hat — wool, glass and 24-carat gold-plated beads, pearls, coral STETSon honYuMPTEWA, hopi, Chakwaina katsina — cottonwood root, acrylic paint DoMInIQuE ToYA, jemez pueblo, Swirl Pot — pottery noconA BuRGESS, comanche, Lean Bear — Acrylic on canvas RoBERT “SPoonER” MARcuS, ohkay owingeh pueblo, Blue Spirit Figure — handblown, sculpted, and sand-carved glass vIcToRIA ADAMS, Southern cheyenne, customized purse RoBERT TEnoRIo, kewa (Santo domingo pueblo), Kewa Dough Bowl — pottery JoYcE, JuAnITA AnD JESSA RAE GRoWInG ThunDER, Sioux/Assiniboine, Figure with Buffalo Purse — Buckskin, glass beads, silk ribbon, human hair cARoL EMARThLE-DouGLAS, Seminole/ northern Arapaho, plains Style coiled Basket DAvID K. John, diné, Rain Returns — Acrylic on canvas with sand texture (value $12,000) AuTuMn BoRTS-MEDLocK, Santa clara pueblo, Parrot Effigy — pottery (value $5,400) list as of press time; all items subject to change. For more details or to place an absentee bid between August 1 and August 15, visit


2012 ind ian m ar k et

Indian Market visitors come from around the world for many reasons — to buy the best Native art, meet Indian artists, understand historic traditions, show off their finery, people-watch, take photos, hold annual reunions, or just soak up the color and excitement of the internationally renowned event. All this fun and activity comes together at Saturday’s SWAIA Auction Gala and Dinner at the historic La Fonda on the Plaza. Over the years, this festive evening has become a highlight of the weekend for artists, collectors, and visitors both old and new — a time for celebration, renewing old friendships, and making new friends. Events to help SWAIA meet Indian Market program expenses began in the 1950s with assorted raffles, dances, and auctions, which evolved into sporadic galas in the 1980s and became an annual event in 1999. But the concept really picked up momentum in 2000, when artists began working together to create large-scale collaborative artworks, making the live auction a more significant piece of the organization’s annual fundraising. The first collaborative donation, a concho belt organized by 1997 Best of Show artist Daniel “Sunshine” Reeves (Diné) in 2001, as “a way for artists to give back what Indian Market has given them over the years,” was followed by such diverse works as a fully functional hand-painted 1974 Triumph TR6 accessorized by multiple artists; a sculpture symbolizing individual effort and the community gathering together; detachable painted panels for a Viking refrigerator; a ponderosa pine table and 10 chairs; a custom-built motorcycle; a silver box; a triptych with interchangeable 5x5-inch squares; and a silver-and-gold, gemencrusted butterfly necklace. The central collaborative piece to be auctioned off this year is a Friendship Necklace conceived by Reeves to commemorate the first collaborative donation by a group of artists in 2001. The piece, based on a traditional squash blossom necklace, is composed of 66 stamped silver beads made by Reeves; the clasp, the centerpiece, and the 10 attached pieces replacing the traditional squash blossom designs were created by 12 other

award-winning artists, who joined in the collaborative planning, design, and assembly of the necklace. Another outstanding collaborative piece to be auctioned off on August 18 is a pot designed by four prize-winning potters. Russell Sanchez and 1989 Best of Show winner Nancy Youngblood built the pot, and the etched and incised designs are by Jody Naranjo and Jennifer Moquino. Victoria Adams, Veronica Benally, and Fritz Casuse are each making a special piece of jewelry for the live auction, as well as a design spinoff for a multifabricated piece to be sold online by Carolyn Pollack Jewelry, a major Indian Market sponsor. The HatSmith of Santa Fe donated nine felt hats, which have been painted by Indian Market artists. Some of the hats will be in the silent auction and some in the live auction. Three-time Best of Show winner Joyce Growing Thunder Fogarty is donating a beadwork piece made in collaboration with her daughter Juanita and her granddaughter Jessa Rae, who was elected Miss Indian World 2012 this past spring. Last year’s Best of Show Winner, Passamaquoddy basket maker Jeremy Frey, is donating a new basket to the live auction. The gala is an opportunity for artists, collectors, SWAIA staff, and visitors old and new to get together at an elegant party to celebrate this year’s market — and for attendees to secure the Santa Fe Indian Market tradition for another year with their bids. For SWAIA’s executive director Bruce Bernstein, the evening is not only a celebration of this year’s market. “It is the crucial fundraiser for the next year’s market, since booth fees represent less than 40 percent of what is needed,” he said. SWAIA board member Jenny Auger Maw, who is the Gala Committee chair for the third year, said that “last year’s gala was not as productive as prior years because artists had gone through several lean years and guests were not as inclined to spend as much as in prior years.” However, in spite of the economic downturn, last year’s attendees still bid generously and contributed $210,000 toward this year’s Indian Market. Maw anticipates that this year’s incredible artist donations will bring about a return of enthusiastic participation in both the silent and live auctions.

ThirTeen naTive jewelers give back To swaia — again beads that connect all 10 pendants and the naja — enlarged the holes in the beads, completing his effort to bring the work of 13 artist friends together. With a breaking load of 480 pounds, the cable will easily support the weight of the beads and pendants. “It looks like you guys put your heart in it,” he said, “and it is just awesome to see it all together. Thank you.”

By Hana Crawford Metalsmith Kenneth Johnson tells the story: “It was 1997. Sunshine Reeves got Best of Show for his stamped silver tea set, and he wanted to do something for SWAIA.” That was the genesis of the first collaborative project organized by Indian Market artists — a concho belt auctioned off at the SWAIA Gala in 2001. Daniel “Sunshine” Reeves — whose name refers to the sun-tinted hair he had as a child — recalled asking a group of SWAIA artists to come together for a good cause in 2001. “In those days, SWAIA was facing hard times,” he said. “For a lot of artists, Indian Market really starts your career. I wanted to make sure SWAIA could keep on giving people those opportunities.” The innovative work raised a groundbreaking $42,000 — surprising artists, staff and board members alike — and started a tradition of unique collaborations that continue to bring national attention to market artists and SWAIA’s annual fundraising event. This year Johnson was one of 13 acclaimed jewelers — including five of the original concho belt collaborators — who worked together to create another unique piece. In June, eight of the jewelers gathered at Pat Pruitt’s design studio in Paguate, New Mexico — one of the six villages of Laguna Pueblo, 116 miles southwest of Santa Fe — to assemble their donation, a squash blossom-inspired Friendship Necklace to be sold at the 2012 Indian Market Live Auction Gala on Saturday evening, August 18. Eight men, joined by a few invited SWAIA staff, passed 60 sterling

Thanks To The 13


From left to right, Myron Panteah, Daniel “Sunshine” Reeves, Allen Aragon, Pat Pruitt, Chris Pruitt, Ken Romero, Kenneth Johnson, Cody Sanderson

silver beads, 10 pendants, a naja (the centerpiece, or base of the necklace) and a clasp around Pruitt’s kitchen table, admiring Grade 5 titanium next to sterling silver and Fox, Blue Gem, Tiffany and Sleeping Beauty turquoise. The pendants had been stamped, cast, oxidized and inlaid. One, by Myron Panteah, was reversible. Allen Aragon had used cloisonné technique for his pendant, the only enameled piece in the necklace. “Its always a fun time, getting to see how other artists have specialized in what it is they do,” Pruitt observed. “I get to learn certain tips and tricks that are often overlooked … not to mention the friendship that is built by doing this work together.” His pendant incorporates Fox turquoise, Grade 5 titanium, and

the shapes of cast tufa belt buckles and kehtos, or bow guards. Eyes wide, Johnson picked up The Four Seasons of Mother Earth by Ken Romero, a pendant inlaid with 140 tiny stones of Sleeping Beauty turquoise, and held it inches from his nose, counting. Vernon Haskie, who contributed the naja, noted that it was “definitely a one-ofa-kind piece and … very extraordinary.” He was also pleased that two female jewelers, although not present for the assembly, participated in the collaboration. “Liz Wallace was the first one out of the gate,” Johnson said. Positioning himself at a drill, surrounded by his friends and collaborators, Reeves — who fashioned the 60 sterling silver

The 13 select jewelers who created the Friendship Necklace — Sunshine Reeves (Diné), Kenneth Johnson (Muscogee/ Seminole), Vernon Haskie (Diné), Arland Ben (Diné), Myron Panteah (Diné/ Zuni Pueblo), Ken Romero (Laguna/ Taos Pueblo), Allen Aragon (Diné), Liz Wallace (Diné), Dawn Wallace (Aleut), Chris Pruitt (Laguna Pueblo), Pat Pruitt (Laguna Pueblo), Tony Abeyta (Diné), and Cody Sanderson (Diné) — represent the best of Native art and metalwork today. Individually, they are recipients of highly selective Smithsonian Institution and SWAIA fellowships, and Best of Show and Best of Classification awards from the Santa Fe Indian Market. Their work is displayed in private collections and worldrenowned museums. See photos and a video of the one-ofa-kind Friendship Necklace on SWAIA’s auction page (www.santafeindianmarket. com). Bid on the necklace during Indian Market Week at the 2012 SWAIA Live Auction Gala on Saturday, August 18. Absentee bids will be accepted from August 1 through 5 p.m. on August 15. For more information, visit

From left, Ken Romero, Pat Pruitt, Kenneth Johnson, Cody Sanderson

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celebrate young artists By Dennis J. Carroll Children have always been a big part of Indian Market, often traveling many miles with their parents and helping them set up the booths and doing what they can to help sell artwork made by Mom and Dad. And sometimes they’re even showing their own work alongside that of their parents, grandparents or other relatives. But until this year there were never booths devoted solely to children’s artworks and educational activities. “We realize that the future of Native art is with the younger generation — both in running [Indian Market] and participating in it,” said Wahlesah Dick (United Keetoowah Band), coordinator of the market’s children’s activities for SWAIA. To that end, special children’s booths along Washington Avenue during the 2012 market will feature artwork by the children themselves and live demonstrations by Native artists, including high-fashion artist and beadwork craftsman Orlando Dugi and painter Ryan Singer, both Diné (Navajo). Children ages 6 to 18 will also be encouraged to create artwork in hands-on workshops offered by artists in the Washington Avenue booths during the market, Dick said. There is no charge for the activities, but young people who would like to participate (or their parents) are urged to call her at (918) 457-9234 for further information about the program. Dick can also answer questions about an ongoing artist-mentoring program that began in May. The artwork of those young students is on display in the Washington Avenue booths during Indian Market and at the downtown branch of the Santa Fe Public Library, she said. “Helping children and being a role model is pretty important to developing their artistic talents,” said Dugi, who has been mentoring and teaching nine students from mixed cultures in grades three to 10 as part of the mentoring program. “It’s a great way to pass on knowledge that I have learned. It is only right to teach someone else how to do it,” said Dugi, who is known for his intricate bead embroidery and design of high-fashion evening-wear accessories such as purses. “Giving them direction is important.” Other artists participating in the mentoring program and the workshops and hands-on activities include Linda Lomahaftewa, a Hopi and Choctaw printmaker, painter and educator; Native filmmaker Chris Eyre (Cheyenne/Arapaho); and internationally acclaimed printmaker Jaune Quick-to-See Smith (Salish/Kootenai). In addition, Roy Boney, a Cherokee comic artist, computer animator and language preservationist, will conduct a free workshop August 17 for the public, educators and tribal leaders on using art and technology to save Native languages. For more information on the workshop and the time and place, call Dick at (918) 457-9234. Boney also conducts two free animation workshops on August 18 for children ages 13 to 18 at Carlos Gilbert Elementary School, 300 Griffin St., from noon to 2:15 p.m. and again from 2:30 to 4:45 p.m. Call Dick at the number above to register. Besides SWAIA, other in-kind sponsors of the children’s events and activities include the Cherokee Nation, the Georgia O’Keeffe Museum, Santa Fe Public Schools and the Santa Fe Fine Arts for Children and Teens (FACT) program. More information on the children’s event and activities is available on SWAIA’s Web site,



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Attendees listen to Bruce Bernstein, executive director of SWAIA, speak during the reception honoring Pueblo potters at the Allan Houser Studio and Sculpture Gardens in June.

Artist Jody Naranjo, left, hands a medallion to Rebecca Lucario, one of the Pueblo potters being honored with the Lifetime Achievement Allan Houser Legacy Award. Naranjo designed the medallion.

Potter powwow Pueblo artists discuss ways to sustain traditional art form By Ad ele M elAnd er-dAyton | p h otos By Kerry s cherK

On June 2, Wanda Aragon sat under a large white party tent at the Allan Houser Studio and Sculpture Gardens in Galisteo. The day was hot and windy, the air tangy with smoke from a fire in the Gila National Forest. Aragon spoke about selling pottery with her family when she was a child in the 1950s. “We used to sit on the roadside of Highway 66, which is now I-40. We’d set up in wooden shacks and hold up pottery to the cars driving by, and we even had white flags to alert them that something was happening here.” She paused. “Times have changed.” Aragon is from Acoma Pueblo and has been a potter for most of her life. She was at the Allan Houser compound for a gathering of approximately 80 potters organized by the Southwestern Association for Indian Arts in response to the shifting landscape of Pueblo pottery, which has declined in popularity and in practitioners in recent years. At Indian Market last year, painters surpassed potters for the first time in market history. (Jewelry has long been the market’s most popular category, followed closely by painting and pottery.) The Institute for American Indian Arts offers one lab course in traditional pottery, but according to Ann Filemyr, academic dean, the school’s focus has always been on contemporary art forms. Traditional pottery techniques have long been passed down through Pueblo families, but there’s a dearth of young, aspiring potters as the existing potter population ages. Increasingly, the pottery market (outside of Santa Fe Indian Market) is flooded with souvenirs and knockoffs. Many pots are made using greenware or acrylic paints, while others are mass-produced — the antithesis of a traditionally crafted handmade piece. For a piece of pottery to be considered traditional, it must meet several criteria. The clay must be gathered and processed by hand. The pot must be hand-built and fired outdoors 40

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before ornamentation is added, which can include paints, slips and carvings. Then the pot is fired a final time. The process is necessarily slow and careful. Last year, SWAIA decided to bring the potters together this June to address the challenges they face in 2012. The convocation was arranged for two reasons: to honor the potters with a ceremony, dinner and medals designed by Jody Naranjo of Santa Clara Pueblo, and to open and encourage dialogue among potters. Before dinner, the potters met and took turns sharing their stories and offering suggestions about how to keep pottery vital and relevant in the years to come. “The only time of the year potters get together is Indian Market, and they don’t usually have a chance to speak to each other,” said Bruce Bernstein, executive director of SWAIA, before the gathering. “With the help of several donors, we’ve put together the Potter’s Education Fund. It’s intended to help single out potters that are working in traditional methods and to differentiate them from the other work that’s going on. … The discussion will also be about getting new markets and new collectors for potters. We want to grow the market and we want to interest people in pottery, so the educational portion is to help people understand what a unique art form this is. SWAIA will be there to listen and learn and to understand how we might be able to help. “Market was built around Pueblo potters,” Bernstein explained. He spoke of Santa Clara artists Maria and Julian Martinez’s development of black-on-black pottery in the 1920s, just as Indian Market (then called Indian Fair) was beginning. “Without that new style, Indian Market would not have been successful.” He predicted that much of the potters’ discussion would focus on traditional methods and techniques. “Each of those sound rather straightforward, but each is laden with cultural values,” Bernstein said. “I don’t think it’s the position of SWAIA to say that people should make one thing over another. But we want to honor those people who want to go the longer route. … Collecting your own clay, for instance, is an activity that’s fraught with cultural, family and community values, and you don’t get that in a store.”

Max Early from Laguna Pueblo is one of the potters honored with The Lifetime Achievement Allan Houser Legacy Award.

Wanda Aragon from Acoma Pueblo is one of the potters honored with The Lifetime Achievement Allan Houser Legacy Award.

Jamelyn Ebelacker of Santa Clara Pueblo is one of the potters honored with The Lifetime Achievement Allan Houser Legacy Award.

“We used to sit on the roadside of Highway 66, which is now I-40. We’d set up in wooden shacks and hold up pottery to the cars driving by, and we even had white flags to alert them that something was happening here.” She paused. “Times have changed.” —Wanda aragon

Building a Bridge to youth During the conversations at the Houser compound, nearly every potter described his or her particular methods and the lengthy process of making pottery, which begins with gathering clay. Family tradition is often the basis for a potter’s methods. “When I was small, I watched both of my grandmothers and my mother and all of her sisters make pottery,” Aragon explained. “I do everything the way my mom taught me, from gathering the clay and cleaning it. It’s a lot of steps just to get the clay. Then, we’d go out and pick the pottery shards, soak them, clean them, pound them to a fine powder and mix it together with the clay because it gives it a temper, makes it stick together. This is the way my ancestors made pottery. [During] every step you sing and pray for the spirits to guide you.” Aragon’s 12-year-old grandson, Isaiah, likes to make figurines of horses with little boys on their backs. “I’m OK with Isaiah making contemporary shapes,” Aragon said. “I hope as he grows he’ll steer toward traditional shapes, but either way, it’s OK. It has to be what the artist likes.” Max Early, from Laguna Pueblo, is a self-described member of the younger generation of Pueblo potters. Early is 48 (but looks at least a decade younger) and has three children ages 24, 20 and 18. His son David, 20, a student at IAIA, attended the conference with his father. In Early’s family, pottery skipped a generation: His grandmother made pots, but his mother didn’t. “There was something in me; I had to be a potter,” Early told his fellow artists. “There isn’t much desire in the youth,” Early said of recruiting new potters to learn the traditional methods. “I organized a class [at Laguna] but the students didn’t arrive. … [Pottery] does take patience, and the younger generation is used to getting things more quickly.” Early expressed gratitude to his own mentor, Gladys Paquin, who’s also from Laguna. “She taught me to do outdoor firing,” he said. “I want to be like Paquin was for me for the next generation. … Some potters I’ve never met before e-mailed me. I said, ‘Why are you e-mailing me? Come over and have a cup of coffee; we’ll go from there.’” Early advocated skill sharing and building connections within and across pueblos as a means of passing down traditional pottery techniques. After the public conversations, Early remembered how he learned to mix clay from an experienced potter in Cochití. “He taught me that the right combination of clay, sand and water is essential,” Early explained. “You know it’s just right when you can roll the coils out to the diameter of a pencil and it doesn’t crack or break.” Potters differed on certain topics, like firing methods and how to share information and skills. For pottery to be considered traditional, many artists, collectors and dealers argue that it must be fired outside, using fuels like dried horse manure and pine needles. During the potters’ conversation, Esther Cajero, of Jemez Pueblo, pointed out that outdoor firing

doesn’t always work. She makes storytellers, and fine details, like fingers, often crack or break during outdoor firing. In Cajero’s case, using a kiln makes more sense when firing fragile, intricate pieces with delicate features. Cajero also stressed that transparency and honesty about firing methods is crucial; if a piece isn’t traditionally fired, it’s up to the artist to say so or for SWAIA to evaluate the piece if it’s entered into market. Clarence Cruz of Ohkay Owingeh suggested that SWAIA could help organize a weeklong workshop for aspiring potters. Most potters in attendance expressed a willingness to pass on their skills. Early speculated after the talks that potters may have started guarding their techniques and clay sources during Pueblo pottery’s peak in the mid-20th century, when competition among potters was intense. At 21, Jamelyn Ebelacker was one of the youngest potters at the gathering. Ebelacker is a student at IAIA, a granddaughter of Virginia Ebelacker and a great-granddaughter of Margaret Tafoya, both seminal potters of the 20th century. Ebelacker grew up in Alaska and only recently returned full time to New Mexico. Ebelacker studies graphic design and film at IAIA. “IAIA tends to favor more modern stuff; contemporary pieces often win in shows,” she said. Many of her classmates don’t know how to make traditional pottery or are uninterested in it. “If my father hadn’t been interested in [traditional] pottery, I wouldn’t have learned [how to do it] any other way,” said Ebelacker. “I wouldn’t have known where to go to gather clay and ash or what to do with it.” She shrugged. “Sometimes people want to see something new. To survive as a potter, I have to evolve in what I’m doing. “We need the tools and motivation to bring these traditions to young people,” Ebelacker said when she addressed the group. “At IAIA, we’re given the choice between studio art and new media. I’ll never forget pottery or where I come from, but we need a program where we could blend pottery and new media.” Ebelacker’s suggestions were broad, but she advocated that SWAIA might help to “bridge the gap between where kids are now and our traditions.” Making a life as a full-time potter isn’t an easy path. “The decline [of interest] is on both sides of the equation — the collectors’ side and the potters’ side,” Bernstein noted. “They’re symbiotic at this point. And the potters are under extraordinary financial pressure. They can’t fall back on farming as people once did; they’re potters full time. They don’t often have other occupations, so if those collectors go away, or the marketplace goes away, there aren’t a whole lot of reasons to make pottery.” Financial constraints are certainly valid and should be considered when contemplating a career as an artist in any field. But for many of the older potters, pottery is simply a way of life. After the June gathering, Dolores Lewis of Acoma had this to say: “Our method is time-consuming and takes patience. You have to like it. … I still make pots, even though the economy’s slow. I don’t want to give it up, because pottery is what keeps me going.” 201 2 I n dI a n ma r k et


story By kay Lockridge | pHotos By kitty Leaken

For Jody NaraNJo, family is everything — her natural family of illustrious Santa Clara Pueblo potters and her adopted family of extraordinary fellow artists. To become a member of Naranjo’s extended family is both a privilege and a responsibility. “I come from a line of very strong, determined women, starting with my grandmother rose Naranjo, who was a potter,” Jody Naranjo said. “There are 30 potters in my family, yet there is no competition. our different personalities come out in our work. We’re all so different, we can’t be competitive.” other Naranjo family members who have become award-winning potters include her mother, dolly Naranjo; aunts Jody Folwell and Edna romero; and cousins Susan Folwell, Polly rose Folwell, dusty Naranjo and Forrest Naranjo. She is a niece of sculptors Michael Naranjo and Nora Naranjo-Morse and a cousin of sculptor roxanne Swentzell. Education is a priority in the Naranjo family. Besides her mother, who has been a teacher, principal and educational consultant, other relatives have made significant contributions in various fields. They include her aunts dr. rina Swentzell (american Studies, focusing on the philosophical and cultural basis of the Pueblo world and its educational, artistic and architectural expressions) and dr. Tessie Naranjo (Sociology, co-director of the Northern Pueblos Institute at Northern New Mexico College in Española) and her uncle Professor Tito Naranjo (Education and Social Work, now professor emeritus at New Mexico Highlands University). “My mother wanted me to go into education, as she had, but when she realized I was going to be a potter, she gave me her polishing stone and an X-acto knife [for carving], both of which I still use,” she noted. Naranjo began creating and selling her pottery as a 5-year-old at Indian Market in august (sharing her mother’s booth) and under the portal of the Palace of the Governors in Santa Fe throughout the year. She said she was surprised when her pottery won awards the first year she entered the adult Indian Market competition at age 18. Naranjo has considered herself a full-time potter since she was 15. In the past 28 years, she has 42

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become a premier contemporary pottery artist. yet the slim, attractive artist doesn’t take herself too seriously. “I like to have fun, both in my life and with my work,” she said. “In fact, I’m starting to slow down a bit. Instead of working 12 hours a day, seven days a week, I’ll cut back to maybe six to eight hours five days a week. I’ve paid my dues and worked hard. In the past, I pushed so hard that I’m afraid I missed a lot, especially with my kids.” Naranjo has three daughters — all named for stones — Jade, 22; Coral, 16; and Jett, 9. They are all potters in their own right, and all have sold pottery at Indian Market, sharing their mother’s booth as she did when she was a child. “I truly believe that my art has made me a better person and therefore a better parent,” Naranjo said. “I work my problems out through my art; it’s my therapy. If I’m oK, everybody’s oK. My collectors realize that my pottery reveals my life. I put everything into it. “For instance, the pot I donated to [the Southwestern association for Indian arts] last year for the Gala auction, Finding Yourself, epitomized my philosophy. This year I had a wonderful time creating a piece called Thinking Outside the Box, which included three ceramic animals — a chicken-like bird, fish and deer — surrounding a boxlike pot. [The piece] means trying new things, pushing the limits. you take your own road and even play a little. “Thinking Outside the Box encourages me and everyone who looks at it to consider what lies beyond the day-to-day grind of living,” Naranjo noted. The pot/box itself is traditional in that she dug the clay used to create it. The animals are made of commercial clay and painted with acrylics to match the figures on the pot. The pot was fired in the traditional way, while the more fragile animals were kiln-fired.

How does sHe do it? Emphasizing the fact that Pueblo pottery is a family affair, Naranjo gave this rundown of the process of creating stunning pottery, starting with the annual family dig in april at Santa Clara Pueblo: “We collect clay from three different areas of the pueblo, spending an afternoon in each area collecting that specific kind of clay. The collection for a year’s worth of clay takes a total of three days and, once complete, the clay is stored for six months to a year

until it becomes moldy. This process makes the clay more elastic and easier to work with. When the clay is ready, I use the traditional coil method to shape the pot, adding ash as a hardener to the clay base. [The ash works just as pottery shards would.] “Sometimes I have specific shapes for pots in mind, having sketched them long before the actual shaping. Some ideas come from dreams. Other times, I’ll make shapes for general purposes, and they [the pots] will tell me how to proceed. “The pot must dry, and when that’s completed I sand it with coarse, medium, fine and extra-fine sandpaper. With the sanding completed, I polish the pot and later add the slip. After that dries, I paint the pot and polish it again. Firing prepares the pot for carving. Carving, in fact, takes 80 percent of my time.” The prepared pots, complete except for carving, are placed in the firing box at the pueblo. The fire is already lit under the box. Naranjo and her mother, Dolly, cover the box and place stacks of wood around it to ensure complete firing. Once that’s done and the fire is put out, Jody, her mother, and her brother Eli — who’s also a potter — open the box and allow the pots to cool. The reckoning happens now, in that a pot may crack during cooling. Naranjo and her brother inspect the pots and determine that this firing is a complete success. No pots were broken, and Naranjo will proceed with the carving at her home studio.

At work At home Naranjo’s Albuquerque home, where she both lives and works, is a reflection of her artistic experience, with artwork covering the walls, side tables and floors. She has 44

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paintings by fellow artists and friends Ryan Lee Smith (Cherokee) and Ryan Singer (Diné/Navajo) and sculptures by her cousin Roxanne Swentzell. Besides pieces of her own pottery, there are exquisite pieces by her mother; by another cousin, Dusty Naranjo; and by longtime friends Autumn Borts-Medlock (Santa Clara Pueblo), Glendora Fragua (Jemez Pueblo) and Kathleen Wall (Jemez Pueblo). “We don’t buy each other’s artwork,” Naranjo noted. “We trade pieces of our own for work by other artists whom we admire both as people and artists.” She added that she has acquired jewelry from Cody Sanderson (Diné), a fellow “night person” with whom she often talks by phone in the middle of the night, and clothing from Penny Singer (Diné), a longtime friend and a favorite designer. Getting down to the business at hand (and, yes, it is a business, as Naranjo

readily acknowledges, that puts food on the table and pays the mortgage), she proceeds to her small workroom. It’s here that she creates award-winning pots from piles of clay, using a hand-propelled lazy Susan to build the pots from handprepared coils. All her work, except carving, takes place in this room. “I can keep the mess behind closed doors,” she chuckled. Once the pot is ready for carving — after shaping, drying, sanding, polishing, adding the slip, drying again, painting, more polishing and finally firing — she moves down the hall into her den. This room has a comfortable sofa and chairs, plus a big-screen television that is always on while she carves. Reality shows are among her favorites.

on the roAd Naranjo works year-round. She appears at shows from March through December and does five or six commissions a year. Her

website,, lists nine shows, starting with the Heard Museum’s Indian Fair and Market in Phoenix in March. Each May — on Memorial Day weekend — she does the Native Treasures Indian Arts Festival in Santa Fe. Then, less than a month later, she’s off to Indianapolis for the Eiteljorg Museum of American Indians and Western Art and its Indian Market & Festival, followed in August by Indian Market and, running concurrently, a show at Blue Rain Gallery — these last two in Santa Fe. September brings the annual show at Lovetts Gallery in Tulsa. November takes her to the Southwest Museum of the American Indian, part of the Autry National Center, in Los Angeles. Two shows round out the year in December at the Smithsonian Institution’s Museum of the American Indian in New York City and Native American Collections Gallery in Denver. “These shows are time for myself, to get together with other artists and collectors,” Naranjo said. “The work is done, for the moment, and we just have a good time. Plus, I love the locations of most of the shows. “I do need to slow down, however. I can’t produce as I used to, and I want to have a life outside of art. So I probably will cut down on the number of pieces and maybe concentrate on fewer, larger pieces. I used to be like a machine, a robot. My pots were created almost as on an assembly line: All were shaped within a week, all were sanded the next week, polished the following week and so on. Now I work on each pot individually. “Still, I never let anybody down. I’m consistent, and I’ve established good,

satisfying relationships with the various gallery owners and folks who run the shows. They were there for me when I was starting out. I want to be there for them.” Indian Market leads the pack for her because “it’s such a big show ... and it’s so much fun to get together with everyone throughout the Indian art world. I usually sell out by 10 a.m. the first day, so I can spend the rest of the market visiting and partying with people.” She said she also supports Native Treasures because “it benefits the Museum of Indian Arts & Culture, which in turn supports us.” Surprisingly, she said the “most fun show” is the Eiteljorg in what Hoosiers call Naptown. Naranjo declined to discuss exactly what makes this show fun, but a local blues bar, the Slippery Noodle, and great shoeshopping opportunities with friends were mentioned.

Fun on the home Front Naranjo also enjoys a variety of fun, even whimsical, things at home. For instance, she has a number of animals, including a dog (a Yorkie named Carter), two ducks (Daisy and Donald), a rabbit (called Bunny), a wild squirrel (Nadine), that visits regularly, and a hawk that is nameless but “loves to come scare my animals,” which have free rein in her enclosed backyard, with its small protected pen and back porch. Naranjo — pictured here on her red sidecar in 1995 — expresses her thrillseeking side through two motorcycles — 1950 and 1964 Harley-Davidsons. “I’ve loved motorcycles since I was a teenager and have owned at least one since then,” she said. Naranjo said there’s a new man in her

life. Actually, he’s an old boyfriend from Española Valley High School, with whom she reconnected last year when both were single. Chris Appleby is a contractor or in Santa Fe and has a daughter close to Coral’s age. “[Chris] likes me for who I am, and I like him the way he is,” Naranjo said. “We accept each other as we are. That’s the way it has to be for me — for both of us.”

market and the American art world. Pollack created a sterling silver pendant featuring Naranjo’s pottery designs on both sides. The initial distribution to approximately 80 potters took place June 2 at SWAIA’s Lifetime Achievement Allan Houser Legacy Award ceremony. The award and pendant were outgrowths of the organization’s creation of the Potters Education Fund, which led to the Potters Educational Fund Fellowship program. Both were established to generate ongoing conversations within the community of potters, as well as among collectors and the general public, focusing on quality, authenticity and endangered materials. “The values rooted in pottery making are from deep inside communities, from the same center where religious ideas — the very understandings of who people are and how they came to

be — are located,” Bernstein said. “This award acknowledges, with appreciation, these values.” When asked whether she would like to create more jewelry, thus adding yet another dimension to her art, Naranjo enthusiastically responded that she hoped to continue collaboration with Pollack and her company, Relios of Albuquerque. “[It’s] pretty cool ... to make pottery designs into wearable art, and I’d like to do more of it in collaboration,” she said. “I was honored and blessed to have this opportunity. “I’ve taken a long look at myself over the years and asked myself, ‘Who am I? What am I?’ “I am a potter. It’s what I do. It’s not who I am, although I do put a lot of myself into creating a pot and its design. What I am is a mother, daughter, sister, friend, artist. I know who I am. I like who I am.”

on the horizon A particularly exciting opportunity occurred this spring. SWAIA executive director Bruce Bernstein asked Naranjo to collaborate with noted jewelry designer Carolyn Pollack on a special pendant to be presented to all Indian Market potters this year in recognition of their contributions to the

2 01 2 I n dI a n ma r k et


Margarete Bagshaw: Breaking the Rules Through December 30, 2012

Paintings, bronzes and polychrome ceramic vessels demonstrate the multidimensionality of the artist’s dazzling work.

They Wove For Horses: Diné Saddle Blankets Through September 2, 2013

The great pride and skill the Diné take in adorning their horses is revealed in this display of weavings both everyday and fanciful.

Woven Identities Through April 1, 2014

Exquisite baskets woven by artists representing 60 cultural groups in six cultural areas of western North America: the Southwest, Great Basin, Plateau, California, the Northwest Coast, and the Arctic.

Buchsbaum Gallery of Southwestern Pottery Ongoing

Works from the pueblos of New Mexico and Arizona are presented here, representing the evolution of community traditions.

Museum of Indian Arts & Culture Museum Hill off Old Santa Fe Trail | (505) 476-1250 | |

Top: Margarete Bagshaw, Ancestral Procession, 2010. Bottom, left to right: Diné tapestry- and diagonal twill-weave single saddle blanket, Spider Woman Cross style, 1880–9, photo by Blair Clark. Western Apache jar, c. 1900, photo by Addison Doty. Tesuque polychrome jar, 1890, photo by Blair Clark.

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New mediums provide artists aveNues for CritiCal messages

Venutian Soldiers

Virgil Ortiz

By Staci Golar When you make a living as an artist, where the marketplace often rewards consistency and balks at major shifts in style, what does it mean to explore new mediums, especially if it’s done in midcareer? For Virgil Ortiz, Kathy Whitman-Elk Woman and Shonto Begay, three Indian Market exhibitors who collectively have more than 70 years of experience as professional artists, taking risks and changing trajectories is just another day at the office.

‘Conduit for the creator’ Ortiz, an utterly hip but just as humble 40-something who comes from one of Cochití Pueblo’s pottery families, first drew attention in the art world for helping to revive the pueblo’s monos figures. The monos came about in the 1800s and represented the Cochití potters’ reaction to


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the influx of non-Native visitors to the pueblo. Made from clay, they mimicked the very people who loved to buy them, mocking everyone from traveling circus performers to tourists. While Ortiz used the monos like his ancestors did — as a mirror of the people and trends around him — he went a step further to make the tradition his own, offering figures that were infused with a provocative, goth and often androgynous sensibility. Collectors and critics quickly took note. Even though this success in the art world was rewarding, Ortiz — who admits he bores easily — added sewing machines and scissors to his repertoire, adapting his ideas to fashion. His bold garments quickly became the hot ticket for Native art collectors and New York fashion designers alike. A fateful meeting in 2002 solidified his designer status when New York fashion mogul Donna Karan noticed his work at the Santa Fe

Indian Market. She asked him to collaborate, and soon DKNY dresses and skirts with highly stylized designs including spinach, water, clouds and more were seen on the runway. Each time Ortiz appears to master a medium (like pottery or fashion), he leaps headfirst into a new one (like jewelry or interior design). He’s even created short films that tie into the rest of his work. “The more I think outside of the box,” he said, “the more mediums I pick up.” Sometimes, the experimentation is out of necessity. “I’ve done photography in the past and put it away but started back up when I needed a photographer for immediate fashion shots once my clothing line started to expand,” he said. “Now I do everything from selecting models to designing clothing to graphic design and, bang, there are next season’s designs and images.” The thread that unifies everything Ortiz touches is his interest in the 1680 Pueblo Revolt. “All of the mediums

MidcAReeR Mavericks kathy WhitMan-elk WoMan

I work with are coming full circle now and help me to tell the story of the revolt through my eyes,” Ortiz said. “Working in mediums other than clay helps reach and educate a wider audience. They all inspire and feed one another. Whichever medium is in my thought, I give it everything I’ve got.” Recent projects include participating in the Fondation Cartier’s Paris, France, show Histories de Voir — Show and Tell; finishing his 2012 “Colorblind” line of T-shirts (launching in the fall); designing 20 patterns for a leading, worldwide carpet manufacturer; and prepping for his Venutian Soldiers pottery show, opening Thursday, August 16, at Zane Bennett Gallery in Santa Fe. While Ortiz’s work might now be more ambitious, his goals are the same as when he started. “I realized I was put here to tell the story of the Pueblo Revolt, to educate the world about this revolution and to keep the art of Cochití pottery alive,” he said. “By using all of the

mediums I dabble in as inspiration, I can continue to tell a very important part of Pueblo history. I don’t change my artistic integrity for anyone. I really feel I am not an artist but a conduit for the creator.”

Recycling: An ancient tradition Ask Kathy Whitman-Elk Woman what accounts for her long-term success as an artist and she’ll tell you it is being brave enough to follow her heart and spirit at the risk of all possible ridicule. One of the few female stone sculptors in the Native American art world, this passionate, energetic artist who first attended Indian Market 25 years ago has taken a gutsy step in deciding to make almost all of her new work from recycled materials. After discovering what’s behind Whitman-Elk Woman’s motivation, however, her move to make more recycled work, or “eco-conscious art,” makes perfect sense. While Whitman-Elk Woman became interested in

recycled materials as a medium about eight years ago, the idea is actually not that revolutionary in her tribe — the Mandan-Hidatsa-Arikara Nation. “We used every part of the buffalo when we depended upon it for sustenance,” Whitman-Elk Woman remarked. “There was no waste. This idea is ancient throughout the world and, for me, has a bigger purpose. I felt the need to be more proactive in taking care of the environment. … I wanted to be the difference. I started saving aluminum cans and plastic bottles because they are [among] the major pollutants to our Mother Earth. Initially, I didn’t know how or what I was going to create.” But with the love of nature as her guide, Whitman-Elk Woman first birthed a colorful, somewhat whimsical line of jewelry created from the aluminum cans so many of us drink from each day. “At first, it seemed people were taken aback and couldn’t understand the idea and the purpose,” she said. “Some people would laugh at the idea

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shonto begay

and think it was crazy.” While she still creates the line of jewelry, it didn’t make the impact she expected, so she began crafting larger, realistic sculptures as well. “The sculptures are proof that this work can be done,” Whitman-Elk Woman said. “And in the past couple of years, the public reaction seems to have collectively changed.” Her honors and commissions provide proof. In 2011 Whitman-Elk Woman won a first-place ribbon at the Santa Fe Indian Market for a horse sculpture made completely out of soda cans. Shortly thereafter, at the Autry Museum’s American Indian Arts Marketplace, she took Best of Sculpture for a 6-foot sculpture of a Native woman, also crafted from discarded cans. Earlier this year, she served as the artist in residence for the Yocha DeHe School on the Rumsey Rancheria, where she and the students created an eco-friendly horse to complement the off-grid, self-sustaining buildings. “What makes me so excited about all of this,” she said, “is that it shows the public is broadening their thinking and understands that art is limitless and that creating from recycled materials is not only acceptable but also promotes sustainability.” Whitman-Elk Woman has never been one to let the critical art world define her, though. “There was a time in my life when I tried to satisfy that world,” she observed, “but life happens and change is inevitable — thank goodness! I feel as an artist it is my responsibility to create art that inspires and raises the consciousness, so that we will be more thoughtful in how we live with the sacred Mother Earth and with one another. This was my intention through my art when I started, and that is still my intention. That will never change; only the way I create my art may change, and the ways are endless.”

Art as a change agent Diné artist Shonto Begay’s paintings and illustrations have been collected around the world. They are a reflection of his truth, a vignette of the people and landscapes of his world. From Navajo friends traveling in the back of a pickup to the trash among the brush near Chinle, his subject matter sometimes pushes the comfort level of his audience without losing their interest completely. Thoughtful by nature, Begay said he has found long-term success as a painter because it’s either that or “going mad.” On a more tangible level, he acknowledges that hard work, visiting every art museum in every city he’s ever been in and being respectful of Navajo teachings have been crucial to his career path. “I’m also excited about sharing my ideas and believe as an artist you should be an ambassador for your own vision,” Begay said. That vision, as well as his desire to keep experimenting, led him this year to apply for (and receive) a Southwestern Association of Indian Arts Residency Fellowship for creative writing. While the fellowship might strike the public as a creative departure for him, Begay has been writing for decades. An experience in Berkeley in the 1970s lit the spark. “I was having powerful, disturbing dreams,” he said. “Since I didn’t have access to a medicine man, who I normally would have summoned to help with this, I thought I would try to help myself. I started writing my dreams down using a creative style because I didn’t want them to be interpreted in a totally narrative or dry, linear way. When I would reread them, I’d say, ‘Wow! Did I do this?’ and it was sort of an ‘aha’ moment, as up until that time I hadn't thought of myself as a writer.” Those in Flagstaff, Arizona, have no doubts about Begay’s literary talents; he writes a regular column called “Letters from Home” for Flagstaff Live. In it he comments on everything from environmental concerns to the desecration of American Indian ceremonies by non-Natives. “My column is a place where, similar to my painting, I can write about everything the way I see it, through my set of eyes,” he said. For Begay, part of what compels him to keep painting is also what keeps him writing — the dialogue with the audience. He acknowledges his work highlights a certain 50

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tom AlexAnder photogrAphy

Shonto Begay Tree of Knowledge Acrylic on canvas 36” x 48” Courtesy mark Sublette, medicine man gallery

amount of heavy subject matter, balancing the harsh realities of the reservation with the richness of its people and land, but he believes that “a collective healing occurs when someone sees my work and can find beauty in the middle of whatever pain or mystery I might be communicating. “I tend to paint the way I write my words — externalizing pain and educating the public about our issues, but always instilling in my work nothing but the truth, the truth of what I grew up with and what I see now. I believe that painting and writing are very closely related and that artists who can channel both of these enthusiastically can’t lose.” What’s most important, Begay noted, is sharing the perception of his world from his heart. “In my work I get to say, ‘Hey, we are here as Native people and here is what we see and breathe to educate others. Whether painting or writing, I believe my work acts as a change agent. Art, no matter the medium, can save lives.’”










during Indian Market week featuring the clay sculptures and photography of

David Johns

Virgil Ortiz

ABSTRACTED LANDSCAP ES during Indian Market week featuring the paintings of David Johns




Thursday, August 16, 5–7 pm

Thursday, August 16, 5–7 pm

Limited edition signed posters will be given to the first 30 guests. Artist will be present





435 South Guadalupe Street, Santa Fe Tel: 505 982-8111 Monday–Saturday 10–5, Sunday Noon–4


435 South Guadalupe Street, Santa Fe Tel: 505 982-8111 Monday–Saturday 10–5, Sunday Noon–4

Railyard Arts District Walk last Friday of every month

Railyard Arts District Walk last Friday of every month

Under grand skies and infinite stars… …rediscover your inner artist in our intimate escape from the ordinary – nestled in a high-mountain desert landscape, minutes from the magic of Santa Fe, New Mexico.

877.262.4666 198 State Road 592, Santa Fe 2 01 2 I N DI A N MA R K ET


mixed media collage


By Kay LocKridge

An artist finds inspiration in many places and forms. When Comanche painter Nocona Burgess looked with fresh eyes along a road he had traveled many times, the result was a new series of paintings he calls Quahada Lands. “Quahada is a Comanche word meaning antelope,” Burgess explained. “Our band of Comanches and the land we inhabited were called Quahada, which was part of the Comancheria where the antelope were. It includes eastern New Mexico, west Texas and western Oklahoma, the latter being my birthplace. “Since moving to Cochití Lake in 1989, I've driven that route — Santa Fe to Lawton, Oklahoma, headquarters of the Comanche Nation — what feels like a million times. In fact, it’s a natural trail for Comanches; our homeland begins in the sacred Wichita Mountains of southwestern Oklahoma and continues west to Tucumcari and Santa Fe.” He began noticing that once-thriving towns along the route — such as Memphis, Shamrock and Claude, Texas; Hollis and Duke, Oklahoma; and Cuervo, New Mexico — were “trickling away,” as

New finds on old roads

nocona burgess

were the homes and farms that surrounded them. Recently, he began stopping at some of those deserted homes; those that were accessible he would enter, discovering objects such as doorknobs, candles and other ephemera the former residents had left behind. When sponsors of the annual Native Treasures show asked artists to create “treasure boxes” for a special sale to raise funds for the Museum of Indian Arts & Culture this year, Burgess constructed two boxes depicting the story of his great-great-grandfather Quanah Parker. Son of a white mother and Comanche father, Parker lived in two worlds as an emissary to the white government and chief of his tribe. The two boxes look and open like books, each with a latch. The portrait on the cover of one box depicts Parker in American clothes of the time, with a suit, high-collared shirt, tie and bowler atop his head; the portrait on the other box shows Parker in his Comanche chief attire, with feathered headdress and chief’s robe. Inside each box are small items — old photos, show fliers, pins, figures, feathers, candles and maps — that Burgess found in those deserted properties along the road and on Indian land. The items in the two boxes represent to him the real worlds of the Indian and


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white man before the turn of the last century. “These boxes kind of kicked it in for me,” Burgess said. “I’ve wanted to record what was happening to the land for a long time, but I didn’t know how to approach it. Now I’m doing a series of paintings with such ‘found’ objects attached to them. “The paintings appear on boxes, like the treasure boxes, with the objects inside or on panel board with [the objects] attached like mixed-media collages,” the artist added. “I’m using old wood also found in these buildings. These new pieces will be stories of old houses: … who lived there, what happened to them. All my work tells a story; that’s important to me.” Burgess will have a number of his traditional paintings of strong Comanche men and women, warriors and chiefs at Indian Market, as well as four to six pieces from the new Quahada Lands series. The artist will give a lecture on Comanche history at 8:30 p.m. Thursday, August 16, at Legends Santa Fe (125 Lincoln Ave.), where an exhibit of his work, Numo Soko — Comanche Land, Comanche Stories, opens August 17 and continues through September 17. Find Nocona Burgess at Indian Market booth No. 729 LIN-W.

Johnny Depp with Nocona Burgess’ son Quahada and a treasure box

“When one’s identity is so thoroughly prescribed and overdetermined, it seems plausible that one might carve out a space in one’s art simply to be. This, I suggest, is what Ryan


Lee Smith is doing. By his own admission, subject matter is unimportant. His art is neither representational nor symbolic. It carries none of the familiar markers of Native American art. It represents nothing more — nor less — than itself.” Jo Ortel, Migrations: New Directions in Native American Art, University of New Mexico Press, 2006.

