Indian Market SWAIA Official Guide 2013

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S wa i a o FFi ci a l g u i D e 2013 a rTi S TS D i r ec To ry & B ooT h loc aTo r M a p

the fashiOn issue

Virgil Ortiz (COChiti pueblO)

2 013 T h e Sa nTa Fe ne w M e x i c a n santa fe n e wme x ic a n .co m


2013 in d ian m ark et

Melanie Yazzie | neW WORKS SculptuRe | paintingS | pRintS + DRaWingS JOin uS at glenn gReen galleRieS in teSuque, neW MexicO tO See heR neW WORK

ÓThe Drawing Marks Came ThroughÒ

ÓStrength From WithinÒ

22 x 30"

Monotype 1/1

Melanie Yazzie in her printmaking studio at the University of Colorado

aluminum ed. 30

ÓSimon Joe Benally is Looking For A Rich GirlfriendÒ

bronze ed. 15

congratulations to Melanie Yazzie on becoming a full professor of art at the university of colorado, Boulder! 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 Museum 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

Join us for our


Local Jewelry Artists For the first time ever, enjoy discounts on our handcrafted Artisan jewelry


On the Plaza, Santa Fe

2013 ind ia n mark et

61 Old Santa Fe Trail 505.983.9241 or 800.648.7358

Don’t miss this exceptional opportunity to select a piece of Packard’s history

Thank you for 75 years of business

August at the E ldorAdo 2013 sAntA fE indiAn MArkEt EvEnts All shows are held in the DeVargas Room at the Eldorado, and continue Saturday, August 17 and Sunday, August 18, 10:00am-5:00pm.

Wednesday, august 14, 2013

tHursday, august 15, 2013

friday, august 16, 2013

DeVargas Room Show opens at 11:00am (to 5:00pm)

DeVargas Room Show opens at 4:00pm (to 7:00pm)

Premium Objects frOm HOPi

annual deVargas OPening

DeVargas Room Jewelry and Pottery Show opens at 11:00am.

Major work by Nampeyo. Early Hopi ceremonial pottery displaying katsina motifs. Dextra Quotskuyva, Elizabeth White and Jake Koopee pottery.

Now-famous early to mid-20th century artists who have moved traditional jewelry onto the contemporary stage. Also a special offering of 24 American Indian jars and bowls from an estate collection.

a PriVate cOllectiOn Of mcKee PlaterO jeWelry

One collector–22 pieces–never before seen. First time on the market! Unveiled at 2:00pm.

Newly discovered Loloma pieces.

Join MArti At thE EldorAdo martha hopkins struever (505) 983-9515 Online Gallery: Pot: Elizabeth White, Katsina: Unknown Hopi carver, Pendant: Charles Loloma, Bracelet: Raymond Sequaptewa. Photo © Addison Doty.

MANITOU GALLERIES Join us for live paintng and sculpture demonstrations at our two locations in Santa Fe. Artists will be in attendance throughout the weekend. After you hit the market, be sure to visit our sculpture garden at 225 Canyon Road. We’ll have opening night celebrations Thursday and Friday at 123 W Palace featuring Porvenir Mariachi. SPECIAL HOURS 123 W Palace gallery hours are: Thu: 9:30-7:30 Fri: 9:30-7:30 Sat: 8-6 Sun: 8-5 225 Canyon Road gallery hours are: 9:30 - 5:30 every day · Santa Fe, NM 87501 123 W. Palace Ave. · 505.986.0440 | 225 Canyon Rd. · 505.986.9833


CLOCKWISE FROM TOP LEFT: Jerry Jordan, On a Summer Day, oil, 14 x 20; Ethelinda, Green Mountain - Blackfoot, 72 x 52, Liz Wolf, Dreams in Flight, bronze, 38 x 37 x 27; B.C. Nowlin, The Code, oil, 44 x 62; OPPOSITE PAGE, CLOCKWISE FROM TOP LEFT: Joe Cajero, Nurtured by Prayer, bronze, 72 x 33 x 33; Nicholas Coleman, Golden Eagle Lodge, 36 x 48, JD Challenger, Long Elk, acrylic, 34 x 34; Billy Schenck, Where Have All The Cattle Gone, oil, 30 x 30; Star York, Touch the Earth, bronze, 49 x 24 x 20

The Iconic West

opening Friday, August 23rd 5-7:30 p.m. at our 225 Canyon Road gallery.