Angelfish photo joel muzzy

An artist unbound

Abstract painter Ryan Lee Smith is defining his identity and his work on his own terms

By Diana Del Mauro

Given his ambling ways and the twang of his Oklahoma accent, Ryan Lee Smith could easily pass as just another hillbilly from the backwoods — which was indeed an authentic part of his upbringing. So when he began art school at the University of New Orleans, he kept his Cherokee heritage a secret. “I wanted to go in undercover and see what I could pull off,” he said. After Smith established himself at the master of fine arts program, however, he revealed his identity and accepted the much-needed minority scholarship money. Then he kept on doing his thing. Truth is, Smith didn’t have a strong Native identity then. He didn’t grow up with his Cherokee father. He was raised on the neighboring Creek Nation by his mother and grandmother, an artistic woman who taught the young boy how to draw. He had a variety of friends and didn’t dwell on culture much. Catfishing, cars, art and football were his passions. In college, spontaneity and the simple joy of creating art drove him to paint. He resisted any pressure to explain 54

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his work; he liked being an artist “out of control.” He maintained that foot-loose and fancy-free approach until he entered a competition held by the University of New Mexico’s Tamarind Institute, which lamented that “Indian artists have been largely ignored by the power brokers of the art world.” The Institute selected Smith’s work for a five-year traveling exhibition, Migrations: New Directions in Native American Art, debuting in 2007. Back then, drawing a connection between his art and his Native heritage felt like a stretch. Since those days, Smith has clarified his artist statement, allowing him to progress from an outsider in Native art to a trendsetter among fellow painters who are pushing the boundaries at Santa Fe Indian Market. He credits his growth to a detour that led him back to the Cherokee Nation, where he lives today with his wife and two sons, who attend tribal schools conducted solely in the Cherokee language. In 2005, as he neared the completion of his master’s in New Orleans, Hurricane Katrina turned the graduate student into a self-employed contractor specializing in renovations and remodels. Smith has yet to complete that degree. After two years of

restoration work in New Orleans, his wife suggested they settle in Tahlequah, Oklahoma, his birthplace and the heart of the Cherokee Nation. Smith felt like an outsider when he first stepped on the reservation. Gradually, he gained the community’s trust and, side-by-side with tribal members, he organized a volunteer construction crew that built a nutrition center for the elderly. In the process, Smith connected with his heritage. Recently, he became a cultural specialist at the new Cherokee Arts Center, a small-business incubator for artists, where he paints, teaches classes and repairs 80-year-old floor looms. “I have found the true respect for my people that I — and my [art] work — have been missing,” he told the Southwestern Association for Indian Arts in his fellowship proposal. When Smith won the SWAIA residency fellowship award in 2011, he had been living on the Cherokee Nation for four years, spending little time on art. In Santa Fe, as he seized the giant studio that would be his for more than 20 days, a raven appeared and inspired a painting he carried to his first Santa Fe Indian Market.


ndian Market 101

Days before Santa Fe Indian Market began last summer, Smith spotted fellow Cherokee Wes Studi and rushed to introduce himself and share news about the folks back home with the actor. Studi, who lives in Santa Fe and was on the way to the bar with friends, didn’t seem enthusiastic about Smith’s approach, but the painter offered to buy him a drink and tagged along with the group. Once the stories and beer started flowing, laughter replaced awkwardness. Studi caught sight of Smith’s new shoes — a pair of Donald Pliner beaded Italian slippers purchased at Goler Fine Imported Shoes on East Palace Avenue that very day. Usually a black Crocs kind of guy, Smith had decided to buy “something out of character” after seeing an advertisement featuring his favorite Indian Market artists sporting similar footwear. Soon Smith’s new Hollywood friends passed his shoe around, as if it were Cinderella’s glass slipper. Cradling the shoe against his ear, Native filmmaker Chris Eyre pretended it was a telephone. Smith was riding high after that night. But once Indian Market began, even his Goler shoes couldn’t sustain his confidence. He hadn’t won any ribbons. He called out to market-goers across the sidewalk to lure them to his booth. His paintings of jackrabbits, eagles and ravens sold first. Selling only eight paintings, he wondered if the market was the right place for his abstract works. He figured he had to pay his dues as a little-known artist. “It kind of woke me up as to what people are buying,” Smith said. He returned to Santa Fe for SWAIA’s Winter Market, where, as part of his fellowship requirement, he painted live, in his sloppy everyday clothes. He didn’t sell enough work to break even, again chalking it up to paying his dues.


ribbon for Angelfish

This March, at the Heard Museum Guild Indian Fair and Market in Phoenix, Arizona, at age 39, Smith tasted success with his first notable prize for art. In a juried competition, he won the 12th Conrad House Award — presented by a unanimous 24-judge vote to the piece in any medium that exemplifies innovation and the late artist’s vision — for Angelfish. According to guild member Janet Hoffman, Angelfish was the first painting to receive the award. Collectors lined up at his booth the next day. He sold out of everything but two drawings. Angelfish began as a four-foot demonstration painting at a Tahlequah community art festival. It was almost cute: a bear, standing in a fire, holding a salmon over his head. “I decided that I had to turn this thing into a prizewinner.” Smith said. Fifteen layers of paint later, including wide swaths of black oil paint, all that remained was an explosion of shapes and colors. Smith articulated nothing absolutely; the imagery stayed on the level of suggestion. There could be an angelfish there — but then again, there could be a squirrel. “I keep it just under the water,” he explained. “Just

enough to let the viewer take it further, take it on over that line.” Guild members Judith and Robert Rothschild bought Angelfish for a few thousand dollars. “It was the most dramatic painting in the room,” said Judith, a retired educator with a master’s degree in art. Active patrons of the arts, the Rothschilds have attended the Heard Fair for more than 15 years and Santa Fe Indian Market many times. “This is the first thing we’ve bought from a Native American artist that is totally abstract,” Judith Rothschild said, referring to Smith’s painting. “I think he’s a real talent coming up. And a very nice guy, too.”


psetting preconceived notions Contemporary artists who sell their work at Indian markets are still breaking through the stereotypes, but Smith is optimistic. “There is a definite change happening in Indian art,” he said. “They tell me right now is the time to do something different. People ople are dying for something different.” Paintings of bears and other animals have been his bread-and-butter pieces — work that the average ve ge person can grasp. Although he’s painted abstracts since graduate school, he rarely showed these paintings because they might be harder for the audience to appreciate. That’s why getting recognition at the Indian markets has been a breakthrough — a “coming out” of sorts. “I think it’s time for us to compete with the art world itself, and not just this little niche of Native tive art, so I’m just pushing it and pushing it,” Smith said. Since the Santa Fe market began in 1922, studio-style painting — the kind Dorothy Dunn of the Santa Fe Indian School promoted — has been a category. Contemporary style became a new category of painting at Indian Market in 1981, when Harry Fonseca and his suave coyotes “broke it open,” SWAIA deputy director John Torres-Nez said. However, the marketplace has been slow to change. Patrons still expect to see paintings of “buffalos and tipis,” Torres-Nez said. The same people who buy art at Indian Market might go to Canyon Road galleries to buy a contemporary painting, but they don’t expect to do that at Indian Market. “A lot of it has to do with educating the public,” he said. In that vein, the Santa Fe Indian Market website challenges patrons to think outside the box: “Unlike grade-school textbooks, museums or Hollywood movies, Indian Market is centered on Native self-representation. It is here that your perceptions and preconceived notions about Native people and culture will be changed forever.” Native artists whose work is abstract have shied away from the market, said Torres-Nez, who also teaches at the Institute of American Indian Arts, a 4-year degree program focused on contemporary art forms. These artists have gone straight to the gallery scene and nonNative art shows, he said, because they felt there was no “home” for them at Native shows. Only now is that starting to change — “just barely,” he noted. In 2006, Sheldon Harvey shook things up when he

“literally just burst on the scene” at Santa Fe Indian Market, Torres-Nez said. Two years later, the self-taught contemporary painter and sculptor from the Navajo Nation won Best of Show in both mediums. Galleries took notice. Today, “people like Sheldon and Ryan and a couple others are in Native shows, when you wouldn’t see them there before,” Torres-Nez said. Torres-Nez also pointed out a surprising new trend: Last year, for the first time at the Santa Fe show, the number of painters surpassed potters. All of this could bode well for Smith. As Smith returns to Santa Fe this August for his second Indian Market, he has a sense of validation he didn’t have before — brought on from the support of other artists he met over the past year, including Sheldon Harvey, and from patrons who snatched up his abstract works this spring. Native markets have given Smith a platform he wasn’t achieving on his own, and he likes the scene so well he’s likely to be a fixture in the Santa Fe and Phoenix markets for decades to come. “SWAIA has set the stage for me,” Smith said. “They’ve given me every tool I need to make it where I want to go, and I’m doing it.” His ambition, to earn a place in prestigious galleries that don’t give a hoot about a Certificate of Degree of Indian Blood, hasn’t changed since art school. “Ultimately, I want nt to be in New ew York rk City and be recognized for my art and not have to explain or rely on [my Native tive American identity] to sell my work,” he said. “I really want nt my work to speak for itself.” (Find Ryan Lee Smith at Indian Market Ma et booth No. 773 LIN-E.)

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All in the Family

Paris Bread

By Jean Kepler ross Indian Market is “always a homecoming,” said Waddie CrazyHorse of Cochití Pueblo, who enjoys reconnecting with friends who have “known me since I was at market in diapers.” CrazyHorse is one of many children of Indian Market artists who grew up around the festival and carry memories and lessons forward. “I am very fortunate having Cippy CrazyHorse as my father,” he said. “I recall the booth always packed two or three deep. I learned to provide basic customer service and how to be cordial and mature around adults and developed my social skills as well as basic business skills [in my father’s booth]. It’s safe to say that Indian Market helped me become the extroverted networker that I am today.” CrazyHorse was admitted to Stanford University in 2006 with a Gates Millennium Scholarship. “I was very proud of this,” he said, “so I made a few Stanford ‘S’ pins to wear at school. Stanford fans took notice and those started selling at football games. After graduating in June 2011, I founded Collegiate Silver, which became officially licensed by Stanford in February 2012 to produce their trademarks.” He is also working with several other 56

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Jade Bread

universities to become certified to produce their logos and expand his business. CrazyHorse now operates a workshop in San Carlos, California, and uses both traditional hand-wrought and modern lost-wax casting methods to produce both the Stanford jewelry and his own designs. “I am inspired to perpetuate the ‘old-timer’ techniques that have been passed down from my Grandpa Joe [Quintana] to my father,” he said. “It’s a wonderful artistic legacy to be blessed with. I fully embrace the clean, classic approach to jewelry design that my family is known for, and I try to keep things fresh and interesting with various stones and my use of negative space. “I look forward to working alongside my dad once again when I come back for Indian Market.”

Sibling styles Paris and Jade Bread also grew up attending Indian Market, helping their mother, Jackie Bread, a bead artist from Montana. They first participated in Indian Market in 1999. “I was 8 that summer and I entered a large 16-by20 drawing of some buffalo and won an award,” Paris

said. When he was 12, his Prismacolor drawing of a Navajo rug won best of classification. “I was so excited and overwhelmed; that experience meant so much to me. When I was 15, I applied for and won a SWAIA youth fellowship. I got to go to afternoon tea [with] the governor of New Mexico and was recognized for my award. My drawings began to get more detailed and told stories about myself and my people — Blackfeet, Apache and Navajo. I began doing work in ledger style about five years ago.” Paris is now a media arts major at the University of Montana in Missoula and is learning to design websites. “This is an amazing, all-encompassing medium,” he said. “It seems a contradiction that I am so connected to ledger drawing while I am so connected to a medium that is the ultimate in technology.” Paris’ younger sister, Jade, will be a sophomore this fall at Great Falls High. She first showed her work at Indian Market in 2003. “Ever since my first year of showing, I have won some type of ribbon,” she said. “My art has always been ledger-style drawing, just not done on actual ledger paper. Searching antique stores, we happened to come upon a ledger book, making my art what it is today.

autumn borts-medlock

cavan gonzales

waddie crazyhorse

But my art wouldn’t be [what it is] today if it wasn’t for my mother and everything that she has taught me. To see her build her life around something she loves is simply amazing. I’ve learned so much from the great stories my mom and dad have told me over the years. These stories make my work.” “Indian Market is really a special part of our lives,” Paris added. “One of the best things is that we get to see my dad’s family. They are from New Mexico, so reconnecting with them during this time is cherished.”

Potter with pedigree Cavan Gonzales, a potter from San Ildefonso Pueblo, belongs to a very long line of Indian Market artists. “I’ve been going to Indian Market since before I was born,” he joked. His maternal great-great-grandparents, Maria and Julian Martinez, attended the first Indian Market and won a blue ribbon for pottery. Today, Gonzales and his mother, Barbara Gonzales, work together each year to create a black pottery plate that they donate to SWAIA to give to the winner of the Povi’ka Award, which honors Maria Martinez and recognizes service to Indian Market. “When I started out, I ate the clay,” Gonzales said.

Around age 4, he started creating “little bowls and figurines,” which his mother still has. He now works in three types of pottery: polychrome, which is tan and predates black pottery; black; and contemporary, which is red and polished. He gathers his own clay and other materials. “I’m always pushing for perfection,” he said. Gonzales remembers attending Indian Market when he was young and helping out at La Fonda on judging night by passing out glasses of water. He also remembers enjoying Frito pies and snow cones at Woolworth’s. Now his wife, April, helps out at his market booth, and his older children, Charine, 16, and Tyler, 15, show their pots; they’ve both won youth ribbons at recent markets. His youngest child, Andrieta, 3, is next in line.

Tradition of helping Autumn Borts-Medlock is a fourth-generation Indian Market artist. She remembers working with clay as a child, along with her sister Tammy Garcia, her mother, Linda Cain, and her grandmother Mary Cain. She recalls seeing the awards that her grandmother won at Indian Market and walking down the hallway at her great-grandmother Christina Naranjo’s house to peek into the workroom,

where many large pots sat drying. “Grandma Mary was determined to teach pottery to her grandchildren, and my sister and I really caught on to it,” said Borts-Medlock, who grew up at Santa Clara Pueblo. “It seems that we were meant for it; the creative feeling just came naturally to us. My mom was also an essential role model, encouraging us to create our own designs from the world around us but to still honor the designs that Grandmother taught us. I like to blend the old and the new, a classic shape with flowers and insects or a modern shape with Grandmother’s avanyu design.” As young teenagers, Borts-Medlock, her sister and a cousin would help their elders unload supplies and pottery from their pickup and carry them to the Indian Market booth. They were then free to look around the market and enjoy cool drinks and Navajo tacos. They would check in at the booth and give their mother a break, then help load everything up at the end of the day. Today, Borts-Medlock’s family helps her set up her own Indian Market booth, then checks in to give her breaks. She’s hoping that her 7-year-old daughter Rochelle, a budding artist, will continue the tradition. 201 2 I n dI a n ma r k et



Profiles By Jean Kepler ross

Shelden Nu単ez-Velarde

Top, Ian Fender Bottom, Wayland Namingha Jr.


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Top, Walter BigBee Wayland Namingha Jr. Bottom, Ronald Chee


Ronald Chee: Authentic interpretations In 1993 Ronald Chee (Diné/Navajo) dropped out of college, where he had been studying business, to follow his artistic desires. He started with watercolors, moved on to acrylics, then settled on monotype mixed media. He creates his prints with etching ink mixed with linseed oil painted onto a plexiglass plate; the finished piece is then pulled through press rollers with printmaking paper, and the image transfers to the paper to create original prints that can be enhanced with paint. “My choice of colors is all random on the subject at hand,” Chee said. “I like multiple-colored horses!” Chee did not grow up on the Navajo Nation, but he attends ceremonies and sweats with his father and relatives and interprets Diné traditions in his art. “Art took me back to my roots,” Chee said. Authentic and original art best defines who he is, the artist said. The themes for his Yeii series include wildlife, the environment and the circle of life, as well as Yeii faces or masks. They are the most popular images he paints. “The Yeii subject evolved over time,” Chee said. “I introduced the subject of spirit of the environment as an abstract interpretation of the environment, showing the different colors to show the seasonal changes in the sky, having the mesa mountains across the midsection and having trees and plant life below the bottom half, sometimes adding a river or lake or many other objects as elements or spirits of the earth.” Chee’s work has been exhibited at the Institute of American Indian Arts in Santa Fe and the Southwest Museum of the American Indian, now a part of the Autry National Center in Los Angeles, and has won blue ribbons at Indian Market. He also acts when opportunities arise: He was a spirit guide for Olympia Dukakis in the CBS film Scattering Dad and the hitchhiker picked up by Renée Zellweger’s character in My One and Only. (Find Ronald Chee at Indian Market Booth No. 721 LN)


Walter BigBee: Hankering for horses Top, Shelden Nuñez-Velarde Walter BigBee Bottom, Wayland Namingha Jr.

As a child, Walter BigBee (Comanche/Choctaw) lived in Ethiopia for four years while his father built a rural agricultural college under the auspices of Oklahoma State University. He drew upon that experience when the family moved to metropolitan Washington, D.C.,

during the civil rights and Native American struggles. “I lived in the [family] photo albums, constantly trying to relive my time in Ethiopia, where everything was bliss.” BigBee took a photography class in high school and was drawn to the darkroom, spending “every spare moment there.” He went on to study commercial photography at the Rochester Institute of Technology and to work as an advertising executive/catalog photographer in the D.C. area for 14 years. “I discovered horses in Africa, and I always knew I wanted to have horses in my life,” he said. BigBee eventually moved to New Mexico to reconnect with his Comanche heritage and horses. The state — especially the Moorish influences brought here by the Spanish — reminded him in many ways of North Africa. He now lives in Pojoaque with his wife and two horses. BigBee creates black-and-white fine art photographs that often feature Comanche themes. “Being Comanche, I have an inherent hankering to work with wild horses and hunt bison, so horses and bison are frequent subjects,” he said. BigBee signs his photographs with his Comanche name, Tutsi Wai, which means “Always Searching.” He creates montages with multiple photographic negatives and also employs digital photography. He has worked on projects with the Smithsonian Institution and the Institute of American Indian Arts and teaches and lectures. “It’s hanging on to who I am,” he said of his photography. “I live in my photographs.” (Find Walter BigBee at Indian Market Booth No. 121 POG)


Wayland Namingha Jr.: Painted prayers Wayland Namingha Jr., a Hopi katsina carver, grew up in the villages of Third Mesa in Arizona and has been immersed in his culture since he was a toddler. Katsina dances are important ceremonies for his people. “We are dry farmers,” he said, “and the ceremonies we participate in are prayers for all; ... prayers for rain for our crops and all animals; for long life for mankind, plants and all living beings; for balance in the world.” “Katsi means life in Hopi,” the artist said, and katsinum — the plural of katsina — are “life bringers.” Namingha makes traditional-style katsina dolls, 8- to 10-inch long figures that depict the ceremonial katsinum and are traditionally given to infants and girls. He carves a piece of cottonwood root into a figure with his pocketknife, then files, sands and paints it with pigments he gathers from the washes and cliffs around his home near Old Oraibi. He embellishes his figures with parrot and macaw feathers — which historically have been, and still are, acquired by trade — and cornhusks. Namingha said he has been around carvers and carving “from the time I was in diapers. There is 201 2 I n dI a n ma r k et


a photo of me holding a horseshoe file, rasping away, sitting in sawdust.” His father was a contemporary-style katsina carver, carving whole figures out of cottonwood and adding details with a wood burner, acrylic paints and linseed oil. Namingha Jr. prefers the traditional style: “Simplicity drew me back to that style. ... I fell in love with the soft, muted colors.” Out of the 300-plus Hopi katsinas, Namingha favors carving parrots, badgers, bears and other animals. He also creates the Sun Face, ogres and the Going Home Dancer, which is featured in the last of the katsina dances, when the katsinum return to their spiritual home, the San Francisco Peaks near Flagstaff. “When I carve, I carve what I see,” he said. “I do not add anything. How the katsinum present themselves when they come is what I carve.” Namingha’s carvings have been honored with many awards, including first place and an honorable mention in Traditional Carvings at the 2012 Heard Museum Guild Fair and Market in Phoenix, Arizona. (Find Wayland Namingha Jr. at Indian Market Booth No. 619 PLZ)


Shelden NuñezVelarde: Man of many muses Shelden Nuñez-Velarde belongs to the Ollero Clan of the Jicarilla Apache Nation. In keeping with the pottery-making traditions of his mountain clan, he began creating traditional hand-coiled micaceous pottery at the age of 13. At the same time, he started working with beads, making dolls, moccasins and pipe bags. Nuñez-Velarde has won first- and secondplace ribbons for beadwork creations at several previous Indian Market fashion shows. His cousin Ashley Julian and nephew Emanuel Vigil will model traditional Jicarilla attire he has created in the 2012 Indian Market Clothing Contest on Sunday morning. Recently, Nuñez-Velarde received permission from tribal elders to learn traditional Jicarilla basket weaving, typically the province of women. “My mentor is Rowena Mora, who is a very talented Jicarilla basket weaver,” he said. “From her guidance, I have learned basket weaving. I am very happy to have learned and added it [to the] Jicarilla arts [for which] I am known. “I enjoy going out into the forest by the river and cutting and preparing my fibers. I enjoy being beside the river, listening to the river and trees and birds. I also have to follow the strict code of basket


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making.” That code forbids weaving when there is a death in the tribe, and it requires the weaver to “make a trail from the center of the basket to the top of the basket [as] an exit for the spirit to leave.” Nuñez-Velarde studied at Parsons School of Design in New York City and the Academy of Art University in San Francisco, and heads back to school at the Institute of American Indian Arts in Santa Fe next spring. He aims to sustain his tribe’s traditions with his art and his work at the Jicarilla Apache Arts and Crafts Museum. The tribe plans to establish a new museum, and Nuñez-Velarde will pursue a bachelor’s degree in museum studies in hopes of one day directing his nation’s heritage center. (Find Shelden Nuñez-Velarde at Indian Market Booth No. 765 LIN-E)


Ian Fender: Pueblo pottery potential Ian Fender starts the seventh grade this fall at Santa Fe Indian School, but the 11-year-old San Ildefonso Pueblo potter and Indian Market veteran is having a productive summer preparing to show his creations at this year’s Indian Market. Fender started working with clay at the age of 7 while watching his father, potter Erik Fender. He goes with his dad to gather clay, then creates small pots and animal figures in black on black, buff on red, mica black, mica white, and green on black pottery. Inspired by the work of his father and other Native artists, his favorite designs are dragonflies, butterflies and the sun face. “After I got an award last year, it kind of got me more motivated to work on more pots,” he said. “Last year was my first time to take pots [to Indian Market], and I got a third place for one of my pots that I entered” in the Youth for Pottery, Non-Burnished (matte), either painted or undecorated category. “The money that I make at market I use to either buy art supplies or other things that I want,” Fender said. “Last year I was able to buy myself a cell phone.” He plans to enter the Youth Market again this year and help his dad at his booth. (Find Ian and Erik Fender at Indian Market Booth No. 702 LIN-P)

Top, Shelden Nuñez-Velarde Bottom, Ian Fender

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Georgia O’Keeffe and the Faraway: nature anD image Featuring O’Keeffe’s Camping gear, Paintings, and Photographs of Her Beloved Southwestern Landscapes THE




ADVENTURE georgia O’Keeffe, Canyon Country, white and Brown Cliffs, 1965, Oil on canvas, 36 x 30 inches. georgia O’Keeffe Museum, gift of The georgia O’Keeffe foundation. © georgia O’Keeffe Museum. Todd webb, Georgia o Keeffe at Glen Canyon, 1961. gelatin silver print, 9 1/ 2 x 7 1/ 2 inches. georgia O’Keeffe Museum. gift of The georgia O’Keeffe foundation. © Todd webb Estate.


G eor G ia o’ K eef f e an d th e fa r aw ay: n at u r e a n d i m a G e wA S O R g A N I z E D B y T H E N AT I O N A l C O w g I R l M U S E U M A N D H A l l O f fA M E , f O RT w O RT H , T E X A S ,

I N PA RT N E R S H I P w I T H T H E g E O R g I A O ’ K E E f f E M U S E U M . g R A N T f R O M T H E B U R N E T T f O U N D AT I O N .

T H I S E X H I B I T I O N A N D R E l AT E D P R O g R A M M I N g w E R E M A D E P O S S I B l E I N PA RT B y A g E N E R O U S

A D D I T I O N A l S U P P O RT wA S P R O V I D E D B y N E w M E X I C O A RT S ( A D I V I S I O N O f T H E D E PA RT M E N T O f C U lT U R A l

A f fA I R S ) , S A N TA f E A R T S C O M M I S S I O N A N D T H E 1 % l O D g E R S ’ TA X , A N D N E w M E X I C O T O U R I S M D E PA R T M E N T.

217 JOHNSON Street, SaNta fe • 5O5.946.1OOO • OKMUSeUM.OrG OPeN DaILY 1O aM – 5 PM • OPeN Late, UNtIL 7 PM, frIDaY eveNINGS



Best of show 2011 ClassifiCation Xi • Basketry

top honors

Jeremy Frey, Passamaquoddy

Raising the bar story By Arin McKennA photos By Kitty leAKen

When Jeremy Frey won Best of Show last year, he felt like he had been struck by lightning. The 32-year-old Frey had won Best of Show at the Heard Museum Indian Fair & Market in Phoenix, Arizona, earlier in the year. “I didn’t feel it was possible to win Best of Show at both shows in one year. I was really set to cheer for the artist who won. I didn’t think it would be me,” said Frey, an eighth-generation basket weaver. “I’ve never felt as if I could be as successful as I’ve been this year. I was just overwhelmed. I think a lot of my dreams came true this year, dreams I didn’t know I had.” Frey acknowledged the Maine Indian Basketmakers Alliance, an organization that helped revive Native basketry in Maine. “If it wasn’t for the group I’m in, this wouldn’t have happened, whether it was them motivating me or me trying to represent them, it’s all intertwined, it’s all woven together,” Frey said. Frey learned his art because of the alliance — his mother and teacher, Gal Frey, also learned through them — and has served on the board and taught others in return. He was 22 when he took up basket weaving, Frey said. The first month was rough. “The pieces wouldn’t stay where I wanted them to, they kept exploding on me as I was trying to weave, and I’d get so mad ... Plus I was trying to get off of drugs. I would have physical withdrawal symptoms, a lot of energy and anger. But after about the first month of weaving, I was hooked. It was such a medicine for me.” Frey has made his reputation by being an innovator. “When I first started out, I wanted to get known, so I’d introduce a new technique at every show. It always got people to come look at my work, because I was doing things they’d never seen. Being innovative is what got me a name in the beginning.” Frey’s award-winning piece — which stands 15 inches tall and has over 1,400 points — is also groundbreaking. “I’ve been trying to make a large fancy basket pretty much since I started. All of our large baskets are utility baskets. They’re roughly made, strong baskets that you can carry rocks around in. They’re beautiful in their own way, but they aren’t made to be these display pieces that we call fancy baskets,” Frey said. Frey’s efforts begin with finding a Black Ash tree, harvesting it and pounding the growth rings to separate them. “People need to know that we do not buy our materials — they’re made by hand by the artists,” Frey

said. “If I was buying my materials, I’d get what the person who prepared it gives me, and some people don’t prepare as well as others. The better you prepare it, the better your piece will be. “You have to find a healthy tree without knots or twists that grew at the right rate. If it grew too fast, you can’t split it down to the right thickness. If it grew too slow, you can’t split it at all,” Frey said. “There have been days when I’ve driven all over our state and found nothing. And even once I find a good stand, I still have to figure out whose land it is, how I’m going to cut, then I’ll look at about a hundred trees before I find one. In a bad stand, I won’t cut any.” The intricacy of Frey’s Best of Show piece presented special challenges. “For the uprights, I have to find thick, straight-grained, wide pieces, and a lot of them, to get all the way around that basket. I think I sorted through hundreds of pieces just to find those. And then they’re all individually carved to take the shape of the basket.” Frey had to sort and shape material for the points as well. “There are thousands of individual pieces in that basket. Those points have to be really thin, really highquality material. And each piece is shaped deliberately for where it’s supposed to be.” Frey also grades his wood by color, choosing the whitest pieces for the points. Weaving such a large, intricate piece takes remarkable patience. “When you start a piece that big, everything’s sticking out everywhere, and it’s all curled together and tangled. When I first start, hours go by and I’ve made practically no progress,” he said. Frey uses molds for the base, then creates the upper basket freehand so each basket is unique. Molds can be purchased, but Frey creates his own. “If somebody’s whipping out forms to sell to every weaver in my community, chances are they’re going to be very similar. So I started making my own molds so that people wouldn’t have the same shapes I have.” Frey’s baskets are finished inside and out. “I’m looking at every conceivable angle, and it has to look good to me. It’s completely finished on the inside.” Like all Black Ash basketweavers, Frey is dreading the demise of his art due to the Emerald Ash Borer — a beetle that is infesting ash trees. “It’s going to kill ash basketry. Period. It’s going across the country and it’s killing every tree it touches,” Frey said. “No matter how good I get, I’m not going to have the material someday. It makes me really sad, because I am succeeding at something now, and it’s going to be taken away. It’s just another life lesson, I guess, that life throws curve balls at you and we just adapt and overcome.” 201 2 I n dI a n ma r k et


top honors

ClassifiCation winners

2011 Best of ClassifiCation ClassifiCation i


Chris Pruitt ClassifiCation ii


Jody Naranjo ClassifiCation iii

Paintings, Drawings, graPhics anD PhotograPhy

Chris pruitt, Jewelry

Dyani Reynolds-White Hawk ClassifiCation iV

wooDen Pueblo Figurative carvings anD sculPture

Jody naranjo, pottery

Arthur Holmes, Jr. ClassifiCation V


Marcus Wall ClassifiCation Vi


Lynda Teller-Pete

Winning may not be everything But it gives native artists a big career boost

ClassifiCation Vii

Diverse art Forms

Jamie Okuma ClassifiCation Viii

beaDwork anD Quillwork

Joyce Growing Thunder Fogarty

StorieS By Arin McKennA photoS By Kitty leAKen

Walking through the Santa Fe Indian Market Friday night preview, it’s difficult to imagine

ClassifiCation iX

how the judges are able to select prizewinners in each classification. Some of the best Native

Valerie Calabaza

artists in North America enter their finest works for judging — pieces that may have taken

ClassifiCation X

months or even years to create. Judges must evaluate not only the aesthetic quality of each

Bennie Klain

piece, but how well it meets SWAIA’s strict standards of authenticity.

ClassifiCation Xi basketry*

More than $100,000 of prize money is awarded. But the ultimate value of the competition

Jeremy Frey

is its impact on artists’ careers, especially for the winners of Best of Classification and the

youth (17 years anD unDer)

moving images

* Best of show

ultimate award, Best of Show. Such an award from what is arguably the country’s most prestigious showcase for Native art can have ripple effects for years to come.


2012 ind ian m ar k et








Bead work


chris Pruitt

C las si fi Cati o n i • Je w e l ry

Chris Pruitt, Laguna Pueblo

A Zen Aesthetic C las si fi Cati o n i i • p otte ry

Jody Naranjo, Santa Clara Pueblo

Pushing creAtive boundAries Chris pruitt approaches jewelry making in a way that is heavily influenced by his years as a professional chef. “When I worked for a Japanese chef, everything was precise, nothing was overpowering, it was just enough to accent it,” Pruitt said. Pruitt’s award-winning silver belt buckle reflects that aesthetic. A central inlay of turquoise and coral looks like an abstract cityscape. Three small diamonds with gold accents adorn one corner, and three more diamonds are concealed on the back of the buckle. Pruitt used roller printing to etch some of the silver, and bead-blasting to create a satin finish on the rest. “I like being simple, clean, precise,” Pruitt said. Both techniques have been around for a while, but few people use them, he added. For roller printing, Pruitt creates a pattern on a hard surface such as brass, which he runs through a roller to transfer the pattern to his silver. The brass is only good for a couple of prints, he said, before the design starts to disport — bow in the middle. Pruitt then tapes off sections he wants to remain shiny and blasts the exposed surface with beads — most jewelers use sand — to create a satin finish. Pruitt’s work methods are also influenced by his first career. “When I was working at a Japanese restaurant, it was just hours and hours of cuts. You had to get the cuts right before you could even work on anything else,” Pruitt said. “So it was tedious work, but it taught you to perfect that specific style of doing something: getting everything in its place, getting everything together before you start.” Pruitt works mainly in silver. He uses only natural stones — he does his own lapidary work — and accents his pieces with gold and diamonds. He concentrates on earrings, buckles, bolos and small bracelets. His peers advised him to make large bracelets, he said, but Pruitt trusted his instincts, and always sells out of his small bracelets first. Pruitt started making jewelry about six years ago, and made the decision to commit to it about four years ago. He has won first-place awards for collaborative pieces with his brother, Pat Pruitt, but had only received a second-place award and an honorable mention for his solo work until now. “It’s very honoring to know that people are starting to recognize the younger generation of artists like myself and Marcus Wall,” Pruitt said, “and seeing the skills we’re developing — not necessarily staying with traditional everything. Kind of thinking outside the box.”

Jody naranjo comes from a long line of famous Santa Clara potters. As she watched family members work, Naranjo said, she thought, “That’s going to be me. “You’re just always in awe of what someone is doing,” Naranjo said. “It makes you push yourself harder.” Naranjo pushes creative boundaries. “I crossed the line probably 20 years ago. I got a lot of weird looks, and a lot of hesitation from collectors. But I stuck with it, and it’s worked for me. I’ve kind of made my own style. I’ve incorporated a very traditional art form and a modern art form, and pushed pueblo pottery into a little more of today.” Traditional materials determine the character of Naranjo’s explorations. “I’m limited with what I can do with traditional pottery. I’m not using anything but what is passed down in my family,” Naranjo said. “So I’ve learned to play with what I have, and that becomes shapes, that becomes polishing certain areas, that becomes different colors in firing.” Santa Claran pottery is traditionally the natural red color of the clay, or black from smothering pots with manure to oxidize them during firing. Naranjo’s Best of Classification piece has a chocolate coloration she achieves by surrounding the pot with manure rather than smothering it. Naranjo also creates a slight shimmer by adding a little micaceous clay to her mix. But Naranjo’s imagination really soars when she carves and etches her pots. “I have carved anything from animals and landscapes to a city building,” Naranjo said. Naranjo has etched her “Pueblo Girls” in settings all over the world, as a rock band and as chamber music musicians. “Pretty much anything you can think of goes on a pot. And that’s what keeps me interested. I just can’t imagine making the same pot over and over again all my life.” Naranjo’s award-winning piece, Finding Yourself, pushed even her own limits. Naranjo had been asking, “Who am I? What am I? Where do I fit?” and used clay the way other people use journaling to answer those questions. “I made that huge traditional pot with every kind of animal I’ve ever put on a pot — from the water serpent to my modern birds — in a chaotic collage,” Naranjo said. She then used commercial clay, acrylic paints and kiln firing to create a large, free-standing deer. Naranjo outlined his shadow on the pot and etched his reflection on it. “He’s looking at himself in this traditional pot, and he has found himself and has this big smile. “When I was done with it, a real calm came over me, and I said, ‘You know what he is? He’s just a deer,’” Naranjo said. “Why do we have to complicate everything and label everything and stereotype everything? When it comes down to it, you are who you are, and it really doesn’t matter because you’re just this deer.”

jody nArAnjo

201 2 I n dI a n ma r k et


dyani reynolds-White haWk

C lassi fi C at i o n i i i • pa i n t i n g s, draw i n g s, graph iCs and ph otog raph y

Dyani Reynolds-White Hawk, Sicangu Lakota

Embracing two worlds C lassi fi C at i o n i V • woo de n p u e b lo fi g u ratiV e CarV ing s and sCulp t ur e

Arthur Holmes Jr., Hopi

HEaring tHE wood spEak

arthur holmes Jr. With his son hunter lomakukyva holmes


2012 ind ian m ar k et

dyani reynolds-white hawk wanted to bridge the chasm dividing her Native college education and the Western educational approach at the University of Wisconsin, Madison, with her winning painting, Seeing. “This was a way to really honor all aspects of my education, of embracing both indigenous education and Western education. I didn’t think it was an honest representation to go in one direction or the other.” The dichotomy in her education is a reflection of Reynolds-White Hawk’s mixed heritage — Rosebud Sioux on her mother’s side and German/Welsh on her father’s side. “This is also a way of healing, really honoring all aspects of my life, all aspects of my influences and passions.” Seeing was the centerpiece for Reynolds-White Hawk’s MFA thesis exhibit, which revolved around those issues. “It was just really a shock and a challenge to go from eight years of being immersed not only in the Native community, but especially in the Native academic community, where conversations and what’s taught has a very different focus than what’s taught at a mainstream university,” ReynoldsWhite Hawk said. “I had an extremely in-depth perspective of Native history and Native art history, and was fairly lacking in my knowledge of Western art history. It was challenging, because the perspectives are very different. And a lot of times it’s very conflicting.” Reynolds-White Hawk found common ground in abstraction. “A lot of Lakota philosophies and world views are visually displayed through abstract motifs, so Western abstraction was its counterpart.” The piece that appears to be inspired by minimalist abstract Taos painter Agnes Martin is actually an exact rendition of a Phase I Navajo blanket. “It was difficult for me to justify just straight painting a blanket, but those weavings are masterpieces, so it fit very well into the context of what I was discussing,” Reynolds-White Hawk said. “I titled it Master Study, really playing on the idea that at a major university you do these master studies, and all of the masters are Western artists. I wanted to do a master study that was taken from a Native perspective, to talk about masters beyond the Western definition of masters. Reynolds-White Hawk is also a quill worker and beadworker, and has experimented with incorporating both into her painting. She wanted to incorporate quill work into Seeing, but the size of the piece was prohibitive — so she painted a three-dimensional quill-work pattern in the corners of the piece instead. The corner panels form a window filled with blue sky and clouds. “This indicates the window that we look through, the fact that we all have our own personal perspective. How is it that you see the world? How does your experience determine what you see? It’s the negative space, but I wanted it to flop back and forth between the negative and positive space. It’s the center for me.”

arthur holmes Jr., began making kachinas 19 years ago, when his first child was born. Holmes and his wife had just left the city to return to Hopi. “It was the only place my wife would have our daughter,” Holmes said. Holmes began carving to support his family and as part of Hopi ceremony. Holmes learned to carve from his father, Arthur Holmes Sr., and his uncle, Stetson Honyumptewa — last year’s Best of Show winner. The early years were difficult. Holmes remembers walking up and down the streets of Sedona trying to sell his art. Holmes was also struggling with alcohol and drug abuse, which separated him from his family for four years. When he got clean, he was determined to live a better life. “As soon as I came home, I started with my carving career again, and it was my second chance,” Holmes said. He knew others would think he had lost his skill. “But instead, I got better. I looked at life in a different way, and my ceremonies and culture differently, and my belief was a lot stronger. And it just progressed, just one step at a time going up, up, up. And I’m still learning,” Holmes now lives with his family in Prescott Valley, Arizona, but spends much of his time at Hopi in the house that belonged to his grandmother, caring for his cornfields and his wife’s cattle. “It all starts from the spirit inside you, and participating in ceremony. It all comes together: working in our cornfields, getting in touch with nature. All things around us are living things that combine together in the happiness and harmony in making these dolls,” Holmes said. “Every time I’m carving, I’m always constantly praying, not only for myself and my family, but for all others, all around us.” Holmes does not take special orders. “When you look at a piece of wood, it speaks to you. It takes its own formation. Maybe I will have a piece of wood at the cornfields where I stay at, and feel that happiness, that spirit. And it will just flow right in once you start carving, and it takes the shape of itself,” Holmes said. “I say, whatever comes to you, that’s what they want, because you have that connection with the wood, with all different elements in life. That’s the way I do my carving — speaking to them and them speaking to me. When we connect, it takes its life form. “In the beginning,” Holmes said, “I was hesitant to enter these shows because of the teachings of my greatgrandmother. She told me you shouldn’t do that. But right now, in the world we live in, you have to kind of expand. You work in order to survive. So I look at it as I have to do this in order support my kids and put a roof over my family and feed and clothe them.” Holmes reconciles that internal conflict by encouraging his collectors to discover the spirit within the kachinas and inviting them to experience ceremonies at Hopi to better understand his culture.

Lynda teller-Pete, textiles Jamie Okuma, diverse art Forms

arthur Holmes Jr., Wooden Pueblo Figurative Carvings and Sculpture

dyani reynolds-White Hawk, Paintings, drawings, Graphics and Photography

marcus Wall, Sculpture

Joyce Growing thunder Fogerty, Bead Work and Quill Work Bennie klain, moving Images Valerie Calabaza, Youth (17 years and under)

201 2 I n dI a n ma r k et


marcus Wall and his daughter ViVian Wall

C lassi fi C at i o n V • sC u lp t u r e

Marcus Wall, Jemez Pueblo

Contemporary traditionalist C lassi fi C at i o n V i • t e xt i le s

Lynda Teller-Pete, Navajo (Diné)

Honoring Her anCestors

lynda teller-Pete


2012 ind ian m ar k et

Marcus Wall lost hope when his entry was classified as sculpture rather than pottery. “My gut reaction was, ‘Oh, great. I have absolutely no chance of winning.’ I had to compete against my brother [Adrian] and my sister [Kathleen], Cliff Fragua — all these great sculptors,” Wall said. “I didn’t even think I’d get a ribbon. I thought maybe it was a special award — that it wasn’t good enough to get into the category, but the judges liked it enough to acknowledge it somehow. When I saw what I had won, I was just beside myself. It was just totally awesome.” Wall was even more astounded because, although he had been a full-time potter for six years, this was his first year juried into market. He was so naïve, he almost missed the award ceremony. “When they called to invite me to the luncheon, I said, ‘I’ll try to make it. I still have a lot of work to do.’ And they were like, ‘No, it’s in your best interest to come to lunch.’” Kathleen had to explain to him that the invitation was code for winning an award. Wall’s award-winning piece was a replica of a ball and chain — a medieval weapon — rendered in clay. Time was short and Wall had no clay on hand, so he built the piece from recycled clay. The entire piece is hollow. The chain links presented the most difficulty. “I owe a lot to my sister,” Wall said. “A lot of it was learning from her, like building the figurines and building the arms and the hands. I was basically using that technique.” Kathleen also taught him to build a piece slowly and patiently, which was the key to making the ball. “If you build a piece too quickly, it will collapse in on itself, so taking the time to build it properly is important. You have to let it harden enough to build onto it,” Wall said. Wall had dabbled in making round objects before, so the ball was not as challenging as the links. Wall adapted as he created the piece. “My original plan was to create a geometrical pattern with spikes coming out of the piece. But it just didn’t come out right,” Wall said. “But while I was searching for designs to put on some of my other pottery, I had seen this Mimbres design, and it was just perfect. The design is two warriors that have gone through battle. The victorious warrior is decapitating his slain enemy. I thought that was just totally the piece. The symbology of the ball is victory over your enemy.” On the handle, Wall used a kachina to symbolize strength and power. Wall created the designs with traditional paints — black rendered from wild spinach and a red-clay slip — and added coloration to the clay with smoke from the pit-firing. For the most part, Wall uses traditional pueblo pottery techniques to create his contemporary images. “I really like the old style of pottery. I just really like the feel and the look of it.”

Lynda Teller-Pete transcended her usual weaving style to create her award-winning child’s blanket. “I am a fifth generation Navajo weaver. My father worked at the Two Grey Hills Trading Post for 35 years. We’re kind of like the mob, because we were born into the weaving industry,” Teller-Pete said at the 2011 awards ceremony. “I’ve always woven Two Grey Hills. But after watching my niece and my nephew, I got inspired by how fearless they are in their weavings. So after last year’s Indian Market, I went home and I set up a period piece. I wanted to do a child’s blanket to honor older weavers.” Teller-Pete researched 19th century Navajo textiles at the Denver Museum of Nature and Science. “But I just felt funny about copying and I didn’t really know how to proceed with it. So I just put the rug on the back burner while I made other pieces.” Then Teller-Pete and her sister Barbara Teller Ornelas visited the Bosque Redondo Memorial at Fort Sumner State Monument, where 9,500 Diné (Navajo) people were imprisoned from 1863 to 1868. “We thought it was going to be a really sad place, but we discovered that it’s a place of strength,” Teller-Pete said. “We said, ‘How did they survive? How did they keep warm? How did they get food?’ A lot of them were weaving still, so you can naturally assume that they bartered for clothing and food with Navajo rugs. And, I thought, maybe that’s why a lot of them survived. Maybe that’s why a lot of them came back. “When I went home, I started thinking about the struggles that they had overcome. And I looked at my child’s blanket and said, ‘I don’t want to just do a period piece design. I want to put my own energy into it, and how I feel about that time period.’ And I wanted it to be a statement of strength. And that’s why I used a lot of different colors and made a bolder design than the classic child’s blanket,” Teller-Pete said. The result was a classic period design around the edges of the blanket, with Teller’s own spin on it in the center. Teller-Pete started weaving when she was six years old, but was unsure of herself. She entered market as a beadworker, but — at Teller Ornela’s urging — juried in for weaving in 2004. She received a blue ribbon her first year and another one in 2006. At the ceremony, Teller-Pete thanked Teller Ornelas (who has won Best of Show twice) for her help. “We refer to her as queen of the wool fairies in our family,” TellerPete said. “And I thank God for Skype. Because once you hit a snag, all you have to do is sit in front of the computer and say, ‘What am I doing here? I need some advice.’ ” Teller-Pete enjoys the freedom of her new exploration and plans to continue. “With these pieces, it’s more abstract. It makes me think more creatively, and it’s like I don’t have any boundaries,” Teller-Pete said. “It was scary at first, but I really like it. I like the freedom of not knowing what I’m going to weave.”

JamIe Okuma wIth her sOn BOdhI LIntOn

C lassi fi C at i o n V i i • di V e r se a rt fo rm s

Jamie Okuma, Luiseño/Shoshone Bannock

CapturIng motIon C lassi fi C at i o n V i i i • b e a d wor k a n d q u i ll wor k

Joyce Growing Thunder Fogarty, Assiniboine/Sioux

In her mother’s memory

JOyce GrOwInG thunder FOGarty

Jamie Okuma began beadworking as a child — “I started powwow dancing when I was five years old, and it kind of just comes with the territory” — and created her first doll when she was 15. Okuma has won numerous awards for her multimedia sculptures. She was 22 when she won her first Best of Show was in 2000. She received Best of Show again in 2002. The Northern Men’s Fancy War Dancer that won Best of Classification last year eluded Okuma for many years. “Since I started he’s been on my mind,” Okuma said. “For anybody who has attended powwows, he is very familiar. But they do not look appropriate just standing. They look best when they’re in motion,” Okuma said. “So for all those years, it has been one of the most daunting pieces for me to try to create. And finally, with the help of my parents — he’s also somewhat modeled after a relative — he’s finally here.” The sculpture is vibrant with motion. The dancer is poised between one step and the next, with fringe and feathers appearing to fly in the wind of his motion. It was the fringe that stymied Okuma for so many years. “I try to, with every piece of the outfit, be correct in the materials, to use the specific materials for each of the dance styles,” Okuma said. “For the Fancy Dancing outfits, the men use flag tape [to form the fringe]. So, being correct, I wanted to do that, but it wasn’t working. So I had to find something comparable that mimicked the look. Okuma tried — without success — inserting wire into flag tape to get the desired effect. She then scoured craft stores for fabric she could manipulate to look like the real thing and shape to suggest motion. When her mother discovered some wired ribbon, Okuma was finally able to make her vision a reality. The soft sculpture took six months to execute. Okuma does everything by hand, including sculpting the body from brain-tanned buckskin, sewing, beading and metalworking. She beaded the collar and moccasins using size 22° beads (about the size of a grain of sand), incorporating 100-year-old antique beads. Okuma also crafted the silver roach spreader — a piece on the top of the head holding the two eagle feathers in place. She has created silver armbands, bracelets and necklaces for her other dancers. Although most of her materials are authentic, Okuma rarely uses antique fabrics any more. “I did at one point, but it’s very, very delicate. It can’t really serve its purpose if it’s weak.” She instead manipulates fabric to recreate the original. Okuma invests an enormous amount of time and energy in every piece she creates. “It’s my life on display,” Okuma said. “I put my heart and soul in every piece I bring. I want to bring the best of what I have done.”

Joyce Growing Thunder Fogarty named her awardwinning doll depicting a woman in traditional Sioux dress for her mother, Alice Running Bear. A herd of horses — including six black and white paints — gallop across the skirt and yoke. “I wanted to honor my mother. I never spoke of her until now because she passed away when I was 14 months old,” Growing Thunder Fogarty said. “I’m told by my uncles that when my parents lived in the Chelsea community on our reservation [Fort Peck Reservation, Montana], everyone had horses, and my parents had the prettiest black and white paint saddle horse. So I put this horse on the dress.” Growing Thunder Fogarty had a long search for the 22° and 24° beads she wanted. When she found them, she bought the dealer’s entire stock and began the doll. The skirt, yoke and moccasins are solidly beaded with those seed beads, which are finer than a grain of sand. Growing Thunder Fogarty had never used seed beads for anything larger than earrings. The doll — which took a year to finish — was her only piece at market. (She usually brings two or three.) The right needles were also difficult to find — each had to be tested to find those fine enough to go through the beads. The doll’s body is buckskin stuffed with cotton over a wire frame. She’s wearing dentalium shell earrings and has real hair, which Growing Thunder Fogarty purchases. Growing Thunder Fogarty — who has created more than 500 pieces and won Best of Show three times — had decided not to compete this year. “I entered because my kids and my grandkids wanted me to. I didn’t expect to win anything, but I’m truly honored and humbled,” she said at the ceremony. “I continue to do my work to inspire the younger generations to carry on our culture and tradition. I’ll carry on my work as long as I’m able.” Growing Thunder Fogarty never knew her mother or her mother’s mother, but both were beadworkers, and she feels a connection to them through her work. “One of my grandmothers told me that my mother’s mother could really bead,” Growing Thunder Fogarty said. “One of the people who leases my land in Montana told me my grandmother made him a pair of baby moccasins. He gave me a picture of them, and her beadwork looks just like mine. I was surprised and glad about it.” Growing Thunder Fogarty is passing on that legacy. Her daughter Juanita has won Best of Classification several times and Juanita’s daughter Jessica won the Youth Classification in 2006. She was also gratified when her son Jack joined the three of them at the kitchen table this year to work on a beaded gun case. “They’ve got to carry it on,” Growing Thunder Fogarty said. “Even my little teeny grandkids say, “I’m going to do beads, too. I’m going to make dolls.’ I’ll teach them when they’re ready.”

201 2 I n dI a n ma r k et


Valerie Calabaza with her grandfather Joe franCis Calabaza

C lassi fi C at i o n i X • yo u t h ( 1 7 ye a r s a n d u nd er)

Valerie Calabaza, Santo Domingo Pueblo

Keeping her heritage alive C lassi fi C at i o n X • mov i n g i m age s

Bennie Klain, Navajo (Diné)

telling the human story Valerie Calabaza, 13, faced stiff competition last year. More than 600 youths under 17 entered Indian Market. Calabaza’s winning shell mosaic necklace and earring set was a remarkable piece of workmanship. Calabaza’s two primary teachers are her grandparents, Mary and Joseph Calabaza, who specialize in super-fine heishi. Both learned from their parents. The elders have taught all their grandchildren jewelry making. Valerie Calabaza started making bracelets when she was three or four. “I start them off early. Like this granddaughter here,” Mary Calabaza said, pointing to a nearby child. “She’s three and she’s helping us do the work.” As she teaches them to make jewelry, Mary Calabaza also teaches the children about their Santo Domingo culture and tradition. Valerie Calabaza’s necklace and earring set was a traditional design worn at ceremonies. It was the first time she had attempted anything like this, and she was proud of doing all the work herself. She began in January and finished just before market. Spiny oyster shell forms the foundation for each segment of the necklace. Valerie Calabaza cut the shell and each piece of stone for the inlay. There is a lot of breakage in the process, and stones that do not fit snuggly had to be reshaped or discarded. She then glued the inlay pieces onto the shell base. After the stones were set, she ground each segment to achieve a uniform surface. The centerpiece presented the greatest challenge, Valerie Calabaza said, because she had to grind the inlay to match the convex surface of the shell. “At first, it’s really frustrating, because the pieces break sometimes. And you just keep trying and trying,” Valerie Calabaza said. “Sometimes you don’t have a perfect shape, too, so you have to just keep working at it.” “I’m so very proud of her. She had the patience,” Mary Calabaza said. “There are times that you get frustrated, because of all the breakage and [things] not coming out perfect, but she just went right back and redid everything. She took her time and listened to what I had to say.” Mary Calabaza has shared stories of their jewelry making lineage with her grandchildren, from how their ancestors had shaped heishi by hand, rolling it on sandstone — Valerie used contemporary grinders and polishers — to how more contemporary generations innovated with materials like gypsum, old batteries and old records when nothing else was available. At the awards ceremony, Mary Calabaza said, “[Valerie] thought of making one this year to honor her great-grandpa and great-great-grandpa. So I am very honored and pleased and happy that she did that piece. She worked on it really hard from scratch.”


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Bennie Klain, founding partner of TricksterFilms, has received numerous prestigious awards. Klain’s documentary, Columbus Day Legacy, follows supporters and detractors of the Columbus Day Parade in Denver, Colorado, the birthplace of the celebration. Klain filmed in 2007, during the 100th anniversary of Colorado’s Columbus Day holiday. He captures the clashes between Italian Americans’ desire to honor their heritage and American Indians’ protest against Columbus’ enslavement of indigenous people and the genocide his discovery unleashed. Klain directed the crew filming the Native side of the story while his producer, Leighton C. Peterson, filmed the Italian American point of view. Klain transcribed all 50 hours of footage, something he does for every film. “From that an opening scene emerges for me, and I build that one scene in editing. Then I just kind of go forth from there,” Klain said. “I think it frustrates my producers because it takes so long, but if you want to remain true to the human story the process has to be organic like that.” Klain draws on the talents of those with whom he works. “I operate from an understanding that filmmaking is a collaborative process. What Klain’s collaborators have to say is not always easy to hear. Peterson and Klain’s funders believed the documentary — originally planned for one hour — would play better in 30 minutes. “That absolutely killed me,” Klain said. “But, honestly, I think it’s a better film. I’m glad I have really opinionated editors who are able to tell me these things truthfully,” Klain said. One story that emerges in the film is of the 1914 Ludlow Massacre, when the Colorado National Guard directed machine-gun fire at a tent camp of striking mine workers and their families — many of them Italian American — then torched the camp, killing 25 men, women and children. That is contrasted with footage of 3rd Colorado Cavalry re-enactors, one of the units responsible for the Sand Creek Massacre, leading the 2006 parade. Klain continually questions whether he is telling the right story or telling it in the right way, but feels he succeeded with Columbus Day Legacy. “I think by telling the story of the Ludlow Massacre, it provides a very balanced view. It tells audiences that these two groups who are battling each other publicly have more in common than they think,” Klain said. “I think that the expectation of me as a Navajo filmmaker would be that I would tilt toward the Native side of the story and just capture that. But I was adamant from the very beginning that I wanted to get both sides.” Klain said. “No story is interesting unless you get both sides. Otherwise it just starts to fall into propaganda territory. And my job is not to spread propaganda. My job is to tell a human story. That’s always been what I’ve worked toward.”

InnovatIon award

Pat Pruitt, Laguna Pueblo

Breaking the Code By Arin McKennA The piece that took last year’s Innovation Award — a stainless-steel concho belt designed by Pat Pruitt — gives new meaning to the term “functional art.” Not only is the belt wearable art, but each concho is engraved with a readable quick response (QR) code. QR codes, a type of barcode, are popular with smart phone users. A quick scan can lead to a website or more information about whatever the code is attached to. Pruitt was still using a “dumb phone” when he created the belt, but he became curious about the origin of the increasingly popular QR codes and began researching them. When he found websites that would create QR codes free of charge, his imagination soared. “It occurred to me, you can literally tell a story. You can convey a message. It doesn’t have to be advertising. It doesn’t have to be document information. You can literally tell a story by generating the proper code for sentences, paragraphs, really structured things. The variations are infinite,” Pruitt said. “And the code itself is kind of beautiful. There was this inherent beauty of this code that can mean anything.” Making the belt functional in the sense Pruitt wanted was a challenge. “You had to be able to stick your phone up to it and read it,” he said. He realized that the computerized machining process he normally uses would not create a crisp enough image. So he sought out an Albuquerque company that specializes in laser engraving. But there was another unforeseen hurdle. “The image I

had was of this super-polished piece with this cool black image on it.” He soon found that the reflectivity of the highly polished surface interfered with a smart phone’s ability to read the code. Sanding produced the same problem. Through trial and error, Pruitt discovered that a bead-blasted matte finish did the trick. Pruitt took a leap of faith that the judges would realize that they should “read” the belt. “It was designed to create that interaction and create that mystique about, ‘What does it say?’ ” he said. Eight conchos each convey one line of a poem by Pruitt. It reads: A Fine Line. We respect our culture and tradition. The world revolves around us. It has been given to us to protect. This is the razor’s edge. We balance on this line. We run in both worlds. We speak without saying words. The ninth concho leads to Pruitt’s website, www. Pruitt has not created any more QR pieces, although the possibilities continue to lure him. “If you really start thinking about the fact that you can generate any code to say anything or take you anywhere, how cool would it be to make a necklace with a bunch of little codes in the squash blossom format? What if all those little links were QR codes that took you to YouTube videos of you making

Pat PruItt wIth hIs wIfe marla allIson

that necklace?” The belt found a very appropriate home. It was purchased by Bruce Nussbaum, who arrived at Pruitt’s booth at 5 a.m. Saturday morning to be sure he could purchase it. Nussbaum is a professor of innovation and design at Parsons The New School for Design. “I brought the belt into my class and they all whipped out their smart phones and had a good time,” Nussbaum said. 2 01 2 I n dI a n ma r k et


2012 swaia fellowship winners fellowships pursue their passions

from left above, Jackie larson Bread, shonto Begay, alex peña from left below, dyani reynolds-white hawk, amber laughing, atsatsa’ antonio

By Arin McKennA

Jackie Larson Bread

The SWAIA Fellowship Program was established in 1980 to support both emerging and established artists who wanted to expand their artistic horizons. The material support and prestige associated with these awards have launched and revitalized careers. Rising to the top of a field of talented competitors is no easy feat, and the caliber of this year’s recipients is — as usual — outstanding. These working artists all expressed gratitude for the resources that allow them to pursue long-cherished goals.

Amsakapi Pikunni (Southern Blackfeet)

Discovery Fellows Discovery Fellowships are designed to help artists explore their creative process and push the boundaries of their respective art forms. Discovery Fellows receive a $5,000 monetary award and a complimentary Fellowship Booth at market.


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Jackie Larson Bread taught herself beading by studying her deceased grandmother’s work. “The really lasting component of this fellowship is that I get to go and look at Blackfeet beadwork held in both private and public collections and learn from those pieces,” Larson Bread said. “And that’s something that I will always have. In the long run, it will make me be a better artist, and I’m really thankful for that.” She has no intention of recreating historical pieces. “I don’t like to just regurgitate Blackfeet traditional designs again and again. It’s been done by people who were better than me at it, and I don’t have any desire to do something that’s already been done,” Larson Bread said. “I want to take some of those components that are so unique to us as Blackfeet people and present them in a different way, present them in the way I’m seeing them.” Larson Bread seeks out historical photographs of Blackfeet people for source material to do the

photorealistic beadwork she specializes in. “Looking at those photos is endlessly interesting to me,” she said. “I spend hours and hours with people that passed away a hundred years ago. It is also such a challenge to really make it look like that person, to be true to that person. One bead in the wrong place and it changes everything. So in that sense it’s a technical challenge. And I’m always up for that.” Larson Bread has also begun work on a major piece — a large blanket strip that incorporates her photorealistic images and traditional Blackfeet designs. She is using beads smaller than 1/16 inch and a technique called twoneedle appliqué. “Technically, it is one of the most timeconsuming styles of beadwork, but you can do virtually anything with it,” she said. Asked how she finds the patience, Larson Bread replied, “I think it is just the passion that takes the forefront. This is so engrossing to me that it doesn’t matter how much time it’s going to take. I can wait for virtually days to see how this small area is going to turn out. And I don’t think that’s really patience. It’s just being in awe of the media.”

Untitled, dyani reynolds-White Hawk

alex PeĂąa

Shonto Begay, Dante and Salvador on the Keet Seel Trail, acrylic on canvas

amber Laughing

atsatsa’ antonio

Jackie Larson Bread

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Dyani Reynolds-White Hawk Sicangu Lakota (Rosebud Sioux) Dyani Reynolds-White Hawk — who also won a 2011 Best of Classification award — plans to continue exploring the interaction between the respective art forms of her Lakota and European heritage. She sees abstraction as the bridge between the two: the abstract symbolism of Plains art and the work of Western abstractionist painters. Discovering that many of those abstractionists were influenced by American Indian art intensified her desire to explore the connection. In her fellowship application, Reynolds-White Hawk wrote, “It is not their Native counterparts that are celebrated and honored for their rich contributions, but the Western artists whose work was so highly influenced by contact with Native cultures.” She hopes the work generated by her research changes that and increases awareness of the mastery of Native artists. She plans to expand upon a series of abstractions rooted in Plains quillwork and beadwork and to create a “master studies” series of Navajo blankets. Reynolds-White Hawk will study the Plains and Southwest collections at the National Museum of the American Indian (NMAI) in Washington, D.C., and Western abstract paintings in New York City’s museums and galleries. “The experience firsthand — actually seeing the works in person and getting to spend time with the works — is so, so different than looking at things in print or online,” she said. “You’re privy to information you just can’t get in printed sources. That’s why it’s so important to me to actually get out there and spend time with both Native historic works and Western works. “It’s a real gift to be able to conduct research that I’m really excited and passionate about,” Reynolds-White Hawk added. “You can sit around and mull on a great idea, but if you don’t have the ability to carry it through, then it’s just a great idea. So it’s not only the ability to get the access but the inspiration and productivity and new ideas that come out of that. That’s what excites me most. And I’m just beside-myself excited to get into the collections of the NMAI, too. It’s something I’ve wanted to do for a long time. I can’t wait to go spend time with all those works.”

Residency Fellows Residency Fellows receive a one-month residency at the Santa Fe Art Institute, a $5,000 monetary award, a complimentary Fellowship Booth at market and a Santa Fe Art Institute Open Studio Event.

Shonto Begay Navajo (Diné) Shonto Begay hopes being away from the familiarity of his home in Flagstaff, Arizona, and free from the pressure to generate income allow him to fully engage in his work as an artist. “I want to take this time and space to create from a deeper source than I have explored,” he said. “I want to delve into my own mystery and bring to the surface the dark light I have been hesitant to awaken.” Begay hopes the residency moves him toward his artistic peak. “There are always many, many roads leading out of my artistic world, so I just need to find a more definite path,” he said. “Not necessarily the path of least resistance, but something adventurous that’s a good legacy.” Besides painting, Begay hopes to make progress toward completing his autobiography and do some other writing. “The paintings I do are pretty much autobiographical,” he said. “The landscapes I do, the people I do, wherever they come from, they all come from the same source. That’s something I want to give language to, give a voice to.” Begay also expects to engage young artists, something he does regularly in Flagstaff. “I just feel it’s something that goes with the gifts you’ve been given. You’ve been 74

2012 ind ian m ar k et

given a beautiful way to express your life, express your world, express your victories,” Begay said. “I came out of the grueling, brutal world of the United States government boarding school and the poverty of the sheep camps and the reservation and still found a lot of beauty and a lot of message in it, and a lot of things that can be expressed in a way the whole world appreciates. Those types of things, I want to put words to them. Because a lot of young people, especially now, are just giving up.” Begay wants to encourage young people not to become “a manufacturer of products.” He said, “I want to remain genuine, and share the genuineness with young people, because they need that. They need somebody to tell them that you don’t need to paint within the line. You just need to paint as though you don’t need the money. Paint with nerves. “I think that would be a peak that all artists aspire to, to be an artist whose life mattered, whose having been, breathed, walked, created in this world mattered for centuries to come.”

Alex Joel Peña Cochití Pueblo/San Ildefonso Pueblo/Pawnee This is Alex Peña’s first year showing at Indian Market. He had never applied because he believed only “traditional” Native artists were accepted. That misconception was corrected when he actually visited market. “One of the things that attracted me to Indian Market is the juxtaposition between someone who is very contemporary next to traditional Native artists,” he said. Peña is in many ways an artistic explorer. “I never want to pigeonhole myself into one type of art, because to me that is extremely limiting,” Peña said. “I vacillate between ideas, between techniques, between realism and abstraction — all of those all of the time — and have given myself the indulgence to be able to do that.” The artist has resisted the pressure to be defined by his heritage as well as the pressure to reject it. “During my undergraduate work, my professors viewed me as having this great wealth of millenniums-old knowledge and heritage and culture that I could tap into. And if I didn’t tap into it, then there was something wrong. So they kind of made it feel like it was my obligation to stick to that,” Peña said. “But when I got to graduate school, I had one professor ask me, ‘Why does every Indian have to do a feather?’ So it was kind of the opposite, in that they were trying to get me away from something Native. I found a balance, eventually, in between. I’m not abandoning being Native, nor am I doing stereotypical Native work that some people would have liked me to do.” In his fellowship application, Peña wrote: “I consider myself an emerging contemporary artist with an American Indian background. … With my work I want to show that I have no obligation to create anything for anyone else because ‘I’m supposed to,’ but I can create for any audience or reason.” The studio space provided by the residency will allow the artist — who normally works on the kitchen table in his apartment — to create large, bold, abstract pieces. Peña is moved by SWAIA’s recognition. “It’s rewarding to see that there are people who really value my work and have given me this privilege and honor to expand on my work,” he said.

youth Fellows SWAIA believes the future of Native art rests with our younger generations. Youth Fellows receive a certificate presented at an honoring reception and a cash award to be used for research or supplies.

Atsatsa’ Antonio Navajo/Shawnee Seventeen-year-old Atsatsa’ Antonio has explored drawing, painting, clay working and carving. But five years ago, someone taught him how to use metalworking to create tools from found objects, and he was hooked. In his fellowship application, Antonio wrote: “I love turning things that people once thought [of ] as junk into a beautiful, unique tool.” Antonio has created fire pokers, knives and horse equipment. “I try to keep the original look to the metal,” he said. “If I use rebar, you try to keep that original pattern. If I use a file, I keep the grooves in it. So I try to keep a natural look to it.” He uses a forge he built himself from a repurposed shop vacuum powered by a car battery, and he is nonchalant about that accomplishment. “There are many ways to build a forge. My first forge, I just used my own breath. I blew through a little tube into the fire,” Antonio said. “Then I designed a regular forge using a hair dryer. You can make them out of almost anything. It’s pretty easy.” Antonio plans to create some larger projects with the fellowship money. “I want to make an ax or a machete, but I need a bigger forge. I have to try to find a bigger blower and a better heat source. So instead of seasoned charcoal, I might try using coal or something like that.” The young artist also hopes to travel to study with other blacksmiths. This is his first year showing at market. “It’s pretty exciting. I don’t really know what to expect. I can’t wait.” Asked why metalworking won out over all the other arts, Antonio replied, “Because it’s really unique and hardly anyone else does it. You’re like the only one. And you can make most anything with the forge. I like that concept, to make your own stuff, and you don’t have to buy anything, because you have the skills.”

Amber Laughing Navajo (Diné) Amber Laughing, 14, has been weaving since she was 4 years old. “My grandma started teaching me, and my parents started teaching me. That way I could continue the weaving throughout the family, because not many of my cousins weave,” she said. “To me, it’s about … telling a story within the rugs. It’s more about how it connects within your life and how tradition has to be kept alive. That’s why it was important to me.” In 2010, at the age of 12, Laughing took first place, Best of Class and Best of Show awards at the Navajo Nation Fair in Window Rock, Arizona, and won first place in the Youth 3D Category at the same event in 2011. Laughing will use her fellowship to purchase yarn and tools to create more complex weavings. “I want to start doing more difficult rugs, rugs that my grandma does, like some that have three rugs in one,” she said. “Because right now, mine are kind of simple. And I just want to get better at it, to learn different ways, like how the colors connect.” Laughing came regularly to Indian Market with her grandmother when she was younger but is not sure if she will make it this year. She starts classes at her high school the Monday after market. “I only do maybe one rug a year, because there are so many other things to do,” she said. “And a lot of those are orders, so I can’t really sell them at art shows.” Laughing believes she will continue to weave “as a hobby” but does not see this as her career. As a freshman in high school, weaving has to compete with rigorous academic classes and her love of sports — basketball in particular. “Practice is two hours a day, and traveling out of town constantly for tournaments gets pretty hectic,” she said. “So there’s not a lot of time to weave, but when I do, I really try hard and try to put effort into my work.”

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martha hopkins struever presenTing four special shows aT The eldorado hoTel Tuesday, augusT 14 – friday, augusT 17, 2012 All shows continue Saturday, August 18 & Sunday, August 19, 11:00am-5:00pm

Martha Struever Lecture: Master Jewelers of the Southwest Show-and-Tell: Pieces by 24 hard-to-get American Indian jewelers from the 30s, 40s, and 50s. Tuesday, August 14, 2012, 2:00 pm, Open Seating, Zia Room, Eldorado Hotel

Richard & Jared Chavez Opening

Important Estate Collection of American Indian Pottery

Richard, recognized master of stone inlay jewelry, displays his newest work as Jared unveils strikingly

Major Exhibition of American Indian Jewelry

original Puebloan jewelry with Asian overtones. Wednesday, August 15, 2012, 2:00-5:00pm DeVargas Room, Eldorado Hotel

An Hour with McKee Platero Thursday, August 16, 2012, 4:00 - 8:00pm DeVargas Room, Eldorado Hotel

A Loloma Discovery An important private collection of Loloma jewelry comes to light. Friday, August 17, 2012, 2:00 pm DeVargas Room, Eldorado Hotel

To visit our gallery, call (505) 983-9515 or email us at Online Gallery: Photos: Š Wendy McEahern

D a r r e n V i g i l G r ay new work

Darren Vigil Gray, The Four Legged, The Two Legged and The Winged Ones, Acrylic on paper, 30 x 42 inches

A ug ust 17th - October 6t h Mary Etherington, Director of Contemporary Art

1011 Paseo de Peralta, santa Fe, nM 87501 | tel 505-954-5700

Š 2012 courtesy Gerald Peters Gallery

(505) 879-4788 • P.O. Box 547 • Gallup, NM • 87305 •

See Steve @ booth #766 LIN-E @ The SWAIA Santa Fe Indian Market 8/18-19/12

Keeping Tradition... One Piece At A Time

“Horse Whisperer” by Steve Arviso

Santa Fe art auction The Southwest’s Classic Western Art Auction House Since 1994

Live auction | noveMBer 17, 2012 | 1:30pM MSt Santa Fe Convention Center | Previews: November 16th from 5pm - 8pm & November 17th from 9am - 1pm

view HigHLigHtS & regiSter onLine at SantaFeartauction.coM

Presented by Gerald Peters Gallery © Santa Fe Art Auction | P.O. Box 2437, Santa Fe, NM, 87504-2437 Tel 505 954-5858 | Fax 505 954-5785 | PleASe viSiT FOr MOre iNFOrMATiON Clockwise from Top Left: Clark Hulings, THE GIFT 1977, oil on canvas, 17 3/8 x 26 3/8 inches E. Martin Hennings, ENTRANCE TO THE RIO HONDO, oil on canvas, 16 1/8 x 20 1/8 inches Clark Hulings, FRIDAY MORNING MARKET, BONNIEUX, 1993, oil on canvas, 24 7/8 x 66 inches © 2012 courtesy, Santa Fe Art Auction

Dian Malouf American nobility

dian malouf photography: Eric Swanson

Packard’s Artist Reception Thursday, August 16, 5 to 9 PM

Indian Market Hours Friday, August 17, 10:30 AM to 6 PM Saturday, August 18, 7:30 AM to 6 PM Sunday, August 19, 9 AM to 6 PM On the Plaza, Santa Fe

505.983.9241 or 800.648.7358

MARIA SAMORA Artist Reception: Thursday, August 16 5 – 8 pm

Also exhibiting works by Tammy Garcia, Tony Abeyta, Preston Singletary, Richard Zane Smith, Jody Naranjo and many others during Blue Rain’s Annual Celebration of Contemporary Native American Art. Please visit for a complete show schedule.

130 Lincoln Avenue, Suite C Santa Fe, New Mexico 87501 505.954.9902



ARTS & CRAFTS MARKET crafted products, traditional pottery, jewelry, September Quality baskets, contemporary sculptures, paintings, Indian 1, 2 & 3 food, farm produce and entertainment!

Meet the Artisans!



-2 SR





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

59 IT 2 EX I-25

Santo Domingo Pueblo



Santo Domingo Pueblo Arts & Crafts Market P.O. Box 369 Santo Domingo Pueblo, NM 87502 505.465.0406




OBRZUT KIM SEYESNEM OBRZUT F i n e n at i v e a m e r i c a n S c u l p t u r e



AuguST 18-19, 2012 SWAIA.ORg




AuguST 16-20, 2012 10 am-7 pm

W W W. K I M O B R Z u T. c O M


• F l A g S TA F F, A R I Z O N A


Visit Federico during Indian Market August 16th -19th.

Special showing of all his designs and vintage jewelry

101 W. SAN FRANCISCO STREET • 988-1866 • 800-874-9297 • OPEN SEVEN DAYS A WEEK

Douglas Magnus turquoise iconography

photography: Eric Swanson

Packard’s Artist Reception Thursday, August 16, 5 to 9 PM

Indian Market Hours

On the Plaza, Santa Fe

Friday, August 17, 10:30 AM to 6 PM Saturday, August 18, 7:30 AM to 6 PM Sunday, August 19, 9 AM to 6 PM

505.983.9241 or 800.648.7358

The Art Hotel of Santa Fe

BROnze By dalE claudE lamPhErE

FEaturing sPEctacular art by intErnationally rEcognizEd artists. thE Paintings and sculPturEs oF Patrick dEan hubbEll, doug coFFin, bEtty nancE smith kathlEEn Frank, signE bErgman , addiE draPEr darlEnE olivia mcElroy, don Ward all shoWcasEd throoughout indian markEt and art curator sara EyEstonE. 855-278-5276 (ART-LAPO) 330 East PalacE avEnuE, santa FE •

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Fine Native American Pawn Jewelry • Contemporary Jewelry • Pottery • Folk Art Vintage Mexican Jewelry Collectible Hispanic Folk Art and Fine Crafts

original photographs Photogravures • Goldtones by edward s. Curtis Featuring Paintings by Tom Russell Folk Art by Ron Rodriguez Jewelry by Angie owen

THe RAinbow MAn sinCe 1945

107 East PalacE avE • santa FE, nM 87501 • 505 982-8706 • • 201 2 I N DI A N MA R K ET


State of the Art,


Native American Portraits: Points of Inquiry Original prints capture elegance and beauty in the faces of the first Americans




505.476.5072 • on the Plaza

505.476.1200 • on Museum Hill

505.476.1250 • on Museum Hill

It’s About Time: 14,000 Years of Art in New Mexico

Art of Gaman: Arts and Crafts from the Japanese American Internment Camps, 1942-1946

Margarete Bagshaw: Breaking the Rules

Looking back, the state of everlasting art marks its 100th year

They braved the seemingly unbearable with dignity and patience

A Native American artist goes her own way

2 01 2 IN DI A N MA R K ET



native American West Paintings and Sketches by Acclaimed American Artist

ErnESt ChiriACkA (1913 – 2010) Limited Engagement

reception: thursday, August 16, 5-7 pm

“Tutelage,” oil on board, 22” x 24”

“Chief,” oil on board, 16” x 20”

Exhibition thru Friday, August 31

“Three Kings,” oil on board, 24” x 30”

CASWECk GALLEriES 203 West Water Street, Santa Fe • 505-988-2966 in the Galisteo/Water District

QUANDELACY ERIACHO Quandelacy Family Show Saturday August 18 1 - 4 pm

Melvin and Orin Eriacho Sunday August 19 11 am - 2 pm

KESHi thezuniconnection

227 don gaspar santa fe nm 505.989.8728 all show proceeds go directly to the artists

Corn Maidens: Kateri Quandelacy Sanchez Lion Family: Orin Eriacho




SINCE 1981

201 2 I N DI A N MA R K ET


market It’s not just the art that draws people to Indian Market

By Inez Russell Gomez

PHoTos By JAne PHIllIPs

It’s early on the first day of Santa Fe Indian Market, well before 7 a.m. Market veterans are set up and ready to start selling with the official opening. Lines are winding from the booths of the most popular artists. Other artists are barely wheeling their items in. This year, a drenching, overnight rain still glistens on booths and pavement with clouds threatening another downpour. The Plaza grass is wet — shimmering for the first time in what seems like ages. The drought that has plagued Santa Fe for months isn’t over, but it is temporarily abated. This is Indian Market 2011, a jumble of sights and sounds, a place where friends and family reunite and, most of all, where the biggest and best Native art market on the planet assembles in the middle of Santa Fe. The place to see and be seen, it’s one big event made up of the small moments that bring to life this gathering for both old-timers and newcomers every year. Just in front of the Palace of the Governors, two Bens are talking — artist Ben Harjo Jr., a Seminole-Shawnee, and artist Ben Nighthorse Campbell (perhaps better known outside artistic circles as a former U.S. senator from Colorado). The two men have known each other for more than 30 years. “Ben and I go back a long ways,” said Campbell, who doesn’t show at market anymore because too many folks wanted to discuss Medicare or Social Security once he went into politics. He’s still attending, though. “I like to go and see old friends; unfortunately, now, some are passing on.” Campbell, a jeweler and member of the Northern Cheyenne tribe, doesn’t miss his old job in Congress. “It’s so mean back there,” he said. “It’s angry. I’m happy being a grandpa. I was in this world long before I went into politics.” Leaning on a beaded cane, Campbell tells a story that sums up the small world of market and Indian art: “I was walking last year at market and this guy came up to me, pointed at my cane and said, ‘My mom made that cane.’” Classification winners Jamie Okuma and Arthur Holmes Jr. (she for a beaded dancer in Diverse Arts; he for Wooden Pueblo Carvings) are side by side. Her mom and fellow artist, Sandra Okuma, is selling her beaded purses. Jamie (Luiseño/Shoshone-Bannock) is standing back from the booth, watching. She’s wearing slick, sparkling black tennis shoes and spidery black gloves, taking in the scene without speaking. A potential buyer wants to peek at the beaded Louboutins (high-end shoes) in the case. Another is trying on a bracelet. She always sells out of her exquisite beadwork. Next door, Holmes sits with his massive katsina on the table before him. It’s a father and son hunting (the

judge called it the most important skill a Hopi father can pass down: survival). His wife, Irene, and son Hunter are nearby. Hunter is pleased about his father’s success but is more excited that he has just received his first phone. It’s only 7:02 a.m. The streets of Santa Fe were eerie on the Friday of the 2011 Indian Market, with a temporary power outage turning the world black. By early morning, water pooled in the canvas that covers the booths, sending liquid showers below. It was chilly enough for Manuelita Coochvikvia (Hopi) to grab her son’s SpongeBob blanket and wrap herself in its warmth. Curtis Naseyowma, also a member of the Hopi tribe and self-proclaimed “helper” for artists Gregory and Gilbert Naseyowma, was using a chair to knock the water off the top of his booth covering. The drive into Santa Fe from Hopi was spectacular, he said, as the family came in from near Tuba City, Arizona, through Abiquiú and Cuba. “It was storming and it was almost pitch black,” Curtis said. “It just lit up the mountains.” Right along the Plaza, on San Francisco Street, Joe V. Cajero is holding court. The Jemez Pueblo bow maker and potter is telling a customer, “I don’t know how many bows I’ve made. I’ve lost count.” The bows are of oak, black locust and salt cedar, with turkey feathers to guide the arrows along (culled from turkeys Cajero shot himself). He’s a crack shot with an arrow. “One time,” he said, “with my son, when he was 11 years old, I saw this turkey, and shot him through the eyes.” Just before market, Cajero competed in the national Senior Olympics, taking fourth place in his archery classification. “Being an Indian,” he said, “I have to be good.” The last booth on Lincoln Avenue — about as far from the Plaza as Indian Market gets — is where painter and sculptor

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moments and former Best of Show winner Sheldon Harvey roosts. His wife, Tonya Jesus, is there, talking to customers, giving out prices and generally running the show. Nearby is Daisuki Uchi, a Japanese man in cowboy hat and boots who’s in town for market and a longtime friend of the family. “He went to Japan and stayed with my family,” Uchi said of the Navajo painter. “Then he came back and won Best of Show. My grandfather gave to Sheldon the family crest. He is an older brother.” Uchi, a leathermaker, is so fond of the Navajo culture, he said, “they call me a Jap-a-ho.” The recession, as recessions do, cut into the art business. “I got hit hard,” Harvey said. “It’s been about four months with me literally hustling and hustling. It was getting scary.” Harvey and several other artist friends pitched in for a glossy, two-page advertisement in last year’s issue of this magazine to bring in business. “It was Cody Sanderson’s idea. He said, ‘Why don’t we all pitch in for this cover? This will be a good marketing tool.’ It was fun.” Harvey, Sanderson, Jody Naranjo, Kenneth Johnson, Kathleen Wall and Tony Abeyta became the inside spread in the magazine with that ad (Goler Shoes provided the footwear). So cool were the shoes, he said, “We ended up buying them.”

Facing page top left: Daisuki Uchi sealaska Pavilion Gail Bird Ben nighthorse Campbell and Ben Harjo Jr. Arthur Holmes Jr. Above: John Paul Rangel Umbrellas by Patricia michaels Joe V. Cajero Beaded Louboutins by Jamie okuma

Over at Cathedral Park, where the nonprofits reside during market, Sealaska Heritage Institute is gearing up to showcase the culture of the far Northwest. With artists, demonstrations, storytelling and dancing, it brings a different vibe to market, introducing another slice of Native life to the Southwest. It’s also the place for another moment at market, this one featuring city code enforcers. The 2011 market will forever be remembered as the one where debates over taxes and building permits intruded on the art. Sevastian Gurule, constituent services manager for the city of Santa Fe, is there with enforcer Barbara Lopez, who wants to know why sales are taking place at Cathedral Park. City ordinances, she said, limit sales at the park only to a few select shows — it’s part of a deal with the Archdiocese of Santa Fe that gave the land to the city — and Indian Market isn’t one of those selected shows. SWAIA honcho Bruce Bernstein is all smiles as the discus-

sion goes on. “We’ve had merchandise sales here for four to five years,” he said of the SWAIA booth that is sharing the nonprofit space with Sealaska and others. Sealaska Heritage officer Lee Kadinger reminds everyone that artists at the cathedral are selling through the nonprofit, not as individuals. Not only that, officials from Sealaska met with Mayor David Coss back in June to work all this out. It was approved, he maintained. Gurule said his staff is bending over backward to make Indian Market work, especially after the earlier holdups over business licenses. What matters most, both men agreed, is that Indian Market succeed for all of Santa Fe. For this weekend, for these moments of market, the nonprofits can keep selling. Despite the difficulties last year — every Indian Market artist must obtain a city business permit, which necessitates having an individual tax number, a process that jammed at several critical points in 2011 — all seems to be humming along between the city and the market by midmorning Saturday. “They’re doing a great job in handling a huge workload,” Bernstein said. “In an event like this, there is always something that can happen. This is 14 city blocks. Ultimately, we both want Indian Market, its history and its tradition to shine.” Rachel Gearhart and Harmony Romano are holding silky, colorful umbrellas over by Taos Pueblo designer Patricia Michaels’ booth. They were among 19 models who took part in a street fashion show that unleashed beauty on heels around the Santa Fe Plaza on Saturday. Wearing Michaels’ original fashion and carrying the umbrellas — “it’s a sculpture for the corner of your home,” one customer remarked — the young women set off en masse to spread light and color around the madness of market. “It was so much fun,” Gearhart said. “Her fabrics are all lightweight and moveable. Look at the colors through the sun.” Inspiration for the umbrella — with hand-carved handles and hand-painted fabrics — came from a love of T.C. Cannon’s art and traditional flowers as they appear on pottery. The splashes of color change as the sun shines on them, making the umbrella a piece of art that won’t sit still. Model Romano, gazing at her fabric, said, “I feel like a fairy under a toadstool.” Just one more moment at market. Piled one on top of the other, these moments combine to create the magic that sets Indian Market apart. We’ll all be back again this year to see what the 2012 market brings, whether a famous designer (Tom Ford) judging the Clothing Competition on Sunday, or a surprise winner at the Best of Show Ceremony on Friday — or best of all, a simple conversation with an artist who shares his inspiration and story. 2 01 2 I n dI a n ma r k et

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Clothing contestants push fashion boundaries while honoring tradition story By Kay LocKridge photos By Kitty LeaKen

“Color, composition and creativity all are essential to good [fashion] design, but perhaps it’s the things you can’t see but feel — the energy and effort put into each piece of clothing — that creates a winning style,” said Santa Fe native Tom Ford, a noted fashion designer and award-winning film director and producer. “Such energy and effort are projected onto the design through the belief of the designer. You can feel it as well as see it.” Ford was the celebrity judge brought in for the first time to judge the contemporary clothing categories, including the new contemporary designer clothing competition, during the 2011 Native American Clothing Contest at Indian Market. “What I found exceptional in the contemporary competition was that designers were faithful to traditional Native American elements and yet presented them with a new, fresh perspective,” he said, pointing to the winning design by Toni Williams (Arapaho/Seneca) in the Contemporary Adult Women category. “Good things are always good things and stand out. Good, creative design strikes a chord with people. This is true whether we’re talking about traditional or contemporary design.” Williams had created a JapaneseBrent Brokeshoulder

Judge Tom Ford with Naomi Bebo Maybee and Persephone Maybee in Best of Show outfit, 2011 SWAIA Indian Market Native Clothing Contest

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Royale Da

Malakie Yellowman

Dallin Maybee

inspired kimono for her daughter-in-law Naomi Bebo Maybee (Menominee/Hochunk). “I love ledger art, which speaks to our past and present, as well as to the future, and wanted to put it on clothing,” Williams said. “I wasn’t sure how to do it, however, so I prayed on it for a year and then, at the Heard show [in Phoenix] in March [2011], I saw a kimono featuring buffalos. After that, I had a dream in which I saw the buffalo running east … to greet the day, as the Creator would have them. “I’ve been sewing forever, but such visions had never come before. The kimono I designed tells our story in a way people today will understand and appreciate,” she said. Williams has passed down both her love of, and talent for, sewing to her son, artist Dallin Maybee, who has designed award-winning clothing for himself in previous Indian Market clothing contests. In 2011 Maybee designed a head-to-toe pink outfit for his 1-year-old daughter, Persephone, which won both first place for girls 1 to 5 in the traditional Plains and other tribes category and Female Best in Show. “My daughter inspired me the moment she was born, and she continues to inspire me,” Maybee said. “She’s a blessing to us and a joy as well. The outfit is a Plains design and construction; it’s made to be worn and enjoyed. This outfit shows you want the best for your child. Every parent must feel that way — at least I hope

they do. We certainly do.” Ford said he was “quite taken with both winning outfits. This was a family affair. You could see the shared vision.” Warren Giago Jr. (Lakota/Dakota) shyly but proudly wore the traditional wedding suit designed by his wife, artist Lauren Good Day Frank-Giago (Arikara/Blackfeet/ Cree), that won both the traditional Plains and other tribes adult male category and Male Best in Show. He said it was important to them both that he be dressed in traditional clothing for [their wedding], “the most important day of my life. It speaks to our life together.” Clothing tells the story of a people, its culture, history and tradition. “Often, people think about Native Americans as we were envisioned at the turn of the [last] century,” said artist, educator and activist Charlene Teters (Spokane). “If we’re not walking around in buckskin and fringe, mimicking the stereotype in dress and art form, we’re not seen as real. Native Americans are here, and we are contemporary people, yet we are very much informed and connected to our history.” Perhaps no one is more connected to his history than Virgil Ortiz, Cochití Pueblo potter and fashion designer. “I always say potter first, because that came first and is so important to our pueblo,” Ortiz said. “Actually fashion and pottery kind of lean on each other. Ideas from each other go back and forth. “Tradition is important to me. My art, considered

extremely contemporary, reflects that, especially if you look closely at my designs. I comment on the past and present through my art, which becomes the future — and I encourage you to look at and think about the design.” Diné designer Penny Singer is another Native artist who pushes the boundaries of fashion while remaining true to her cultural roots. She draws inspiration from traditional Navajo designs, embossing geometric shapes on velvet and using silver in her work. “Mostly I see all of my garments as wearable art,” Singer said. “I can do the traditional Navajo velvet and then I incorporate silver or beadwork on vests and jackets. I also have used seashells and brass buttons … jazzing the garment up, giving it that regalia look, a little of the powwow look.” Virginia Yazzie Ballenger (Diné) and Kathy WhitmanElk Woman (Mandan/Hidatsa) also reinvent and reinterpret tribal traditions in their practical apparel. “I like to continue to grow, to innovate, to find the next different thing and stay fresh,” Whitman-Elk Woman said. “This is what it means to be an artist.”

Left, Jessica Perea and Wakeah Jhane

Jessica Growing Thunder

Audrey Brokeshoulder 201 2 I n dI a n ma r k et

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Dual passions fuel

Adrian Wall’s

artistic Vision By Megan KaMericK photos By Kerry shercK

Adrian Wall was surrounded by artists growing up on Jemez Pueblo. His mother was a potter, his father a silversmith. His sister, Kathleen Wall, launched her own career in pottery as a teenager. But it was a trip to Jemez artist Cliff Fragua’s studio that launched his fascination with sculpture. Wall was 7 or 8 years old and was intrigued by the power tools and the clouds of dust as artists brought figures to life from stone slabs “It was really cool,” he said. “It’s a vivid memory.” But he also wanted to be a rock star. He and his friends at Santa Fe Indian School listened to a lot of heavy metal, and his original plan was to be a drummer. Then his friend Ed Kabotie bought him a bass guitar at age 17, and he started listening to rock and reggae and actually playing music. Wall pursued the two passions concurrently when he moved to Albuquerque at age 19. He learned from fellow sculptors and artists, and he also helped start a Native rock band, Red Earth. He was introduced to funk, samba and Latin-infused music and loved the syncopation. “Being really young and really hungry to make music and art was an incredible time in my life,” said Wall. Red Earth was “totally about smashing stereotypes,” he said. “It was about being a Native artist in this age and expressing ourselves without any kind of filters.” Wall said he took to the bass because it was percussive and links the other instruments. “Being a bass player fits my personality, because I like to see everything going on and how it fits together and see what my role is,” he said. Now 41, Wall is an established artist with a number of loyal collectors and is a veteran of Santa Fe Indian Market, where he has participated for about 12 years. After more than 10 years with Red Earth, including recording three CDs, he left to spend more time on his art. He also had a family, including a son, and balancing all that was difficult, he added. But Wall has continued to play, adding flute and guitar to his repertoire and releasing two solo CDs, Reap the Sun and Songs on the Wind. He and Kabotie launched a project several years ago called Twin Rivers and recorded 1 04

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Springs of Guisewa, which they hope to remix and release next year. It’s a mix of traditional music with reggae and other influences. “We’re bringing Native music into a more contemporary context,” he said, and that includes his flute music. “That’s really exciting to me.” Kabotie is a drummer and vocalist, as well as a linguist, and the project features lyrics in Tewa and Hopi languages. Pamela Pierce, CEO of Silver Bullet Productions, has used Wall’s music in several documentaries, including Ancient Pathways and Canes of Power. “He has a great energy,” Pierce said. “He captures the Native sound but does it with great modern flair.” Wall’s art reflects that sensibility as well. He has usually drawn inspiration from Pueblo traditions and Southwestern aesthetics, but he also combines representational images with abstract forms. Wall often plays music at festivals where he is also showing his art. He listens to music constantly as he works at his Santa Fe studio. Lately it’s Polynesian and reggae, but his tastes run the gamut. “My iPod is pretty intense,” he said. “My all-time favorite band is Fishbone. They’re just amazing. I think Red Earth really modeled themselves after them.” Wall also organized jam sessions at the Institute for American Indian Arts, where he is pursuing a bachelor’s degree, and eventually started a music club at the school. He will play at IAIA’s Vital Strides event at the Museum of Contemporary Native Arts on August 19. The event is a fundraiser for the school’s Associated Student Government. It includes art demonstrations and a silent auction and runs from 10 a.m. to 5 p.m. Since entering IAIA, Wall said his artistic vision has been changing. “I was doing all these markets and galleries and my art was being commodified because I was making it for this market,” he said. “I’m starting to make more art for myself. I’m trying to give my art a voice.”

He recently did a piece on genetically modified food that featured a corn maiden, contrasting Native food as medicine with altered food. He has also started to tackle social issues with his music but said he finds that more difficult. “I’ve done a couple of pieces that were controversial and attacked issues, but a lot has been feel-good music,” he said. “I have a harder time letting myself go, writing music and lyrics that take a side.”

Details Adrian Wall plays at IAIA’s Vital Strides III event at the Museum of Contemporary Native Arts, 108 Cathedral Place, on August 19. (For more information about the event, go to or call 505-428-5907). He also performs at the Santa Fe Indian Market Live Auction Gala at La Fonda on the Plaza on the 18th. (For more information about this ticketed event, call 505-9835220.) Find Adrian Wall at Indian Market booth No. 612-PLZ. Watch Wall create a sculpture and talk about his work in this 2009 video Hear Wall and Kabotie’s work from Twin Rivers at www.myspace. com/twinriversmusic.

Please Join Us for an Evening with Three Prominent Native Jewelers S T E V E L AR A NC E / W IK V I YA M A R I A N DE N IPA H AARON BROK E SHOUL DE R The Artists will present their latest work on Thursday August  from : – : pm Refreshments

RIPPEL and company Jewelry • Gifts • Accessories • Home  Old Santa Fe Trail .. •


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Native art is thriving in a new phase of its evolution — By Harlan McKosato

X film

“What’s a more perfect opportunity than opening for market and allowing this form of We admire Native art on our walls. We display it on our mantels and elsewhere in our homes or workplaces. Many of us wear fine Native art, displaying it with pride. Yet, when art to be in front of so many? I think it’s absolutely vital to continue to allow a venue to screen films by Native artists, and there’s nothing more apt than Indian Market for that.” we consider all its diverse forms, we rarely think of Native art on the movie screen. Myers NoiseCat explained that SWAIA and NMAI entered into a partnership four Over the past dozen years, through the Native Cinema Showcase at Santa Fe Indian Market, the Southwestern Association for Indian Arts and the Smithsonian Institution’s years ago, making cinema an official category at Indian Market — Classification X: A Moving Images awards category, more commonly known simply as Class X. National Museum of the American Indian have made tremendous strides in making Native filmmaking a central component of the Native art world. Why Class X? “Through the years we have seen Native art evolve and progress,” said Jhane Myers “Prior to film being added to the juried art form there were nine classifications of art NoiseCat (Comanche/Blackfeet), coordinator of the 12th Annual Native Cinema at Indian Market,” said Myers NoiseCat, an accomplished and award-winning artist. Showcase and the founding executive director of the American Indian National Center “Naturally film became the 10th classification. Since X symbolizes 10 in Roman for Television and Film in Los Angeles. “SWAIA has always nurtured and acknowledged numerals, the title evolved to Class X.” a continuation of Native fine art. Film is a natural fit as a creative art form of Native The class is divided into five divisions. The category of narrative shorts encompasses artistic expression. With the inclusion of Native film as a viable part of Indian Market, it non-commercial, narrative motion pictures shorter than 30 minutes. Brief films introduces the films and filmmakers to a broad and impressionable audience.” that record reality fall into the documentary shorts division. The animation category “The showcase is a tremendous experience for filmmakers and audiences,” said film includes 2-D or 3-D films in which the rapid display of still images creates the illusion producer Chad Burris (Chickasaw), founder of the New Mexico-based Indion Group of movement. Experimental films are characterized by the absence of a linear narrative. of Entertainment Companies. “It’s an opportunity for filmmakers to screen in front of Finally, narrative films longer than 90 minutes fall into the full-length feature category. a wide audience. It also gives that same audience an opportunity to see the films they Steven Judd (Kiowa/Choctaw) is a relative newcomer to telling the Native experience might otherwise miss. SWAIA and the Smithsonian have been such great supporters and through film. He believes that throughout history one way of saving true advocates for independent cinema, [and] the showcase really or even sharing culture is through story. exemplifies this.” “I think the way ‘storytelling’ has shifted is that we have different Ultimately the question The showcase has evolved from a weekend event to a full week mediums to tell stories,” said Judd, who co-wrote the screenplay of screenings. This year it will premiere at 7 p.m. Monday, August ‘What is native cinema’ for Shouting Secrets, a film by Karinna Sehringer currently making 13, with Mosquita y Mari, an award-winning coming-of-age story its way around the film-festival circuit. Shouting Secrets will show is what will be directed by acclaimed filmmaker Aurora Guerrero and produced at the SWAIA/Smithsonian cinema showcase at 7:30 p.m. Friday, by Burris. (Guerrero, Burris and N. Bird Runningwater, director of redefined to allow for August 17. Judd, Sehringer and lead actor Chaske Spencer (Lakota) Sundance Institute’s Native American and Indigenous Program, will — aka werewolf Sam Uley in the Twilight series — will be present. the greater integration be present at the event.) “So while I don’t just make Native-specific stories all the time,” “I couldn’t be happier to be the opening film,” said Burris, who has into the industry. Judd said, “I do make a very conscious effort to try to use the produced such films as Barking Water by Sterlin Harjo (Seminole/ language when I can in a modern setting. I think it’s a way to reach Creek), as well as Bringing Up Bobby, The Killer Inside Me and Yellow. [people], especially the youth, and help share a bit of our culture that they might not otherwise be privy to or even care to know.” As Native films begin to stretch past the long shadows of Hollywood, one question that emerges is whether Native films and documentaries will always be considered somewhat “underground.” Burris, a member of the Writers Guild of America and a recipient of the ABC/Disney Writing Fellowship Program, has a take: “Yes and no; I mean, we are such a small population that I guess we will always be somewhat underground just due to the content available. However, I do believe we will have mainstream films as the writing and acting … improve — and once we write, direct and act in a movie that catches the American zeitgeist.” Myers NoiseCat pointed out that the Native Cinema Showcase is gaining popularity. The event has outgrown its former venues and has graduated to the New Mexico History Museum’s theater this year. Winners of all Class X divisions will be announced on Thursday, August 17; afterward, the winning films will be screened at the museum theater. There will also be an encore screening of these films at The Screen theater at Santa Fe University of Art and Design after Indian Market. Another addition to the showcase will be the 1491s comedy team, a group of Native filmmakers and writers who are trying to change the image of the 21st century Native through the Internet and in particular via YouTube videos. They will produce a show that includes their online videos and improvisation at Warehouse 21 on Saturday, August 18. “I think cinema is an amazing tool,” remarked Burris, who won the Mark Silverman Award for New Producers from the Sundance Institute in 2007. “Ultimately the question ‘What is Native cinema’ is what will be redefined to allow for the greater integration into the industry. Likewise, I think there’s a style apparent among Native filmmakers that has a specific voice that will find its place in the market and bring an audience looking for something new around to this particular style.” 1 06

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The 12th Annual Native Cinema Showcase AuguST 13-19, 2012 Free AdmiSSioN

SWAIA and the Smithsonian Institution’s National Museum of the American Indian present a seven-day celebration of films and videos by and about indigenous peoples in connection with Santa Fe Indian Market. All films will be shown at the New Mexico History Museum (113 Lincoln Ave., 505-476-5200). All films are subject to change. For a complete guide and up-to-date listings of all films and screening times, visit or

August 13

7 p.m. Native Cinema showcase Opening Night presented by sundance Institute Mosquita y Mari (U.S., 2012, 85 min.) In English and Spanish with English subtitles. Director and screenwriter: Aurora Guerrero. Producer: Chad Burris (Chickasaw) This coming-of-age story focuses on a tender friendship and budding romance between two young Chicanas growing up in immigrant households in Los Angeles. Yolanda (Fenessa Pineda), an only child, delivers straight A’s and aspires to live the American Dream, while Mari (Venecia Troncoso) shares economic responsibilities as the oldest child in her undocumented family. Mounting pressures at home collide with their newfound connection, forcing them to choose between their obligations to others and staying true to themselves. World premiere at the 2012 Sundance Film Festival. In person: Aurora Guerrero, Chad Burris and N. Bird Runningwater, director of the Native American and Indigenous Program of the Sundance Institute Preceded by I Lost My shadow (u.s., 2011, 3 min.) Director: Nanobah Becker (Diné/Navajo) Encounters on the New York subway, featuring Navajo dancer Jock Soto, highlight this music video of a song from Laura Ortman’s second solo album, Someday We’ll Be Together. In person: Nanobah Becker and Laura Ortman (White Mountain Apache)

August 14

3 p.m. Racing the Rez, presented by Native American Public telecommunications (U.S., 2012, 57 min.) Producer: Brian Truglio In the rugged canyons of Northern Arizona, Navajo and Hopi cross-country runners from two rival high schools put it all on the line for community pride and state championship glory. Over the course of two racing seasons, the boys strive to find their place in their own Native communities and in the American culture surrounding them. Win or lose, what they learn will have a dramatic effect on the rest of their lives. 5 p.m. skins (U.S., 2001, 84 min.) Director: Chris Eyre (Cheyenne/Arapaho) Two brothers, veterans of Vietnam who have returned to the Lakota reservation, find themselves on different paths. Rudy (Eric Schweig) gets a college degree and a job as a tribal police officer, while Mogie (Graham Greene) turns to the alcoholism that has devastated his family. Angry about the destructive effects of American history on the people of the reservation, Rudy takes matters into his own hands, going on a vigilante quest to save his community. 7 p.m. Hide Away (U.S., 2011, 88 min.) Director: Chris Eyre (Cheyenne/Arapaho) While running away from his tragic past, a man known as the Young Mariner (Josh Lucas) finds an idyllic harbor in the Great Lakes. There he buys the dilapidated sailboat Hesperus and sets to work to restore it. Over the next year, the boat and the harbor community become his greatest support as he struggles to rebuild his life. World premiere and winner of best cinematography at the 2011 SXSW Film Festival.