MANITOUGALLERIES 路 Santa Fe, NM 87501 123 W. Palace Ave. 路 505.986.0440 | 225 Canyon Rd. 路 505.986.9833

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 2013 Santa Fe Indian Market.

2013 India n ma r ke t


Join us for our


Fine Designer Jewelry For the first time ever, enjoy discounts on our Designer jewelry & timepieces Don’t miss this exceptional opportunity to select a piece of Packard’s history On the Plaza, Santa Fe

61 Old Santa Fe Trail 505.983.9241 or 800.648.7358

Thank you for 75 years of business


MARIA SAMORA August 14 – 18, 2013 Artist Reception: Thursday, August 15th 5 – 8 pm

Visit for a complete show schedule.

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

Maria Samora is also exhibiting at the Santa Fe Indian Market, August 17th and 18th, 2013 at booth 311 FR-N

Important Works from the Estate of

Fritz Scholder 1937 - 2005

Paintings, Drawings, Prints, Sculpture August 2013 439 C a mino Del Monte Sol 505-982-3367

Show presented in Santa Fe by Gebert Contemporary Scottsdale, representing the Fritz Scholder Estate. All works directly from Scholder’s studio in Arizona.

c h i a r o s c u r o 439 CAMINO DEL MONTE SOL, SANTA FE, NM, 505-982-3367

www. GebertArtAZ .com

Emmi Whitehorse Solo

www. chiaroscurosantafe .com

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

August 16 –September 14


Opening Friday, 8/16, 5-7pm

Native Group Show

Rick Bartow, Yatika Fields, Harry Fonseca, Rose B. Simpson

Join us for our


Native American Pottery For the first time ever, enjoy discounts on our handcrafted pueblo pottery

On the Plaza, Santa Fe


2013 ind ia n mark et

61 Old Santa Fe Trail 505.983.9241 or 800.648.7358

Don’t miss this exceptional opportunity to select a piece of Packard’s history

Thank you for 75 years of business


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

30 Buffalo thundeR tRail santa fe, nM





PROPERTIES A reFiNed ANd criSP SouthWeSterN PArAdiSe AN hiStoric eAStSide eStAte ProPerty

A rAre FiNd, iN-toWN oN eASt ALAMedA

Photo © Kate Russell

19 BuckSkiN circLe iN LAS cAMPANAS • Territorial-style home, over 10,000 sq.ft. with custom designed details • Five en-suite bedrooms in the meticulously-crafted main house • Attached 1-br, 1-ba guesthouse with full kitchen, living, laundry • Chef’s kitchen, two studies, grand indoor/outdoor spaces, pool • Wine cellar, library, outdoor dining, barbeque area, 5.88 acres

the hiStoric FrANk APPLegAte eStAte oN eL cAMiNito • A quintessential ‘Heart-of-the-Historic-Eastside’ property • One of Santa Fe’s oldest gems, originally built in the 1700’s • Completely restored and upgraded to modern standards • Beautifully-landscaped, clay tennis court, private irrigation well • 6 br, 7 ba, 10,180 sq.ft., 4-car garage, 1.74 acres

gorgeouS coNteMPorAry reSideNce With VieWS

AN excePtioNALLy VerSAtiLe ProPerty


Laurie Farber-Condon 505.412.9912

1204 ojo Verde • Contemporary SW home, tremendous city light & mountain views • Fabulous gourmet kitchen with cherry wood cabinetry • Lower-level guest quarters with separate entrance • Grand portals, terraced stone gardens, and breathtaking views • 1.59 acres with 4 br, 5 ba, 5,307 sq.ft. $1,695,000