August 15

11 a.m. Calling All Filmmakers — NAPt Case study: Injunuity What does it take to produce a successful documentary for PBS? Native American Public Telecommunications (NAPT) will present a case study that will take participants through the process of funding, delivery and community engagement to increase the capacity of the film to make change. Learn more about NAPT resources that go far beyond funding. (Interested filmmakers, producers, educators using media and tribal community members are encouraged to attend.) 1 p.m. Navajo Paradiso Total running time: 73 min. The Navajo Nation has produced some of the most exciting and successful Native filmmakers of the past decade. Join us for a program of short films and talk with the artists who made them. For a complete listings of films, visit or 4 p.m. Future Voices of New Mexico Total running time: approx. 90 min. This year’s second annual Future Voices of New Mexico Native Youth Film and Video Festival showcases and awards prizes for outstanding film and video by young emerging filmmakers. The festival is produced by Future Voices of New Mexico, an organization working with indigenous and underrepresented communities to encourage high school students to tell stories through film and photography. Future Voices is a collaborative project of the National Geographic All Roads Film Project, Lensic Performing Arts Center, Santa Fe Photographic Workshops and the Indigenous Language Institute. For more information, visit 7 p.m. Canes of Power (U.S., 2012, 52 min.) Introduced by Conroy Chino (Acoma) Producers: Pam Pierce and Nick Durrie. Associate producer: Matthew Martinez (Ohkay Owingeh). Produced by Silver Bullet Productions. Narrator: Wes Studi (Cherokee) In 1864, President Abraham Lincoln presented silver-headed canes to each of New Mexico’s 19 pueblos. Today these canes remain potent symbols of continuing sovereignty. Why did this war-weary president, a leader of an Indian policy that destroyed many tribal communities, choose this action? Discussion to follow with Pam Pierce and Nick Durrie, historian and director of research Matthew Martinez and screenwriter Maura Dhu Studi.

August 16

1 p.m. sneak Preview: the Medicine game, presented by Native American Public telecommunications (U.S., 2012, 64 min.) Director/Co-Producer: Lukas Korver

For Jeremy and Jerome Thompson, brothers from the Onondaga Nation in New York, lacrosse is more than just a game — it’s part of their Iroquois heritage. They are pinning their hopes on their skill in the sport to take them to Syracuse University, a school with 14 national team championship wins in lacrosse. With their college dreams nearly within reach, the boys are caught up in a constant struggle to define their Native identity, live up to their family’s expectations and balance challenges on and off the reservation. In person: Lukas Korver and Jeremy Thompson

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3 p.m. Skateboard Nation (U.S., 2011, 51 min.) Director: Martha Conboy. Produced by Smithsonian Networks Explore the underground movement that is helping Native American youth throughout the U.S. soar above life’s challenges one half-pipe at a time. Skateboarding is increasingly popular on reservations as well as urban areas, cultivating athletes, artists, entrepreneurs and mentors. From the streets of Albuquerque to New York City, from Washington, D.C., to Pine Ridge, the sport is fueling a new form of self-expression and pride. In person: Albuquerque’s West End Boyz 7 p.m. Classification X Winners Screening (Repeats at 5:30 p.m. / Friday and 1 p.m. / Saturday) This special program features the SWAIA Indian Market Moving Images “Classification X” winners in the following categories: Narrative Short, Documentary Short, Animation Short, Experimental and Full Length Feature. Screenings followed by a Q&A with the Classification X winners, moderated by Jhane Myers NoiseCat (Comanche/Blackfeet), SWAIA film coordinator.

AuguSt 17

Noon Path Waves-Youth Shorts Program Total running time: 55 min. For a complete listings of films, visit or 5:30 p.m. Repeat of Classification X Winners Screening This special program features the SWAIA Indian Market Moving Images “Classification X” winners in the following categories: Narrative Short, Documentary Short, Animation Short, Experimental and Full Length Feature. Screenings followed by a Q&A with the Classification X winners, moderated by Jhane Myers NoiseCat (Comanche/Blackfeet), SWAIA film coordinator.

AuguSt 17

8 p.m. Shouting Secrets (U.S., 2011, 88 min.) Director: Korinna Sehringer. Writers: Mickey Blaine, Tvli Jacob (Choctaw) and Steven Judd (Kiowa/Choctaw) June is a loving wife and a support to her three grown children. But when she falls ill, the confused and quarreling siblings and the misunderstood father are left to cope with her illness, and with one another, in the tight confines of the hospital and at the family home on the reservation. World premiere at 2011 American Indian Film Festival. In person: Korinna Sehringer, lead actor Chaske Spencer (Lakota) and screenwriter Steven Judd Preceded by: the Storm (U.S., 2011, 5 min.) Director: Steven Judd (Kiowa/Choctaw) In this music video, Seminole musicians Zack “Doc” Battiest and Spencer Battiest perform their 2011 single The Storm. The song and the video were created as a tribute to the Seminole Tribe of Florida and an homage to the singers’ parents, grandparents and tribal leaders.

AuguSt 18

1 p.m. Repeat of Classification X Winners Screening This special program features the SWAIA Indian Market Moving Images “Classification X” winners in the following categories: Narrative Short, Documentary Short, Animation Short, Experimental and Full Length Feature. Screenings followed by a Q&A with the Classification X winners, moderated by Jhane Myers NoiseCat (Comanche/Blackfeet), SWAIA film coordinator. 3 p.m. imagineNAtIVE Presents (Total running time: 70 min.) Presented by Jason Ryle (Saulteaux), executive director, imagineNATIVE Film + Media Arts Festival Since 2007 the imagineNATIVE Film + Media Arts Festival has commissioned new work from Canadian aboriginal artists. This program features 10 of these commissions, some by Canada’s leading media makers and others by emerging filmmakers. This program includes the project’s first sound art commission and a collaboration of indigenous youth from different continents. The festival features works by world indigenous artists and takes place next on October 17-21, 2012, in Toronto. For a complete listing of films, visit or

7 p.m. the 1491s: NDN Country in Cyberspace Note location: Warehouse 21, 1614 Paseo de Peralta The 1491s presents a curated show of not just their own snarky videos but videos handpicked from all that NDN Country has to offer in the previously uncharted territory known as the Web. “The 1491s is a sketch comedy group based in the wooded ghettos of Minnesota and buffalo grass of Oklahoma. They are a gaggle of Indians full of cynicism and splashed with a good dose of indigenous satire. They coined the term ‘all my relations’ and are still waiting for the royalties. They were at Custer’s last stand. They mooned Chris Columbus when he landed. They invented bubble gum. The 1491s teach young women how to be strong. And they teach young men how to seduce these strong women.”

AuguSt 19

11 a.m. My Louisiana Love, presented by Native American Public telecommunications (U.S., 2012, 64 min.) Director: Sharon Linezo Hong. Producers/ Writers: Sharon Linezo Hong and Monique Verdin (Houma) Monique Verdin returns to southeast Louisiana to reunite with her family and quickly realizes that the Houma people’s traditional way of life — fishing, trapping and hunting in these fragile wetlands — is threatened by a cycle of man-made environmental crises. Hurricane Katrina and the BP oil spill are just the latest rounds in this century-old cycle that is forcing Monique’s clan to adapt in new ways. Monique must overcome the loss of her house, her father and her partner and redefine the meaning of home. In person: Sharon Linezo Hong and Monique Verdin Preceded by: Handmade Portraits: the Bone Carver and Handmade Portraits: Mabel Pike (U.S., 2012, 4 min. each) Director: Tara Young In short films made for the online craft market Etsy, the filmmaker profiles the Iñupiat carver Sylvester Ayek and the Tlingit beadworker Mabel Pike. 1 p.m. Run to the East, presented in cooperation with the 2012 Wings of America 5K (U.S., 2011, 87 min.) Director: Henry Lu Run to the East follows three Native American highschoolers through their senior year. Chantel “Tails” Hunt (Navajo), Thomas Martinez (Navajo) and Dillon Shije (Zia Pueblo) have overcome every obstacle in their personal lives and their communities to become elite cross-country runners, and all three are determined to succeed. At the year’s track meets they compete against runners from more privileged schools as they vie for college scholarships and a chance to explore opportunities off the rez. In person: Dustin Martin (Navajo), director of Wings of America 3 p.m. Mesnak (Canada, 2011, 96 min.) Director: Yves Sioui Durand (HuronWendot). Producer: Ian Boyd In French and Innu with English subtitles When he unexpectedly receives a photo of his birth mother, young actor Dave Brodeur (Victor Andres Turgeon-Trelles) leaves Montreal and his repertory work on Shakespeare’s Hamlet for the desolate reserve community of Kinogamish in search of his Native history and culture. He finds his mother is on the verge of marrying the town’s chief (and fellow recovering alcoholic), who is basking in the proceeds from a logging deal. With the help of a local sage and friend of Dave’s long-dead father, Dave uncovers secrets that destabilize the town’s balance of power and explain his own past. World premiere at 2011 imagineNATIVE Film + Media Arts Festival. For mature audiences. In person: Yves Sioui Durand and Ian Boyd Preceded by: Reviens Moi (U.S., 2012, 11 min.) Director: Tracy Rector (Seminole) Memories from the past ignite a young man’s yearning for his childhood sweetheart. Tracy Rector is the executive director and co-founder of Longhouse Media and its youth media project, Native Lens. She also runs Longhouse’s annual youth filmmaking workshop, SuperFly. She is a Native education specialist and in 2008 received Antioch University’s Horace Mann Award for her work in empowering Native youth.

All films subject to change. For a complete guide and up-to-date listings of all films and screening times, visit or 1 08

2012 ind ian m ar k et

Literature offers another medium for native expression

By adeLe meLander-dayton

Tribal HisTory By Janice Gould (Koyangk’auwi [Concow] Maidu) When I think of my mother’s hands, brown and square, fingers slightly bent from years of work, I consider all the other hands of Concow folk,


uring Indian Market, when a wandering circuit around the Plaza yields a feast for the eyes — everywhere you look there’s pottery, painting, beadwork, jewelry, sculpture, and more — it can be tempting to forget art that isn’t visual, namely, Native literature. But not paying attention to work by indigenous authors would be a mistake. Across the country — with a particular concentration in the Southwest — Native writers are producing a body of work that’s innovative, fresh and, in the words of poet Janice Gould, “flourishing.” Right here in Santa Fe, we’re fortunate to have a number of Native American artists whose medium isn’t paint or clay but words. Gould is Koyangk’auwi (Concow) Maidu and the most recent indigenous writer in residence at the School for Advanced Research, a nonprofit founded in 1907 to study the archaeology and ethnography of the Southwest. Today, SAR provides residencies for scholars and artists and, with the Lannan Foundation, launched the Indigenous Writer in Residence Program in 2011. The residency takes place in January and February and culminates in a public presentation of the author’s work in conversation. This past February, Gould read her poetry and played music — she’s also a composer and musician — with her friend, fellow poet and musician Joy Harjo (Muscogee/Creek). “It was a productive time for me,” Gould said of her winter at SAR. Gould is a professor at the University of Colorado at Colorado Springs, where she teaches in the women’s and ethnic studies departments. Gould also developed the school’s Native American Studies program. She describes her work as “lyrical poetry,” and her poems often explore personal themes, such as love, identity and relationships, interwoven with the stories of Native people. A prominent theme in Gould’s work is “simply being a California Indian,” she said. “People don’t usually associate California with Native people, but at one time, there were hundreds of languages and many different tribes. It’s a significant history that often gets overlooked, and it’s always been important to me to make that history come alive, as well as my own family’s history and the history of mixed bloods.” (Gould’s father was Anglo.) Her poems are forthright and specific as she unravels growing up half-Native and lesbian in California during the 1950s and 1960s. Her most recent book, Doubters and Dreamers, was published in 2011 by the University of Arizona Press. SAR’s first indigenous writer in residence, Santee Frazier, is also a poet. Frazier grew up in the Cherokee Nation of Oklahoma and earned a bachelor’s degree in fine arts from the Institute of American Indian Arts in 2004. He went on to receive his master’s degree in fine arts from Syracuse University in New York, where he still resides. “Two months is relatively short,” Frazier said, “but my time [at SAR] was very productive, and the community, the archaeologists and anthropologists were very helpful.” At the end of his residency, Frazier presented his work in conversation with his friend David Treuer (Ojibwe), author of Native American Fiction: A User’s Manual. Frazier’s poetry is written “from memory,” and much of it is about growing up in a Cherokee-speaking household or his time living in New Mexico. Frazier said his work is often characterized as a “documentary style of poetics,” and his poems don’t romanticize the Native experience. The subject matter — which includes poverty and violence — is often grim, but that aspect is countered by vivid, gorgeous descriptions of landscape and people. “I don’t find my work to be Native in the sense that I’m not using specific words, which I call ‘anthropological words of study,’ but I’m trying to create a larger world and experience for readers,” he said. “I feel my voice is Native enough, even though I’m not using those words and identifiers.” Both Frazier and Gould are optimistic about the future of Native literature, and both had praise for the University of

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bound, prepared for the lynching at the crooked oak along the mountain road near the town of Cherokee. It stood not far from the meadows where our ancestral people made their home. This was in the time when white men scoured those hills, breaking them down into rubble in their crazy search for gold. The treaty with the Concow would not be ratified by Congress, for Indians were in the way of “progress,” and though a promise had been made to provide corn starch and other commodities to every man who made his X on that scrap of parchment, the only X the white men made was to cross the hands of Indians behind their backs before swinging them out over the lava walls of the canyon. – From Doubters and Dreamers, University of Arizona Press, 2011

Across the country — with a particular concentration in the Southwest — Native writers are producing a body of work that’s innovative, fresh and, in the words of poet Janice Gould, “flourishing.”

Arizona Press, which also recently published Frazier’s collection, Dark Thirty. Each poet acknowledged Native writing created in the ’70s and ’80s as an important precursor for what they’re doing now. “[Today] there’s more artistic freedom to do what you want in Native lit,” Frazier said. “At first, I was pushed to do activist poetry, which fought for political rights or being noticed. Natives are often self-conscious about being ignored. A lot of work came out of the red power movement of the ’70s, and as a result, I now have the luxury to do the work I want to do.” For readers who want to support indigenous writing — beyond buying the books, which is a good first step — Gould advocates patronizing small presses, like that at the University of Arizona or West End Press in Albuquerque, which often take chances on new, experimental work and writers. Frazier, who’s still active at Syracuse University, believes there’s work to be done in academia. “Even though there are Native American Studies programs and courses about Native lit, and as much as it helps us to be noticed, it’s also in some ways a prison,” he said of academia. “People tend to believe that all Natives are a monolithic group. The labels and distinctions [taught in school] shouldn’t be so generic. ‘Native writers’ also includes all folks who are indigenous to this hemisphere. [Academia] should avoid prefabricated notions of who we are.” Before and during Indian Market, people have many opportunities to engage with Native writers and their work. Most of the market’s literary events take place at Collected Works Bookstore, which owner Dorothy Massey termed the “literary arm” of Indian Market. The events include book signings and panel discussions with diverse writers and artists. “There’s nothing more engaging than seeing someone live in front of an audience,” Massey said. “And the more we have a chance to interact with poets and authors of all ethnic backgrounds, the better our understanding and appreciation of the work they’re producing.” Earlier this year, Joseph Marshall III, Sicangu Lakota (Rosebud Sioux), read at Collected Works from his latest book, The Lakota Way of Strength and Courage: Lessons in Resilience From the Bow and Arrow. “[Marshall] is a deeply religious and cultural man,” Massey said. “To hear him speak about his grandfather, it comes across in a dimension that really enhances reading his books.”

pa s to r a l By Santee Frazier (Cherokee) stark is the wood stove in the dark its bulbous hull a womb of popping embers simmering corn filling the house with a thick nutty perfume what sounds but guzzle of a pumped well the gushing water against the metal stark is slowness scything of grass chucking grain toward chickens low bark of hounds

During inDian Market week, check out the native lit available at collecteD works, or stop by the Market’s book tent on the plaza. scheduled events at the bookstore — all free and open to the public — include:

gnats backlit by the sun their flight pattern scattered in gold

4:30 p.m. august 14

song of exoskeleton

SWAIA and Collected Works Bookstore present a conversation with Bruce Bernstein, executive director of SWAIA, who discusses the history of the market in his new book, The Santa Fe Indian Market: A History of Native Arts in the Marketplace (Museum of New Mexico Press, 2012). Book signing to follow.

zoom of the jun bug’s wings lifting itself from the screen door

4:30 p.m. august 15 SWAIA and Collected Works Bookstore present author Suzanne Deats and photographer Kitty Leaken, who discuss their book Contemporary Native American Artists (Gibbs Smith, 2012). Deats and Leaken will be joined by 14 artists featured in the book for a Q&A and signing. A portion of book sales will be donated to SWAIA to support Indian Market.

and off to the damp night far away roar of tire bucking junk in the truck bed

4:30 p.m. august 16

slow sputter and buzz

SWAIA and Collected Works Bookstore present sculptor Michael Naranjo (Santa Clara) with the new book about his work edited by Laurie Naranjo, Inner Vision: The Sculpture of Michael Naranjo (Two Little Girls Publishing, 2012). Q&A will follow.

of a mower echoed in the gully the radio whispering a piano that vibrated gospel

Collected Works Bookstore is at 202 Galisteo Street. For more information about any of the market week book events, call 505-988-4226. To learn more about the School of Advanced Research’s Indigenous Writer in Residence Program, visit

when it uttered – Previously published in Talking Stick Native Arts Quarterly 2 01 2 I N DI A N MA r K eT


[ fresh off the press ]

Books on native arts

offer iMages, insight, CritiCisM

By Adele MelAnder-dAyton

aMeriCan indian Jewelry ii: a-l 1,800 artist Biographies By Gregory Schaaf, assisted by angie Yan Schaaf Center for indigenous arts & Cultures Press, 2012 American Indian Jewelry II is an exhaustive, definitive reference full of information about jewelers, including short biographies of hundreds of artists. Published by Gregory Schaaf and his wife Angie Yan Schaaf under the auspices of their nonprofit Center for Indigenous Arts & Cultures, American Indian Jewelry II homes in on details. At 400 pages long, the book is organized like an encyclopedia, with jewelers listed alphabetically. The biographies include tribal affiliation, family members, collections and publications in which the artist’s work appears. Many entries include websites and e-mail addresses (helpful for tracking down a particular jeweler), quotes from the artist and full-color pictures of his or her work. The book opens with a special section on turquoise. Different types of natural, high-grade turquoise are identified by mine (Lone Mountain, Cerrillos, Sleeping Beauty), and each description includes a timeline that describes when the source was first identified, if it’s still in use and characteristics of the type of turquoise. Even if you’re not a Native jewelry expert, leafing through the pages of American Indian Jewelry II provides a sense of the art form, both as it was envisioned in the past and today. American Indian Jewelry II: A-L is available at the SWaia book tent on the Plaza. Gregory & angie Schaaf sign copies of the book from 4 to 5 p.m. on august 17 at Packard’s on the Plaza, 61 Old Santa Fe trail. For information, call 505-983-9241.

Manifestations: new native art CritiCisM edited by nancy marie mithlo Forward by Patsy Phillips museum of Contemporary native arts, 2012

Preface by Will Wilson

In hIs essay “OwnIng the Image: IndIgenOus arts sInce 1990,” included in Manifestations: New Native Art

Criticism, Mario A. Caro writes: “While it is difficult to comprehensively assess writings on Indigenous art — these come from many disciplines and are disseminated in numerous and radically different venues — there has been a sharp increase in the number of texts dealing with the subject, at least since 1990. And it is Indigenous scholars who are also artists that have produced many of these texts.” Caro’s words are representative of the idea behind Manifestations, a new book about contemporary Native art, produced by the Institute for American Indian Art’s museum, the Museum of Contemporary Native Arts, with the support of the Ford Foundation. Manifestations features the work of 60 indigenous artists and 21 indigenous writers. The book is divided into two parts: The first section features four critical essays about the state of Native arts. In the introductory essay, editor Nancy Marie Mithlo urges readers to consider Native arts in the context of history and post-colonial politics, even as she states, “We are not post-colonial.” Later, Stephen Fadden and Stephen Wall consider the ways in which U.S. government policy has impacted American Indian art, both in the past and in its continued legacy today. The four essays that comprise the first half of Manifestations are heady, detailed and, for the most part, academic in tone. The second part of the book offers shorter pieces, as writers — often artists themselves — discuss contemporary Native artists working across media. The short essays serve as a comprehensive, if brief, introduction to the aesthetics and concerns of each artist. The second half of Manifestations is illustrated, offering representative pieces of each artist’s work. Throughout, Manifestations is an act of self-definition. The question of identity rises to the surface again and again, as the voices in Manifestations explore the infinite and evolving iterations of Native artists. Manifestations is available at the museum of Contemporary native arts, 108 Cathedral Place. For information call (888) 922-4242. 1 12

2012 ind ian m ar k et

Contemporary native ameriCan artists By Suzanne deats, photographs by kitty Leaken Gibbs Smith, 2012 Contemporary native ameriCan artists showcases some of the best known and emerging Native artists

working today. The group, which features artists like Jody Naranjo (Santa Clara Pueblo, pottery) and Rhett Lynch (Diné, painting), was a result of artist Ken Lingad’s (Isleta Pueblo, musician) desire to unite Native artists across media. For more than a year (2007-2008) the artists in the book worked together on large-scale exhibitions. Though their collaboration is no more, Contemporary Native American Artists is a well-illustrated chronicle of each artist’s continuing individual work. Deats’ descriptions of each artist are effusive, if necessarily perfunctory. Her introductions do their best to encompass and describe the work and process of the artists while highlighting their major life events, career milestones, exhibitions and awards. But the images are the real focus here, and Leaken’s photographs feel truly revealing; they depict the artists exhibiting their work in galleries or at Indian Market, in their studios and workspaces — in Naranjo’s case, firing pots outdoors at Santa Clara Pueblo in high heels — or are glossy, high-resolution images of the art itself. Small details, like close-ups of paint-spattered brushes and clayencrusted carving tools, or a pegboard of Jemez Pueblo sculptor Adrian Wall’s unceremoniously arranged drills and sanders lend an intimacy to polished portraits and photographs of finished work. In certain cases, like the section on jeweler Fritz J. Casuse, readers are invited to see a piece of the artistic process itself as Casuse heats pieces of metal under a flame. Photographer kitty Leaken and author Suzanne deats discuss Contemporary Native Artists at 4 p.m. on august 15 at Collected Works Bookstore 202 Galisteo St. (505-988-4226). they will be joined by several of the artists featured in the book for a signing and question and answer session. Book sales benefit SWaIa.

Without reservations: the Cartoons of riCardo Caté By ricardo Caté

Gibbs Smith, 2012

Like many Cartoonists, riCardo Caté pokes fun at the

way people pursue their everyday lives — cooking, cleaning, going to school, watching TV, doing the laundry. But Caté’s characters do more than that: They also make pottery, shoot arrows, and deal with tourists and a U.S. Army officer who looks a lot like George Armstrong Custer. That’s because Caté’s sometimes sly, sometimes sharp-edged humor is anchored in Native American experience, surroundings, and history—bringing a unique perspective to mainstream newspaper comics. His work has been published in The Santa Fe New Mexican since 2006. Caté — who grew up on the Santo Domingo (Kewa) Pueblo and lives and teaches there now — is an equal-opportunity satirist, skewering white and red man (and woman) alike. Although he has noticed that non-Natives sometimes have a harder time understanding some of his cartoons, he has been working to make his jokes more accessible to all races. “I like to think that this is a universal cartoon in which the characters just happen to be Native,” he writes in the introduction to his book. But that doesn’t mean he waters down his messages or shrinks from exploring the painful or the poignant, along with the just plain silly. “Sometimes I get letters from non-Natives who have called me racist and insensitive to Natives until they realize that I am Native myself,” he continues. “NonNatives often walk up to me and say, ‘I didn’t get the cartoon today,’ and I reply, ‘That’s OK; I don’t get the cartoons in The New Yorker either.’” In Caté’s world, clueless pilgrims and flag-planting Spaniards rub elbows with Natives contending with cranky spouses and smart phones, and readers get to giggle, sigh, or laugh out loud — and maybe learn a little something — with each turn of the page. native humorist ricardo Caté discusses and signs copies of Without Reservations at 1 p.m. aug. 16 at the Wheelwright museum of the american Indian, 704 Camino Lejo. For information, call 982-4636. — Pat WeSt-Barker 201 2 I n dI a n ma r k et


NiNety-oNe years and coun t i n G

Indian Market then and now By Patricia West-Barker


ruce Bernstein, Ph.D. — scholar, curator, research fellow, arts administrator — has been observing and contributing to Santa Fe Indian Market for more than 30 years, first as a volunteer, then a board member, and for the past five years as executive director of the Southwestern Association of Indian Arts (SWAIA), the nonprofit organization that produces the annual event. Both Bernstein’s academic interests and singular personal vantage point come together in his long-awaited history of the market — Santa Fe Indian Market: A History of Native Arts and the Marketplace, released this month by the Museum of New Mexico Press. An early chapter is devoted to Indian Market’s beginning as Indian Art Fair in 1922, conceived as part of Santa Fe Fiesta by then Museum of New Mexico director Edgar Lee Hewett. An archaeologist and anthropologist by training, Hewett “began to encourage [Pueblo] potters to make pottery modeled on prehistoric and historic pieces that were thought to represent an unsullied or authentic culture, as determined by curators and anthropologists” to counterbalance the flood of Native artwork work being created to serve the tourist trade that arrived in New Mexico xico in tandem with the railroad. With his particularly deep knowledge of Pueblo pottery, Bernstein has used historical photos, early journals, advertising materials, letters, newspapers, and magazines to track the making and selling of Native art over hundreds of years, documenting the origins of efforts to help artists eliminate the middlemen in curio shops and trading posts and to sell their work directly to customers. Although the market has gone through many permutations over the decades — all documented in this book — many of the features we still associate with Indian Market began in the early years: prize money, art classifications, crafts afts demonstrations, clothing contests, and educational programs forr both artists and visitors all trace their origins to the early 1920s and the market envisioned by Hewett and his associates. More subtle than the procedural history of the development of Indian Market over time is the history of how Native peoples were perceived and treated by those who would be their champions. Romanticized on the one hand, Natives who participated in the market were also “placed in settings that resembled display cases” and were not allowed to stay in town during the event. “To Hewett and the others,” Bernstein writes, “the Pueblos were an example of a preindustrial society worthy of preservation for scientific study and tourist curiosity. [Hewett] had no trouble telling Pueblo people ‘how to be Indians’ because he believed the science of his archaeology provided him with an authority of purpose and knowledge.” That purpose did not extend to allowing the Native artists he showcased to use the bathrooms in his museum. As he gets deeper into the early history of the market, Bernstein carefully records the changes he believes potters Maria and Julian Martinez of San Ildefonso Pueblo — whose work was sold at the very first Indian Fair — introduced to the marketplace with their unique black-on-black pottery. “The lustrous black pottery was a wholly new type of Native art — Native fine art,” Bernstein writes. “Although seated in the traditions of southwestern pottery, the designs and high-polished surfaces were not derived from specific Tewa potting traditions but rather were reformulated via personal expression for the non-Indian market. The pottery reflected personal, creative ideas rather than a goal of preserving tradition.” Bernstein makes a very thorough investigation of the changes in Indian Market’s organizational structure from its founding to its present-day incarnation. His research reveals that the groups that sponsored the market several times came close to shutting the event down as it shifted from a sociopolitical posture to an arts focus. Created in 1959, SWAIA has presided over the market’s phenomenal change and growth while still incorporating many of the early goals of its founders. As envisioned by Hewett and others, the market still serves as a major tourist attraction for the city of Santa Fe and contributes to the economic success and international reputations of numerous Native artists. If themes thread through the whole of Bernstein’s book, they are these: that Native arts — and artists — transcend ethnography to occupy a place in the world of fine art; and that the ongoing tension between tradition and innovation, persistence and change, is at the heart of Native art — and Indian Market. “When Jeremy Fry, a Passamaquoddy basket maker won [Best of Show] in 2011,” Bernstein writes, “there was no talk of whether his work was too traditional or contemporary. There was only admiration for the strikingly made piece.” — Barbara Walzer contributed to this story.

Phenomenal growth In 1970 Indian Market was held under the portal of the Palace of the Governors and along the north and east sides of the plaza. All two hundred artists who showed up on Saturday morning were gi n booths. The following year, a row of booths given was added on the east side of the plaza, accommodating about five hundred artists. By 1980 the market had grown to 330 booths in rows of three on all four sides of the plaza. Fifty-nine new booths were added along Lincoln Avenue in 1982. Fifty more booths were added to Washington Avenue in 1991. By 1992 the market featured 537 booths and 1,043 artists, with 300 more artists on a waiting list. To accommodate more artists, from 1990 to 1995, SWAIA set up forty-seven booths in the DeVargas Center, a shopping mall less than two miles from the plaza. A shuttle bus ran between the plaza and the mall. Buyers quickly caught on that SWAIA was placing second-tier artists in DeVargas, however. Most of those placed there were new to the market; many were from nonsouthwestern tribes. While nearly one hundred thousand people visited the booths on the plaza each year, only eight thousand walked by the booths at the mall. A few artists dropped out or threatened to drop out if they were assigned to DeVargas. … By the 2012 Indian Market, 650 booths ringed the entire plaza and spread out down San Francisco Street to the St. Francis Cathedral, along Palace Avenue to Grant Avenue, down Old Santa Fe Trail to Water Street, and north on Lincoln Avenue to Federal Place — a total of fourteen square city blocks. Since collectors expect to find certain artists in certain spots year after year, artists covet their booths and will do almost anything to retain them. Those artists and families who have been at the market for many decades tend to be located in the most coveted spots near the plaza. Excerpted from Santa Fe Indian Market: A History of Native Arts and the Marketplace by Bruce Bernstein, Museum of New Mexico Press, 2012

Bowl by Maria and Julian Martinez, 1919 Photo Blair Clark


Santa Fe Indian Market: A History of Native Arts and the Marketplace is available at all local bookstores and museum gift shops as well as in sWaia’s book tent on the Plaza during indian Market. at 4:30 p.m. on august 14 Bruce Bernstein discusses the history of santa Fe indian Market and the book at collected Works Bookstore, 202 Galisteo st. call (505) 988-4226 for more information. Book signing to follow. 1 14

2012 IND IAN M Ar k ET

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• Neil David Paintings (Hopi) • 2 Robert Draper Watercolors (Navajo) • Traditional Pueblo Painters (Paul Virgil & Bobby Vigil) • Darren Vigil Gray Collection (1980’s) • Japanese Woodblock Prints (1790 – 1930) • Gustave Baumann 1911 Woodblock Prints • Anderson Kee (Navajo), Ledger Art • Dominic Monti New Mexico Landscapes • 2 Marcel Marceau Self Portrait Lithographs • Helen Greene Blumenschein Ink and Watercolor Paintings 2 01 2 I N DI A N MA R K ET


Native American Cuisine Contemporary dishes contain elements of the past story and photos by Lois eLLen Frank

“What is Native American cuisine?” I ask this question of my cooking students all the time. Students from a variety of backgrounds raise their hands: Corn, beans and squash — or the Three Sisters — a student replies. Wild game, says another. Foods from the land, including wild-harvested foods, says a woman in the front of the class. I point to several students in the room and ask again. “What do you think Native American cuisine is?” “Fry bread,” replies the first student. “Indian tacos,” says the next person I point to. The third person says that stews made with sheep or pork, like the traditional red chile or green chile stews found in the Southwest, are Native. All are correct. Native American cuisine includes food from the distant past, thousands of years before Native peoples had contact with non-Natives; it includes foods that were brought to the Americas by the first Europeans who came and stayed; and it even includes foods distributed to tribes by the U.S. government as Natives were moved onto reservations. To define Native American cuisine, we first have to look at the historic Native food continuum. Many millennia ago, Native peoples passed cultural information from one generation to the next through the oral tradition of stories, histories, legends and myths. The elders imprinted these historical accounts on the youth. Where foods were concerned, the women of each group were the tribal historians, committing to memory a body of past experiences and cultural traditions relating to food and its uses, including how to find wild plants, which plants were edible or useful as medicine, plant names, how to prepare and preserve plants, how to grow and store them and how to prepare wild game and fish. Additional data from anthropological, ethnobotanical and archaeological accounts and research from scholars have also contributed to our understanding of what Native people ate in specific areas. A recent analysis by academicians Patricia L. Crown and W. Jeffrey Hurst of ceramics from Pueblo Bonito — the largest site in Chaco Canyon in northwestern New Mexico — documented the presence of theobromine, a marker for Theobroma cacao or chocolate. This indicates that cacao was consumed in the American Southwest around AD 100 to 1125, meaning that Native peoples had extensive trade routes and that foods were traded and often shared with other Natives from faraway regions.

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Diné chef Walter Whitewater’s masked “Ye’i Bi Chei” is made from American caviars, chopped egg, white onion and parsley, and served with white and purple endive feathers.

Aboriginal appetizers Many wild-harvested plants were — and still are — full of nutrients. These foods provided essential ingredients for a healthy and well-rounded diet. A good example of an abundant wild food that was once a vital part of the ancestral Puebloan diet is purslane (Portulaca oleracea) — or verdolaga in Spanish. This plant is an extremely rich source of omega-3 fatty acids and is high in vitamins A and C. Its succulent stems and leaves are most commonly boiled or sautéed, eaten alone or in soups and stews, but they can also be dried for use in winter. It’s one of a number of wild plants traditionally collected for food and now known to have medicinal benefits in addition to nutritional qualities. I love purslane and harvest it whenever I see it. Sometimes I’ve bought it from women at the Santa Fe Farmers Market who still harvest it. Buying a wildharvested food helps to ensure that this food continues

to be available and that the knowledge surrounding it is perpetuated. My favorite way to prepare and eat the green is sautéed in olive oil with garlic. Purslane loves disturbed soil, comes with the summer monsoon rains and is free for the picking. What could be better? The ancestral Native American diet in the pre-contact Southwest — and for that matter all over the Americas — was diverse and intricate. It included a multitude of ingredients gathered from the areas where people lived for local consumption or for trade with tribal groups that didn’t have access to them. These pre-contact foods, many of which are still available, make up the bulk of Native American cuisine.

Mealtime mingling Here in the Southwest, the Spanish were the first Europeans encountered by Native peoples. In the 1500s, when the Spanish entered the region from Mexico, they

brought foods and livestock from their homelands —cattle, sheep, goats, pigs, horses, wheat, peaches, apricots, plums, cherries, melons, watermelon, apples and the wine grape — as well as chiles, tomatoes, potatoes, prickly pears, epazote and other foods from the tribes of Mesoamerica. The Spanish also introduced the oven made from earthen bricks that we call the horno. This new technology revolutionized Indian baking and incorporated new ingredients for making a variety of breads. Oven bread made from wheat was introduced to the New Mexico pueblos, altering the corn-based diet of Pueblo residents. More crops, additional types of livestock, winter vegetables and grains, fruits and nut trees and novel cooking techniques were brought north from central Mexico. New varieties of wheat, barley, lentils, peas, chickpeas, fava beans and melons emerged and became distinctive to the Southwest. A substantial effort has been made to keep these heritage foods vital here. We call these “first contact foods,” meaning foods that came initially with the Spanish. Basically the foods of the Spanish settlers and the puebloans evolved at the same time, with Native American foods being added to the Spanish diet and Spanish foods being added to the Native American diet. It’s also important to note that while new foods came to the Americas, foods from the Americas traveled back to the Old World and changed diets there. Corn, beans, squash, chiles, cacao, vanilla, potatoes and tomatoes, which did not exist in the Old World before this encounter, became infused into the cuisines of many cultural groups. Try to imagine Italian food without the tomato or Irish food without the potato. These foods have been interwoven into the cuisines of those regions the same way sheep have been woven into Diné (Navajo) culture and wheat oven bread into Pueblo culture. These foods are now a part of the Native American cuisine of this region.

of communities all over the Southwest became totally dependent on these rations. As Native communities struggled to incorporate these ingredients, they invented new dishes that featured them. I call this era in Native American cuisine the “government issue” period — and this is where fry bread and the Indian taco were born. These two dishes can be found at almost every feast, powwow, ceremonial and arts and crafts fair in Indian Country.

Fusion fare Today, Native American cuisine encompasses all of these periods. You can eat a contemporary Navajo lamb-stuffed New Mexico green chile prepared by chef Walter Whitewater (Diné) of Red Mesa Cuisine or buy homemade Pueblo oven bread baked in a horno or a Pueblo fruit pie at the Santa Fe Farmers Market. Or you can sample traditional blue corn mush (atole in Spanish) or buy a piece Hopi piki bread made from blue cornmeal, culinary ash and water cooked on a hot stone from some of the vendors at Santa Fe Indian Market. While there is not a specific restaurant in Santa Fe that offers all of these dishes, you can taste regional specialties in some local restaurants. Amaya at the Native American-owned Hotel Santa Fe serves a bison burger at lunch and venison with quinoa for dinner, as well as other Native American foods that are woven together in a style that is both ancient and contemporary.

Red Mesa Cuisine, a Native American catering company, serves foods from local and Native sources in a variety of venues. Visitors and locals can also take a Native American cooking class at the Santa Fe School of Cooking. The Pueblo Harvest Café and Bakery at the Indian Pueblo Cultural Center in Albuquerque offers some Pueblo favorites as well as a Native fusion cuisine inspired by the traditions and ingredients cultivated by Puebloan ancestors. Young Native American chefs are becoming classically trained in the culinary arts and finding jobs in tribally owned resorts, casinos and restaurants where they can create foods that offer a contemporary take on all three of these historical food periods in Native American cuisine. Look for the new Native American chefs as they materialize in a variety of venues, and look for their cuisine to become more visible.

native american cooking classes Lois Ellen Frank (Kiowa/Sephardic), chef/owner of Red Mesa Cuisine, is teaching two hands-on Native American cooking classes at her Eldorado test kitchen with chef de cuisine Walter Whitewater (Diné) featuring ancestral foods with a modern twist. The first is from 10 a.m. to 1 p.m. on Sunday, August 19; the second is from 10. a.m. to 1 p.m. on Saturday, August 25. Each class is limited to 12 students and costs $95 plus tax. To reserve a space, call 505-466-6306. A deposit will hold your reservation.

Ration revolution The last section of the food continuum focuses on the commodity foods issued to tribes when they were forcibly relocated onto reservations or forced to move away from their ancestral homelands. Once this concentration onto reservations took place, tribes lost portions of their ancestral homelands, their hunting grounds and in many cases their primary sources of wild and cultivated foods. The government-issued food rations originally included beans, beef, lard, flour, coffee and sugar, which were distributed twice a month. Later cheese, egg mix, nonfat dry and evaporated milk, pasta, rice and other grains and peanut butter were added. This food distribution program led to one of the most dramatic dietary changes in American Indian history. The original intention of the U.S. government was to supply rations as an interim solution until dislocated and relocated Native peoples could raise enough food of their own. Instead, many Indian people from a variety

This traditional lamb stew is made with locally sourced ground lamb and green chile, potatoes and tomatoes.

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Breaks all the rules By Ar i n McKe n n A

Multigenerational families of artists are common in traditional American Indian art but are rarely encountered in the world of fine art. The merging of those two worlds has produced a new phenomenon. “It has basically been stated — and we haven’t found any proof otherwise — that we are the only three generations of professional female painters. Period. Not in Native America, not in the United States, but anywhere,” said Margarete Bagshaw. “We can’t find anybody else documented that does it by profession, that’s been featured in museum shows, that’s been publicized from that perspective.” Bagshaw, the daughter of Helen Hardin and the granddaughter of Pablita Velarde, is featured at the Museum of Indian Arts & Culture this summer with an exhibit called Margarete Bagshaw: Breaking the Rules. Bagshaw’s work reflects the innovation, La Papessa, 2012. Oil on Belgian Linen (48” x 60”) creativity, and technical Margarete Bagshaw excellence that are earmarks of her illustrious lineage. Pablita Velarde (also known as Tse Tsan, or Golden Dawn) is widely recognized by collectors and museums as one of the most accomplished American Indian artists of her time. A native of San Ildefonso Pueblo, she defied pueblo chairmen who pressured her to adopt a more traditional role in life (summed up by some as “beans, babies and bread”). At the Santa Fe Indian School, Velarde was the only female student in Dorothy Dunn’s inaugural class at The Studio, which offered the first authorized art classes at any Indian boarding school. At 16 years old, she painted a mural for the 1934 Chicago World’s Fair. During construction of Bandelier National Monument, she was a Works Progress Administration artist in residence, painting over 70 images depicting puebloan life. Velarde won every major award for Native artists several times over, including first place at the Santa Fe Indian Market a dozen times. In 1953 she became the first woman to receive the Grand Purchase Award at the Philbrook Museum of Art’s Annual Exhibition of Contemporary Indian Painting. The French government awarded her the 1954 Palmes Académiques for excellence in art. Her illustrated book, Old Father Story Teller, was the first book published by a Pueblo Indian woman. Velarde painted until her death in 2006. “It’s pretty amazing, all of the things that she accomplished. Nothing was given to her. She worked harder than anybody around her for anything she ever got, whether it 1 18

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r i i p t ta s e ke th e s Third-generation r e Indian artist MArgArete BAgshAw

was awards or her honorary doctorate. Whatever she achieved, she achieved by working. Nobody laid the red carpet out for her,” Bagshaw said. Helen Hardin (called Tsasah-wee-eh, or Little Standing Spruce) was the first Native female painter to move from traditional representational painting to abstract works, part of a vanguard that included the likes of Fritz Scholder and Michael Kabotie. Hardin won almost as many awards as her mother, including first or second place (or both) at Indian Market many times. Hardin produced more than 3,500 paintings during her brief career (she died of breast cancer in 1983 at age 41). Her works were highly prized in New York and California and sold out at embassy shows in Bogotá, Colombia, and in Guatemala. The Smithsonian Institution established the Helen Hardin Performance Theatre in her honor at the Museum of Contemporary Native Art in Santa Fe. “She did with acrylics what nobody else has been able to do, ever. She was able to achieve a really incredible brilliance with her paint. But also a real dimensional, lacquered effect with her work,” Bagshaw said. “It’s really unfortunate that her masterpieces are not on the market, because those are the screamers.” When Bagshaw contacts collectors to see if they are interested in selling one of Hardin’s pieces, the response is, “No. I’m not selling my Helens.”

Breaking away Bagshaw has inherited her mother’s and grandmother’s knack for engaging in conversation as she works, and she — like her mother — is a self-taught artist. She did not take up painting until 1990, when she was 26 years old. “I was eight months pregnant with my son, and it was just something I would get up and do that was quiet in the middle of the night,” Bagshaw said. Bagshaw’s first showing was at the New Mexico Arts & Crafts Fair. “It was blind juried, which was appealing to me, because then I wouldn’t be admitted just based on my family,” Bagshaw said. Like her mother and grandmother before her, Bagshaw has faced criticism for defying

convention. She uses vibrant color in her complex, dynamic images — a mix of cubism, modernism and transcendentalism. A prominent figure in the Santa Fe art world once told her she should paint in earth tones, ‘the colors of your people.’ “For somebody to try to stuff me in a little Indian hole with my earth tones, I was appalled,” Bagshaw said. “But that’s exactly what goes on in this world. If we don’t paint in a particular style that is suited for the color of our skin, then it’s not acceptable. I think no matter who you are, what race you were born in, you should be able to create where your spirit takes you.” Bagshaw described her process for creating The Rain Council, which started as a prayer for rain. “I decided to start out with a kind of washy background effect and just get some ‘wet’ feeling to it,” Bagshaw said. Next came rainbows as her “composition breakup.” Then the figures she calls the Rain Council started appearing, and finally she chose the avanyu (water serpent) to express the power of lightning. “Being able to express all of these things is what makes painting exciting. I don’t know how they’re going to turn out. I have no idea what’s happening when I start something. The only reason I knew that this was going to be a rain painting was that we needed rain.” Bagshaw is amused by people who are “looking for some sort of profound, channeled communication from some other universe that’s telling me to paint these beings. I’m like, no, this is a prayer for rain,” Bagshaw said. “On the other hand, I have other paintings that are tapped into a deep spiritual place for me, and they’re very meditative.” “All of my work is coming from a very central place in my spirit, but it’s not anything that somebody else couldn’t understand if they just gave it some time,” Bagshaw says. Viewers often experience a subliminal recognition as they gaze at Bagshaw’s compositions. One piece in the MIAC exhibit, Self Portrait, was painted shortly after Bagshaw’s divorce from her first husband. “I was feeling very beat down emotionally, and I was trying to find who I was on a big scale. I was basically trying to revive my spirit again. So I decided to do it very large and find out who I was,” Bagshaw said. A woman saw the painting at the gallery and began sobbing. Bagshaw discovered the woman had recently been through a divorce herself. Several women also burst into tears upon viewing La Papessa, a painting based on the story of Pope Joan. “Those are the reasons I paint. I’m hoping that my paintings will reach somebody else’s spirit and give them the same experience I’m having, or something similar, and let them know that they’re not alone,” Bagshaw said.

Ancestral Procession, 2010, Oil on Linen (80” x 110”) Margarete Bagshaw Courtesy Museum of Indian Arts and Culture

details Books highlighting these three remarkable women—Pablita Velarde: In Her Own Words (written by mIaC director Shelby tisdale), Helen Hardin: A Straight Line Curved (written by kate nelson) and Teaching My Spirit to Fly, a memoir by margarete Bagshaw—have just been published. the books will be available during a reception and opening at Bagshaw’s Golden dawn Gallery, 5 p.m. august 17. the gallery is located at 201 Galisteo Street. For more information call 988-2024 or go to Margarete Bagshaw: Breaking the Rules runs through december 30, 2013, at the museum of Indian arts & Culture, 710 Camino Lejo, (505) 476-1250,

The Rain Council, 2012, Oil on Belgian Linen (48” x 60”) Margarete Bagshaw

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New museum hoNors Native womeN artists

Pablita Velarde Museum of Indian Women in the Arts is Santa Fe’s newest offering


ne reason Margarete Bagshaw opened Golden Dawn Gallery was to educate people about the contributions of her mother (Helen Hardin) and grandmother (Pablita Velarde). “There’s a whole generation now of people who have no idea of the significance of these women in this world,” Bagshaw said. “My mother, alongside her contemporaries, changed the way Indian art is looked at, from traditional to contemporary. She was responsible for bringing it into the contemporary art world. “People come in and look at my grandmother’s work and say, ‘Why is it so expensive?’ She was the first one to do that. She invented that style of painting. And why shouldn’t she be as respected as other painters in this town who have their own museums?” Now, with the founding of the Pablita Velarde Museum of Indian Women in the Arts, Bagshaw and her husband, Dan McGuinness, hope to expand the art world’s horizons even further, to include all talented American Indian women. “This is a museum that will celebrate Native women from all over the North American continent, in all art genres — film, painting, writing, poetry, performance, weaving, pottery, the you-name-its,” Bagshaw said. “It will celebrate the talents of all of these women. And the reason we named it the Pablita Velarde Museum of Indian Women in the Arts is because my grandmother opened that door for women to be able to practice their artwork as a profession.” Bagshaw is following in her grandmother’s footsteps with this endeavor. Velarde was one of the founders of the Indian Pueblo Cultural Center in Albuquerque, which has helped elevate awareness about Puebloan

details the Pablita Velarde museum of indian Women in the arts is located just south of the Cathedral Basilica of St. Francis of assisi at 213 Cathedral Place. For more information, call (888) 455-4369, email, or go to

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art. But Bagshaw still sees a gap to be filled. “Native women artists are so under-recognized. There is no other institution that celebrates Native women and their talents every single day of the year. We’re relegated to Native American Month or Women’s History Month,” Bagshaw said.

A Museum for the Generations

The museum plans to open this month in the former administrative offices of the Cathedral Basilica of St. Francis of Assisi. Fundraising continues toward purchasing a building with enough space to include Velarde’s actual studio, the Roxanne Swentzell Sculpture Garden, a museum theater for performance arts, a media center and library, and ample space for permanent exhibits. Any woman able to verify indigenous ancestry within three generations is eligible to show at the museum. Bagshaw also donated a significant collection of work by Velarde and Hardin. Although they have met some resistance to opening another museum in Santa Fe, Bagshaw and McGuinness were gratified by the response they received when they began fundraising a year ago. “We’ve had people waiting

for us in the morning when we were opening up to write us a check. We’ve had people who are remembering us in their estates,” Bagshaw said. A retired librarian for the Library of Congress wants to put the library together. Others have volunteered in-kind contributions such as construction work, painting, and tearing up worn carpets. The 12 founding members of the museum include prominent members of the Native art world such as Roxanne Swentzell and her husband, Tim Star; Jaune Quick-ToSee Smith; and Rick West, emeritus founding director of the Smithsonian Institution’s National Museum of the American Indian. NMAI’s current director, Kevin Gover, has also offered support. Bagshaw herself donated 100 prints of her work Women’s World and 20 percent of her earnings from her Santa Fe Indian Market show last year. More than $100,000 has been raised so far. Bagshaw estimates that her team will have to raise between $6 million and $10 million for the permanent museum they envision. Partners in Education is serving as the fiscal sponsor (the nonprofit organization in charge of all finances) until the museum receives its 501(c)(3) designation. The museum will have a heavy educational component, including an outreach program to bring in schoolchildren and an artist-in-residence program. Bagshaw believes that rather than detracting from other museums and galleries, the museum will serve as another asset to attract people to Santa Fe. “You go to Washington, D.C., and you get to see maybe three or four museums while you’re there,” Bagshaw said. “You have to stay someplace. You have to eat someplace. You have to rent a car or pay a taxi. It filters money into the economy. So give people a reason to come back.”

Creative Hands Pablita Velarde


SPECIAL EVENTS AUGUST 13-19 Important Contemporary Native Jewelry “Early San Ildefonso Innovators” Pottery Roxanne Swentzell: An Important Collection of Clay Figures Jamie Zane Smith, Jason Garcia & Chris Youngblood: New Works in Clay

AUGUST 13–19 Returning to 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.



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By Arin McKennA


8:30-11 a.m. Native Chic Jewelry, featuring traditional and cutting-edge jewelry especially created for this event. artist demonstrations under the tent on the museum patio feature jewelers, basket weavers, katsina carvers, potters, sculptors and painters. Wheelwright museum of the american indian, Case trading Post, 704 Camino Lejo, 982-4636, www. Off-site parking and free shuttle from St. John’s United methodist Church at Old Pecos trail and Cordova road. Free. multiple free events at Wheelwright museum of the american indian also include:

museum of Contemporary native art, 50/50: Fifty Artists, Fifty Years. also anna tsouhlaraskis’ installation Edges of the Ephemeral; mateo romero’s Red Meridian; Jeff kahm’s Vernacular; debra Yepa-Pappan’s Deconstruction Dualities; Billy Luther’s Grab —the movie; Public Poles, live art under the portal. CANNON POPS at MoCNA: Pai-doung-u-day, t.C. Cannon in the Lloyd kiva new Gallery. 108 Cathedral Place, 888-922-4242, museum of indian arts & Culture, Margarete Bagshaw: Breaking the Rules; They Wove for Horses: Diné Saddle Blankets; Woven Identities; Basketry Art from the Collection and works by 2012 miaC Living treasure artist tony abeyta. museum of indian arts & Culture, 710 Camino Lejo, 476-1250,

9-10:30 a.m. the Collector’s table. 10:30 a.m.-12:30 p.m. art-for-Wear designer Showcase.

11 a.m.-1 p.m. 37th annual benefit auction, live auction preview.

Wheelwright museum of the american indian, A Certain Fire: Mary Cabot Wheelwright Collects the Southwest. also Calvin analla and denise Wallace sales exhibits at the Case trading Post. 704 Camino Lejo, 982-4636, www.wheelwright. org. the museum is offering offsite parking and a free shuttle from St. John's United methodist Church at Old Pecos trail and Cordova road from 7:30 a.m.-7 p.m. thursday and 7:30 a.m.5 p.m. Friday.

1 p.m. Live auction.

Saturday, August 18 9 a.m.-5 p.m. Portal artisans’ Celebration, with traditional indian dances, music, handcrafted art, raffles and a native specialties food booth. Palace of the Governors, enter through the Blue Gate just south of the new mexico History museum’s main entrance at 113 Lincoln ave. For information, call 476-1141, Free.

Sunday, August 12 7 a.m.-3 p.m. ninth annual Pueblo independence day. a commemoration of the successful Pueblo revolt against the Spanish on august 10, 1680. Begins at 7 a.m. with a 13-mile pilgrimage run from Walatowa Plaza in Jémez Pueblo to Gisewa Pueblo kiva at Jémez State monument (general public is welcome to participate). at 10 a.m., guest speakers welcome runners. Jémez traditional dances, native american flute music, authentic native arts and crafts and native food. Jémez State monument, nm 4, 43 miles north of Bernalillo, 575-829-3530, Free admission.

Tuesday, August 14 8:30-10 a.m. SWaia and museum of indian

arts & Culture present Breakfast With the Curators: Indian Market Highlights with Bruce Bernstein, executive director of SWaia, which produces Santa Fe indian market. $35/$30 for museum of new mexico Foundation members; museum admission is included. reservations required. museum of indian arts & Culture, 710 Camino Lejo, (Call 476-1247 or 476-1271 for information, or the Lensic Performing arts Center box office, or 988-1234, for required reservations.)

Wednesday, August 15 Noon-2 p.m. Let’s Take a Look. Curators from the museum of indian arts & Culture and the Laboratory of anthropology are in the lobby of miaC to look at your treasures. For information, call 476-1253. museum of indian arts & Culture, 710 Camino Lejo, 476-1250, Free admission.

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Photo Blair Clark

From the exhibition: They Wove for Horses: Dine Saddle Blankets tapestry- and diagonal twill-weave single saddleblanket, Spider Woman Cross style, 1880–90 Courtesy Museum of indian arts & Culture 5:30 p.m. annual institute of american indian arts scholarship benefit dinner and silent auction, celebrating 50 years. at La Fonda on the Plaza. For reservations, call 424-2309 or email

Thursday, August 16 Wheelwright museum of the american indian, Case trading Post, 704 Camino Lejo, 982-4636, Off-site parking and free shuttle from St. John’s United methodist Church at Old Pecos trail and Cordova road. events at the Wheelright museum include:

10 a.m. Opening of sales exhibition with Laguna potter Calvin analla. 1 p.m. Without Reservations, native humor with ricardo Caté (Santo domingo). 1:45 p.m. announcement of 2012-2013 fellowship recipients. 2 p.m. “Finding Our Way,” a roundtable of young artists. 2-4 p.m. Opening reception for sales exhibition of new work by denise Wallace. Continues through Sunday, august 19. 4-6 p.m. 37th annual benefit auction. Silent auction and Live auction Preview.

5-8 p.m. Opening reception for 50/50: Fifty

Artists, Fifty Years; museum of Contemporary native arts, 108 Cathedral Place. For information, contact Hayes Locklear, 428-5907 or, or go to 5-8 p.m. Opening reception for Metal and Rock: Cody Sanderson and Adrian Wall. meet the artists and enjoy entertainment and food. Poeh Center, Pojoaque Pueblo, 78 Cities of Gold road, 4555041, Free (donations accepted).

Friday, August 17 8:30–10 a.m. Breakfast with the Curators:

Woven Identities: Basketry Art from the Collections. Breakfast with award-winning basketmaker, teacher and activist terrol dew Johnson (tohono O’odham) and Valerie Verzuh, miaC exhibit curator, followed by a talk by Johnson about contemporary native basketry, his own work as a basketmaker, and the tohono O’odham Community action basketry co-op. $35/ $30 for Foundation members, museum admission included. museum of indian arts and Culture, 710 Camino Lejo, 476-1250, 476-1247or 476-1271 for information. tickets available through the museum shop, 982-5057.

events at museum of Contemporary native arts, 108 Cathedral Place, include: 7:30-9:15 a.m. members’ breakfast: moCna members free, non-members $10. 1-2:30 p.m. Panel discussion on t.C. Cannon 3-4:30 p.m. Gerald mcmaster panel 3-4 p.m. Book signings with Joyce Cannon Yi, author of My Determined Eye, and Joan Frederick, T.C. Cannon: He Stood in the Sun. For more information, contact Hayes Locklear, 428-5907 or or go to

Sunday, August 19 9 a.m.-5 p.m. Portal artisans’ Celebration, with traditional indian dances, music, handcrafted art, raffles and a native specialties food booth. Palace of the Governors, enter through the Blue Gate just south of the new mexico History museum’s main entrance at 113 Lincoln ave. For information, call 476-1141, Free.

Noon-5 p.m. Vital Strides III, iaia associated student government silent auction fundraiser, Live Paint and auction. museum of Contemporary native art. For information, contact Hayes Locklear, 428-5907 or hlocklear@ or go to 1-2 p.m. panel discussion in conjunction with

50/50: Fifty Artists, Fifty Years exhibit; 3-4:30 p.m. Drum: Poetry Slam with Janet rogers and alex Jacobs; 3-4:30 p.m. Corn-Bred, poetry performance by Janet rogers. museum of Contemporary native art. For information, contact Hayes Locklear, 428-5907 or hlocklear@ or go to

other special events Sunday, August 12 6-9 p.m. the 34th annual Whitehawk

Gail Bird, Zane Bennett Contemporary art, 435 S. Guadalupe St., 982-8111,

antique Indian art Show preview gala. Santa Fe Community Convention Center, 201 W. marcy St.; $75. tickets available at the door, www. or at

5 p.m. margarete Bagshaw, market 2012 show opening and general release of three books: Pablita Velarde: In Her Own Words, Helen Hardin: A Straight Line Curved and Teaching My Spirit To Fly. Golden dawn Gallery, 201 Galisteo St., 988-2024,

Monday, August 13 and Tuesday, August 14 10 a.m.-5 p.m. the 34th annual Whitehawk antique Indian art Show. Santa Fe Community Convention Center, 201 W. marcy St.; $10. tickets available at the door, www. or at

5-7 p.m. Numu Soko: Comanche Land,

Comanche Stories, lecture by nocona Burgess. Legends Santa Fe, 125 Lincoln ave., 983-5639,

Saturday, August 18 and Sunday, August 19

5-8 p.m. Opening reception for Allan Houser

Works in Stone. Indian market hours: Saturday, 10 a.m.-5 p.m.; Sunday, 10 a.m.-4 p.m. allan Houser Gallery, 125 Lincoln ave., 982-4705,

10 a.m.-4 p.m. Indian market Open House. tours of the allan Houser archives and the historic allan Houser Studio House. allan Houser Studio Sculpture Gardens and Gallery, 30 minutes south of Santa Fe; 471-1528 or for driving directions; Free.

5-8 p.m. artist reception for tony abeyta, Preston Singletary and Larry Vasquez. Blue rain Gallery, 130 Lincoln ave., 954-9902, 5-8 p.m. artists’ reception for Treasures of

galleries Ongoing

Native America, works by raymond nordwall and Upton ethelbah. Show runs august 14-29. Beals & abbate Fine art, 713 Canyon road, 438-8881.

august 13-19 Classic to Contemporary, native jewelry and pottery, including signed historic work by Charles Loloma, maria martinez, tony da, margaret tafoya and Lucy Lewis, and contemporary work by Chris Youngblood, Jason Garcia, Jarrod da, Grace medicine Flower, Sonwai, ric Charlie and others. king Galleries and Faust Gallery, located during Indian market downstairs below the Indian Shop at La Fonda, 100 e. San Francisco St.; 480-200-4290, or

august 15-20 artist-in-residence Hopi carver Spencer nutima will be on the patio daily, carving kachinas. Little Bird at Loretto (formerly kiva Fine art), 211 Old Santa Fe trail, Santa Fe, 820-7413,

august 17-19 artists michael Horse, ray tracey, denny Wainscott, mary Hunt, david Copher, roark Griffin, Spencer nutima, John Bennett, marie Barbera and Connie Sanchez will be on hand. Live music and more. Little Bird at Loretto (formerly kiva Fine art), 211 Old Santa Fe trail, Santa Fe, 820-7413, august 17-19 Five Families — From Matriarch

5:30-7:30 p.m. Opening reception for artists dan, arlo and michael namingha. niman Fine art, 125 Lincoln ave., 988-5091 or courtesy Blue rain Gallery

tony abeyta, Yei Creating, oil on canvas Buffalo Hyde, ryan Singer, monty Singer and Chris Pappan. Group show of native artists exploring the concept of zombies and the undead. Show runs thursday-Saturday from 2-6 p.m., at ahalenia Studios, 12889-e trades West (between Clark and Siler roads), 699-5882,

Thursday, August 16 3 p.m. Lecture and jewelry making demonstration with diné (navajo) jeweler ray tracey and artist michael Horse. See a squash blossom necklace made from start to finish. Little Bird at Loretto (formerly kiva Fine art), 211 Old Santa Fe trail, Santa Fe, 820-7413.

to Modern: Martinez, Tafoya, Nampeyo, Cordero, Chino; 10 a.m.-6 p.m. andrea Fisher Fine Pottery, 100 W. San Francisco St., 986-1234,

4-7 p.m. reception for Native Modern, works in

august 17-september 1 Low-Rez: Native

4 p.m. Seventh annual Arts of Native America

American Lowbrow Art, eggman and Walrus art emporium, 131 W. San Francisco St., first floor, and 130 W. Palace ave., second floor. 660-0048,

Wednesday, August 15 2-4:30 p.m. Classic to Contemporary, Pueblo pottery by master artists from king Galleries of Scottsdale. Charles king will be present. robert nichols Gallery, 419 Canyon road, 982-2145,

6-9 p.m. Opening reception for Zombie Skins: Salon de la Vie Morte, the brainchild of Frank

clay by diego romero, Glen nipshank and alan e. Lasiloo. robert nichols Gallery, 419 Canyon road, 982-2145, Show and Sale, featuring Cliff Fragua, Caroline Carpio, mark Fischer, Pahponee and others. Great food, live music and fun. Show runs through august 18. river trading Post, 610-B Canyon road, 982-2805,

5-7 p.m. Opening reception for Virgil Ortiz (Venutian Soldiers) and david Johns (Abstracted Landscapes), Zane Bennett Contemporary art, 435 S. Guadalupe St., 982-8111, 5-8 p.m. artist reception for maria Samora,

mateo romero, Lisa Holt Harland reano, Hyrum Joe. Blue rain Gallery, 130 Lincoln ave., 954-9902,

5-9 p.m. Indian market artist reception. Featured artists include: arland Ben, Cippy Crazyhorse, Cheryl Yestewa, randy Chitto, Wayne aguilar, Lawrence Baca, david dear and michelle tapia. artists make appearances throughout market. Indian market hours: Friday, 10 a.m.-7 p.m.; Saturday, 7:30 a.m.-6 p.m.; Sunday, 9 a.m.-6 p.m. Packard’s on the Plaza, 61 Old Santa Fe trail, 983-9241,

7-8:30 p.m. Numu Soko: Comanche Land, Comanche stories, lecture by nocona Burgess. Legends Santa Fe, 125 Lincoln ave., 983-5639,

Friday, August 17 8 a.m. Annual Pottery Show and Sale. new pieces by tammy Garcia and richard Zane Smith. Preview from 8-9:45 a.m., sale at 10 a.m. Blue rain Gallery, 130 Lincoln ave., 954-9902,

11 a.m.-4 p.m. Glass-blowing demonstration with Preston Singletary and bronze patina demonstrations with Bronzesmith Foundry from Prescott Valley, ariz. Blue rain Gallery, 130 Lincoln ave., 954-9902,

4-6 p.m. Opening reception for special exhibition of jewlery by Yazzie Johnson and

5:30-9 p.m. Opening reception for Low-Rez: Native American Lowbrow Art, a group art show of emerging and established native artists. eggman and Walrus art emporium, 131 W. San Francisco and 130 W. Palace ave., second floor, 660-0048,

Saturday, August 18 11 a.m.-4 p.m. Glass-blowing demonstration with Preston Singletary and bronze patina demonstrations with Bronzesmith Foundry from Prescott Valley, arizona. Blue rain Gallery, 130 Lincoln ave., 954-9902,

1-4 p.m. keshi: the Zuni Connection, will host the Quandelacy family of Zuni fetish carvers. all proceeds go directly to the artist. 227 don Gaspar ave., 989-8728. 6-8 p.m. Live music: flute playing and singing for Low-Rez: Native American Lowbrow Art, a group art show of emerging and established native artists. eggman and Walrus art emporium, 131 W. San Francisco St. and 130 W. Palace ave., second floor, 660-0048,

Sunday, August 19 11 a.m.-2 p.m. keshi: the Zuni Connection hosts a show and sale of the fetishes and sculpture of Orin eriacho and melvin eriacho of Zuni Pueblo. all proceeds go directly to the artist. keshi: the Zuni Connection, 227 don Gaspar ave., 989-8728,

6-9 p.m. Closing reception for Zombie Skins:

Salon de la Vie Morte. ahalenia Studios, 12889-e trades West (between Clark and Siler roads), 699-5882,

Jody naranjo, david Bradley, al Qoyawayma,

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Sa t F

B tO e H


Homes will be open for two weekends - Fri., Sat. & Sun. from 11 to 6. Free admission to the Twilight Tour from 4 to 6 PM on August 16.

Fastsigns Washington Federal Stewart Title Paul Davis Restoration H & S Craftsmen

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Tickets available at the Lensic box office: 505-988-1234. Brought to you by the Santa Fe Area Home Builders Association 505.982.1774 • •

2 01 2 I N DI A N MA R K ET

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The Case Trading Post Presents

Thursday, August 16

10:00 a.m. in the Case Trading Post. Opening of a sales exhibition of the unique work by Laguna potter, Calvin Analla. Continues through August 19.

Without Reservations: The Cartoons of Ricardo Caté

Talk, Book Signing and Sales Show 1:00 p.m. in the Museum Library. A presentation of Native Humor with Ricardo Caté (Santo Domingo). Ricardo will be available to sign copies of his new book. Original paintings of his cartoons will be available for sale.

Fellowship Award Presentation

All Photos: Stephanie Mendez

Pottery of Calvin Analla

1:45 p.m. in the Museum Library. Announcement of fellowship recipients for 2012 - 2013 The fellowships are designed to foster the growth of artists who show promise at an early stage of their career.


Finding Our Way

2:00 p.m. in the Museum Library with Chip Conway, moderator. Young Indian artists will share their hopes, dreams and aspirations.

(Chugach Aleut)

Sales Exhibition of New Work August 16 - 19, 2012 Artist present Thursday, August 16th from 2 – 4 p.m.

Friday, August 17 ARTIST DEMONSTRATIONS 8:30 a.m. – 11:00 a.m. under the

demonstration tent on the Museum patio. An opportunity to watch jewelers, kachina carvers, potters, weavers and painters at work and to learn more about the creative process.


8:30 a.m. – 11:00 a.m. A special sales show under the demonstration tent, featuring traditional and cutting-edge jewelry especially created for this event by Case Trading Post artists.

OF THE AMERICAN INDIAN 704 Camino Lejo, Museum Hill, Santa Fe, NM 87505 505-982-4636 x110

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Old Friends, New Faces 2012 ROSENAK FOLK ART COLLECTION Special Sales Show The Case Trading Post is pleased to offer selected pieces from the Chuck and Jan Rosenak Collection of Navajo and Pueblo Folk Art. Having collected for over twenty-five years, the Rosenaks have been credited by many as the discoverers of Navajo folk art. Many of the pieces in their collection have been acquired by the Smithsonian. The pieces being offered in this special sales show are a personal and touching tribute to a couple devoted to a true American art form.

OLD FRIENDS AND NEW FACES 2012 During Indian Market Week, the Trading Post will also be featuring special pieces by a variety of Case Trading Post artists.

EXPANDED MUSEUM and CASE TRADING POST HOURS Thursday, August 16, 10:00 a.m. – 7:00 p.m. Friday, August 17, 8:30 a.m. – 5:00 p.m. Saturday, August 18, 10:00 a.m. – 5:00 p.m. Sunday, August 19, 10:00 a.m. – 5:00 p.m. Artists will be present. Call 505-982-4636, ext. 110 for specific times. Free shuttle and offsite parking available.

OF THE AMERICAN INDIAN 704 Camino Lejo, Museum Hill, Santa Fe, NM 87505 505-982-4636 x110

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“Maori Woman” by Denise Wallance. Photo: Mark Nohl


AUGUST 16 – 19, 2012 AT THE




Wheelwright Museum Of The American Indian 704 Camino Lejo, Museum Hill, Santa Fe • 505-982-4636, Ext. 110

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Wheelwright Museum of the american indian 704 camino Lejo, museum hill Santa fe, nm 87505 monday–Saturday 10–5 Sunday 1–5 free admission a certain fire: mary cabot Wheelwright collects the Southwest through april 14, 2013

Projects are made possible in part by the City of Santa Fe Arts Commission and the 1% Lodgers’ tax; new mexico arts, a division of the department of cultural affairs and the national endowment for the arts; the thaw charitable trust; and many private donors. acoma manta, circa 1855 indian arts research center, iaft.122 Gift of mary cabot Wheelwright School for advanced research, Santa fe Photo by addison doty

SWaia 2012 direCtOry OF artiStS Meet t h e a rt ists 130 Jewelry 132 Pottery 134 Paintings / Drawings / Graphics / Photography 135 Pueblo Wooden Carvings 135 sculpture 136 textiles 136 Diverse arts 138 Beadwork / Quillwork 138 Moving images 138 Basketry 140 Booth Locator Map 142 alphabetical artist List

i Jewelry naavaasya Hopi/acoma Pueblo 613 PLZ naveek navajo (diné) 244 PaL-S tchin narragansett/Blackfeet 522 SF-e abeyta, Lester Santo domingo Pueblo 532 SF-P abeyta, richard Santo domingo Pueblo 532 SF-P abeyta, Sharon Santo domingo Pueblo 532 SF-P adams, Victoria G. Cheyenne 209 PaL-n aguilar, Joseph Santo domingo Pueblo 401 Wa-e aguilar, richard Lee Santo domingo Pueblo/ Choctaw 332 Fr-S aguilar, Wayne Santo domingo Pueblo 900 Cat aragon, allen navajo (diné) 749 Lin-e aragon, Loren acoma Pueblo 907 Cat

The Southwestern Association for Indian Arts, Inc (SWAIA — producers of the Santa Fe Indian Market) reminds buyers that all purchases are between the buyer and artist. SWAIA is in no way responsible for such transactions. The artists set their own commission/sale policies on any and all purchases. SWAIA recommends that these policies are fully understood between buyer and artist and in writing to satisfy both parties. SWAIA is not responsible for any commission transaction and the buyer accepts all responsibility for any commission transaction.

arviso, Chery navajo (diné) 529 SF-W arviso, Steven navajo (diné) 766 Lin-e arviso, Wil Paul navajo (diné) 208 PaL-S ataumbi, keri kiowa 125 POG Bahe, Fidel navajo (diné) 600 PLZ Bailon, Clarence Santo domingo Pueblo 334 Fr-S Bailon, eleanor Santo domingo Pueblo 334 Fr-S Bailon, Pablita Santo domingo Pueblo 713 Lin-e

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2012 ind ia n m ar k et

Begay, abraham navajo (diné) 300 Fr-S

Bia, norman navajo (diné) 761 Lin-W

Caté, Barbara Santo domingo Pueblo 703 Lin-e

Coonsis, Colin Zuni Pueblo 336 Fr-S

Begay, darryl navajo (diné) 678 PLZ

Bigknife, Heidi Shawnee 343 Fr-n

Caté, irma Santo domingo Pueblo 708 Lin-e

Coonsis, Phyllis Zuni Pueblo 906 Cat

Begay, eddie navajo (diné) 769 Lin-W

Begay, Lee navajo (diné) 756 Lin-e

Caté, Lorraine Bird, dennis Ohkay Owingeh Pueblo/ Santo domingo Pueblo Santo domingo Pueblo 708 Lin-e 260 PaL-S Caté, mary Santo domingo Pueblo Bird, Gail Santo domingo Pueblo/ 703 Lin-e Laguna Pueblo Charlie, edward 262 PaL-n navajo (diné) 717 Lin-e Bird, Jolene Santo domingo Pueblo Charlie, ric 710 Lin-P navajo (diné) 407 Wa-e Bird-romero, mike Ohkay Owingeh Pueblo/ Chavez, Clarita taos Pueblo Santo domingo Pueblo 259 PaL-S 743 Lin-W Blue Jacket-roccamo, Chavez, dorothy Shawn Santo domingo Pueblo Shawnee/Cherokee 303 Fr-n 110 POG

Begay, Leroy navajo (diné) 768 Lin-W

Bobelu, Gomeo Zuni Pueblo 405 Wa-W

Chavez, Jared San Felipe Pueblo 306 Fr-n

Coriz-Lovato, mary Santo domingo Pueblo 534 SF-P

Begay, mary Lou navajo (diné) 220 PaL-n

Boone, Lena Zuni Pueblo 714 Lin-P

Chavez, Joseph kewa Pueblo 769 Lin-e

Crazyhorse, Cippy Cochiti Pueblo 258 PaL-n

Begay, nelson navajo (diné) 220 PaL-n

Brokeshoulder, aaron Shawnee 735 Lin-e

Chavez, LeJeune kewa Pueblo/Seminole 769 Lin-e

Crazyhorse, Waddie “red dakota” Cochiti Pueblo 258 PaL-n

Begay, rebecca navajo (diné) 678 PLZ

Cajero, althea Santo domingo Pueblo/ acoma Pueblo 521 SF

Chavez, michael d. Santo domingo Pueblo 716 Lin-e

Begay, erick navajo (diné) 322 Fr-S Begay, kary navajo (diné) 220 PaL-n Begay, kenneth navajo (diné) 768 Lin-e Begay, Larry navajo (diné) 528 SF-P

Begay, richard navajo (diné) 246 PaL-n Begay, Steven navajo (diné) 220 PaL-n Ben, arland navajo (diné) 518 SF Benally, ernest navajo (diné) 324 Fr-n Benally, Veronica navajo (diné) 324 Fr-n Bennett, donna acoma Pueblo 720 Lin-W Bennett, George Hualapai 720 Lin-W Betoney Sr., Billy navajo (diné) 418 Wa-e

Calabaza, Jimmy Santo domingo Pueblo 533 SF-e Calabaza, Joseph F. Santo domingo Pueblo 304 Fr-n Calabaza, marie J. Ohkay Owingeh Pueblo 414 Wa-W Calabaza, mary Santo domingo Pueblo 304 Fr-n Calabaza, mitchell Santo domingo Pueblo 414 Wa-W Campbell, terrence tahltan 303 Fr-S

Chavez, richard San Felipe Pueblo 306 Fr-n Chavez, trinnie Santo domingo Pueblo 716 Lin-e Chavez Sr., Franklin Santo domingo Pueblo 303 Fr-n Chee, Frank navajo (diné) 266 PaL-S Clark, Carl navajo (diné) 744 Lin-W Clark, irene navajo (diné) 744 Lin-W

Claw, monty navajo (diné) Carrillo, Franklin Laguna Pueblo/Choctaw 706 Lin-W 727 Lin-W Coochwikvia, marcus Hopi Casuse, Fritz 763 Lin-W navajo (diné) 519 SF

Coriz, alonzo Santo domingo Pueblo 708 Lin-W Coriz, Joseph d. Santo domingo Pueblo 623 PLZ Coriz, Juanita d. Santo domingo Pueblo 305 Fr-S Coriz, Lila Santo domingo Pueblo 524 SF-W Coriz, mary r. Santo domingo Pueblo 325 Fr-S Coriz, rudy Santo domingo Pueblo 325 Fr-S

Crespin, don Santo domingo Pueblo 315 Fr-S Crespin, nancy Santo domingo Pueblo 315 Fr-S Crespin, terecita Santo domingo Pueblo 307 Fr-n Cummings, edison navajo (diné) 207 PaL-S Curtis, Jennifer navajo (diné) 736 Lin-W Custer, Cheyenne navajo (diné) 737 Lin-e Custer, Gary navajo (diné) 204 PaL-S Custer, ira navajo (diné) 737 Lin-e dalangyawma, ramon Hopi 717 Lin-W

dallasvuyaoma, Bennard Pima-maricopa/Hopi 286 PaL dallasvuyaoma, Frances Jue Hopi 286 PaL denipah, marian navajo (diné)/ Ohkay Owingeh Pueblo 512 SF dial, isaac navajo (diné) 627 PLZ draper Jr., teddy navajo (diné) 129 POG dugi, Orlando navajo (diné) 237 PaL-S dukepoo, Causandra taos Pueblo 254 PaL-n dukepoo, michael Hopi 254 PaL-n duwyenie, Preston Hopi 410 Wa-W edaakie, raylan Zuni Pueblo 230 PaL-n edaakie, Sheryl Zuni Pueblo 207 PaL-n emery, dorothy Jemez Pueblo 731 Lin-W emery Jr, terrance St. Croix Chippewa/ Jemez Pueblo 731 Lin-W emery Sr., terrence St. Croix Chippewa 731 Lin-W eustace, Jolene Zuni Pueblo/ Cochiti Pueblo 415 Wa-e eustace-Carlisle, Bernadette Zuni Pueblo/ Cochiti Pueblo 415 Wa-e Fragua-Cota, Laura Jemez Pueblo 724 Lin-e Francis, Florence navajo (diné) 761 Lin-W Gabriel, Victor Washoe 245 PaL-n

SWaIa 2012 dIrectory of artIStS Garcia, david Pascua-yaqui/ nambe Pueblo 506 Sf Garcia, emily B. Santo domingo Pueblo 642 PLZ Garcia, Lorencita Santo domingo Pueblo 320 fr-n Garcia, michael “na na Ping” Pascua yaqui 506 Sf Garcia, nelson Santo domingo Pueblo 718 LIn-W Gasper, duran Zuni Pueblo 786 LIn-W

Hayes, Lucille Bah navajo (diné) 313 fr-n

Joe, alfred navajo (diné) 525 Sf-W

Lee, allison navajo (diné) 416 Wa-e

Lovato, Peggy Santo domingo Pueblo 261 PaL-n

nelson, Peter navajo (diné) 726 LIn-W

Plummer, earl navajo (diné) 534 Sf-W

reano, Percy Santo domingo Pueblo 250 PaL-S

Hendren, Shane navajo (diné) 712 LIn-e

Joe, Bryan navajo (diné) 525 Sf-W

Lee, kyle navajo (diné) 416 Wa-e

Lovato, Pilar a. Santo domingo Pueblo 673 PLZ

nequatewa, Verma Hopi 602 PLZ

Poblano, dylan Zuni Pueblo 604 PLZ

reano, rose Santo domingo Pueblo 248 PaL-n

Herrera, Grace ann navajo (diné) 318 fr-S

Joe, Larry r. navajo (diné) 706 LIn-P

Lee, russell navajo (diné) 256 PaL-S

Lovato Sr., ray Santo domingo Pueblo 261 PaL-n

nez, ned navajo (diné) 324 fr-S

Poblano, Jovanna Zuni Pueblo 604 PLZ

reano-yepa, dena Santo domingo Pueblo 232 PaL-n

Herrera, tim cochiti Pueblo 670 PLZ

Joe, oreland Ute/navajo (diné) 700 LIn-e

Lee, trent navajo (diné) 416 Wa-e

macknight, Sheridan chippewa 420 Wa-W

nez Jr., Sidney navajo (diné) 668 PLZ

Poblano, Veronica Zuni Pueblo 604 PLZ

reeves, daniel “Sunshine” navajo (diné) 227 PaL-n

Hesuse, Lori navajo (diné) 529 Sf-W

Joe-chandler, amelia navajo (diné) 338 fr-S

Lee-anderson, Wyatt navajo (diné) 416 Wa-e

maha, Loren Hopi 218 PaL-S

nieto, christopher Santo domingo Pueblo 339 fr-n

Polacca III, Starlie Havasupai/Hopi 660 PLZ

Hodgins, L. Bruce navajo (diné) 501 Sf

Johnson, kenneth muscogee/Seminole 237 PaL-n

Lister, ernie navajo (diné) 630 PLZ

maktima, duane Laguna Pueblo/Hopi 752 LIn-e

ortiz, Isaiah San felipe Pueblo 648 PLZ

Pourier, kevin oglala Lakota 322 fr-n

Johnson, Pete navajo (diné) 736 LIn-W

Little, James navajo (diné) 653 PLZ

manygoats, Benson navajo (diné) 223 PaL-n

owen, angie Santo domingo Pueblo 249 PaL-S

Pruitt, christopher Laguna Pueblo 314 fr-S

Johnson, yazzie navajo (diné) 262 PaL-n

Livingston, Irene navajo (diné) 525 Sf-e

mares, Shirley yakima 263 PaL-S

owen, dean Santo domingo Pueblo 249 PaL-S

Pruitt, Pat Laguna Pueblo 708 LIn-P

Jojola, Vernon Isleta Pueblo/ Laguna Pueblo 721 LIn-W

Livingston, Jake navajo (diné)/ Zuni Pueblo 525 Sf-e

martinez, terry navajo (diné) 216 PaL-n

Pajarito, cordell Santo domingo Pueblo 629 PLZ

rafael, tonya June navajo (diné) 217 PaL-n

Julian, rainey Jicarilla apache 600 PLZ

Livingston, Jay Jacob navajo (diné) 321 fr-n

medina, Jennifer Santo domingo Pueblo 513 Sf

Pajarito, Joel Santo domingo Pueblo 629 PLZ

ramone, dennis navajo (diné) 707 LIn-P

Jumbo, darrell navajo (diné) 416 Wa-W

Lomaventema, Gerald Hopi 655 PLZ

metoxen, Linda navajo (diné) 626 PLZ

Panteah, Loren Zuni Pueblo 229 PaL-S

reano, angie P. Santo domingo Pueblo 249 PaL-n

keyonnie, Julius navajo (diné) 227 PaL-S

Loretto, fran Jemez Pueblo/ cochiti Pueblo 644 PLZ

mitchell, toney navajo (diné) 231 PaL-n

Panteah, myron navajo (diné)/ Zuni Pueblo 213 PaL-S

reano, arnold Santo domingo Pueblo 311 fr-S

Honahnie, anthony Hopi Gaussoin, connie tsosie 759 LIn-W navajo (diné)/ Honanie, antone Picuris Pueblo Hopi 261 PaL-S 337 fr-S Gaussoin, david Hoskie, randy navajo (diné)/ navajo (diné) Picuris Pueblo 771 LIn-e 261 PaL-S Gaussoin, Wayne Picuris Pueblo/ navajo (diné) 261 PaL-S Gaussoin Jr., Jerry Picuris Pueblo/ navajo (diné) 261 PaL-S Gchachu, Smokey Zuni Pueblo 755 LIn-e Gene, Leonard navajo (diné) 658 PLZ Goldtooth, Laverna navajo (diné) 418 Wa-W Gordo, melvin navajo (diné) 720 LIn-e Gress, robert crow 509 Sf Haloo, rolanda Zuni Pueblo/ navajo (diné) 336 fr-S Harris, cheyenne navajo (diné) 101 PoG Harrison, Jimmie navajo (diné) 501 Sf Haskie, Vernon navajo (diné) 632 PLZ

Howard, Ivan navajo (diné) 704 LIn-W Hunt, corrine tlingit 911 cat Hunter, cody navajo (diné) 240 PaL-S Hunter, Wilma navajo (diné) 240 PaL-S Huntinghorse, dina Wichita/kiowa 420 Wa-e Irene, mary muscogee (creek) 236 PaL-n Jackson, dan a. navajo (diné) 343 fr-S

kirk, michael Isleta Pueblo/ navajo (diné) 748 LIn-e kohlmeyer-eagleboy, royce Jemez Pueblo 310 fr-n koinva, anderson Hopi 762 LIn-W

Jackson, Gene navajo (diné) 728 LIn-W

Laconsello, nancy Zuni Pueblo/ navajo (diné) 323 fr-S

Jackson, martha navajo (diné) 728 LIn-W

Laconsello, ruddell Zuni Pueblo 323 fr-S

Jackson, tommy navajo (diné) 725 LIn-W

Lafountain, Samuel chippewa/ navajo (diné) 763 LIn-e

Jamon, carlton Zuni Pueblo/ navajo (diné) 216 PaL-S

Larance, Steve Hopi/assiniboine 512 Sf

Loretto, Glenda Jemez Pueblo 740 LIn-e Lovato, andrew Santo domingo Pueblo 261 PaL-n Lovato, anthony Santo domingo Pueblo 629 PLZ Lovato, calvin Santo domingo Pueblo 673 PLZ Lovato, Lillian r. Santo domingo Pueblo 313 fr-S Lovato, maria S. Santo domingo Pueblo 677 PLZ Lovato, martine Santo domingo Pueblo 246 PaL-S Lovato, marvin Santo domingo Pueblo 313 fr-S

mitten, katrina miami tribe of oklahoma 342 fr-S montoya, rodger navajo (diné) 703 LIn-P morgan, Jacob navajo (diné) 306 fr-P nakai, Bernice navajo (diné) 728 LIn-W naseyowma, Gregory Hopi 755 LIn-W natay, ehren navajo (diné) 342 fr-n nells, albert navajo (diné) 205 PaL-S nelson, L. eugene navajo (diné) 214 PaL-n

Paquin, allen Jicarilla apache/ Zuni Pueblo 410 Wa-e Paquin, Isabel Isleta Puebo 711 LIn-W Paquin, Sherman P. Zuni Pueblo 711 LIn-W Parrish, rain navajo (diné) 754 LIn-W Perry, michael navajo (diné) 408 Wa-W Peshlakai, norbert navajo (diné) 747 LIn-W Piaso, thompson navajo (diné) 663 PLZ Pino, maggie navajo (diné) 308 fr-n

roanhorse, mark navajo (diné) 717 LIn-e roanhorse, michael navajo (diné) 717 LIn-e rogers, kay navajo (diné) 710 LIn-P rogers, michael Paiute 745 LIn-W

reano, charlotte J. San felipe Pueblo 250 PaL-S reano, daisy Santo domingo Pueblo 252 PaL-n reano, debra Santo domingo Pueblo 311 fr-S reano, denise Santo domingo Pueblo 250 PaL-S reano, frank Santo domingo Pueblo 527 Sf-W reano, Janalee frances San felipe Pueblo 527 Sf-W reano, Joe Santo domingo Pueblo 703 LIn-W reano, Joe L. Santo domingo Pueblo 249 PaL-n

romero, ken Laguna Pueblo/ taos Pueblo 504 Sf rosetta, arnell kewa Pueblo 302 fr-P rosetta, eileen Santo domingo Pueblo 526 Sf-P rosetta, Jeremy Santo domingo Pueblo 526 Sf-P rosetta, Jessie Santo domingo Pueblo 302 fr-P rosetta, Paul kewa Pueblo 302 fr-P rosetta, reyes Santo domingo Pueblo 246 PaL-S Samora, maria taos Pueblo 311 fr-n Sanchez, alex navajo (diné) 235 PaL-n Sanchez, eugene Santo domingo Pueblo 312 fr-P Sanchez-reano, charlene San felipe Pueblo 527 Sf-W Sanderson, cody navajo (diné) 674 PLZ

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SWAIA 2011 direCtOrY OF artiStS Sandoval, Lester navajo (diné) 326 Fr-S

tafoya, mary Louise Santo domingo Pueblo 741 Lin-W

Saufkie, Griselda Hopi 704 Lin-e

takala Sr., Jason Hopi 412 Wa-W

Schrupp, nelda Oglala Lakota 222 PaL-S

talahaftewa, roy Hopi 649 PLZ

Sequaptewa Sr., raymond Hopi 335 Fr-S

taylor, tsosie navajo (diné) 524 SF-P

Shirley, Lorenzo edward navajo (diné) 775 Lin-W Shorty, Perry navajo (diné) 210 PaL-S

tenorio, deanna Santo domingo Pueblo 123 POG tenorio, George kewa 628 PLZ

tsabetsaye, Sr., roger Zuni Pueblo 210 PaL-n tsalate, raymond Zuni Pueblo 203 PaL-S tsingine, Olin navajo (diné)/Hopi 671 PLZ tsinnie, Orville navajo (diné) 667 PLZ tsosie, Lyndon navajo (diné) 620 PLZ tsosie, raymond navajo (diné) 770 Lin-W

Sice, Howard Laguna Pueblo/Hopi 331 Fr-S

tenorio, margaret ann Santo domingo Pueblo/ Cochiti Pueblo 309 Fr-n

tsosie, richard navajo (diné) 300 Fr-n

Sice, troy Zuni Pueblo 203 PaL-S

tenorio, marilyn navajo (diné) 319 Fr-S

Vicenti, Jennie Zuni Pueblo 762 Lin-e

Slim, darrell navajo (diné) 779 Lin-e

tenorio, matilda Santo domingo Pueblo 308 Fr-S

Wall, Stephen Chippewa 724 Lin-e

Slim, marvin navajo (diné) 720 Lin-e

tenorio, robert Lewis Santo domingo Pueblo 656 PLZ

Wallace, dawn aleut 241 PaL-n

Slim, michael navajo (diné) 720 Lin-e Slim, michelle navajo (diné) 720 Lin-e Sloan, david-alexander navajo (diné) 342 Fr-n

tenorio, roderick Santo domingo Pueblo/ navajo (diné) 319 Fr-S tenorio, Sidelio Santo domingo Pueblo 308 Fr-S tenorio, Veronica Santo domingo Pueblo 411 Wa-W

Wallace, Liz navajo (diné) 333 Fr-n Waynee, robin Saginaw Chippewa 250 PaL-n Weahkee, Sharon navajo (diné) 503 SF

Whitman-elk Woman, kathy tewa, Bobbie Ohkay Owingeh Pueblo/ mandan/Hidatsa 742 Lin-e Hopi 532 SF-W Soohafyah, eddison Willie, Jt Hopi navajo (diné) todacheene, alvin 308 Fr-P 344 Fr-S navajo (diné) 417 Wa-W Spry-misquadace, Willie, Wesley Wanesia navajo (diné) tom, mary Lou Ojibwa 330 Fr-n navajo (diné) 519 SF 301 Fr-S Yazzie, Leo Stevens, mark navajo (diné) tomeo, James Laguna Pueblo 791 Lin-W Colville/Yakima 760 Lin-e 727 Lin-e Yazzie, raymond C. Stevens, Shannon navajo (diné) tortalita, Vickie Laguna Pueblo Santo domingo Pueblo 210 PaL-S 760 Lin-e 603 PLZ Yazzie Jr, kee ta’itsohii, raynard Scott navajo (diné) tsabetsaye, edith navajo (diné) 402 Wa-W Zuni Pueblo 216 PaL-n 251 PaL-n tafoya, Lorenzo Santo domingo Pueblo tsabetsaye Jr., roger Zuni Pueblo 741 Lin-W 210 PaL-n Smith, Patrick navajo (diné) 665 PLZ

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2012 ind ia n m ar k et

ii Pottery Goldenrod Pojoaque Pueblo/ Santa Clara Pueblo 126 POG Pahponee kickapoo/Potawatomi 615 PLZ White Swann Hopi 614 PLZ abeita, karen isleta Pueblo/Hopi 752 Lin-e abeyta, Pablita navajo (diné) 111 POG aguilar, michael a. San ildefonso Pueblo 767 Lin-W aguino, karen Santa Clara Pueblo 534 SF-e aguino, kayleen a. Ohkay Owingeh Pueblo 534 SF-e antonio, Frederica navajo (diné) 705 Lin-e aragon, allen navajo (diné) 749 Lin-e aragon, Clarice acoma Pueblo 257 PaL-S aragon, delores acoma Pueblo 215 PaL-n aragon, ralph Zia Pueblo 522 SF-W aragon, Wanda acoma Pueblo 257 PaL-S aragon Sr., marvis acoma Pueblo 257 PaL-S archuleta, mary Santa Clara Pueblo 265 PaL-S arquero, martha Cochiti Pueblo 529 SF-P arquero, mary Cochiti Pueblo 529 SF-P atencio, ambrose Santo domingo Pueblo 525 SF-P Baca, angela Santa Clara Pueblo 264 PaL-n

Baca, annie Santa Clara Pueblo 702 Lin-W

Chinana, Lorraine Jemez Pueblo 764 Lin-W

ebelacker, Sarena Santa Clara Pueblo 280 PaL

Garcia, margaret Peggy acoma Pueblo 736 Lin-e

Baca, david Santa Clara Pueblo 264 PaL-n

Chitto, randall Choctaw 725 Lin-e

epaloose, kenneth Zuni Pueblo 240 PaL-n

Garcia, mary d. Lewis acoma Pueblo 527 SF-e

Baca, Joe P. Santa Clara Pueblo 203 PaL-n

Cling, alice navajo (diné) 413 Wa-e

Fender, erik “than tsideh” San ildefonso Pueblo 702 Lin-P

Garcia, melanie acoma Pueblo 736 Lin-e

Bassett, Hathaweh Passamaquoddy 907 Cat

Concho, Carolyn acoma Pueblo 530 SF-P

Bassett, Hiyatsi Passamaquoddy 907 Cat

Concho, rachel acoma Pueblo 507 SF

Begay, romaine navajo (diné) 713 Lin-W

Concho Jr., George acoma Pueblo 908 Cat

Blaze, randall Oglala Lakota Sioux 231 PaL-S

Coriz, ione Santo domingo Pueblo 531 SF-W

Borts-medlock, autumn Cornshucker, melvin Cherokee Santa Clara Pueblo 724 Lin-W 664 PLZ Cajero, esther H. Jemez Pueblo 320 Fr-S

Correa, Prudy acoma Pueblo 239 PaL-n

Cajero, teri Jemez Pueblo 622 PLZ

Curran, dolores Santa Clara Pueblo 263 PaL-n

Cajero Sr., aaron Jemez Pueblo 622 PLZ

Curran, Ursula Ohkay Owingeh Pueblo 263 PaL-n

Candelario, Hubert San Felipe Pueblo 217 PaL-S

duwyenie, debra Santa Clara Pueblo 410 Wa-W

Carpio, Caroline isleta Pueblo 659 PLZ

duwyenie, Preston Hopi 410 Wa-W

Carr, Stacey Laguna Pueblo 784 Lin-W

earles, Chase “kahwinhut” Caddo 780 Lin-e

Cerno, Barbara acoma Pueblo/Hopi 700 Lin-P Cerno Sr., Joseph acoma Pueblo 700 Lin-P Charley, karen kahe Hopi 737 Lin-W Chavarria, denise Santa Clara Pueblo 253 PaL-n

early, alan Laguna Pueblo 243 PaL-S early, max Laguna Pueblo 243 PaL-S ebelacker, Jamelyn Santa Clara Pueblo 280 PaL ebelacker, James Santa Clara Pueblo 280 PaL