Matthew Sargent 505.490.1718


Deborah Bodelson 505.660.4442 Cary Spier 505.690.2856

172 VAquero roAd • Versatile property: 5,000 sq.ft. house, 4,000 sq.ft. office area • Bordering the 4,000-acre Eldorado Preserve • Horse property with a four-stall over-sized Morton barn • Gourmet kitchen, attached guesthouse, elegant outdoor spaces • 5 br, 6 ba, 9,082 sq.ft., 3-car garage, 11.07 acres $1,499,000

Amber Haskell 505.470.0923 Cindy Sheff 505.470.6114

BeSt kePt Secret iN-toWN

AdoBe hoMe oN AcreAge - horSeS ALLoWed

611 1/2 oLd SANtA Fe trAiL • Authentic adobe home with studio and/or guest casita • Impressively remodeled to preserve historic charm and natural light • Courtyards, kiva fireplace, hardwood floors and more • See more pictures and details at • 2 br, 2 ba, 1,175 sq ft., 4 car off street parking, 0.12 acres

110 cAMiNo LoS ABueLoS • Inviting adobe and frame home, unobstructed mountain views • Passive solar orientation with plenty of natural light • Majestic Ortiz Mountain and Galisteo Basin views • Plaster walls, nichos, custom tile, beamed ceilings, hickory cabinets • 3 br, 2 ba, 2,700 sq.ft., 2-car garage, private well, 12.05 acres


Emily Medvec 505.660.4541


Cindy Sheff 505.470.6114 Amber Haskell 505.470.0923

523 eASt ALAMedA • Enjoy in-town living, just one block from Canyon Road galleries • A recently-updated historic New Mexico Territorial home • Beautifully-landscaped gardens with Bocce court • Single-level fabulous main house and 2-br, 2-ba guesthouse • 5 br, 4 ba, 2,356 sq.ft., 0.36 acre $1,795,000

Suzy Eskridge 505.310.4116

equeStriAN & BASiN VieW ProPerty

35 cAMiNo LoS ANgeLitoS • A pueblo-style 4,536 sq.ft. artistic and equestrian retreat • Passive solar design with a kiva-style living space • Expansive views and floor plan, including two studio spaces • New kitchen remodel with Wolf stove and granite countertops • 4 br, 3 ba, 3-car garage; 4.9 acres with additional land available $725,000

Amber Haskell 505.470.0923

A Writer’S retreAt iN the South cAPitoL

632 oLd SANtA Fe trAiL, #5 • A 1-br, 1-ba historic second-story adobe condo with vigas • Developed in 2000, on the site of the old Baca Ranch HQ • Decorative tile, custom built-ins, wood floors, coved ceilings • Woodstove, Trex deck, newer (2003) membrane roof • 574 sq.ft. Custom furnishings may be purchased separately $219,000

Tess Monahan 505.690.1123

1000 Paseo de Peralta | 216 Washington Avenue, Santa Fe, New Mexico 87501 • 505.982.4466 • 800.374.2931 All real estate advertised herein is subject to the Federal Fair Housing Act and Equal Opportunities Act. Santa Fe Properties ("SFP") strives to confirm as reasonably practical all advertising information herein is correct but assumes no legal responsibility for accuracy and should be verified by Purchaser. SFP is not responsible for misinformation provided by its clients, misprints, or typographical errors. Prices herein are subject to change. Square footage amounts and lot sizes are approximates.

2013 I n dI an mark e t



2 0 1 3 i n d i a n ma r ket

2 01 3 I n dI a n ma r k et


Cover photo photography, styling and makeup: virgil ortiz rez Spine tote, jumper, leather harness, latex gauntlets and sterling pendant from the virgil ortiz Leather Luxe Collection. Model: Ungelbah Dávila