Chavarria, Loretta “Sunday” Santa Clara Pueblo 253 PaL-n

ebelacker, Jason L. Santa Clara Pueblo 758 Lin-W

Chavarria, Stella Santa Clara Pueblo 253 PaL-n

ebelacker, Jerome Santa Clara Pueblo 758 Lin-W

Fender, martha “appleleaf” San ildefonso Pueblo 702 Lin-P Fields, anita Osage 209 PaL-S Foley, Benina Jemez Pueblo 523 SF-W

Garcia, Sharon naranjo Santa Clara Pueblo 606 PLZ Garcia, Wilfred L. acoma Pueblo 511 SF Gibson, rowena taos Pueblo/ Santa Clara Pueblo 706 Lin-e

Folwell, Jody Santa Clara Pueblo 640 PLZ

Gomez, Glenn taos Pueblo/ Pojoaque Pueblo 223 PaL-S

Folwell, Susan Santa Clara Pueblo 640 PLZ

Gonzales, aaron San ildefonso Pueblo 247 PaL-n

Fragua, B.J. Jemez Pueblo 727 Lin-W

Gonzales, Barbara “tahn-moo-whe” San ildefonso Pueblo 247 PaL-n

Fragua, Glendora Jemez Pueblo 652 PLZ Fragua, Juanita Jemez Pueblo 652 PLZ Fragua, Linda Jemez Pueblo 222 PaL-n Fragua, melinda Jemez Pueblo 712 Lin-W Fragua, tablita Jemez Pueblo 753 Lin-e Gachupin, Henrietta Jemez Pueblo 712 Lin-W Gachupin, Laura Jemez Pueblo 523 SF-W Gala Lewis, Lorraine Laguna/taos/Hopi 242 PaL-n Garcia, effie Santa Clara Pueblo 713 Lin-P Garcia, Jason Santa Clara Pueblo 126 POG Garcia, John Santa Clara Pueblo 126 POG

Gonzales, Brandan San ildefonso Pueblo 247 PaL-n Gonzales, Cavan San ildefonso Pueblo 520 SF Gonzales, Jeanne San ildefonso Pueblo/ Winnebago 312 Fr-S Gonzales, John San ildefonso Pueblo 741 Lin-W Gonzales, robert San ildefonso Pueblo 247 PaL-n Gonzales-kailahi, marie ann San ildefonso Pueblo 312 Fr-S Gutierrez, denny Santa Clara Pueblo 301 Fr-n Gutierrez, dorothy navajo (diné) 254 PaL-S Gutierrez, Gary Santa Clara Pueblo 254 PaL-S Gutierrez, margaret rose Santa Clara Pueblo 248 PaL-S

SWAIA 2011 dIreCtOrY OF artIStS Gutierrez, rose Santa Clara Pueblo/ San Ildefonso Pueblo 309 Fr-P Gutierrez, teresa Santa Clara Pueblo 230 PaL-S Gutierrez Jr., tony Santa Clara Pueblo 707 LIn-W Gutierrez-naranjo, Carol Santa Clara Pueblo/ San Ildefonso Pueblo 309 Fr-P Gutierrez-naranjo, kathy San Ildefonso Pueblo/ Santa Clara Pueblo 309 Fr-P Hanna, Crystal Cherokee (Western) 513 SF Histia, Jacqueline acoma Pueblo 271 PaL Holt, Lisa Cochiti Pueblo 228 PaL-n Huma, rondina Hopi 528 SF-W Juanico, marie acoma Pueblo 215 PaL-n Juanico, marietta acoma Pueblo 323 Fr-n Juanico, melvin acoma Pueblo 323 Fr-n kahe, Gloria navajo (diné) 752 LIn-W kahe, Valerie J. Hopi 752 LIn-W kanteena, michael Laguna Pueblo 528 SF-P kohlmeyer, reina Jemez Pueblo 310 Fr-n

Lewis, Joyce Cochiti Pueblo 746 LIn-W

martinez, Pauline San Ildefonso Pueblo 252 PaL-S

naranjo, Joseph G. Santa Clara Pueblo 315 Fr-n

Lewis, Judy m. acoma Pueblo 741 LIn-e

mckelvey, Lucy Leuppe navajo (diné) 530 SF-e

naranjo, kevin Santa Clara Pueblo 341 Fr-S

Lewis, Sharon acoma Pueblo 306 Fr-S

medina, elizabeth Zia Pueblo 722 LIn-e

naranjo, madeline e. Santa Clara Pueblo 265 PaL-n

Lewis-Garcia, diane acoma Pueblo 530 SF-P

medina, marcellus Zia Pueblo 722 LIn-e

naranjo, monica Santa Clara Pueblo 263 PaL-n

Littlebird, Harold Laguna Pueblo/ kewa Pueblo 400 Wa-e

melchor, Crucita Santo domingo Pueblo 705 LIn-W

naranjo, robert G. Santa Clara Pueblo 719 LIn-W

mirabal, martha Santa Clara Pueblo 316 Fr-S

naranjo, robert t. Santa Clara Pueblo 304 Fr-P

mirabal, tammie Santa Clara Pueblo/ taos Pueblo 316 Fr-S

naranjo, Stephanie Santa Clara Pueblo 248 PaL-S

Loretto, Fran Jemez Pueblo/ Cochiti Pueblo 644 PLZ Loretto, Jonathan Cochiti Pueblo 765 LIn-W Louis, reycita acoma Pueblo 339 Fr-S Lovato, manuelita Santo domingo Pueblo 246 PaL-S Lowden, Virginia acoma Pueblo 319 Fr-n Lucario, amanda acoma Pueblo 908 Cat Lucario, daniel acoma Pueblo 908 Cat Lucario, rebecca acoma Pueblo 741 LIn-e Lucas, Steve Hopi 405 Wa-e Lujan-Hauer, Pamela taos Pueblo 321 Fr-n madalena, Joshua Jemez Pueblo 403 Wa-e madalena, reyes Jemez Pueblo 535 SF-e

kokaly, mary Lou Isleta Pueblo/ Ohkay Owingeh Pueblo 218 PaL-S

madalena, Shannan Jemez Pueblo 535 SF-e

Lasiloo, alan e. Zuni Pueblo 331 Fr-n

manygoats, elizabeth navajo (diné) 660 PLZ

Lewis, Bernard acoma Pueblo 530 SF-P

manymules, Samuel navajo (diné) 704 LIn-P

mitchell, emma acoma Pueblo 528 SF-e moquino, Jennifer Santa Clara Pueblo 232 PaL-S naha, rainy Hopi/tewa 253 PaL-S nahohai, Jaycee Zuni Pueblo 624 PLZ nahohai, milford Zuni Pueblo 624 PLZ nahohai, randy Zuni Pueblo 624 PLZ namingha, Les Hopi/Zuni Pueblo 233 PaL-S naranjo, Betty Santa Clara Pueblo 304 Fr-P naranjo, dusty Santa Clara Pueblo 707 LIn-e naranjo, Frances Santa Clara Pueblo 265 PaL-n naranjo, Geri Santa Clara Pueblo 263 PaL-n naranjo, Jody Santa Clara Pueblo 402 Wa-W naranjo, Johnathan Santa Clara Pueblo 317 Fr-S

naranjo-neikrug, dolly Santa Clara Pueblo 304 Fr-S natseway, thomas Laguna Pueblo 522 SF-P navasie, Fawn Hopi 402 Wa-e nipshank, Glen Cree 328 Fr-S

Padilla, andrew Laguna Pueblo/ Santa Clara Pueblo 310 Fr-S Padilla, andy Santa Clara Pueblo 702 LIn-e Padilla, marcia Santa Clara Pueblo 702 LIn-e Padilla, Patricia Santa Clara Pueblo 534 SF-e Padilla, terrence Santa Clara Pueblo 534 SF-e Padilla, tony Santa Clara Pueblo 534 SF-e Pajarito, Florence Santo domingo Pueblo 628 PLZ Paloma, Gabriel Zuni Pueblo 636 PLZ Panana, rufina Zia Pueblo 718 LIn-e Paquin, Gladys Laguna Pueblo/ Zuni Pueblo 310 Fr-S

Patricio, robert acoma Pueblo nuñez-Velarde, Shelden 756 LIn-e apache (Jicarilla) Pecos, Carol 765 LIn-e Jemez Pueblo 266 PaL-n Ortiz, dominick Cochiti Pueblo Pecos, Irwin 746 LIn-W Jemez Pueblo 266 PaL-n Ortiz, evelyn acoma Pueblo Pecos, Jeanette 709 LIn-W Jemez Pueblo 266 PaL-n Ortiz, Guadalupe Cochiti Pueblo Pecos-Sun rhodes, 746 LIn-W rose Jemez Pueblo Ortiz, kyle 266 PaL-n Cochiti Pueblo 746 LIn-W Peters, Franklin Laguna Pueblo Ortiz, mary 535 SF-P Cochiti Pueblo 208 PaL-n Peynetsa, agnes Zuni Pueblo Ortiz, Virgil 666 PLZ Cochiti Pueblo 746 LIn-W Peynetsa, anderson Zuni Pueblo Osti, Jane 303 Fr-P Cherokee 527 SF-P Peynetsa, Priscilla Zuni Pueblo Pacheco, rose a. Santo domingo Pueblo 666 PLZ 311 Fr-P Polacca, delmar Hopi/tewa 404 Wa-W

Polacca, Vernida Hopi 417 Wa-W

Sanchez, Gilbert San Ildefonso Pueblo 700 LIn-W

Suina, dena Cochiti Pueblo 531 SF-P

ray, marilyn acoma Pueblo 741 LIn-e

Sanchez, kathleen “Wan Povi” San Ildefonso Pueblo 662 PLZ

tafoya, Forrest Santa Clara Pueblo 263 PaL-S

real rider, austin Pawnee 211 PaL-n reano, Harlan Santo domingo Pueblo 228 PaL-n reano-Yepa, dena Santo domingo Pueblo 232 PaL-n redCorn, Jeri Caddo 201 PaL-S reid, Ulysses Zia Pueblo 533 SF-W rodriguez, andrew Laguna Pueblo 904 Cat roller, Jeff Santa Clara Pueblo 531 SF-e roller, ryan Santa Clara Pueblo 531 SF-e roller, toni Santa Clara Pueblo 531 SF-e romero, diego Cochiti Pueblo 509 SF romero, edna Santa Clara Pueblo 706 LIn-e romero, Pauline Jemez Pueblo 309 Fr-S romero, Priscilla Cochiti Pueblo 238 PaL-n

Sanchez, russell San Ildefonso Pueblo 701 LIn-W

tafoya, Harriet Santa Clara Pueblo 314 Fr-n tafoya, Judy Santa Clara Pueblo 661 PLZ

Sando, Caroline Jemez Pueblo 740 LIn-W

tafoya, Laura Santa Clara Pueblo 314 Fr-P

Setalla, dee Hopi 614 PLZ Setalla, Gwen Hopi 651 PLZ

tafoya, Lu ann Pojoaque Pueblo/ Santa Clara Pueblo 251 PaL-S

Seymour, mary a. acoma Pueblo 339 Fr-S

tafoya, Sarah Santa Clara Pueblo 661 PLZ

Shields, ethel acoma Pueblo 522 SF-P

tafoya, Starr Santa Clara Pueblo 301 Fr-P

Shields, Judy acoma Pueblo 326 Fr-n

tafoya-Sanchez, Linda Santa Clara Pueblo 265 PaL-S

Simplicio, noreen Zuni Pueblo 240 PaL-n

talachy, Pearl nambe Pueblo/tewa 676 PLZ

Singer, ryan navajo (diné) 317 Fr-n

tapia, Sue Laguna Pueblo 255 PaL-S

Small, mary Jemez Pueblo/ San Felipe Pueblo 318 Fr-n

tapia, thomas Ohkay Owingeh Pueblo 255 PaL-S

Smith, elijah naranjo Santa Clara Pueblo 304 Fr-S Smith, timothy “Coyote” Hopi/Laguna Pueblo 305 Fr-P

Sahmie, rachel Hopi 221 PaL-S

“Black Bear” Stephen LaBoueff Blackfeet 228 PaL-S

Sahmie, V. Jean Hopi/tewa 329 Fr-S

Suazo, anita Santa Clara Pueblo 529 SF-e

Salvador, maria acoma Pueblo 258 PaL-S

Suazo, marie Santa Clara Pueblo 230 PaL-S

Sanchez, Corrine San Ildefonso Pueblo 662 PLZ

Suazo-naranjo, Bernice taos Pueblo 317 Fr-S

Sanchez, Gerti mapoo Isleta Pueblo 264 PaL-S

Suina, ada Cochiti Pueblo 530 SF-W

tapia, thomas V. tesuque Pueblo 122 POG tapia-Browning, michele Pojoaque Pueblo/ Santa Clara Pueblo 251 PaL-S teller, Stella Isleta Pueblo 312 Fr-n teller Velardez, robin Isleta Pueblo 312 Fr-n tenorio, doris Santa Clara Pueblo 230 PaL-S tenorio, robert Santo domingo Pueblo 526 SF-W tenorio, thomas Santo domingo Pueblo 726 LIn-e

2 01 2 I n dI a n ma r k et

1 33

SWaia 2012 direCtOrY OF artiStS tohtsoni Prudencio, therese Picuris Pueblo/ navajo (diné) 618 PLZ toledo, Yolanda Jemez Pueblo 712 Lin-W torres, elvis San ildefonso Pueblo 710 Lin-W tosa, Phyllis Jemez Pueblo 514 SF toya, Camilla mariam Jemez Pueblo 256 PaL-n toya, dominique Jemez Pueblo 256 PaL-n toya, Judy Jemez Pueblo 714 Lin-W toya, marie Jemez Pueblo 714 Lin-W toya, mary ellen Jemez Pueblo 714 Lin-W toya, mary rose Jemez Pueblo 305 Fr-n toya, maxine Jemez Pueblo 256 PaL-n trujillo, elizabeth Cochiti Pueblo 719 Lin-e trujillo, Geraldine Cochiti Pueblo/ Ohkay Owingeh Pueblo 255 PaL-S trujillo, Joseph Cochiti Pueblo 255 PaL-S

tsosie, Leonard Jemez Pueblo 313 Fr-P Velarde, dina Jicarilla apache 740 Lin-e

Honyumptewa, Lorne k. Little thunder, merlin Hopi/Picuris Pueblo Cheyenne 500 SF 344 Fr-n

Blaze, randall Oglala Lakota Sioux 231 PaL-S

Corcoran, dolores Purdy Fragua-Cota, Laura Jemez Pueblo Caddo 724 Lin-e 634 PLZ

Boome, Peter Upper Skagit 621 PLZ

da, Jarrod San ildefonso Pueblo 517 SF

Franklin, William navajo (diné) 118 POG

Howard, norma Choctaw/Chickasaw 206 PaL-n

Lomahaftewa, Linda Hopi/Choctaw 108 POG

Bordeaux, todd rosebud Sioux 417 Wa-e

dalasohya Jr., david Hopi 775 Lin-e

Garcia, Jason Santa Clara Pueblo 126 POG

Hubbell, Patrick navajo (diné) 910 Cat

Loretto, Fran Jemez Pueblo/ Cochiti Pueblo 644 PLZ

Velarde-Brewer, Carol Santa Clara Pueblo 707 Lin-W

iii Paintings drawings Graphics Photography

Victorino, Sandra acoma Pueblo 234 PaL-n

naavaasya Hopi/acoma Pueblo 613 PLZ

Bread, Paris L. navajo (diné) 284 PaL

dark mountain, dawn Oneida 759 Lin-e

Garcia, John Santa Clara Pueblo 126 POG

Hummingbird, Jesse Cherokee 404 Wa-e

Vigil, Charlotte San ildefonso Pueblo 730 Lin-W

Yellowman navajo (diné) 532 SF-e

Broer, roger Oglala Sioux 106 POG

denipah, marian navajo (diné)/ Ohkay Owingeh Pueblo 512 SF

Gendron, richard m. Colville 764 Lin-e

Jacobs, alex akwesasne mohawk 321 Fr-S

Vigil, Lonnie nambe Pueblo 273 PaL

aguilar, Joseph Santo domingo Pueblo 401 Wa-e

Burgess, nocona Comanche 729 Lin-W

Vigil, Vanessa San ildefonso Pueblo 730 Lin-W

aguilar Jr., martin San ildefonso Pueblo 767 Lin-W

Burgess, Quanah Comanche 734 Lin-W

Wall, kathleen Jemez Pueblo 224 PaL

albro, Janice Sisseton-Wahpeton/ Sioux 510 SF

Burgess, ronald Comanche 734 Lin-W

Waquie, marie L. Jemez Pueblo 533 SF-P Wesaw, Jason Potawatomi 415 Wa-W Westika, Gaylon Zuni Pueblo 303 Fr-P White dove, Shyatesa acoma Pueblo 907 Cat Whitegeese, daryl Pojoaque Pueblo/ Santa Clara Pueblo 251 PaL-S Yazzie, angie taos Pueblo 523 SF-P Yepa, alvina Jemez Pueblo 647 PLZ

trujillo, mary t. Ohkay Owingeh Pueblo/ Yepa, elston Cochiti Pueblo Jemez Pueblo 255 PaL-S 232 PaL-n tse Pe, dora Yepa, marcella San ildefonso Pueblo Jemez Pueblo/ 605 PLZ Chickasaw 647 PLZ tse Pe, irene V. San ildefonso Pueblo Youngblood, nancy 605 PLZ Santa Clara Pueblo 255 PaL-n tsosie, darrick Jemez Pueblo Youngblood Cutler, 313 Fr-P Christopher Santa Clara Pueblo tsosie, emily 255 PaL-n Jemez Pueblo 313 Fr-P

1 34

Youngblood Lugo, Sergio Santa Clara Pueblo 255 PaL-n

2012 ind ia n m ar k et

allison, marla Laguna Pueblo 708 Lin-P

Cadman, marcus navajo (diné) 774 Lin-e

Campbell, terrence antonio, Olathe tahltan navajo (diné)/Shawnee 303 Fr-S 611 PLZ-Fellowship Casuse, Fritz aragon, Loren navajo (diné) acoma Pueblo 519 SF 907 Cat Caté, ricardo Lee aragon, ralph Santo domingo Pueblo Zia Pueblo 743 Lin-e 522 SF-W Chacon, nanibah arquero, dominic navajo (diné) Cochiti Pueblo 772 Lin-e 711 Lin-P Chaney, ross arviso, Wil Paul Cherokee navajo (diné) 763 Lin-W 208 PaL-S Charley, avis ataumbi, keri dakota/navajo (diné) kiowa 406 Wa-W 125 POG Chee, ronald Babby, angela navajo (diné) Oglala Lakota Sioux 721 Lin-e 243 PaL-n Chiago Sr., michael Begay, Shonto tohono O’odham navajo (diné) 790 Lin-W 225 PaL Clark, don Beyale, Jaycee navajo (diné) navajo (diné) 120 POG 772 Lin-e Clark, Gwendolyn BigBee, Walter navajo (diné) Comanche 332 Fr-n 121 POG Claw, monty Blalock-Jones, ruthe navajo (diné) Shawnee/delaware 706 Lin-W 109 POG

desJarlais Jr., Larry turtle mt. Chippewa 728 Lin-e dougi, ishkoten Jicarilla apache/ navajo (diné) 213 PaL-n draper Jr., teddy navajo (diné) 129 POG durr, Judith Choctaw 792 Lin-W

Giago, Lauren Good day Joe, Cheryl arikara/Blackfeet/Cree navajo (diné) 316 Fr-n 335 Fr-n Gonzales, Barbara “tahn-moo-whe” San ildefonso Pueblo 247 PaL-n Goshorn, debra Shan Cherokee 793 Lin-W Greenwood, Brent Ponca 779 Lin-W

duwyenie, mary Lynn Hopi 302 Fr-n

Growing thunder, darryl dakota nakona 340 Fr-n

edd, Chamisa navajo (diné) 750 Lin-W

Guardipee, terrance Blackfeet 235 PaL-S

edd, ruthie navajo (diné) 750 Lin-W

Gutierrez, Geraldine San ildefonso Pueblo/ Santa Clara Pueblo 309 Fr-P

Joe, Hyrum navajo (diné)/Ute 233 PaL-n John, alvin navajo (diné) 637 PLZ John, david navajo (diné) 274 PaL Johnson, elihu Chickasaw 787 Lin-W Jojola, deborah isleta Pueblo/ Jemez Pueblo 715 Lin-e Jones, topaz Shoshone/Lummi 219 PaL-S

Lynch, rhett navajo (diné) 722 Lin-W macknight, Sheridan Chippewa 420 Wa-W martinez, Jocelyn taos Pueblo 744 Lin-e maybee, dallin arapaho/Seneca 242 PaL-S mcCoy Jr., daniel muscogee (Creek)/ Potawatomi 219 PaL-S mcCullough, michael Choctaw 257 PaL-n mcCullough, Stephen Choctaw 257 PaL-n medina, marcellus Zia Pueblo 722 Lin-e melero, melissa Paiute 102 POG

Jones-Crouch, micqaela menchego, arthur J. Shoshone Hardridge, Justin “Starr” 734 Lin-e Santa ana Pueblo muscogee (Creek) 733 Lin-e 508 SF Judd, Steven edd, Sierra meredith, america kiowa/Choctaw Harjo Jr., Benjamin navajo (diné) Cherokee 327 Fr-S Seminole/Shawnee 750 Lin-W 229 PaL-n 103 POG kemp, randy emerson, anthony Chee montoya, Geronima muscogee (Creek)/ Harvey, Sheldon navajo (diné) Ohkay Owingeh Pueblo Choctaw navajo (diné) 113 POG 116 POG 748 Lin-W 794 Lin-W esquivel, dennis montoya, Paul kemp, rykelle Haukaas, m. Linda Ottawa Sandia Pueblo/ Creek/Choctaw rosebud Sioux 729 Lin-e Ohkay Owingeh Pueblo 748 Lin-W 127 POG 116 POG Farris, thomas king, James Haukaas, thomas Otoe-missouria montoya, robert B. navajo (diné) rosebud Sioux 204 PaL-n Sandia Pueblo 523 SF-e 325 Fr-n 116 POG Flett Sr., George king, John Hewson, robert Spokane mose, allen navajo (diné) tsimshian 727 Lin-e navajo (diné) 616 PLZ 739 Lin-e 226 PaL Fontenot, Peggy LaFountain, eve Hobson, andrew Potawatomi/Cherokee murillo, ramon “Little Shell” navajo (diné) 202 PaL-n Shoshone Chippewa 282 PaL 757 Lin-e 710 Lin-e Fowler, myron Honahnie, anthony navajo (diné) murphy, William Learned, Brent Hopi 777 Lin-e navajo (diné) Cheyenne/arapaho 759 Lin-W 718 Lin-e 260 PaL-n edd, Santana navajo (diné) 750 Lin-W

SWaIa 2012 dIreCtOrY OF artIStS natay, ehren navajo (diné) 342 Fr-n nelson, Benjamin kiowa/navajo (diné) 532 SF-e nelson , maryBeth Cherokee 409 Wa-e nordwall, raymond Pawnee/Chippewa 114 POG Okuma, Jamie Luiseno/Shoshone Bannock 218 PaL-n Ortega, adam “deer mountain” Pojoaque Pueblo/ Santa Clara Pueblo 651 PLZ Ortega, alicia “evergreen Blossom” Pojoaque Pueblo/ Santa Clara Pueblo 651 PLZ Ortega, rebecca navajo (diné) 212 PaL-S Pappan, Chris kaw nation 774 LIn-W Paschall, Sallyann Cherokee 105 POG Peña, alex Comanche/ San Ildefonso Pueblo 609 PLZ-Fellowship Peshlakai, norbert navajo (diné) 747 LIn-W Quotskuyva, Gerry Hopi 234 PaL-S reynolds-White Hawk, dyani rosebud Sioux 608 PLZ-Fellowship richards, rueben navajo (diné) 767 LIn-e rizal, Clarissa tlingit 283 PaL romero, Cara Chemehuevi 777 LIn-W romero, mateo Cochiti Pueblo 735 LIn-W roybal, timothy San Ildefonso Pueblo 732 LIn-e

Salcido Comes Charging, Frank navajo (diné) 330 Fr-S Sanchez, ramos San Ildefonso Pueblo 701 LIn-W Santiago, Lawrence Coushatta 341 Fr-n Sevier, Chessney northern arapaho 236 PaL-S Sevier, Jackie northern arapaho 715 LIn-W Shakespeare, Lindsey apache (mescalero) 779 LIn-W Shelton III, Peter Hopi 119 POG Silversmith, mark navajo (diné) 104 POG Singer, Jeremy navajo (diné) 784 LIn-W Singer, ryan navajo (diné) 317 Fr-n Skenandore, Olivia Oglala Lakota 742 LIn-W Sloan, david-alexander navajo (diné) 342 Fr-n Smith, ryan Lee Cherokee 773 LIn-e Stevens, Shannon Laguna Pueblo 760 LIn-e Suazo, david taos Pueblo 783 LIn-W Susunkewa, Sheryl Hopi 262 PaL-S tapia, thomas V. tesuque Pueblo 122 POG tapia-Browning, michele Pojoaque Pueblo/ Santa Clara Pueblo 251 PaL-S tiger, dana muscogee (Creek)/ Seminole 409 Wa-W

tiger, Jon Creek 633 PLZ

Yazzie, alice navajo (diné) 239 PaL-S

Honanie, ernest Hopi 337 Fr-S

Sekakuku, Gilbert Hopi 245 PaL-S

Chee Sr., raymond navajo (diné) 631 PLZ

Joe, Oreland Ute/navajo (diné) 700 LIn-e

toledo, ethel navajo (diné) 701 LIn-P

Yazzie, Gary navajo (diné) 124 POG

Honanie, kara anne Hopi 714 LIn-e

Shelton III, Peter Hopi 119 POG

deCelles, Jon Gros Ventre 783 LIn-W

John, alvin navajo (diné) 637 PLZ

toledo, Joe Jemez Pueblo 115 POG

Yazzie, Peterson navajo (diné) 750 LIn-e

Honyumptewa, aaron Picuris Pueblo/Hopi 500 SF

Susunkewa, manfred Hopi 262 PaL-S

desJarlais Jr., Larry turtle mt. Chippewa 728 LIn-e

John, david navajo (diné) 274 PaL

toledo-moore, Lena navajo (diné) 730 LIn-e

IV Pueblo Wooden Carvings

Honyumptewa, Stetson Hopi 500 SF

tapia-Browning, michele Pojoaque Pueblo/ Santa Clara Pueblo 251 PaL-S

dougi, Ishkoten Jicarilla apache/ navajo (diné) 213 PaL-n

kaydahzinne, Vincent mescalero apache 731 LIn-e

tonips, Gordon Comanche 719 LIn-W tso, Geraldine navajo (diné) 281 PaL tsosie, nelson navajo (diné) 789 LIn-W tsosie-Sisneros, michelle Santa Clara Pueblo/ navajo (diné) 301 Fr-n tyler, keeaero navajo (diné) 901 Cat tyler, keetahni navajo (diné) 901 Cat Velarde, dina Jicarilla apache 740 LIn-e Vigil, Felix Jicarilla apache 723 LIn-e Vigil, Virgil tesuque Pueblo/ navajo (diné) 128 POG Walters, daniel navajo (diné)/Pawnee 328 Fr-n Walters, Gertrude ann navajo (diné) 328 Fr-n Walters Jr., roy navajo (diné) 745 LIn-e Whitman-elk Woman, kathy mandan/Hidatsa 742 LIn-e Wilcox, dwayne C. Oglala Sioux 526 SF-e Williams, Brandon navajo (diné) 212 PaL-n

acadiz, Lawrence Hopi 205 PaL-n albert, robert Hopi 205 PaL-n Brokeshoulder, Brent Hopi/Shawnee 238 PaL-S Brokeshoulder, randy Hopi/Shawnee 238 PaL-S Calnimptewa, Cecil Hopi 740 LIn-W Chavarria, manuel Hopi 737 LIn-W Chimerica, darance Hopi 614 PLZ Coochyamptewa, Paul Hopi 414 Wa-e Cuch, norman Hopi/Ute (Uinta & Ouray) 766 LIn-W dawahoya, nuvadi Hopi 214 PaL-S day Sr., Jonathan Hopi/Laguna Pueblo 655 PLZ Gasper Sr., Bart Zuni Pueblo 251 PaL-n George, ros Hopi 672 PLZ Holmes Jr., arthur Hopi 219 PaL-n Honanie, antone Hopi 337 Fr-S Honanie, delbridge Hopi 716 LIn-W

Jenkins, michael Hopi/Pima 909 Cat Jensen, david Hopi 279 PaL kaye, Wilmer Hopi 403 Wa-W kayquoptewa, Brendan Hopi 420 Wa-W koinva , anderson Hopi 762 LIn-W kootswatewa, d’armon Hopi 279 PaL koruh, renferd Hopi 307 Fr-S namingha Jr., Wayland Lester Hopi 619 PLZ

taylor, eli Hopi 759 LIn-W tenakhongva, Clark Hopi 657 PLZ tewa, dennis Hopi 672 PLZ Yungotsuna, elmer Hopi/tewa 769 LIn-W

V Sculpture abeyta, Pablita navajo (diné) 111 POG albro, Janice Sisseton-Wahpeton/ Sioux 510 SF Begay Jr., Frederick navajo (diné)/Ute 601 PLZ

naseyowma, Gilbert Hopi 755 LIn-W

Billie, Gene navajo (diné) 200 PaL-S

nequatewa, Bryson Hopi 602 PLZ

Blaze, randall Oglala Lakota Sioux 231 PaL-S

nutumya, maurice Hopi 711 LIn-e

Boone, Lena Zuni Pueblo 714 LIn-P

Ortiz, Guadalupe Cochiti Pueblo 746 LIn-W

Bowannie Sr., Bryston Zuni Pueblo 405 Wa-W

Patterson, earl Hopi 775 LIn-W

Cajero Jr., Joe Jemez Pueblo 521 SF

Phillips, Loren Hopi 672 PLZ

Campbell, terrence tahltan 303 Fr-S

Quotskuyva, Gerry Hopi 234 PaL-S

Carpio, Caroline Isleta Pueblo 659 PLZ

Seechoma, edward Hopi 675 PLZ

Chattin, daniel Zuni Pueblo 604 PLZ

draper Jr., teddy navajo (diné) 129 POG

Laahty, ron Zuni Pueblo 337 Fr-n

edaakie, dee Zuni Pueblo 646 PLZ ethelbah Jr., Upton Santa Clara Pueblo/ apache (White mountain) 654 PLZ Fields, anita Osage 209 PaL-S

LaFountain, Presley Chippewa 723 LIn-W

Lee, tony navajo (diné) 275 PaL

Fragua, Cliff Jemez Pueblo 753 LIn-e Fragua-Cota, Laura Jemez Pueblo 724 LIn-e Fredericks, evelyn Hopi 778 LIn-W

Gasper, dinah Zuni Pueblo 714 LIn-P

LaFountain, Bruce Chippewa 710 LIn-e

LaFountain, Saige navajo (diné)/ Chippewa 763 LIn-e

Fischer, mark Oneida 776 LIn-e

Gasper, debra Zuni Pueblo 714 LIn-P

Laahty, ricky Zuni Pueblo 337 Fr-n

Lujan-Hauer, Pamela taos Pueblo 321 Fr-n maldonado, nicholas Pascua-Yaqui 211 PaL-S marcus, robert “Spooner” Ohkay Owingeh Pueblo 607 PLZ mitchell-trejo, mary navajo (diné) 507 SF

morrison, eddie Gaussoin, Connie tsosie Cherokee 334 Fr-n navajo (diné)/ Picuris Pueblo naranjo, tito 261 PaL-S Santa Clara Pueblo 707 LIn-e Goeman, Stonehorse Seneca naseyowma, Gilbert 771 LIn-W Hopi 755 LIn-W Grandbois, rollie turtle mountain nelson, L. eugene Chippewa navajo (diné) 715 LIn-e 214 PaL-n Hart, nathan nequatewa, Bryson Cheyenne arapaho Hopi 785 LIn-W 602 PLZ Hattie Sr, Brion nez, rickie Zuni Pueblo navajo (diné) 709 LIn-P 746 LIn-e

2 01 2 I n dI a n ma r k et

1 35

SWaia 2012 direCtOrY OF artiStS Obrzut, kim Hopi 515 SF

tonips, Gordon Comanche 719 Lin-W

Yazzie, Cody navajo (diné) 781 Lin-W

Galvan, Joselita Zia Pueblo 760 Lin-W

Ornelas, michael navajo (diné) 780 Lin-W

Oliver, marvin Quinault 756 Lin-W

tsalabutie, Loren Zuni Pueblo 786 Lin-W

Yazzie, Lance navajo (diné) 781 Lin-W

Garza, dolly Haida 237 PaL-S

Ornelas, Sierra navajo (diné) 780 Lin-W

Osti, Jane Cherokee 527 SF-P

tsalate, raymond Zuni Pueblo 203 PaL-S

Yazzie, Larry navajo (diné) 781 Lin-W

Giago, Lauren Good day Owens, mary arikara/Blackfeet/Cree navajo (diné) 412 Wa-e 335 Fr-n

Othole, Gibbs Zuni Pueblo 203 PaL-n

tsethlikai, ray Zuni Pueblo 714 Lin-P

Yazzie, Peterson navajo (diné) 750 Lin-e

Gonzales, isabel Jemez Pueblo 215 PaL-S

Peacock, etta navajo (diné) 202 PaL-S

Padilla, tony Santa Clara Pueblo 534 SF-e

tsosie, nelson navajo (diné) 789 Lin-W

Vi textiles

Gonzales, melanie San ildefonso Pueblo/ Jemez Pueblo 215 PaL-S

Quintana, evelyn Ohkay Owingeh Pueblo 260 PaL-S

Panana, matthew Jemez Pueblo 770 Lin-e

Vigil, Felix apache (Jicarilla) 723 Lin-e

Patterson, earl Hopi 775 Lin-W

Vigil, James Jemez Pueblo 272 PaL

Poblano, Jovanna Zuni Pueblo 604 PLZ

Vigil, Victor Jemez Pueblo 761 Lin-e

Quam, Jayne navajo (diné) 229 PaL-S

Wall, adrian Jemez Pueblo 612 PLZ

Quam, Lynn Zuni Pueblo 229 PaL-S

Wall, kathleen Jemez Pueblo 224 PaL

Quigno, Jason Saginaw Chippewa 778 Lin-e

Wall, marcus Jemez Pueblo 612 PLZ

reyna, Sharon dry Flower taos Pueblo 270 PaL

Wall, Stephen Chippewa 724 Lin-e

rodriguez, andrew Laguna Pueblo 904 Cat roller, Jeff Santa Clara Pueblo 531 SF-e romero, Santiago Cochiti Pueblo/ taos Pueblo 735 Lin-W

Walters Jr., roy navajo (diné) 745 Lin-e Washburn, tim navajo (diné) 754 Lin-e Weahkee, daniel Zuni Pueblo/ navajo (diné) 503 SF

Santiago, Lawrence Coushatta 341 Fr-n

Weahkee, danielle navajo (diné)/ Zuni Pueblo 503 SF

Shetima, Jeff Zuni Pueblo 213 PaL-S

Weahkee, manuel Zuni Pueblo 503 SF

Sice, troy Zuni Pueblo 203 PaL-S

Whitman-elk Woman, kathy mandan/Hidatsa 742 Lin-e

ta’itsohii, raynard Scott Yatsayte, mike navajo (diné) Zuni Pueblo 216 PaL-n 523 SF-P tomeo, James Yawakia, Jimmy Colville/Yakima Zuni Pueblo 727 Lin-e 786 Lin-W 1 36

2012 ind ian m ar k et

ramah navajo Weavers assoc. navajo (diné) 100 POG abeita, Frances Santo domingo Pueblo 524 SF-e aragon, nanabah navajo (diné) 749 Lin-e Begay, d.Y. navajo (diné) 701 Lin-e Begay, Frances navajo (diné) 768 Lin-e Begay, nellie navajo (diné) 220 PaL-S Begay, rena navajo (diné) 259 PaL-n Blackhorse, Catherine Seminole 235 PaL-S Charley, Berdina navajo (diné) 701 Lin-e Chopito, aric Zuni Pueblo 619 PLZ Clark, irene H. navajo (diné) 332 Fr-n Cody, Lola navajo (diné) 733 Lin-W Cody, melissa navajo (diné) 733 Lin-W duwyenie, mary Lynn Hopi 302 Fr-n esquiro, Sholeen “Sho Sho” kaska dene 902 Cat

Grant, dorothy Haida of alaska 747 Lin-e Hageman, Lisa Haida 751 Lin-e Hardy, Genevieve navajo (diné) 754 Lin-e Harvey, Jason navajo (diné) 641 PLZ Henderson, alberta navajo (diné) 406 Wa-e Hunt, Corrine tlingit 911 Cat

rizal, Clarissa tlingit 283 PaL Sandoval, ramoncita Ohkay Owingeh Pueblo 117 POG Schultz, marilou navajo (diné) 732 Lin-W Schultz, martha G. navajo (diné) 732 Lin-W Shabi, Geneva navajo (diné) 635 PLZ Singer, Penny navajo (diné) 739 Lin-W

Laughing, Charlene navajo (diné) 200 PaL-n

Smith, timothy “Coyote” Hopi/Laguna Pueblo 305 Fr-P

Laughing, milton navajo (diné) 200 PaL-n

tafoya, Harriet Santa Clara Pueblo 314 Fr-n

Laughing, mona navajo (diné) 200 PaL-n

taylor, Lillie navajo (diné) 206 PaL-S

Laughing-reeves, michele navajo (diné) 227 PaL-n

taylor, rosie navajo (diné) 658 PLZ

Lee, emma r. navajo (diné) 401 Wa-W naataanii, tahnibaa navajo (diné) 645 PLZ nutumya, maurice Hopi 711 Lin-e Okuma, Jamie Luiseno/Shoshone Bannock 218 PaL-n Ornelas, Barbara navajo (diné) 780 Lin-W

teller-Pete, Lynda navajo (diné) 780 Lin-W tippeconnie, Lynnderra navajo (diné) 406 Wa-e toledo, Helen navajo (diné) 307 Fr-P tsosie, J’shen navajo (diné) 775 Lin-e Wheeler, margaret Choctaw/Chickasaw 285 PaL

Williams, antonio (toni) arapaho, northern 242 PaL-S Williams, Lena navajo (diné) 732 Lin-W Willie, Jt navajo (diné) 344 Fr-S Woodie, Bonnie navajo (diné) 505 SF Yazzie Ballenger, Virginia navajo (diné) 276 PaL

Vii diverse arts adams, tiffany Chemehuevi/maidu 777 Lin-W adams, Victoria G. Cheyenne 209 PaL-n ahtoneharjo Growing thunder, tahnee marie muscogee (Creek) 247 PaL-S

Bread, nathaniel navajo (diné)/apache 284 PaL

Her many Horses, emil Oglala Lakota 669 PLZ

Cajero, esther H. Jemez Pueblo 320 Fr-S

Herrera, Carlos Cochiti Pueblo 670 PLZ

Cajero, Joe V. Jemez Pueblo 320 Fr-S

Herrera, theodore arnold Cochiti Pueblo 670 PLZ

Carolin, rex Cheyenne river Sioux 123 POG

Herrera, thomas L. Cochiti Pueblo 670 PLZ

Chandler Good Strike, aloysius Gros Ventre/arapaho 302 Fr-S

Holy Bear, Charlene Standing rock Sioux 408 Wa-e

Chavarria, dave Santa Clara Pueblo 410 Wa-W

Honyouti, richard Hopi 726 Lin-W

Chavez-thomas, Lisa isleta Pueblo 411 Wa-e

Hunt, Corrine tlingit 911 Cat

Claw, monty navajo (diné) 706 Lin-W

Jennings, Vanessa Pima/kiowa 669 PLZ

Coochyamptewa, Paul Hopi 414 Wa-e

Johnson, elihu Chickasaw 787 Lin-W

Corcoran, dolores Purdy Lent, mary Laguna Pueblo/ Caddo antonio, atsatsa’ Santa Clara Pueblo 634 PLZ navajo (diné)/Shawnee 310 Fr-S 611 PLZ-Fellowship Country Jr., Francis Lewis-Barnes, melissa Sisseton-Wahpeton aragon, Joan navajo (diné) Sioux Zia Pueblo 758 Lin-e 201 PaL-n 522 SF-W Lt, Patta darden, Steve aragon, Loren Choctaw navajo (diné) acoma Pueblo 340 Fr-S 705 Lin-P 907 Cat magee, deborah emery, dorothy aragon, ralph Blackfeet Jemez Pueblo Zia Pueblo 244 PaL-n 731 Lin-W 522 SF-W maldonado, alex emery Sr., terrence Babby, angela Yaqui St. Croix Chippewa Oglala Lakota Sioux 211 PaL-S 731 Lin-W 243 PaL-n martinez, marie esquivel, dennis Babic, mary San ildefonso Pueblo Ottawa aleut 700 Lin-W 729 Lin-e 241 PaL-n maybee, dallin Fragua-Cota, Laura Bordeaux, todd arapaho/Seneca Jemez Pueblo rosebud Sioux 242 PaL-S 724 Lin-e 417 Wa-e Giago, Lauren Good day mckay, Glenda Box, austin arikara/Blackfeet/Cree athapaskan Southern Ute 221 PaL-n 335 Fr-n 738 Lin-W murillo, ramon Gonzales, myron Box, debra Shoshone Jemez Pueblo/ Southern Ute 757 Lin-e San ildefonso Pueblo 738 Lin-W 215 PaL-S myers, Jhane Boxley, david Comanche/Blackfeet Hemlock, Carla tsimshian 338 Fr-n mohawk 905 Cat 776 Lin-W norton, doug Boxley Jr., david “tsaile Boy” Hemlock, donald tsimshian navajo (diné) mohawk (St. regis) 905 Cat 789 Lin-W 776 Lin-W

SWaia 2012 directory of artiStS ortega, alicia “evergreen Blossom” Pojoaque Pueblo/ Santa clara Pueblo 651 PLZ

toledo, Helen navajo (diné) 307 fr-P

tortalita, Vickie Santo domingo Pueblo Peebles, Susan red Lake 603 PLZ chippewa tsosie, raymond 643 PLZ navajo (diné) 770 Lin-W Pino, maggie navajo (diné) White-country, mary 308 fr-n Sisseton-Wahpeton 201 PaL-n Poolheco, theresa Santo domingo Pueblo/ Whitman-elk Woman, Laguna Pueblo kathy Pueblo 749 Lin-W mandan/Hidatsa 742 Lin-e Poolheco Sr., frank Hopi Worcester ii, daniel 749 Lin-W chickasaw 329 fr-n Pourier, kevin oglala Lakota 322 fr-n roybal, Gary San ildefonso Pueblo 732 Lin-e

Viii Beadwork and Quillwork

Schrupp, nelda oglala Lakota 222 PaL-S

ahtoneharjo Growing thunder, tahnee marie muscogee (creek) 247 PaL-S

Sekakuku, Gilbert Hopi 245 PaL-S

aitson, richard kiowa 344 fr-n

Shakespeare, Lindsey apache (mescalero) 779 Lin-W

amerman, marcus choctaw 757 Lin-W

Skenandore, olivia oglala Lakota 742 Lin-W

aragon, Joan Zia Pueblo 522 Sf-W

Spry-misquadace, Wanesia ojibwa 519 Sf

arquero, imogene Goodshot oglala Sioux 711 Lin-P

Suina, Joseph e. cochiti Pueblo 531 Sf-P

arquero, mary cochiti Pueblo 529 Sf-P

tafoya, francis Santa clara Pueblo 107 PoG

Baker, Linda Southern Ute 758 Lin-e

taylor, tsosie navajo (diné) 524 Sf-P

Berryhill, Les creek 329 fr-n

tenoso, donald cheyenne river Sioux 753 Lin-W

Bordeaux, todd rosebud Sioux 417 Wa-e

tenoso, Paul cheyenne river Sioux 753 Lin-W toehe, rosemary navajo (diné) 705 Lin-P tohtsoni Prudencio, therese Picuris Pueblo/ navajo (diné) 618 PLZ

1 38

Bread, Jackie Blackfeet 284 PaL chavarria, dave Santa clara Pueblo 410 Wa-W chavez, LeJeune kewa Pueblo/Seminole 769 Lin-e

2012 ind ia n m ar k et

chavez-James, B. toby Santo domingo Pueblo 407 Wa-W

kelly, craig navajo (diné) 524 Sf-e

trujillo, elizabeth cochiti Pueblo 719 Lin-e

chitto, Hollis choctaw/Laguna/isleta 725 Lin-e

Laahty, Lorena Zuni Pueblo 310 fr-P

tsosie, J’shen navajo (diné) 775 Lin-e

claw, kareen San carlos apache 706 Lin-W

Lent, mary Laguna Pueblo/ Santa clara Pueblo 310 fr-S

tsosie, Jacinta a. navajo (diné) 775 Lin-e

darden, Steve navajo (diné) 705 Lin-P dugi, orlando navajo (diné) 237 PaL-S fontenot, Peggy Potawatomi/cherokee 202 PaL-n fowler, cindy navajo (diné) 523 Sf-e frey, frances Passamaquoddy 712 Lin-P friday, Paula Jicarilla apache 765 Lin-W Gala, carol Laguna Pueblo/ taos Pueblo 709 Lin-e Greeves, teri kiowa 327 fr-n Growing thunder, Jessa rae assiniboine/Sioux (dakota) 419 Wa-W Growing thunder, ramey assiniboine-Sioux (fort Peck) 340 fr-n Growing thunder fogarty, Joyce Sioux/assiniboine 419 Wa-W Growing thunder fogarty, Juanita Sioux/assiniboine 419 Wa-W Haukaas, thomas rosebud Sioux 325 fr-n Jennings, Vanessa Pima/kiowa 669 PLZ Jonathan, Grant tuscarora 772 Lin-W

magee, deborah Blackfeet 244 PaL-n mitten, katrina miami tribe of oklahoma 342 fr-S nez, ned navajo (diné) 324 fr-S okuma, Jamie Luiseno/ Shoshone Bannock 218 PaL-n okuma, Sandra Shoshone/Luiseno (La Jolla mission) 218 PaL-n Pate, elena choctaw 231 PaL-n Peebles, Susan red Lake chippewa 643 PLZ Peters, Summer Saginaw ojibwe 902 cat Poblano, Jovanna Zuni Pueblo 604 PLZ Quetawki, alesia Zuni Pueblo 646 PLZ romero, Priscilla cochiti Pueblo 238 PaL-n Sarracino, anna Zuni Pueblo 310 fr-P Simplicio, margia Zuni Pueblo 240 PaL-n Singer, Penny navajo (diné) 739 Lin-W toehe, rosemary navajo (diné) 705 Lin-P toledo, Helen navajo (diné) 307 fr-P

Van fleet, Pauline navajo (diné) 625 PLZ White-country, mary Sisseton-Wahpeton 201 PaL-n Williams, kenneth arapaho/Seneca 237 PaL-S Willie, Jt navajo (diné) 344 fr-S

X moving images asenap, Jason comanche Becker, nanobah navajo (diné) castro, christina Jemez Pueblo craig, Velma navajo (diné) emerson, ramona navajo (diné) ernest, marcella ojibwe-Bad river Band eyre, chris cheyenne/arapaho freeland, Sydney navajo (diné) Hyde, daniel navajo (diné) Jacob, tvli choctaw Judd, Steven kiowa/choctaw 327 fr-S Lafountain, eve “Little Shell” chippewa 710 Lin-e Lasilou, kiera Zuni Pueblo Lowe, Blackhorse navajo (diné) ramos, tim Pomo

Sioui-durand, yves Huron-Wendat Swaney, Brooke Blackfeet tully, carey navajo (diné) Wallace, Liz navajo (diné) 333 fr-n young, Brian navajo (diné)

Xi Basketry aitson, mary cherokee 333 fr-S antone, annie tohono o’odham 413 Wa-W Bacon, eric Passamaquoddy 762 Lin-e Black, Sally navajo (diné) 725 Lin-W church, kelly chippewa 738 Lin-e croslin, Larry cherokee 535 Sf-W day, irma Laguna Pueblo 222 PaL-n douglas-Willard, diane Haida 241 PaL-S emarthle-douglas, carol Seminole/northern arapaho 516 Sf frey, frances Passamaquoddy 712 Lin-P frey, Jeremy Passamaquoddy 712 Lin-P Garza, dolly Haida 237 PaL-S Goeman, ronni-Leigh onondaga 771 Lin-W Goshorn, debra Shan cherokee 793 Lin-W Herrera, carlos cochiti Pueblo 670 PLZ

Herrera, thomas L. cochiti Pueblo 670 PLZ James, darlene Pomo 516 Sf kooyahoema, kathryn Hopi 336 fr-n neptune, George Passamaquoddy 601 PLZ oyenque, Jill m ohkay owingeh Pueblo 779 Lin-e romero, Leona tohono o’odham 413 Wa-W ryan, Loa tsimshian 739 Lin-e Saufkie, Griselda Hopi 704 Lin-e Secord, theresa Penobscot 112 PoG Shannon, Louann tohono o’odham 788 Lin-W Susunkewa, norma Hopi 262 PaL-S thomas, kathleen oneida 906 cat Willard, Gianna tlingit/Haida 241 PaL-S Wong-Whitebear, Laura colville 516 Sf

2 01 2 I N DI A N MA R K ET

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764755794 781 LIN-W LIN-E

Sheridan Ave.

Food Booths


200-223 PAL-N 200-223 PAL-S


SWAIA Merchandise

717717763 754 LIN-W LIN-E

New Mexico History Museum

Museum of Fine Arts

224-226 PAL

Palace of the Governors

227-244 PAL-N

100-129 POG

227-244 PAL-S 245-266 PAL-N

Palace Avenue

245-266 PAL-S SWAIA Merchandise

Lincoln Ave.

First National Bank of Santa Fe

667-678 PLZ Snacks and Soft drink booths Emergence Productions

Native Literary Arts Booth

Plaza Stage

Don Gaspar

700714 LIN-P

2012 ind ian m ar k et

700- 700716 716 LIN-W LIN-E

600-607 PLZ

608-6 PL Fellow Winn

Native American Clothing Contest Sunday, 9 a.m.-noon New Mexican


NY Times Santa Buffalo Thunder

Native Peoples

1 40


SWAIA Information and Volunteer Registration

651-666 PLZ 640-650 PLZ

630-637 PLZ

300-320 FR-N 300-320 FR-S

Five & Dime

300-315 FR-P

San Francisco Street

617 PL



Packing Shipping

Native Youth Programing

400420 WA-W


San Francisco St.


Lincoln Ave.

PAL Palace Ave. SF

Old Santa Fe Trail


Washington Ave.

Sena Plaza

400420 WA-E 270-276 PAL

Police and EMT

279-287 PAL

Cathedral Park

522535 SFT-P 522535 SFT-E

900911 CAT

IAIA Museum 321-344 FR-N 500521 SF

321-344 FR-S

La Fonda

Cathedral Place

522535 SFT-W

Sealaska Stage

Old Santa Fe Trail

-629 LZ

POG Palace of the Governors

Washington Ave.

Native Cinema Showcase

616 Z wship ners

CAT Cathedral Place

Marcy Street

Nonprofit Booths

SWAIA Merchandise

Cathedral Basilica of St. Francis of Assisi

SWAIA Gala Saturday evening

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alphabetical artist list Cherokee Arts Center cherokee 903 cat Various co-op Groups

Abeyta, Sharon santo domingo pueblo 532 sF-p i Jewelry

Goldenrod pojoaque pueblo/ santa clara pueblo 126 pOG ii pottery

Acadiz, Lawrence hopi 205 pal-n iV pueblo Wooden carvings

Naavaasya hopi/acoma pueblo 613 plZ i Jewelry iii paintings/drawings/ Graphics/photography

Adams, Tiffany chemehuevi/maidu 777 lin-W Vii diverse arts

Naveek navajo (diné) 244 pal-s i Jewelry PahponeeKickapoo/ Potawatomi 615 plZ ii pottery Poeh Arts intertribal 751 lin-W Various co-op Groups Ramah Navajo Weavers Assoc. navajo (diné) 100 pOG Vi textiles Tamaya Crafts Co-op santa ana pueblo 502 sF Various co-op Groups Tchin narragansett/blackfeet 522 sF-e i Jewelry White Swann hopi 614 plZ ii pottery Yellowman navajo (diné) 532 sF-e iii paintings/drawings/ Graphics/photography

A Abeita, Frances santo domingo pueblo 524 sF-e Vi textiles Abeita, Karen isleta pueblo/hopi 752 lin-e ii pottery Abeyta, Lester santo domingo pueblo 532 sF-p i Jewelry Abeyta, Pablita navajo (diné) 111 pOG ii pottery V sculpture Abeyta, Richard santo domingo pueblo 532 sF-p i Jewelry

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Adams, Victoria G. cheyenne 209 pal-n i Jewelry Vii diverse arts Aguilar, Joseph santo domingo pueblo 401 Wa-e i Jewelry iii paintings/drawings/ Graphics/photography

Albro, Janice sisseton-Wahpeton/ sioux 510 sF iii paintings/drawings/ Graphics/photography V sculpture Allison, Marla laguna pueblo 708 lin-p iii paintings/drawings/ Graphics/photography Amerman, Marcus choctaw 757 lin-W Viii beadwork/ Quillwork Antone, Annie tohono O’odham 413 Wa-W Xi basketry

Aragon Sr., Marvis acoma pueblo 257 pal-s ii pottery

Baca, David santa clara pueblo 264 pal-n ii pottery

Begay, Frances navajo (diné) 768 lin-e Vi textiles

Benally, Veronica navajo (diné) 324 Fr-n i Jewelry

Archuleta, Mary santa clara pueblo 265 pal-s ii pottery

Baca, Joe P. santa clara pueblo 203 pal-n ii pottery

Begay, Kary navajo (diné) 220 pal-n i Jewelry

Bennett, Donna acoma pueblo 720 lin-W i Jewelry

Arquero, Dominic cochiti pueblo 711 lin-p iii paintings/drawings/ Graphics/photography

Bacon, Eric passamaquoddy 762 lin-e Xi basketry

Begay, Kenneth navajo (diné) 768 lin-e i Jewelry

Bennett, George hualapai 720 lin-W i Jewelry

Bahe, Fidel navajo (diné) 600 plZ i Jewelry

Begay, Larry navajo (diné) 528 sF-p i Jewelry

Bailon, Clarence santo domingo pueblo 334 Fr-s i Jewelry

Begay, Lee navajo (diné) 756 lin-e i Jewelry

Berryhill, Les creek 329 Fr-n Viii beadwork/ Quillwork

Bailon, Eleanor santo domingo pueblo 334 Fr-s i Jewelry

Begay, Leroy navajo (diné) 768 lin-W i Jewelry

Bailon, Pablita santo domingo pueblo 713 lin-e i Jewelry

Begay, Mary Lou navajo (diné) 220 pal-n i Jewelry

Baker, Linda southern Ute 758 lin-e Viii beadwork/ Quillwork

Begay, Nellie navajo (diné) 220 pal-s Vi textiles

Arquero, Imogene Goodshot Oglala sioux 711 lin-p Viii beadwork/ Quillwork

Arquero, Martha cochiti pueblo Antonio, Atsatsa 529 sF-p navajo (diné)/shawnee ii pottery 611 plZ-Fellowship Arquero, Mary Vii diverse arts Aguilar, Michael A. cochiti pueblo Antonio, Frederica san ildefonso pueblo 529 sF-p navajo (diné) 767 lin-W ii pottery 705 lin-e ii pottery Viii beadwork/Quillwork ii pottery Aguilar, Richard Lee Arviso, Cheryl santo domingo pueblo/ Antonio, Olathe navajo (diné) navajo (diné)/shawnee 529 sF-W choctaw 611 plZ-Fellowship 332 Fr-s i Jewelry iii paintings/drawings/ i Jewelry Arviso, Steven Graphics/photography Aguilar, Wayne navajo (diné) santo domingo pueblo Aragon, Allen 766 lin-e navajo (diné) 900 cat i Jewelry 749 lin-e i Jewelry Arviso, Wil Paul i Jewelry Aguilar Jr., Martin navajo (diné) ii pottery san ildefonso pueblo 208 pal-s Aragon, Clarice 767 lin-W i Jewelry iii paintings/drawings/ acoma pueblo iii paintings/drawings/ 257 pal-s Graphics/photography Graphics/photography ii pottery Aguino, Karen Asenap, Jason Aragon, Delores santa clara pueblo comanche acoma pueblo 534 sF-e X moving images 215 pal-n ii pottery Ataumbi, Keri ii pottery Aguino, Kayleen A. kiowa Ohkay Owingeh pueblo Aragon, Joan 125 pOG Zia pueblo 534 sF-e i Jewelry 522 sF-W ii pottery iii paintings/drawings/ Vii diverse arts Graphics/photography Ahtoneharjo Growing Viii beadwork/ Atencio, Ambrose Thunder, Tahnee Quillwork santo domingo pueblo Marie Aragon, Loren 525 sF-p muscogee (creek) acoma pueblo ii pottery 247 pal-s 907 cat Vii diverse arts i Jewelry Viii beadwork/ iii paintings/drawings/ Quillwork Graphics/photography Aitson, Mary Babby, Angela Vii diverse arts cherokee Oglala lakota sioux Aragon, Nanabah 333 Fr-s 243 pal-n navajo (diné) Xi basketry iii paintings/drawings/ 749 lin-e Graphics/photography Aitson, Richard Vi textiles Vii diverse arts kiowa Aragon, Ralph 344 Fr-n Babic, Mary Zia pueblo Viii beadwork/ aleut 522 sF-W Quillwork 241 pal-n ii pottery Vii diverse arts Albert, Robert iii paintings/drawings/ hopi Baca, Angela Graphics/photography 205 pal-n santa clara pueblo Vii diverse arts iV pueblo Wooden 264 pal-n Aragon, Wanda carvings ii pottery acoma pueblo Baca, Annie 257 pal-s santa clara pueblo ii pottery 702 lin-W ii pottery

2012 ind ia n m ar k et


Balloue, John cherokee 419 Wa-e iii paintings/drawings/ Graphics/photography Bassett, Hathaweh passamaquoddy 907 cat ii pottery Bassett, Hiyatsi passamaquoddy 907 cat ii pottery Beck Sr., Victor P. navajo (diné) 259 pal-n i Jewelry

Begay, Nelson navajo (diné) 220 pal-n i Jewelry Begay, Rebecca navajo (diné) 678 plZ i Jewelry Begay, Rena navajo (diné) 259 pal-n Vi textiles Begay, Richard navajo (diné) 246 pal-n i Jewelry

Betoney Sr., Billy navajo (diné) 418 Wa-e i Jewelry Beyale, Jaycee navajo (diné) 772 lin-e iii paintings/drawings/ Graphics/photography Bia, Norman navajo (diné) 761 lin-W i Jewelry BigBee, Walter comanche 121 pOG iii paintings/drawings/ Graphics/photography BigKnife, Heidi shawnee 343 Fr-n i Jewelry Billie, Gene navajo (diné) 200 pal-s V sculpture Bird, Dennis Ohkay Owingeh pueblo/ santo domingo pueblo 260 pal-s i Jewelry

Begay, Romaine navajo (diné) 713 lin-W ii pottery

Bird, Gail santo domingo pueblo/ laguna pueblo 262 pal-n i Jewelry

Begay, Abraham navajo (diné) 300 Fr-s i Jewelry

Begay, Shonto navajo (diné) 225 pal iii paintings/drawings/ Graphics/photography

Bird, Jolene santo domingo pueblo 710 lin-p i Jewelry

Begay, D.Y. navajo (diné) 701 lin-e Vi textiles

Begay, Steven navajo (diné) 220 pal-n i Jewelry

Begay, Darryl navajo (diné) 678 plZ i Jewelry

Begay Jr., Frederick navajo (diné)/Ute 601 plZ V sculpture

Begay, Eddie navajo (diné) 769 lin-W i Jewelry

Ben, Arland navajo (diné) 518 sF i Jewelry

Begay, Erick navajo (diné) 322 Fr-s i Jewelry

Benally, Ernest navajo (diné) 324 Fr-n i Jewelry

Becker, Nanobah navajo (diné) X moving images

Blaze, Randall Oglala lakota sioux 231 pal-s ii pottery iii paintings/drawings/ Graphics/photography V sculpture Blue Jacket-Roccamo, Shawn shawnee/cherokee 110 pOG i Jewelry Bobelu, Gomeo Zuni pueblo 405 Wa-W i Jewelry Boome, Peter Upper skagit 621 plZ iii paintings/drawings/ Graphics/photography Boone, Lena Zuni pueblo 714 lin-p i Jewelry V sculpture Bordeaux, Todd rosebud sioux 417 Wa-e iii paintings/drawings/ Graphics/photography Vii diverse arts Viii beadwork/ Quillwork Borts-Medlock, Autumn santa clara pueblo 664 plZ ii pottery Bowannie Sr., Bryston Zuni pueblo 405 Wa-W V sculpture Box, Austin southern Ute 738 lin-W Vii diverse arts Box, Debra southern Ute 738 lin-W Vii diverse arts Boxley, David tsimshian 905 cat Vii diverse arts Boxley Jr., David tsimshian 905 cat Vii diverse arts

Bird-Romero, Mike Ohkay Owingeh pueblo/ Bread, Jackie taos pueblo blackfeet 259 pal-s 284 pal i Jewelry Viii beadwork/ Black, Sally Quillwork navajo (diné) Bread, Nathaniel 725 lin-W navajo (diné)/apache Xi basketry 284 pal Blackhorse, Catherine Vii diverse arts seminole Bread, Paris L. 235 pal-s navajo (diné) Vi textiles 284 pal Blalock-Jones, Ruthe iii paintings/drawings/ shawnee/delaware Graphics/photography 109 pOG iii paintings/drawings/ Graphics/photography

alphabetIcal artIst lIst Broer, Roger Oglala sioux 106 pOG III paintings/drawings/ Graphics/photography

Calabaza, Mary santo domingo pueblo 304 Fr-n I Jewelry

Calabaza, Mitchell Brokeshoulder, Aaron santo domingo pueblo 414 Wa-W shawnee I Jewelry 735 lIn-e I Jewelry Calnimptewa, Cecil Brokeshoulder, Brent hopi 740 lIn-W hopi/shawnee IV pueblo Wooden 238 pal-s carvings IV pueblo Wooden carvings Campbell, Terrence Brokeshoulder, Randy tahltan 303 Fr-s hopi/shawnee I Jewelry 238 pal-s III paintings/drawings/ IV pueblo Wooden Graphics/photography carvings V sculpture Burgess, Nocona Candelario, Hubert comanche san Felipe pueblo 729 lIn-W III paintings/drawings/ 217 pal-s II pottery Graphics/photography Burgess, Quanah comanche 734 lIn-W III paintings/drawings/ Graphics/photography Burgess, Ronald comanche 734 lIn-W III paintings/drawings/ Graphics/photography Cadman, Marcus navajo (diné) 774 lIn-e III paintings/drawings/ Graphics/photography Cajero, Althea santo domingo pueblo/ acoma pueblo 521 sF I Jewelry Cajero, Esther H. Jemez pueblo 320 Fr-s II pottery VII diverse arts Cajero, Joe V. Jemez pueblo 320 Fr-s VII diverse arts Cajero, Teri Jemez pueblo 622 plZ II pottery Cajero Sr., Aaron Jemez pueblo 622 plZ II pottery Cajero Jr., Joe Jemez pueblo 521 sF V sculpture Calabaza, Jimmy santo domingo pueblo 533 sF-e I Jewelry Calabaza, Joseph F. santo domingo pueblo 304 Fr-n I Jewelry Calabaza, Marie J. Ohkay Owingeh pueblo 414 Wa-W I Jewelry

Cerno Sr., Joseph acoma pueblo 700 lIn-p II pottery

Chavez, Jared san Felipe pueblo 306 Fr-n I Jewelry

Chopito, Aric Zuni pueblo 619 plZ VI textiles

Coonsis, Colin Zuni pueblo 336 Fr-s I Jewelry

Crespin, Nancy santo domingo pueblo 315 Fr-s I Jewelry

Chacon, Nanibah navajo (diné) 772 lIn-e III paintings/drawings/ Graphics/photography

Chavez, Joseph kewa pueblo 769 lIn-e I Jewelry

Church, Kelly chippewa 738 lIn-e XI basketry

Coonsis, Phyllis Zuni pueblo 906 cat I Jewelry

Crespin, Terecita santo domingo pueblo 307 Fr-n I Jewelry

Chavez, LeJeune kewa pueblo/seminole 769 lIn-e I Jewelry VIII beadwork/ Quillwork

Clark, Carl navajo (diné) 744 lIn-W I Jewelry

Corcoran, Dolores Purdy caddo 634 plZ III paintings/drawings/ Graphics/photography VII diverse arts

Croslin, Larry cherokee 535 sF-W I basketry

Chandler Good Strike, Aloysius Gros Ventre/arapaho 302 Fr-s VII diverse arts Chaney, Ross cherokee 763 lIn-W III paintings/drawings/ Graphics/photography Charley, Avis dakota/navajo (diné) 406 Wa-W III paintings/drawings/ Graphics/photography

Carolin, Rex cheyenne river sioux 123 pOG VII diverse arts

Charley, Berdina navajo (diné) 701 lIn-e VI textiles

Carpio, Caroline Isleta pueblo 659 plZ II pottery V sculpture

Charley, Karen Kahe hopi 737 lIn-W II pottery

Carr, Stacey laguna pueblo 784 lIn-W II pottery

Charlie, Edward navajo (diné) 717 lIn-e I Jewelry

Chavez, Michael D. santo domingo pueblo 716 lIn-e I Jewelry Chavez, Richard san Felipe pueblo 306 Fr-n I Jewelry

Clark, Gwendolyn navajo (diné) 332 Fr-n III paintings/drawings/ Graphics/photography

Chavez, Trinnie santo domingo pueblo 716 lIn-e I Jewelry

Clark, Irene navajo (diné) 744 lIn-W I Jewelry

Chavez Sr., Franklin santo domingo pueblo 303 Fr-n I Jewelry

Clark, Irene H. navajo (diné) 332 Fr-n VI textiles

Chavez-James, B. Toby santo domingo pueblo 407 Wa-W VIII beadwork/ Quillwork

Claw, Kareen san carlos apache 706 lIn-W VIII beadwork/Quillwork

Charlie, Ric Carrillo, Franklin navajo (diné) laguna pueblo/choctaw 407 Wa-e 727 lIn-W I Jewelry I Jewelry Chattin, Daniel Castro, Christina Zuni pueblo Jemez pueblo 604 plZ X moving Images V sculpture

Chavez-Thomas, Lisa Isleta pueblo 411 Wa-e VII diverse arts

Casuse, Fritz navajo (diné) 519 sF I Jewelry III paintings/drawings/ Graphics/photography

Chavarria, Dave santa clara pueblo 410 Wa-W VII diverse arts VIII beadwork/ Quillwork

Chee, Ronald navajo (diné) 721 lIn-e III paintings/drawings/ Graphics/photography

Caté, Barbara santo domingo pueblo 703 lIn-e I Jewelry

Chavarria, Denise santa clara pueblo 253 pal-n II pottery

Caté, Irma santo domingo pueblo 708 lIn-e I Jewelry

Chavarria, Loretta “Sunday” santa clara pueblo 253 pal-n II pottery

Caté, Lorraine santo domingo pueblo 708 lIn-e I Jewelry Caté, Mary santo domingo pueblo 703 lIn-e I Jewelry Caté, Ricardo Lee santo domingo pueblo 743 lIn-e III paintings/drawings/ Graphics/photography Cerno, Barbara acoma pueblo/hopi 700 lIn-p II pottery

Chavarria, Manuel hopi 737 lIn-W IV pueblo Wooden carvings Chavarria, Stella santa clara pueblo 253 pal-n II pottery

Clark, Don navajo (diné) 120 pOG III paintings/drawings/ Graphics/photography

Chee, Frank navajo (diné) 266 pal-s I Jewelry

Claw, Monty navajo (diné) 706 lIn-W I Jewelry III paintings/drawings/ Graphics/photography VII diverse arts Cling, Alice navajo (diné) 413 Wa-e II pottery Cody, Lola navajo (diné) 733 lIn-W VI textiles

Chee Sr., Raymond navajo (diné) 631 plZ V sculpture

Cody, Melissa navajo (diné) 733 lIn-W VI textiles

Chiago Sr., Michael tohono O’odham 790 lIn-W III paintings/drawings/ Graphics/photography

Concho, Carolyn acoma pueblo 530 sF-p II pottery

Chimerica, Darance hopi 614 plZ IV pueblo Wooden carvings Chinana, Lorraine Jemez pueblo 764 lIn-W II pottery

Chavez, Clarita santo domingo pueblo 743 lIn-W I Jewelry

Chitto, Hollis choctaw/laguna Isleta 725 lIn-e VIII beadwork/ Quillwork

Chavez, Dorothy santo domingo pueblo 303 Fr-n I Jewelry

Chitto, Randall choctaw 725 lIn-e II pottery

Concho, Rachel acoma pueblo 507 sF II pottery Concho Jr., George acoma pueblo 908 cat II pottery Coochwikvia, Marcus hopi 763 lIn-W I Jewelry Coochyamptewa, Paul hopi 414 Wa-e IV pueblo Wooden carvings VII diverse arts

Coriz, Alonzo santo domingo pueblo 708 lIn-W I Jewelry Coriz, Ione santo domingo pueblo 531 sF-W II pottery Coriz, Joseph D. santo domingo pueblo 623 plZ I Jewelry Coriz, Juanita D. santo domingo pueblo 305 Fr-s I Jewelry Coriz, Lila santo domingo pueblo 524 sF-W I Jewelry Coriz, Mary R. santo domingo pueblo 325 Fr-s I Jewelry Coriz, Rudy santo domingo pueblo 325 Fr-s I Jewelry Coriz-Lovato, Mary santo domingo pueblo 534 sF-p I Jewelry Cornshucker, Melvin cherokee 724 lIn-W II pottery Correa, Prudy acoma pueblo 239 pal-n II pottery Country Jr., Francis sisseton-Wahpeton sioux 201 pal-n VII diverse arts Craig, Velma navajo (diné) X moving Images Crazyhorse, Cippy cochiti pueblo 258 pal-n I Jewelry Crazyhorse, Waddie “Red Dakota” cochiti pueblo 258 pal-n I Jewelry Crespin, Don santo domingo pueblo 315 Fr-s I Jewelry

Cuch, Norman hopi/Ute (Uinta & Ouray) 766 lIn-W IV pueblo Wooden carvings Cummings, Edison navajo (diné) 207 pal-s I Jewelry Curran, Dolores santa clara pueblo 263 pal-n II pottery Curran, Ursula Ohkay Owingeh pueblo 263 pal-n II pottery Curtis, Jennifer navajo (diné) 736 lIn-W I Jewelry Custer, Cheyenne navajo (diné) 737 lIn-e I Jewelry Custer, Gary navajo (diné) 204 pal-s I Jewelry

Darden, Steve navajo (diné) 705 lIn-p VII diverse arts VIII beadwork/Quillwork Dark Mountain, Dawn Oneida 759 lIn-e III paintings/drawings/ Graphics/photography Dawahoya, Nuvadi hopi 214 pal-s IV pueblo Wooden carvings Day, Irma laguna pueblo 222 pal-n XI basketry Day Sr., Jonathan hopi/laguna pueblo 655 plZ IV pueblo Wooden carvings DeCelles, Jon Gros Ventre 783 lIn-W V sculpture Denipah, Marian navajo (diné)/ Ohkay Owingeh pueblo 512 sF I Jewelry III paintings/drawings/ Graphics/photography DesJarlais Jr., Larry turtle mt. chippewa 728 lIn-e III paintings/drawings/ Graphics/photography V sculpture Dial, Isaac navajo (diné) 627 plZ I Jewelry

Custer, Ira navajo (diné) 737 lIn-e I Jewelry

D Da, Jarrod san Ildefonso pueblo 517 sF III paintings/drawings/ Graphics/photography Dalangyawma, Ramon hopi 717 lIn-W I Jewelry Dalasohya Jr., David hopi 775 lIn-e III paintings/drawings/ Graphics/photography Dallasvuyaoma, Bennard pima-maricopa/hopi 286 pal I Jewelry Dallasvuyaoma, Frances Jue hopi 286 pal I Jewelry

Dougi, Ishkoten Jicarilla apache/ navajo (diné) 213 pal-n III paintings/drawings/ Graphics/photography V sculpture Douglas-Willard, Diane haida 241 pal-s XI basketry Draper Jr., Teddy navajo (diné) 129 pOG I Jewelry III paintings/drawings/ Graphics/photography V sculpture Dugi, Orlando navajo (diné) 237 pal-s I Jewelry VIII beadwork/Quillwork Dukepoo, Causandra taos pueblo 254 pal-n I Jewelry Dukepoo, Michael hopi 254 pal-n I Jewelry

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aLPHaBetiCaL artiSt LiSt Durr, Judith Choctaw 792 Lin-W iii Paintings/drawings/ Graphics/Photography

Edd, Ruthie navajo (diné) 750 Lin-W iii Paintings/drawings/ Graphics/Photography

Duwyenie, Debra Santa Clara Pueblo 410 Wa-W ii Pottery

Edd, Santana navajo (diné) 750 Lin-W iii Paintings/drawings/ Graphics/Photography

Duwyenie, Mary Lynn Hopi 302 Fr-n iii Paintings/drawings/ Graphics/Photography Vi textiles

Edd, Sierra navajo (diné) 750 Lin-W iii Paintings/drawings/ Graphics/Photography

Duwyenie, Preston Hopi 410 Wa-W i Jewelry ii Pottery

Emarthle-Douglas, Carol Seminole/ northern arapaho 516 SF Xi Basketry


Emerson, Anthony Chee navajo (diné) 113 POG iii Paintings/drawings/ Graphics/Photography

Earles, Chase kahwinhut/Caddo 780 Lin-e ii Pottery Early, Alan Laguna Pueblo 243 PaL-S ii Pottery Early, Max Laguna Pueblo 243 PaL-S ii Pottery Ebelacker, Jamelyn Santa Clara Pueblo 280 PaL ii Pottery Ebelacker, James Santa Clara Pueblo 280 PaL ii Pottery Ebelacker, Jason L. Santa Clara Pueblo 758 Lin-W ii Pottery Ebelacker, Jerome Santa Clara Pueblo 758 Lin-W ii Pottery Ebelacker, Sarena Santa Clara Pueblo 280 PaL ii Pottery Edaakie, Dee Zuni Pueblo 646 PLZ V Sculpture Edaakie, Raylan Zuni Pueblo 230 PaL-n i Jewelry Edaakie, Sheryl Zuni Pueblo 207 PaL-n i Jewelry Edd, Chamisa navajo (diné) 750 Lin-W iii Paintings/drawings/ Graphics/Photography

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Emerson, Ramona navajo (diné) X moving images Emery, Dorothy Jemez Pueblo 731 Lin-W i Jewelry Vii diverse arts Emery Jr., Terrance St. Croix Chippewa/ Jemez Pueblo 731 Lin-W i Jewelry Emery Sr., Terrence St. Croix Chippewa 731 Lin-W i Jewelry Vii diverse arts Epaloose, Kenneth Zuni Pueblo 240 PaL-n ii Pottery Ernest, Marcella Ojibwe-Bad river Band X moving images Esquiro, Sholeen “Sho Sho” kaska dene 902 Cat Vi textiles Esquivel, Dennis Ottawa 729 Lin-e iii Paintings/drawings/ Graphics/Photography Vii diverse arts

Eustace-Carlisle, Bernadette Zuni Pueblo/ Cochiti Pueblo 415 Wa-e i Jewelry Eyre, Chris Cheyenne/arapaho X moving images

F Farris, Thomas Otoe-missouria 204 PaL-n iii Paintings/drawings/ Graphics/Photography Fendenheim, James tohono O’odham 757 Lin-W i Jewelry V Sculpture Fender, Erik “Than Tsideh” San ildefonso Pueblo 702 Lin-P ii Pottery Fender, Martha “Appleleaf” San ildefonso Pueblo 702 Lin-P ii Pottery Fields, Anita Osage 209 PaL-S ii Pottery V Sculpture Fischer, Mark Oneida 776 Lin-e V Sculpture Flett Sr., George Spokane 727 Lin-e iii Paintings/drawings/ Graphics/Photography Foley, Benina Jemez Pueblo 523 SF-W ii Pottery Folwell, Jody Santa Clara Pueblo 640 PLZ ii Pottery Folwell, Susan Santa Clara Pueblo 640 PLZ ii Pottery Fontenot, Peggy Potawatomi/Cherokee 202 PaL-n iii Paintings/drawings/ Graphics/Photography Viii Beadwork/ Quillwork

Ethelbah Jr., Upton Santa Clara Pueblo/ apache (White mountain) 654 PLZ V Sculpture

Fowler, Cindy navajo (diné) 523 SF-e Viii Beadwork/Quillwork

Eustace, Jolene Zuni Pueblo/ Cochiti Pueblo 415 Wa-e i Jewelry

Fowler, Myron navajo (diné) 777 Lin-e iii Paintings/drawings/ Graphics/Photography

2012 ind ia n m ar k et

Fragua, B.J. Jemez Pueblo 727 Lin-W ii Pottery

Gachupin, Laura Jemez Pueblo 523 SF-W ii Pottery

Garcia, Wilfred L. acoma Pueblo 511 SF ii Pottery

Fragua, Cliff Jemez Pueblo 753 Lin-e V Sculpture

Gala, Carol Laguna Pueblo/ taos Pueblo 709 Lin-e Viii Beadwork/Quillwork

Garza, Dolly Haida 237 PaL-S Xi Basketry Vi textiles

Gala Lewis, Lorraine Laguna Pueblo/ taos Pueblo/Hopi 242 PaL-n ii Pottery

Gasper, Debra Zuni Pueblo 714 Lin-P V Sculpture

Fragua, Glendora Jemez Pueblo 652 PLZ ii Pottery Fragua, Juanita Jemez Pueblo 652 PLZ ii Pottery Fragua, Linda Jemez Pueblo 222 PaL-n ii Pottery Fragua, Melinda Jemez Pueblo 712 Lin-W ii Pottery Fragua, Tablita Jemez Pueblo 753 Lin-e ii Pottery Fragua-Cota, Laura Jemez Pueblo 724 Lin-e i Jewelry iii Paintings/drawings/ Graphics/Photography V Sculpture Francis, Florence navajo (diné) 761 Lin-W i Jewelry Franklin, William navajo (diné) 118 POG iii Paintings/drawings/ Graphics/Photography Fredericks, Evelyn Hopi 778 Lin-W V Sculpture Freeland, Sydney navajo (diné) X moving images Frey, Frances Passamaquoddy 712 Lin-P Xi Basketry Viii Beadwork/Quillwork Frey, Jeremy Passamaquoddy 712 Lin-P Xi Basketry Friday, Paula Jicarilla apache 765 Lin-W Viii Beadwork/Quillwork

G Gabriel, Victor Washoe 245 PaL-n i Jewelry Gachupin, Henrietta Jemez Pueblo 712 Lin-W ii Pottery

Galvan, Joselita Zia Pueblo 760 Lin-W Vi textiles Garcia, David Pascua-Yaqui/ nambe Pueblo 506 SF i Jewelry Garcia, Effie Santa Clara Pueblo 713 Lin-P ii Pottery Garcia, Emily B. Santo domingo Pueblo 642 PLZ i Jewelry Garcia, Jason Santa Clara Pueblo 126 POG ii Pottery iii Paintings/drawings/ Graphics/Photography Garcia, John Santa Clara Pueblo 126 POG ii Pottery iii Paintings/drawings/ Graphics/Photography Garcia, Lorencita Santo domingo Pueblo 320 Fr-n i Jewelry Garcia, Margaret Peggy acoma Pueblo 736 Lin-e ii Pottery

Gasper, Dinah Zuni Pueblo 714 Lin-P V Sculpture Gasper, Duran Zuni Pueblo 786 Lin-W i Jewelry Gasper Sr., Bart Zuni Pueblo 251 PaL-n iV Pueblo Wooden Carvings Gaussoin, Connie Tsosie navajo (diné)/ Picuris Pueblo 261 PaL-S i Jewelry V Sculpture Gaussoin, David navajo (diné)/ Picuris Pueblo 261 PaL-S i Jewelry Gaussoin, Wayne Picuris Pueblo/navajo (diné) 261 PaL-S i Jewelry Gaussoin Jr., Jerry Picuris Pueblo/ navajo (diné) 261 PaL-S i Jewelry Gchachu, Smokey Zuni Pueblo 755 Lin-e i Jewelry

Garcia, Mary D. Lewis acoma Pueblo 527 SF-e ii Pottery

Gendron, Richard M. Colville 764 Lin-e iii Paintings/drawings/ Graphics/Photography

Garcia, Melanie acoma Pueblo 736 Lin-e ii Pottery

Gene, Leonard navajo (diné) 658 PLZ i Jewelry

Garcia, Michael “Na Na Ping” Pascua Yaqui 506 SF i Jewelry

George, Ros Hopi 672 PLZ iV Pueblo Wooden Carvings

Garcia, Nelson Santo domingo Pueblo 718 Lin-W i Jewelry

Giago, Lauren Good Day arikara/Blackfeet/Cree 335 Fr-n iii Paintings/drawings/ Graphics/Photography Vi textiles Vii diverse arts

Garcia, Sharon Naranjo Santa Clara Pueblo 606 PLZ ii Pottery

Gibson, Rowena taos Pueblo/ Santa Clara Pueblo 706 Lin-e ii Pottery

Goshorn, Debra Shan Cherokee 793 Lin-W Xi Basketry iii Paintings/drawings/ Graphics/Photography

Goeman, Ronni-Leigh Grandbois, Rollie Onondaga turtle mountain 771 Lin-W Chippewa Xi Basketry 715 Lin-e Goeman, Stonehorse V Sculpture Seneca Grant, Dorothy 771 Lin-W Haida of alaska V Sculpture 747 Lin-e Goldtooth, Laverna Vi textiles navajo (diné) Greenwood, Brent 418 Wa-W Ponca i Jewelry 779 Lin-W Gomez, Glenn iii Paintings/drawings/ taos Pueblo/ Graphics/Photography Pojoaque Pueblo Greeves, Teri 223 PaL-S kiowa ii Pottery 327 Fr-n Gonzales, Aaron Viii Beadwork/Quillwork San ildefonso Pueblo Gress, Robert 247 PaL-n Crow ii Pottery 509 SF Gonzales, Barbara i Jewelry “Tahn-moo-whe” Growing Thunder, San ildefonso Pueblo Darryl 247 PaL-n dakota nakona ii Pottery iii Paintings/drawings/ 340 Fr-n iii Paintings/drawings/ Graphics/Photography Graphics/Photography Gonzales, Brandan Growing Thunder, San ildefonso Pueblo 247 PaL-n Jessa Rae ii Pottery assiniboine/Sioux (dakota) Gonzales, Cavan 419 Wa-W San ildefonso Pueblo Viii Beadwork/ 520 SF Quillwork ii Pottery Growing Thunder, Gonzales, Isabel Ramey Jemez Pueblo assiniboine/Sioux 215 PaL-S (Fort Peck) Vi textiles 340 Fr-n Gonzales, Jeanne Viii Beadwork/Quillwork San ildefonso Pueblo/ Growing Thunder Winnebago Fogarty, Joyce 312 Fr-S Sioux/assiniboine ii Pottery 419 Wa-W Gonzales, John Viii Beadwork/ San ildefonso Pueblo Quillwork 741 Lin-W Growing Thunder ii Pottery Fogarty, Juanita Gonzales, Melanie Sioux/assiniboine San ildefonso Pueblo/ 419 Wa-W Jemez Pueblo Viii Beadwork/ 215 PaL-S Quillwork Vi textiles Guardipee, Terrance Gonzales, Myron Blackfeet Jemez Pueblo/ 235 PaL-S San ildefonso Pueblo iii Paintings/drawings/ 215 PaL-S Graphics/Photography Vii diverse arts Gutierrez, Denny Gonzales, Robert Santa Clara Pueblo San ildefonso Pueblo 301 Fr-n 247 PaL-n ii Pottery ii Pottery Gutierrez, Dorothy Gonzales-Kailahi, navajo (diné) Marie Ann 254 PaL-S San ildefonso Pueblo ii Pottery 312 Fr-S Gutierrez, Gary ii Pottery Santa Clara Pueblo Gordo, Melvin 254 PaL-S navajo (diné) ii Pottery 720 Lin-e i Jewelry

alphabetIcal artIst lIst Gutierrez, Geraldine san Ildefonso pueblo/ santa clara pueblo 309 Fr-p III paintings/drawings/ Graphics/photography Gutierrez, Margaret Rose santa clara pueblo 248 pal-s II pottery Gutierrez, Rose santa clara pueblo/ san Ildefonso pueblo 309 Fr-p II pottery Gutierrez, Teresa santa clara pueblo 230 pal-s II pottery Gutierrez Jr., Tony santa clara pueblo 707 lIn-W II pottery Gutierrez-Naranjo, Carol santa clara pueblo/ san Ildefonso pueblo 309 Fr-p II pottery Gutierrez-Naranjo, Kathy san Ildefonso pueblo/ santa clara pueblo 309 Fr-p II pottery

H Hageman, Lisa haida 751 lIn-e VI textiles Haloo, Rolanda Zuni pueblo/ navajo (diné) 336 Fr-s I Jewelry Hanna, Crystal cherokee (Western) 513 sF II pottery Hardridge, Justin “Starr” muscogee (creek) 508 sF III paintings/drawings/ Graphics/photography Hardy, Genevieve navajo (diné) 754 lIn-e VI textiles Harjo Jr., Benjamin seminole/shawnee 103 pOG III paintings/drawings/ Graphics/photography Harris, Cheyenne navajo (diné) 101 pOG I Jewelry Harrison, Jimmie navajo (diné) 501 sF I Jewelry

Hart, Nathan cheyenne arapaho 785 lIn-W V sculpture

Herrera, Tim cochiti pueblo 670 plZ I Jewelry

Harvey, Jason navajo (diné) 641 plZ VI textiles

Hesuse, Lori navajo (diné) 529 sF-W I Jewelry

Harvey, Sheldon navajo (diné) 794 lIn-W III paintings/drawings/ Graphics/photography

Hewson, Robert tsimshian 739 lIn-e III paintings/drawings/ Graphics/photography

Haskie, Vernon navajo (diné) 632 plZ I Jewelry

Histia, Jacqueline acoma pueblo 271 pal II pottery

Hattie Sr., Brion Zuni pueblo 709 lIn-p V sculpture

Hobson, Andrew navajo (diné) 282 pal III paintings/drawings/ Graphics/photography

Haukaas, M. Linda rosebud sioux 127 pOG III paintings/drawings/ Graphics/photography Haukaas, Thomas rosebud sioux 325 Fr-n III paintings/drawings/ Graphics/photography VIII beadwork/ Quillwork Hayes, Lucille Bah navajo (diné) 313 Fr-n I Jewelry Hemlock, Carla mohawk 776 lIn-W VII diverse arts Hemlock, Donald mohawk (st. regis) 776 lIn-W VII diverse arts Henderson, Alberta navajo (diné) 406 Wa-e VI textiles Hendren, Shane navajo (diné) 712 lIn-e I Jewelry

Hodgins, L. Bruce navajo (diné) 501 sF I Jewelry Holmes Jr., Arthur hopi 219 pal-n IV pueblo Wooden carvings Holt, Lisa cochiti pueblo 228 pal-n II pottery Holy Bear, Charlene standing rock sioux 408 Wa-e VII diverse arts Honahnie, Anthony hopi 759 lIn-W I Jewelry III paintings/drawings/ Graphics/photography Honanie, Antone hopi 337 Fr-s I Jewelry IV pueblo Wooden carvings

Honanie, Delbridge hopi 716 lIn-W Her Many Horses, Emil IV pueblo Wooden Oglala lakota carvings 669 plZ Honanie, Ernest VII diverse arts hopi Herrera, Carlos 337 Fr-s cochiti pueblo IV pueblo Wooden 670 plZ carvings VII diverse arts Honanie, Kara Anne XI basketry hopi Herrera, Grace Ann 714 lIn-e navajo (diné) IV pueblo Wooden 318 Fr-s carvings I Jewelry Honanie, Watson Herrera, Theodore hopi Arnold 714 lIn-e cochiti pueblo I Jewelry 670 plZ Honyouti, Richard VII diverse arts hopi Herrera, Thomas L. 726 lIn-W cochiti pueblo VII diverse arts 670 plZ VII diverse arts XI basketry

Honyumptewa, Aaron picuris pueblo/hopi 500 sF IV pueblo Wooden carvings


Jackson, Dan A. navajo (diné) 343 Fr-s Honyumptewa, Lorne I Jewelry K. Jackson, Gene hopi/picuris pueblo navajo (diné) 500 sF III paintings/drawings/ 728 lIn-W I Jewelry Graphics/photography Jackson, Martha Honyumptewa, navajo (diné) Stetson 728 lIn-W hopi I Jewelry 500 sF IV pueblo Wooden Jackson, Tommy carvings navajo (diné) 725 lIn-W Hoskie, Randy I Jewelry navajo (diné) 771 lIn-e Jacobs, Alex I Jewelry akwesasne mohawk 321 Fr-s Howard, Ivan III paintings/drawings/ navajo (diné) Graphics/photography 704 lIn-W I Jewelry James, Darlene pomo Howard, Norma 516 sF choctaw/chickasaw XI basketry 206 pal-n III paintings/drawings/ Jamon, Carlton Graphics/photography Zuni pueblo/ navajo (diné) Hubbell, Patrick 216 pal-s navajo (diné) I Jewelry 910 cat III paintings/drawings/ Jenkins, Michael Graphics/photography hopi/pima 909 cat Huma, Rondina IV pueblo Wooden hopi carvings 528 sF-W II pottery Jennings, Vanessa pima/kiowa Hummingbird, Jesse 669 plZ cherokee VII diverse arts 404 Wa-e VIII beadwork/ III paintings/drawings/ Quillwork Graphics/photography Jensen, David Hunt, Corrine hopi tlingit 279 pal 911 cat IV pueblo Wooden I Jewelry carvings VI textiles VII diverse arts Joe, Alfred navajo (diné) Hunter, Cody 525 sF-W navajo (diné) I Jewelry 240 pal-s I Jewelry Joe, Bryan navajo (diné) Hunter, Wilma 525 sF-W navajo (diné) I Jewelry 240 pal-s I Jewelry Joe, Cheryl navajo (diné) Huntinghorse, Dina 316 Fr-n Wichita/kiowa III paintings/drawings/ 420 Wa-e Graphics/photography I Jewelry Joe, Hyrum Hyde, Daniel navajo (diné)/Ute navajo (diné) 233 pal-n X moving Images III paintings/drawings/ Graphics/photography


Irene, Mary muscogee (creek) 236 pal-n I Jewelry

Joe, Larry R. navajo (diné) 706 lIn-p I Jewelry Joe, Oreland Ute/navajo (diné) 700 lIn-e I Jewelry V sculpture

Joe-Chandler, Amelia navajo (diné) 338 Fr-s I Jewelry John, Alvin navajo (diné) 637 plZ III paintings/drawings/ Graphics/photography V sculpture John, David navajo (diné) 274 pal III paintings/drawings/ Graphics/photography V sculpture Johnson, Kenneth muscogee/seminole 237 pal-n I Jewelry Johnson, Pete navajo (diné) 736 lIn-W I Jewelry

Jumbo, Darrell navajo (diné) 416 Wa-W I Jewelry


Koinva, Anderson hopi 762 lIn-W I Jewelry IV pueblo Wooden carvings Kokaly, Mary Lou Isleta pueblo/ Ohkay Owingeh pueblo 218 pal-s II pottery

Kahe, Gloria navajo (diné) 752 lIn-W II pottery Kahe, Valerie J. hopi 752 lIn-W II pottery Kanteena, Michael laguna pueblo 528 sF-p II pottery

Kootswatewa, D’Armon hopi 279 pal IV pueblo Wooden carvings

Kooyahoema, Kathryn Kaydahzinne, Vincent hopi 336 Fr-n mescalero apache XI basketry 731 lIn-e V sculpture

Koruh, Renferd hopi 307 Fr-s IV pueblo Wooden carvings

Johnson, Yazzie navajo (diné) 262 pal-n I Jewelry

Kaye, Wilmer hopi 403 Wa-W IV pueblo Wooden carvings

Jojola, Deborah Isleta pueblo/ Jemez pueblo 715 lIn-e III paintings/drawings/ Graphics/photography

Kayquoptewa, Brendan hopi 420 Wa-W IV pueblo Wooden carvings

Laahty, Lorena Zuni pueblo 310 Fr-p VIII beadwork/Quillwork

Jojola, Vernon Isleta pueblo/laguna pueblo 721 lIn-W I Jewelry

Kelly, Craig navajo (diné) 524 sF-e VIII beadwork/Quillwork

Laahty, Ricky Zuni pueblo 337 Fr-n V sculpture

Kemp, Randy muscogee (creek)/ choctaw 748 lIn-W III paintings/drawings/ Graphics/photography

Laahty, Ron Zuni pueblo 337 Fr-n V sculpture

Jonathan, Grant tuscarora 772 lIn-W VIII beadwork/Quillwork Jones, Topaz shoshone/lummi 219 pal-s III paintings/drawings/ Graphics/photography Jones-Crouch, Micqaela shoshone 734 lIn-e III paintings/drawings/ Graphics/photography Juanico, Marie acoma pueblo 215 pal-n II pottery Juanico, Marietta acoma pueblo 323 Fr-n II pottery Juanico, Melvin acoma pueblo 323 Fr-n II pottery Judd, Steven kiowa/choctaw 327 Fr-s III paintings/drawings/ Graphics/photography X moving Images Julian, Rainey Jicarilla apache 600 plZ I Jewelry

Kemp, Rykelle creek/choctaw 748 lIn-W III paintings/drawings/ Graphics/photography Keyonnie, Julius navajo (diné) 227 pal-s I Jewelry King, James navajo (diné) 523 sF-e III paintings/drawings/ Graphics/photography King, John navajo (diné) 616 plZ III paintings/drawings/ Graphics/photography Kirk, Michael Isleta pueblo/ navajo (diné) 748 lIn-e I Jewelry Kohlmeyer, Reina Jemez pueblo 310 Fr-n II pottery Kohlmeyer-Eagleboy, Royce Jemez pueblo 310 Fr-n I Jewelry


Laconsello, Nancy Zuni pueblo/ navajo (diné) 323 Fr-s I Jewelry Laconsello, Ruddell Zuni pueblo 323 Fr-s I Jewelry LaFountain, Bruce chippewa 710 lIn-e V sculpture LaFountain, Eve “Little Shell” chippewa 710 lIn-e III paintings/drawings/ Graphics/photography X moving Images LaFountain, Presley chippewa 723 lIn-W V sculpture LaFountain, Saige navajo (diné)/ chippewa 763 lIn-e V sculpture LaFountain, Samuel chippewa/ navajo (diné) 763 lIn-e I Jewelry

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1 45

aLPHaBetiCaL artiSt LiSt LaRance, Steve Hopi/assiniboine 512 SF i Jewelry

Lewis, Judy M. acoma Pueblo 741 Lin-e ii Pottery

Louis, Reycita acoma Pueblo 339 Fr-S ii Pottery

Lasiloo, Alan E. Zuni Pueblo 331 Fr-n ii Pottery

Lewis, Sharon acoma Pueblo 306 Fr-S ii Pottery

Lovato, Andrew Santo domingo Pueblo 261 PaL-n i Jewelry

Lasilou, Kiera Zuni Pueblo X moving images

Lewis-Barnes, Melissa navajo (diné) 758 Lin-e Vii diverse arts

Lovato, Anthony Santo domingo Pueblo 629 PLZ i Jewelry

Laughing, Charlene navajo (diné) 200 PaL-n Vi textiles Laughing, Milton navajo (diné) 200 PaL-n Vi textiles Laughing, Mona navajo (diné) 200 PaL-n Vi textiles Laughing-Reeves, Michele navajo (diné)227 PaL-n Vi textiles Learned, Brent Cheyenne/arapaho 260 PaL-n iii Paintings/drawings/ Graphics/Photography Lee, Allison navajo (diné) 416 Wa-e i Jewelry

Lewis-Garcia, Diane acoma Pueblo 530 SF-P ii Pottery Lister, Ernie navajo (diné) 630 PLZ i Jewelry Little, James navajo (diné) 653 PLZ i Jewelry Little Thunder, Merlin Cheyenne 344 Fr-n iii Paintings/drawings/ Graphics/Photography Littlebird, Harold Laguna Pueblo/ kewa Pueblo 400 Wa-e ii Pottery

Lovato, Calvin Santo domingo Pueblo 673 PLZ i Jewelry Lovato, Lillian R. Santo domingo Pueblo 313 Fr-S i Jewelry Lovato, Manuelita Santo domingo Pueblo 246 PaL-S ii Pottery Lovato, Maria S. Santo domingo Pueblo 677 PLZ i Jewelry Lovato, Martine Santo domingo Pueblo 246 PaL-S i Jewelry Lovato, Marvin Santo domingo Pueblo 313 Fr-S i Jewelry

Livingston, Irene navajo (diné) 525 SF-e i Jewelry

Lovato, Peggy Santo domingo Pueblo 261 PaL-n i Jewelry

Lee, Kyle navajo (diné) 416 Wa-e i Jewelry

Livingston, Jake navajo (diné)/ Zuni Pueblo 525 SF-e i Jewelry

Lovato, Pilar A. Santo domingo Pueblo 673 PLZ i Jewelry

Lee, Russell navajo (diné) 256 PaL-S i Jewelry

Livingston, JayJacob navajo (diné) 321 Fr-n i Jewelry

Lee, Tony navajo (diné) 275 PaL V Sculpture

Lomahaftewa, Linda Hopi/Choctaw 108 POG iii Paintings/drawings/ Graphics/Photography

Lee, Emma R. navajo (diné) 401 Wa-W Vi textiles

Lee, Trent navajo (diné) 416 Wa-e i Jewelry Lee-Anderson, Wyatt navajo (diné) 416 Wa-e i Jewelry Lent, Mary Laguna Pueblo/ Santa Clara Pueblo 310 Fr-S Vii diverse arts Viii Beadwork/ Quillwork Lewis, Bernard acoma Pueblo 530 SF-P ii Pottery Lewis, Joyce Cochiti Pueblo 746 Lin-W ii Pottery 1 46

Lovato Sr., Ray Santo domingo Pueblo 261 PaL-n i Jewelry Lowden, Virginia acoma Pueblo 319 Fr-n ii Pottery

Lowe, Blackhorse navajo (diné) Lomaventema, Gerald X moving images Hopi LT, Patta 655 PLZ Choctaw i Jewelry 340 Fr-S Loretto, Fran Vii diverse arts Jemez Pueblo/ Lucario, Amanda Cochiti Pueblo acoma Pueblo 644 PLZ 908 Cat i Jewelry ii Pottery ii Pottery iii Paintings/drawings/ Lucario, Daniel Graphics/Photography acoma Pueblo Loretto, Glenda Jemez Pueblo 740 Lin-e i Jewelry Loretto, Jonathan Cochiti Pueblo 765 Lin-W ii Pottery

2012 ind ia n m ar k et

908 Cat ii Pottery Lucario, Rebecca acoma Pueblo 741 Lin-e ii Pottery Lucas, Steve Hopi 405 Wa-e ii Pottery

Lujan-Hauer, Pamela taos Pueblo 321 Fr-n ii Pottery V Sculpture

Martinez, Jocelyn taos Pueblo 744 Lin-e iii Paintings/drawings/ Graphics/Photography

Meredith, America Cherokee 229 PaL-n iii Paintings/drawings/ Graphics/Photography

Lynch, Rhett navajo (diné) 722 Lin-W iii Paintings/drawings/ Graphics/Photography

Martinez, Marie San ildefonso Pueblo 700 Lin-W Vii diverse arts

Metoxen, Linda navajo (diné) 626 PLZ i Jewelry

Martinez, Pauline San ildefonso Pueblo 252 PaL-S ii Pottery

Mirabal, Martha Santa Clara Pueblo 316 Fr-S ii Pottery

Martinez, Terry navajo (diné) 216 PaL-n i Jewelry

Mirabal, Tammie Santa Clara Pueblo/ taos Pueblo 316 Fr-S ii Pottery


Mitchell, Emma acoma Pueblo 528 SF-e ii Pottery

Naataanii, TahNibaa navajo (diné) 645 PLZ Vi textiles

Mitchell, Toney navajo (diné) 231 PaL-n i Jewelry

Naha, Rainy Hopi/tewa 253 PaL-S ii Pottery

Mitchell-Trejo, Mary navajo (diné) 507 SF V Sculpture

Nahohai, Jaycee Zuni Pueblo 624 PLZ ii Pottery

Mitten, Katrina miami tribe of Oklahoma 342 Fr-S i Jewelry Viii Beadwork/ Quillwork

Nahohai, Milford Zuni Pueblo 624 PLZ ii Pottery

M MacKnight, Sheridan Chippewa 420 Wa-W i Jewelry iii Paintings/drawings/ Graphics/Photography Madalena, Joshua Jemez Pueblo 403 Wa-e ii Pottery Madalena, Reyes Jemez Pueblo 535 SF-e ii Pottery Madalena, Shannan Jemez Pueblo 535 SF-e ii Pottery Magee, Deborah Blackfeet 244 PaL-n Viii Beadwork/ Quillwork Vii diverse arts Maha, Loren Hopi 218 PaL-S i Jewelry Maktima, Duane Laguna Pueblo/Hopi 752 Lin-e i Jewelry Maldonado, Alex Yaqui 211 PaL-S Vii diverse arts Maldonado, Nicholas Pascua-Yaqui 211 PaL-S V Sculpture Manygoats, Benson navajo (diné) 223 PaL-n i Jewelry Manygoats, Elizabeth navajo (diné) 660 PLZ ii Pottery Manymules, Samuel navajo (diné) 704 Lin-P ii Pottery Marcus, Robert “Spooner” Ohkay Owingeh Pueblo 607 PLZ V Sculpture Mares, Shirley Yakima 263 PaL-S i Jewelry

Maybee, Dallin arapaho/Seneca 242 PaL-S iii Paintings/drawings/ Graphics/Photography Vii diverse arts McCoy Jr., Daniel muscogee (Creek)/ Potawatomi 219 PaL-S iii Paintings/drawings/ Graphics/Photography McCullough, Michael Choctaw 257 PaL-n iii Paintings/drawings/ Graphics/Photography McCullough, Stephen Choctaw 257 PaL-n iii Paintings/drawings/ Graphics/Photography McKay, Glenda athapaskan 221 PaL-n Vii diverse arts McKelvey, Lucy Leuppe navajo (diné) 530 SF-e ii Pottery Medina, Elizabeth Zia Pueblo 722 Lin-e ii Pottery Medina, Jennifer Santo domingo Pueblo 513 SF i Jewelry Medina, Marcellus Zia Pueblo 722 Lin-e ii Pottery iii Paintings/drawings/ Graphics/Photography Melchor, Crucita Santo domingo Pueblo 705 Lin-W ii Pottery Melero, Melissa Paiute 102 POG iii Paintings/drawings/ Graphics/Photography Menchego, Arthur J. Santa ana Pueblo 733 Lin-e iii Paintings/drawings/ Graphics/Photography

Montoya, Geronima Ohkay Owingeh Pueblo 116 POG iii Paintings/drawings/ Graphics/Photography Montoya, Paul Sandia Pueblo/ Ohkay Owingeh Pueblo 116 POG iii Paintings/drawings/ Graphics/Photography Montoya, Robert B. Sandia Pueblo 116 POG iii Paintings/drawings/ Graphics/Photography Montoya, Rodger navajo (diné) 703 Lin-P i Jewelry Moquino, Jennifer Santa Clara Pueblo 232 PaL-S ii Pottery Morgan, Jacob navajo (diné) 306 Fr-P i Jewelry Morrison, Eddie Cherokee 334 Fr-n V Sculpture Mose, Allen navajo (diné) 226 PaL iii Paintings/drawings/ Graphics/Photography

Murillo, Ramon Shoshone 757 Lin-e iii Paintings/drawings/ Graphics/Photography Vii diverse arts Murphy, William navajo (diné) 718 Lin-e iii Paintings/drawings/ Graphics/Photography Myers, Jhane Comanche/Blackfeet 338 Fr-n Vii diverse arts

Nahohai, Randy Zuni Pueblo 624 PLZ ii Pottery Nakai, Bernice navajo (diné) 728 Lin-W i Jewelry Namingha, Les Hopi/Zuni Pueblo 233 PaL-S ii Pottery Namingha Jr., Wayland Lester Hopi 619 PLZ iV Pueblo Wooden Carvings Naranjo, Betty Santa Clara Pueblo 304 Fr-P ii Pottery Naranjo, Dusty Santa Clara Pueblo 707 Lin-e ii Pottery Naranjo, Frances Santa Clara Pueblo 265 PaL-n ii Pottery Naranjo, Geri Santa Clara Pueblo 263 PaL-n ii Pottery Naranjo, Jody Santa Clara Pueblo 402 Wa-W ii Pottery Naranjo, Johnathan Santa Clara Pueblo 317 Fr-S ii Pottery

Naranjo, Joseph G. Santa Clara Pueblo 315 Fr-n ii Pottery Naranjo, Kevin Santa Clara Pueblo 341 Fr-S ii Pottery Naranjo, Madeline E. Santa Clara Pueblo 265 PaL-n ii Pottery Naranjo, Monica Santa Clara Pueblo 263 PaL-n ii Pottery Naranjo, Robert G. Santa Clara Pueblo 719 Lin-W ii Pottery Naranjo, Robert T. Santa Clara Pueblo 304 Fr-P ii Pottery Naranjo, Stephanie Santa Clara Pueblo 248 PaL-S ii Pottery Naranjo, Tito Santa Clara Pueblo 707 Lin-e V Sculpture Naranjo-Neikrug, Dolly Santa Clara Pueblo 304 Fr-S ii Pottery Naseyowma, Gilbert Hopi 755 Lin-W iV Pueblo Wooden Carvings V Sculpture Naseyowma, Gregory Hopi 755 Lin-W i Jewelry Natay, Ehren navajo (diné) 342 Fr-n i Jewelry iii Paintings/drawings/ Graphics/Photography Natseway, Thomas Laguna Pueblo 522 SF-P ii Pottery Navasie, Fawn Hopi 402 Wa-e ii Pottery Nells, Albert navajo (diné) 205 PaL-S i Jewelry Nelson, L. Eugene navajo (diné) 214 PaL-n i Jewelry V Sculpture Nelson, Peter navajo (diné) 726 Lin-W i Jewelry

alphabetical artist list Nelson, Benjamin kiowa/navajo (diné) 532 sF-e iii paintings/drawings/ Graphics/photography Nelson, MaryBeth cherokee 409 Wa-e iii paintings/drawings/ Graphics/photography Neptune, George passamaquoddy 601 plZ Xi basketry Nequatewa, Bryson hopi 602 plZ V sculpture iV pueblo Wooden carvings Nequatewa, Verma hopi 602 plZ i Jewelry Nez, Ned navajo (diné) 324 Fr-s i Jewelry Viii beadwork/Quillwork Nez, Rickie navajo (diné) 746 lin-e V sculpture Nez Jr., Sidney navajo (diné) 668 plZ i Jewelry Nieto, Christopher santo domingo pueblo 339 Fr-n i Jewelry Nipshank, Glen cree 328 Fr-s ii pottery Nordwall, Raymond pawnee/chippewa 114 pOG iii paintings/drawings/ Graphics/photography Norton, Doug “Tsaile Boy” navajo (diné) 789 lin-W Vii diverse arts Nuñez-Velarde, Shelden apache (Jicarilla) 765 lin-e ii pottery Nutumya, Maurice hopi 711 lin-e iV pueblo Wooden carvings Vi textiles

O Obrzut, Kim hopi 515 sF V sculpture

1 48

Okuma, Jamie luiseno/shoshone bannock 218 pal-n iii paintings/drawings/ Graphics/photography Viii beadwork/Quillwork Vi textiles Okuma, Sandra shoshone/luiseno(la Jolla mission) 218 pal-n Viii beadwork/ Quillwork Oliver, Marvin Quinault 756 lin-W V sculpture Ornelas, Barbara navajo (diné) 780 lin-W Vi textiles Ornelas, Michael navajo (diné) 780 lin-W Vi textiles Ornelas, Sierra navajo (diné) 780 lin-W Vi textiles Ortega, Adam “Deer Mountain” pojoaque pueblo/ santa clara pueblo 651 plZ iii paintings/drawings/ Graphics/photography Ortega, Alicia “Evergreen Blossom” pojoaque pueblo/ santa clara pueblo 651 plZ iii paintings/drawings/ Graphics/photography Vii diverse arts Ortega, Rebecca navajo (diné) 212 pal-s iii paintings/drawings/ Graphics/photography Ortiz, Dominick cochiti pueblo 746 lin-W ii pottery Ortiz, Evelyn acoma pueblo 709 lin-W ii pottery Ortiz, Guadalupe cochiti pueblo 746 lin-W ii pottery iV pueblo Wooden carvings Ortiz, Isaiah san Felipe pueblo 648 plZ i Jewelry Ortiz, Kyle cochiti pueblo 746 lin-W ii pottery Ortiz, Mary cochiti pueblo 208 pal-n ii pottery

2012 ind ia n m ar k et

Ortiz, Virgil cochiti pueblo 746 lin-W ii pottery

Paloma, Gabriel Zuni pueblo 636 plZ ii pottery

Pecos, Irwin Jemez pueblo 266 pal-n ii pottery

Poblano, Dylan Zuni pueblo 604 plZ i Jewelry

Osti, Jane cherokee 527 sF-p V sculpture ii pottery

Panana, Matthew Jemez pueblo 770 lin-e V sculpture

Pecos, Jeanette Jemez pueblo 266 pal-n ii pottery

Panana, Rufina Zia pueblo 718 lin-e ii pottery

Pecos-Sun Rhodes, Rose Jemez pueblo 266 pal-n ii pottery

Poblano, Jovanna Zuni pueblo 604 plZ i Jewelry V sculpture Viii beadwork/ Quillwork

Othole, Gibbs Zuni pueblo 203 pal-n V sculpture Owen, Angie santo domingo pueblo 249 pal-s i Jewelry Owen, Dean santo domingo pueblo 249 pal-s i Jewelry Owens, Mary navajo (diné) 412 Wa-e Vi textiles Oyenque, Jill M. Ohkay Owingeh pueblo 779 lin-e Xi basketry

P Pacheco, Rose A. santo domingo pueblo 311 Fr-p ii pottery Padilla, Andrew laguna pueblo/ santa clara pueblo 310 Fr-s ii pottery

Panteah, Loren Zuni pueblo 229 pal-s i Jewelry Panteah, Myron navajo (diné)/ Zuni pueblo 213 pal-s i Jewelry Pappan, Chris kaw nation 774 lin-W iii paintings/drawings/ Graphics/photography Paquin, Allen Jicarilla apache/ Zuni pueblo 410 Wa-e i Jewelry Paquin, Gladys laguna pueblo/ Zuni pueblo 310 Fr-s ii pottery Paquin, Isabel isleta puebo 711 lin-W i Jewelry

Peebles, Susan red lake chippewa 643 plZ Viii beadwork/ Quillwork Vii diverse arts Peña, Alex comanche/ san ildefonso pueblo 609 plZ-Fellowship iii paintings/drawings/ Graphics/photography Perry, Michael navajo (diné) 408 Wa-W i Jewelry Peshlakai, Norbert navajo (diné) 747 lin-W i Jewelry iii paintings/drawings/ Graphics/photography Peters, Franklin laguna pueblo 535 sF-p ii pottery

Paquin, Sherman P. Zuni pueblo 711 lin-W i Jewelry

Peters, Summer saginaw Ojibwe 902 cat Viii beadwork/ Quillwork

Parrish, Rain navajo (diné) 754 lin-W i Jewelry

Peynetsa, Agnes Zuni pueblo 666 plZ ii pottery

Padilla, Patricia santa clara pueblo 534 sF-e ii pottery

Paschall, Sallyann cherokee 105 pOG iii paintings/drawings/ Graphics/photography

Peynetsa, Anderson Zuni pueblo 303 Fr-p ii pottery

Padilla, Terrence santa clara pueblo 534 sF-e ii pottery

Pate, Elena choctaw 231 pal-n Viii beadwork/Quillwork

Padilla, Tony santa clara pueblo 534 sF-e ii pottery V sculpture

Patricio, Robert acoma pueblo 756 lin-e ii pottery

Padilla, Andy santa clara pueblo 702 lin-e ii pottery Padilla, Marcia santa clara pueblo 702 lin-e ii pottery

Pajarito, Cordell santo domingo pueblo 629 plZ i Jewelry Pajarito, Florence santo domingo pueblo 628 plZ ii pottery Pajarito, Joel santo domingo pueblo 629 plZ i Jewelry

Patterson, Earl hopi 775 lin-W iV pueblo Wooden carvings V sculpture Peacock, Etta navajo (diné) 202 pal-s Vi textiles Pecos, Carol Jemez pueblo 266 pal-n ii pottery

Poblano, Veronica Zuni pueblo 604 plZ i Jewelry Polacca, Delmar hopi/tewa 404 Wa-W ii pottery Polacca, Vernida hopi 417 Wa-W ii pottery Polacca III, Starlie havasupai/hopi 660 plZ i Jewelry Poolheco, Theresa santo domingo pueblo/ laguna pueblo 749 lin-W Vii diverse arts Poolheco Sr., Frank hopi 749 lin-W Vii diverse arts Pourier, Kevin Oglala lakota 322 Fr-n Vii diverse arts i Jewelry

R Rafael, Tonya June navajo (diné) 217 pal-n i Jewelry Ramone, Dennis navajo (diné) 707 lin-p i Jewelry Ramos, Tim pomo X moving images Ray, Marilyn acoma pueblo 741 lin-e ii pottery Real Rider, Austin pawnee 211 pal-n ii pottery Reano, Angie P. santo domingo pueblo 249 pal-n i Jewelry Reano, Arnold santo domingo pueblo 311 Fr-s i Jewelry Reano, Charlotte J. san Felipe pueblo 250 pal-s i Jewelry

Pruitt, Christopher laguna pueblo 314 Fr-s i Jewelry

Reano, Daisy santo domingo pueblo 252 pal-n i Jewelry

Pruitt, Pat laguna pueblo 708 lin-p i Jewelry

Reano, Debra santo domingo pueblo 311 Fr-s i Jewelry


Reano, Denise santo domingo pueblo 250 pal-s i Jewelry

Peynetsa, Priscilla Zuni pueblo 666 plZ ii pottery

Quam, Jayne navajo (diné) 229 pal-s V sculpture

Phillips, Loren hopi 672 plZ iV pueblo Wooden carvings

Quam, Lynn Zuni pueblo 229 pal-s V sculpture

Piaso, Thompson navajo (diné) 663 plZ i Jewelry

Quetawki, Alesia Zuni pueblo 646 plZ Viii beadwork/ Quillwork

Pino, Maggie navajo (diné) 308 Fr-n i Jewelry Vii diverse arts

Quigno, Jason saginaw chippewa 778 lin-e V sculpture

Plummer, Earl navajo (diné) 534 sF-W i Jewelry

Quotskuyva, Gerry hopi 234 pal-s iii paintings/drawings/ Graphics/photography iV pueblo Wooden carvings

Quintana, Evelyn Ohkay Owingeh pueblo 260 pal-s Vi textiles

Reano, Frank santo domingo pueblo 527 sF-W i Jewelry Reano, Harlan santo domingo pueblo 228 pal-n ii pottery Reano, Janalee Frances san Felipe pueblo 527 sF-W i Jewelry Reano, Joe santo domingo pueblo 703 lin-W i Jewelry Reano, Joe L. santo domingo pueblo 249 pal-n i Jewelry

Reano, Percy santo domingo pueblo 250 pal-s i Jewelry Reano, Rose santo domingo pueblo 248 pal-n i Jewelry Reano-Yepa, Dena santo domingo pueblo 232 pal-n i Jewelry ii pottery RedCorn, Jeri caddo 201 pal-s ii pottery Reeves, Daniel “Sunshine” navajo (diné) 227 pal-n i Jewelry Reid, Ulysses Zia pueblo 533 sF-W ii pottery Reyna, Sharon Dry Flower taos pueblo 270 pal V sculpture Reynolds-White Hawk, Dyani rosebud sioux 608 plZ-Fellowship iii paintings/drawings/ Graphics/photography Richards, Rueben navajo (diné) 767 lin-e iii paintings/drawings/ Graphics/photography Rizal, Clarissa tlingit 283 pal iii paintings/drawings/ Graphics/photography Vi textiles Roanhorse, Mark navajo (diné) 717 lin-e i Jewelry Roanhorse, Michael navajo (diné) 717 lin-e i Jewelry Rodriguez, Andrew laguna pueblo 904 cat ii pottery V sculpture Rogers, Kay navajo (diné) 710 lin-p i Jewelry Rogers, Michael paiute 745 lin-W i Jewelry Roller, Jeff santa clara pueblo 531 sF-e ii pottery V sculpture


SAT. • AUGUST 18 • 4-7

conGratulations to swaia

“Bear Tracks” • Acrylic on canvas • 24” x 36”


Proud to be Part of the Process for almost a decade, bernard and melinda ewell

bernard ewell art aPPraisals



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aLPHaBetiCaL artiSt LiSt Roller, Ryan Santa Clara Pueblo 531 SF-e ii Pottery

Roybal, Gary San ildefonso Pueblo 732 Lin-e Vii diverse arts

Roller, Toni Santa Clara Pueblo 531 SF-e ii Pottery

Roybal, Timothy San ildefonso Pueblo 732 Lin-e iii Paintings/drawings/ Graphics/Photography

Romero, Cara Chemehuevi 777 Lin-W iii Paintings/drawings/ Graphics/Photography Romero, Diego Cochiti Pueblo 509 SF ii Pottery Romero, Edna Santa Clara Pueblo 706 Lin-e ii Pottery Romero, Ken Laguna Pueblo/ taos Pueblo 504 SF i Jewelry Romero, Leona tohono O’odham 413 Wa-W Xi Basketry Romero, Mateo Cochiti Pueblo 735 Lin-W iii Paintings/drawings/ Graphics/Photography Romero, Pauline Jemez Pueblo 309 Fr-S ii Pottery Romero, Priscilla Cochiti Pueblo 238 PaL-n ii Pottery Viii Beadwork/ Quillwork Romero, Santiago Cochiti Pueblo/ taos Pueblo 735 Lin-W V Sculpture Rosetta, Arnell kewa Pueblo 302 Fr-P i Jewelry Rosetta, Eileen Santo domingo Pueblo 526 SF-P i Jewelry Rosetta, Jeremy Santo domingo Pueblo 526 SF-P i Jewelry Rosetta, Jessie Santo domingo Pueblo 302 Fr-P i Jewelry Rosetta, Paul kewa Pueblo 302 Fr-P i Jewelry Rosetta, Reyes Santo domingo Pueblo 246 PaL-S i Jewelry

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Sanchez-Reano, Charlene San Felipe Pueblo 527 SF-W i Jewelry Sanderson, Cody navajo (diné) 674 PLZ i Jewelry

Ryan, Loa tsimshian 739 Lin-e Xi Basketry

Sando, Caroline Jemez Pueblo 740 Lin-W ii Pottery


Sandoval, Lester navajo (diné) 326 Fr-S i Jewelry

Sahmie, Rachel Hopi 221 PaL-S ii Pottery Sahmie, V. Jean Hopi/tewa 329 Fr-S ii Pottery Salcido Comes Charging, Frank navajo (diné) 330 Fr-S iii Paintings/drawings/ Graphics/Photography Salvador, Maria acoma Pueblo 258 PaL-S ii Pottery Samora, Maria taos Pueblo 311 Fr-n i Jewelry

Sandoval, Ramoncita Ohkay Owingeh Pueblo 117 POG Vi textiles Santiago, Lawrence Coushatta 341 Fr-n iii Paintings/drawings/ Graphics/Photography V Sculpture Sarracino, Anna Zuni Pueblo 310 Fr-P Viii Beadwork/ Quillwork Saufkie, Griselda Hopi 704 Lin-e Xi Basketry i Jewelry

Sanchez, Alex navajo (diné) 235 PaL-n i Jewelry

Schrupp, Nelda Oglala Lakota 222 PaL-S i Jewelry Vii diverse arts

Sanchez, Corrine San ildefonso Pueblo 662 PLZ ii Pottery

Schultz, Marilou navajo (diné) 732 Lin-W Vi textiles

Sanchez, Eugene Santo domingo Pueblo 312 Fr-P i Jewelry

Schultz, Martha G. navajo (diné) 732 Lin-W Vi textiles

Sanchez, Gerti Mapoo isleta Pueblo 264 PaL-S ii Pottery

Secord, Theresa Penobscot 112 POG Xi Basketry

Sanchez, Gilbert San ildefonso Pueblo 700 Lin-W ii Pottery

Seechoma, Edward Hopi 675 PLZ iV Pueblo Wooden Carvings

Sanchez, Kathleen “Wan Povi” San ildefonso Pueblo 662 PLZ ii Pottery Sanchez, Ramos San ildefonso Pueblo 701 Lin-W iii Paintings/drawings/ Graphics/Photography Sanchez, Russell San ildefonso Pueblo 701 Lin-W ii Pottery

2012 ind ia n m ar k et

Sehringer, Korinna X moving images Sekakuku, Gilbert Hopi 245 PaL-S iV Pueblo Wooden Carvings Vii diverse arts Sequaptewa Sr., Raymond Hopi 335 Fr-S i Jewelry Setalla, Dee Hopi 614 PLZ ii Pottery

Setalla, Gwen Hopi 651 PLZ ii Pottery

Simplicio, Margia Zuni Pueblo 240 PaL-n Viii Beadwork/Quillwork

Sevier, Chessney northern arapaho 236 PaL-S iii Paintings/drawings/ Graphics/Photography

Simplicio, Noreen Zuni Pueblo 240 PaL-n ii Pottery

Sevier, Jackie northern arapaho 715 Lin-W iii Paintings/drawings/ Graphics/Photography Seymour, Mary A. acoma Pueblo 339 Fr-S ii Pottery Shabi, Geneva navajo (diné) 635 PLZ Vi textiles

Singer, Jeremy navajo (diné) 784 Lin-W iii Paintings/drawings/ Graphics/Photography Singer, Penny navajo (diné) 739 Lin-W Vi textiles Viii Beadwork/ Quillwork

Singer, Ryan navajo (diné) 317 Fr-n ii Pottery Shakespeare, Lindsey iii Paintings/drawings/ apache (mescalero) Graphics/Photography 779 Lin-W iii Paintings/drawings/ Sioui-Durand, Yves Graphics/Photography Huron-Wendat Vii diverse arts X moving images Shannon, Louann tohono O’odham 788 Lin-W Xi Basketry Shelton III, Peter Hopi 119 POG iii Paintings/drawings/ Graphics/Photography iV Pueblo Wooden Carvings Shetima, Jeff Zuni Pueblo 213 PaL-S V Sculpture Shields, Ethel acoma Pueblo 522 SF-P ii Pottery Shields, Judy acoma Pueblo 326 Fr-n ii Pottery Shirley, Lorenzo Edward navajo (diné) 775 Lin-W i Jewelry Shorty, Perry navajo (diné) 210 PaL-S i Jewelry Sice, Howard Laguna Pueblo/Hopi 331 Fr-S i Jewelry Sice, Troy Zuni Pueblo 203 PaL-S i Jewelry V Sculpture Silversmith, Mark navajo (diné) 104 POG iii Paintings/drawings/ Graphics/Photography

Skenandore, Olivia Oglala Lakota 742 Lin-W iii Paintings/drawings/ Graphics/Photography Vii diverse arts Slim, Darrell navajo (diné) 779 Lin-e i Jewelry Slim, Marvin navajo (diné) 720 Lin-e i Jewelry Slim, Michael navajo (diné) 720 Lin-e i Jewelry Slim, Michelle navajo (diné) 720 Lin-e i Jewelry Sloan, DavidAlexander navajo (diné) 342 Fr-n iii Paintings/drawings/ Graphics/Photography i Jewelry Small, Mary Jemez Pueblo/ San Felipe Pueblo 318 Fr-n ii Pottery Smith, Elijah Naranjo Santa Clara Pueblo 304 Fr-S ii Pottery

Smith, Timothy “Coyote” Hopi/Laguna Pueblo 305 Fr-P ii Pottery Vi textiles Soohafyah, Eddison Hopi 308 Fr-P i Jewelry Spry-Misquadace, Wanesia Ojibwa519 SF i Jewelry Vii diverse arts (Stephen LaBoueff) Black Bear Blackfeet 228 PaL-S ii Pottery Stevens, Mark Laguna Pueblo 760 Lin-e i Jewelry Stevens, Shannon Laguna Pueblo 760 Lin-e iii Paintings/drawings/ Graphics/Photography i Jewelry Stewart, Maya Chickasaw/muscogee (Creek) 757 Lin-W Vii diverse arts Suazo, Anita Santa Clara Pueblo 529 SF-e ii Pottery Suazo, David taos Pueblo 783 Lin-W iii Paintings/drawings/ Graphics/Photography Suazo, Marie Santa Clara Pueblo 230 PaL-S ii Pottery

Susunkewa, Sheryl Hopi 262 PaL-S iii Paintings/drawings/ Graphics/Photography Swaney, Brooke Blackfeet X moving images Swentzell, Roxanne Santa Clara Pueblo 400 Wa-W

T Tafoya, Forrest Santa Clara Pueblo 263 PaL-S ii Pottery Tafoya, Francis Santa Clara Pueblo 107 POG Vii diverse arts Tafoya, Harriet Santa Clara Pueblo 314 Fr-n ii Pottery Vi textiles Tafoya, Judy Santa Clara Pueblo 661 PLZ ii Pottery Tafoya, Laura Santa Clara Pueblo 314 Fr-P ii Pottery Tafoya, Lorenzo Santo domingo Pueblo 741 Lin-W i Jewelry Tafoya, Lu Ann Pojoaque Pueblo/ Santa Clara Pueblo 251 PaL-S ii Pottery Tafoya, Mary Louise Santo domingo Pueblo 741 Lin-W i Jewelry

Suazo-Naranjo, Bernice taos Pueblo 317 Fr-S ii Pottery

Tafoya, Sarah Santa Clara Pueblo 661 PLZ ii Pottery

Suina, Ada Cochiti Pueblo 530 SF-W ii Pottery

Tafoya, Starr Santa Clara Pueblo 301 Fr-P ii Pottery

Suina, Dena Cochiti Pueblo 531 SF-P ii Pottery

Tafoya-Sanchez, Linda Santa Clara Pueblo 265 PaL-S ii Pottery

Suina, Joseph E. Cochiti Pueblo 531 SF-P Vii diverse arts

Takala Sr., Jason Hopi 412 Wa-W i Jewelry

Smith, Patrick navajo (diné) 665 PLZ i Jewelry

Susunkewa, Manfred Hopi 262 PaL-S iV Pueblo Wooden Carvings

Talachy, Pearl nambe Pueblo/tewa 676 PLZ ii Pottery

Smith, Ryan Lee Cherokee 773 Lin-e iii Paintings/drawings/ Graphics/Photography

Susunkewa, Norma Hopi 262 PaL-S Xi Basketry

Talahaftewa, Roy Hopi 649 PLZ i Jewelry

Tapia, Sue Laguna Pueblo 255 PaL-S ii Pottery Tapia, Thomas Ohkay Owingeh Pueblo 255 PaL-S ii Pottery Tapia, Thomas V. tesuque Pueblo 122 POG ii Pottery iii Paintings/drawings/ Graphics/Photography Tapia-Browning, Michele Pojoaque Pueblo/ Santa Clara Pueblo 251 PaL-S ii Pottery iii Paintings/ drawings/Graphics/ Photography iV Pueblo Wooden Carvings Taylor, Eli Hopi 759 Lin-W iV Pueblo Wooden Carvings Taylor, Lillie navajo (diné) 206 PaL-S Vi textiles Taylor, Rosie navajo (diné) 658 PLZ Vi textiles Taylor, Tsosie navajo (diné) 524 SF-P i Jewelry Vii diverse arts Teller, Stella isleta Pueblo 312 Fr-n ii Pottery Teller Velardez, Robin isleta Pueblo 312 Fr-n ii Pottery Teller-Pete, Lynda navajo (diné) 780 Lin-W Vi textiles Tenakhongva, Clark Hopi 657 PLZ iV Pueblo Wooden Carvings Tenorio, Deanna Santo domingo Pueblo 123 POG i Jewelry Tenorio, Doris Santa Clara Pueblo 230 PaL-S ii Pottery Tenorio, George kewa 628 PLZ i Jewelry Tenorio, Margaret Ann Santo domingo Pueblo/ Cochiti Pueblo 309 Fr-n i Jewelry

ROBERT NICHOLS GALLERY n at i v e a m e r i c a n c e r a m i c a r t s tradition





Indian Market Events CLASSIC TO CONTEMPORARY, pueblo pottery by master artists from King Galleries of scottsdale. Wednesday, august 15, visit with charles King, 2:00 pm 4:30 pm NATIVE MODERN, works in clay by diego romero, Glen nipshank and alan e. Lasiloo thursday, august 16, reception 4 7 pm

419 Canyon Road, Santa Fe, NM 87501 | 505.982.2145 | |

2 01 2 I N DI A N MA R K ET

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alphabetical artist list Tenorio, Marilyn navajo (diné) 319 Fr-s i Jewelry Tenorio, Matilda santo domingo pueblo 308 Fr-s i Jewelry Tenorio, Robert santo domingo pueblo 526 sF-W ii pottery

Toehe, Rosemary navajo (diné) 705 lin-p Vii diverse arts Viii beadwork/Quillwork Tohtsoni Prudencio, Therese picuris pueblo/ navajo (diné) 618 plZ ii pottery Vii diverse arts

Toya, Marie Jemez pueblo 714 lin-W ii pottery Toya, Mary Ellen Jemez pueblo 714 lin-W ii pottery Toya, Mary Rose Jemez pueblo 305 Fr-n ii pottery

Toledo, Ethel Tenorio, Robert Lewis navajo (diné) santo domingo pueblo 701 lin-p 656 plZ iii paintings/drawings/ i Jewelry Graphics/photography Tenorio, Roderick Toledo, Helen santo domingo pueblo/ navajo (diné) navajo (diné) 307 Fr-p 319 Fr-s Vi textiles i Jewelry Vii diverse arts Tenorio, Sidelio Viii beadwork/Quillwork santo domingo pueblo Toledo, Joe 308 Fr-s Jemez pueblo i Jewelry 115 pOG Tenorio, Thomas iii paintings/drawings/ santo domingo pueblo Graphics/photography 726 lin-e Toledo, Yolanda ii pottery Jemez pueblo Tenorio, Veronica 712 lin-W santo domingo pueblo ii pottery 411 Wa-W Toledo-Moore, Lena i Jewelry navajo (diné) Tenoso, Donald 730 lin-e cheyenne river sioux iii paintings/drawings/ 753 lin-W Graphics/photography Vii diverse arts Tom, Mary Lou Tenoso, Paul navajo (diné) cheyenne river sioux 301 Fr-s 753 lin-W i Jewelry Vii diverse arts Tomeo, James Tewa, Bobbie colville/Yakima Ohkay Owingeh pueblo/ 727 lin-e hopi i Jewelry 532 sF-W V sculpture i Jewelry Tonips, Gordon Tewa, Dennis comanche hopi 719 lin-W 672 plZ iii paintings/drawings/ iV pueblo Wooden Graphics/photography carvings V sculpture

Toya, Maxine Jemez pueblo 256 pal-n ii pottery

Thomas, Kathleen Oneida 906 cat Xi basketry

Torres, Elvis san ildefonso pueblo 710 lin-W ii pottery

Tiger, Dana muscogee (creek)/ seminole 409 Wa-W iii paintings/drawings/ Graphics/photography

Tortalita, Vickie santo domingo pueblo 603 plZ i Jewelry Vii diverse arts

Tsalate, Raymond Zuni pueblo 203 pal-s i Jewelry V sculpture

Tiger, Jon creek 633 plZ iii paintings/drawings/ Graphics/photography Tippeconnie, Lynnderra navajo (diné) 406 Wa-e Vi textiles Todacheene, Alvin navajo (diné) 417 Wa-W i Jewelry

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Trujillo, Elizabeth cochiti pueblo 719 lin-e ii pottery Viii beadwork/Quillwork

Tsosie, Darrick Jemez pueblo 313 Fr-p ii pottery Tsosie, Emily Jemez pueblo 313 Fr-p ii pottery Tsosie, J’shen navajo (diné) 775 lin-e Vi textiles Viii beadwork/Quillwork

Velarde-Brewer, Carol santa clara pueblo 707 lin-W ii pottery Vicenti, Jennie Zuni pueblo 762 lin-e i Jewelry Victorino, Sandra acoma pueblo 234 pal-n ii pottery Vigil, Charlotte san ildefonso pueblo 730 lin-W ii pottery

Tsosie, Jacinta A. navajo (diné) 775 lin-e Viii beadwork/Quillwork

Vigil, Felix apache (Jicarilla) 723 lin-e iii paintings/drawings/ Graphics/photography V sculpture

Tsosie, Leonard Jemez pueblo 313 Fr-p ii pottery

Vigil, James Jemez pueblo 272 pal V sculpture

Trujillo, Joseph cochiti pueblo 255 pal-s ii pottery

Tsosie, Lyndon navajo (diné) 620 plZ i Jewelry

Vigil, Lonnie nambe pueblo 273 pal ii pottery

Trujillo, Mary T. Ohkay Owingeh pueblo/ cochiti pueblo 255 pal-s ii pottery

Tsosie, Nelson navajo (diné) 789 lin-W iii paintings/drawings/ Graphics/photography V sculpture

Vigil, Vanessa san ildefonso pueblo 730 lin-W ii pottery

Trujillo, Geraldine cochiti pueblo/ Ohkay Owingeh pueblo 255 pal-s ii pottery

Tsabetsaye, Edith Zuni pueblo 251 pal-n i Jewelry Tsabetsaye Jr., Roger Zuni pueblo 210 pal-n i Jewelry Tsabetsaye Sr., Roger Zuni pueblo 210 pal-n i Jewelry Tsalabutie, Loren Zuni pueblo 786 lin-W V sculpture

Tse Pe, Dora san ildefonso pueblo 605 plZ ii pottery

Tosa, Phyllis Jemez pueblo 514 sF ii pottery

Tse Pe, Irene V. san ildefonso pueblo 605 plZ ii pottery

Toya, Camilla Mariam Jemez pueblo 256 pal-n ii pottery

Tsethlikai, Ray Zuni pueblo 714 lin-p V sculpture

Toya, Dominique Jemez pueblo 256 pal-n ii pottery

Tsingine, Olin navajo (diné)/hopi 671 plZ i Jewelry

Toya, Judy Jemez pueblo 714 lin-W ii pottery

Tsinnie, Orville navajo (diné) 667 plZ i Jewelry

2012 ind ia n m ar k et

Tso, Geraldine navajo (diné) 281 pal iii paintings/drawings/ Graphics/photography

Tsosie, Raymond navajo (diné) 770 lin-W i Jewelry Vii diverse arts Tsosie, Richard navajo (diné) 300 Fr-n i Jewelry Tsosie-Sisneros, Michelle santa clara pueblo/ navajo (diné) 301 Fr-n iii paintings/drawings/ Graphics/photography Tully, Carey navajo (diné) X moving images

Vigil, Victor Jemez pueblo 761 lin-e V sculpture Vigil, Virgil tesuque pueblo/ navajo (diné) 128 pOG iii paintings/drawings/ Graphics/photography

Walters Jr., Roy navajo (diné) 745 lin-e iii paintings/drawings/ Graphics/photography V sculpture Waquie, Marie L. Jemez pueblo 533 sF-p ii pottery Washburn, Tim navajo (diné) 754 lin-e V sculpture Waynee, Robin saginaw chippewa 250 pal-n i Jewelry Weahkee, Daniel Zuni pueblo/ navajo (diné) 503 sF V sculpture Weahkee, Danielle navajo (diné)/ Zuni pueblo 503 sF V sculpture Weahkee, Manuel Zuni pueblo 503 sF V sculpture

W Wall, adrian Jemez pueblo 612 plZ V sculpture

Wesaw, Jason potawatomi 415 Wa-W ii pottery

Wall, Kathleen Jemez pueblo 224 pal ii pottery V sculpture

Westika, Gaylon Zuni pueblo 303 Fr-p ii pottery

Wall, Marcus Jemez pueblo 612 plZ V sculpture

Tyler, Keetahni navajo (diné) 901 cat iii paintings/drawings/ Graphics/photography

Wall, Stephen chippewa 724 lin-e i Jewelry V sculpture


Wallace, Dawn aleut 241 pal-n i Jewelry

Velarde, Dina Jicarilla apache 740 lin-e iii paintings/drawings/ Graphics/photography ii pottery

Walters, Gertrude Ann navajo (diné) 328 Fr-n iii paintings/drawings/ Graphics/photography

Weahkee, Sharon navajo (diné) 503 sF i Jewelry

Tyler, Keeaero navajo (diné) 901 cat iii paintings/drawings/ Graphics/photography

Van Fleet, Pauline navajo (diné) 625 plZ Viii beadwork/Quillwork

Walters, Daniel navajo (diné)/pawnee 328 Fr-n iii paintings/drawings/ Graphics/photography

Wallace, Liz navajo (diné) 333 Fr-n i Jewelry X moving images

Wheeler, Margaret choctaw/chickasaw 285 pal Vi textiles

Whitman-Elk Woman, Kathy mandan/hidatsa 742 lin-e i Jewelry iii paintings/drawings/ Graphics/photography V sculpture Wilcox, Dwayne C. Oglala sioux 526 sF-e iii paintings/drawings/ Graphics/photography Willard, Gianna tlingit/haida 241 pal-s Xi basketry Williams, Antonio (Toni) arapaho, northern 242 pal-s Vi textiles Williams, Brandon navajo (diné) 212 pal-n iii paintings/drawings/ Graphics/photography Williams, Kenneth arapaho/seneca 237 pal-s Viii beadwork/Quillwork Williams, Lena navajo (diné) 732 lin-W Vi textiles Willie, JT navajo (diné) 344 Fr-s Viii beadwork/Quillwork i Jewelry Vi textiles Willie, Wesley navajo (diné) 330 Fr-n i Jewelry Wong-Whitebear, Laura colville 516 sF Xi basketry Worcester II, Daniel chickasaw 329 Fr-n Vii diverse arts


Yatsayte, Mike Zuni pueblo 523 sF-p White Dove, Shyatesa V sculpture acoma pueblo Yawakia, Jimmy 907 cat Zuni pueblo ii pottery 786 lin-W White-Country, Mary V sculpture sisseton-Wahpeton Yazzie, Alice 201 pal-n navajo (diné) Vii diverse arts Viii beadwork/Quillwork 239 pal-s iii paintings/drawings/ Whitegeese, Daryl Graphics/photography pojoaque pueblo/ Yazzie, Cody santa clara pueblo navajo (diné) 251 pal-s 781 lin-W ii pottery V sculpture

Yazzie, Gary navajo (diné) 124 pOG iii paintings/drawings/ Graphics/photography Yazzie, Lance navajo (diné) 781 lin-W V sculpture Yazzie, Larry navajo (diné) 781 lin-W V sculpture Yazzie, Leo navajo (diné) 791 lin-W i Jewelry Yazzie, Peterson navajo (diné) 750 lin-e iii paintings/drawings/ Graphics/photography V sculpture Yazzie, Raymond C. navajo (diné) 210 pal-s i Jewelry Yazzie Ballenger, Virginia navajo (diné) 276 pal Vi textiles Yazzie Jr., Kee navajo (diné) 402 Wa-W i Jewelry Yepa, Alvina Jemez pueblo 647 plZ ii pottery Yepa, Elston Jemez pueblo 232 pal-n ii pottery Yepa, Marcella Jemez pueblo/ chickasaw 647 plZ ii pottery Young, Brian navajo (diné) X moving images Youngblood, Nancy santa clara pueblo 255 pal-n ii pottery Youngblood Cutler, Christopher santa clara pueblo 255 pal-n ii pottery Youngblood Lugo, Sergio santa clara pueblo 255 pal-n ii pottery Yungotsuna, Elmer hopi/tewa 769 lin-W iV pueblo Wooden carvings

Yazzie Johnson +

Gail Bird A SPECIAL EXHIBITION during Indian Market week featuring Yazzie Johnson and Gail Bird’s acclaimed contemporary jewelry ARTIST RECEPTION:

Friday, August 17, 4–6 pm Artists will be present

435 South Guadalupe Street, Santa Fe Tel: 505 982-8111 Monday–Saturday 10–5, Sunday Noon–4 Railyard Arts District Walk last Friday of every month





We will have special selections by these artists available through Indian Market Weekend and ongoing



53 Old Santa Fe Trail Upstairs on the Plaza 505.982.8478

a D

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Indian Pueblo Cultural Center 1-866-855-7902 | 2401 12th Street Northwest Albuquerque NM 87104

o ry


Fo d o


Gateway to the 19 Pueblos of New Mexico

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t s

Cultural Center & Museum:

Mon-Sun, 9am-5pm, Closed major holidays

Shumakolowa Gifts:

Mon-Sun, 9am-5pm, Closed major holidays Shop Online:

Pueblo Harvest Cafe:

Open Daily: Breakfast - Lunch - Dinner


m & a h C n o r m u p B a . ny .B Presents

Native Treasures FINE ART SHOW


El Dorado Hotel Pavilion • 309 W. San Francisco St., Santa Fe, NM • 928.688.2777 •

480.991.2598 •

Joe E. Tanner Cindy Tanner • 713.898.4315

Since 1872

505.326.7427 toll free: 800.225.8340 505.863.6723

Ancestor’s Song



Russell Sanchez (San Ildefonso) and Jill Giller of Native American Collections of Denver Invite you to

BEST OF CLASS….fine Native American Art Friday, August 17, 2012 • Noon to 5 PM

Please join us at the pottery studio of Russell Sanchez (5 Buu Pin Gae Po) at San Ildefonso for a Pueblo Feast of traditional foods, dancing, and fine art. In attendance will be potters Russell Sanchez, Jennifer Moquino, Jody Naranjo and Nancy Youngblood. Also joining us with new works will be contemporary San Ildefonso painter, Jarrod Da. Come preview throughout the day the collaborative pot that SWAIA will auction at their Saturday night gala. Silent bids will be accepted.

NAC will be exhibiting other fine works of art by many of the top Pueblo potters. RSVP and any questions: Jill Giller: 303 321 1071

Russell’s studio is located at the San Ildefonso Pueblo – just 25 Miles north of Santa Fe.North on US 285 and then West on NM502 (the turn off for Los Alamos) Turn Right at the first sign saying SAN ILDEFONSO PUEBLO His studio is directly in front of the famous cottonwood tree in the middle of the Plaza

Wearable Art from Award-winning Silversmiths Tom Taylor CusTom C r e a t i n g a n u n f o r g e t t a b l e m y s t i q u e 108 East San Francisco Street Santa Fe, New Mexico 505.984.2232

Andrea Fisher

Fine Pottery

From Matriarch to Modern August 17-19, 2012

5 Matriarchs 4 Generations 3 Days Only 2 Much Fun 1 Fantastic Show

Andrea Fisher Fine Pottery 505.986.1234

100 West San Francisco Street, Santa Fe, NM 87501

AN N UAL I N D I A N M A R K E T SH O W michael horse

r ay tr ace y

Receptions, Demonstrations & Live Music Join us for events and artist receptions, for more information go to Thursday, August 16, 3pm-6pm Tufa casting and jewelry making demonstration by Ray Tracey and Michael Horse Friday through Sunday, August 17-19, Events until 7pm Artists in attendance: Denny Wainscott, Mary Hunt, David Copher, Roark Griffin, Spencer Nutima, John Bennett, Marie Barbera, Sharon Butler, and Connie Sanchez.


Specializing in Contemporary Western, Native American Paintings, Sculpture, pottery, and Glass 211 Old Santa Fe Trail, Santa Fe, NM 87501 Tel: 505-820-7413 • Fax: 505-820-7414 • •

Olin Tsingine Hopi-Navajo Silversmith

Specializing in High grade Turquoise and coral Lone Mountain, Bisbee Blue, Morenci, Blue Gem, Candaleria, # 8, Lander Blue, Nevada Blue, Indian Mountain, Red Mountain, Carico Lake, Apache Blue

Phoenix, Arizona 602-821-7894 Booth #671 PLZ

Made in America.

CO. InC.

Come & see us in

Santa Fe

August 16 - 19, 2012 Jennifer Curtis

Eldorado Hotel & Spa Anasazi Grand Ballroom 309 W. San Francisco Santa Fe, New Mexico

Sunshine Reeves

Vincent Platero

Daryll Cadman

Arnold Blackgoat

324 LOMAS NW ALB., NM 800.771.3781 • 505.243.3781 • SUNWESTSILVER.COM

Kerry Gallagher Photography

On the Plaza Featuring designs by Tasha Polizzi, Vintage Collection Design, Rios of Mercedes Boots, Kippys, Coreen Cordova, and many more.

80 East San Francisco Street, Santa Fe NM 87501 505.995.8484

Indian Market SWAIA Official Guide 2012  

Indian Market SWAIA Official Guide 2012