Cover DeSign Deborah villa owner robin Martin pUbLiSher ginny Sohn ACting eDitor bruce Krasnow eDitoriAL creative director Deborah villa 505-986-3027 magazine editor patricia west-barker copy editors Kris ota, peg goldstein ADvertiSing advertising director tamara hand 505-986-3007 marketing director Monica taylor 505-995-3888 Art DepArtMent manager Scott Fowler, Dale Deforest, elspeth hilbert advertising layout rick Artiaga ADvertiSing SALeS Art trujillo, 505-995-3852 Cristina iverson, 505-995-3830 Mike Flores, 505-995-3840 wendy ortega, 505-995-3892 Stephanie green, 505-995-3825 nationals account manager rob newlin, 505-995-3841 teChnoLogy technology director Michael Campbell proDUCtion operations director Al waldron assistant production director tim Cramer prepress manager Dan gomez press manager Larry Quintana packaging manager brian Schultz DiStribUtion circulation manager Michael reichard distribution coordinator reggie perez web digital development natalie guillén ADDreSS office: 202 e. Marcy St. hours: 8 a.m.-5 p.m. Monday-Friday advertising information: 505-995-3852 delivery: 505-986-3010, 800-873-3372 for copies of this magazine, call 505-428-7622 or email

Indian Market Week: August 12-18, 2013 Indian Market Weekend: August 17-18, 2013 SWAIA 22

welcome to the 92nd Annual indian Market

24 where to park in downtown Santa Fe 26 indian Market mixes it up — what’s new, what’s not 30 Catch all the action: SwAiA official schedule of events 32

Star-filled SwAiA Live Auction gala

34 Zombie night in railyard park 36 t-Shirts, t-Shirts, t-Shirts

The fAShIon ISSue 38 the native American Clothing Contest 42 native high fashion — then, now and into the future 47 in the spotlight: virgil ortiz 48 glitter and starlight: orlando Dugi 51

reppin’ it native style

SucceSS STorIeS 60 Lola Cody: A modern navajo woman and weaver 65 best of Show 2012: Jamie okuma 66 Classification winners 2012 73

innovation Award 2012: Shan goshorn


2013 SwAiA Fellowships offer freedom, encouragement

76 tammy garcia Award for excellence: Susan Folwell 77 Lifetime Achievement and povi’ka Awards 78 traditional pueblo pottery Award: Martha Appleleaf photos gene peach


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2 0 1 3 A r t i s t s D i r e c t o r y & B o o t h l o c At o r m A p

PublIshed august 11, 2013

gene peach

Focus on Artists 100 Market moments: It’s not just about the art 103 Artist-designed rooms at Nativo Lodge 106 Market artist profiles

culture 116 Two new Native art magazines make their debut 118 13th Annual Native Cinema Showcase screening schedule 124 Around town: Special events at museums and galleries

WHo’s Here in 2013 132 2013 Indian Market artist directory by category 140 How to find everyone: SWAIA booth locator map 142 2013 Indian Market alphabetical artist list neebin southall

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Southwestern Association for Indian Arts Board Stockton Colt, Chair Stephen Wall (White Earth Chippewa), Vice Chair Dallin Maybee (Arapaho/Seneca), Treasurer Dr. Jenny Augur Maw, Secretary Bidtah N. Becker (Diné) Susan Folwell (Santa Clara Pueblo) 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 John Torres Nez, Ph.D. (Diné), Chief Operating Officer Tailinh Agoyo (Narragansett/Blackfeet), Director of PR, Marketing & Programming Mary Erpelding-Chacon, CPA, Finance Director Mary-Charlotte Grayson (Cherokee), Volunteer Coordinator & Artist Services Erikka James, PR/Marketing Associate Denise Keron, Development & Membership Director Sharon Lopez, Finance and Office Manager Charlene Porsild, Ph.D., Chief Business Development Officer Paula Rivera (Taos Pueblo), Artist Services/Indian Market Manager Whitney Stewart, Creative Design Manager Marina Ybarra, Membership Associate & Events Coordinator SUMMER STAFF Loni Bernally-Holyan (Diné), Summer Intern Stacy Brossy (Diné), Summer Intern Henry Brown Wolf III (Kewa/Cheyenne River Sioux), Zone Manager Eleanor Kirk, Summer Intern Jennifer Lawrence, Summer Intern Jhane Myers (Comanche), Film Project Manager James Petty, Zone Manager Daniel Remmenga (Ponca of Nebraska), Indian Market Manager Assistant Diane Thompson, Zone Manager Ellen Watkins, Summer PR/Marketing Associate CONTACT Southwestern Association for Indian Arts, Inc. (SWAIA) P.O. Box 969, Santa Fe, NM 87504-0969 505-983-5220 (phone) 505-983-7647 (fax) For general information: For membership information: For donor/gift information: For volunteer information: For artist services: For public relations/marketing:


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‘Thanks for coming …’ Welcome to the 92nd annual Santa Fe Indian Market. How does the phrase go? “If we build it, you will come.” Well, we built it, so thanks for coming. Once again, the Southwestern Association for Indian Arts brings to the world the best that Native American artists have to offer. Indian Market Week brings you film and literary arts, and the weekend brings you the best of jewelry, pottery, paintings, kachinas, sculpture, textiles, diverse arts, beadwork and baskets from across North America. Santa Fe Indian Market bustles with wonderful and unique sights, sounds, smells and tastes that cover 14 city blocks of our wonderful community of Santa Fe, New Mexico. The week begins with traditional Native storytelling in the form of the Native Cinema Showcase. This is a great partnership between SWAIA, the National Museum of the American Indian and the New Mexico History Museum. Thursday we have our official Indian Market launch party at the Santa Fe Hilton. Friday is our Best of Show ceremony and art preview night at the Santa Fe Community Convention Center. Kitty LeaKen Saturday evening is the most glamorous celebration of Native arts in the world at SWAIA’s benefit gala at La Fonda Hotel on the Plaza. On Sunday there is Indian Market’s famous clothing contest featuring the highest craftsmanship of traditional regalia and modern couture and, of course, the most adorable kids you can imagine. All weekend long we have two stages of entertainment to keep the Native cultural experience alive while you take a break from shopping at the booths of over 1,000 Native artisans who have come to share their work with you. After all, it’s the People that make Indian Market so special. As they have come to see you, please come see them and learn. There is something for everybody — even if you just want to enjoy the guilty pleasure of frybread. Santa Fe Indian Market is a community event and has been so for generations. So welcome and thank you for coming. Please enjoy what we at SWAIA have spent an entire year building for you. I would like to thank some of our many sponsors, including Buffalo Thunder Resort and Casino, The Santa Fe New Mexican, Native Peoples magazine, Heritage Hotels and Resorts, Hutton Broadcasting and La Fonda on the Plaza. I would also like to make a special thank-you to our host, the City of Santa Fe, and even more importantly to the community of Santa Fe, of which we are truly happy to be members. Ahe’ee, John Torres Nez (Diné) Chief Operating Officer Southwestern Association for Indian Arts

The Art Hotel of Santa Fe

PAtrick dEAn HubbELL EAgLE bEAr in Pink sHirt AcryLic 48 x 36 incHEs tHE gALLEry cOLLEctiOn At LA POsAdA dE sAntA FE rEsOrt & sPA

FEAturing sPEctAcuLAr Art by intErnAtiOnALLy rEcOgnizEd Artists incLuding PAtrick dEAn HubbELL, bEtty nAncE smitH, kAtHLEEn FrAnk, signE bErgmAn, AddiE drAPEr, dArLEnE OLiviA mcELrOy, dOn WArd, sAndrA PLAcE, cHEryL kOEn And mOrE cOntAct Art curAtOr sArA EyEstOnE At 505-954-9668

The Art of Hospitality 505-986-0000 • 855-278-LAPO (5276) 330 EAst PALAcE AvEnuE, sAntA FE • LAPOsAdAdEsAntAFE.cOm 201 3 In dIan market







El Museo Cultural de Santa Fe



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


























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Plaza Park

Ca nyo n


Roa d NYO NR D



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



Santa Fe Pick-up Route Santa Fe Pickup Stop

North Railyard & Park

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



Point of Interest

Museum of Contemporary Native Arts

Palace of the Governor's


Downtown area

Public Access Parking Lot


New Mexico History ARK EP Museum YD

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 **










Museum of Contemporary Native Arts




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















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 **















E To uri Info C st en W M ter A RC YS T


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










Georgia O'Keeffe Museum








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












450 T AV E G R AN

1 inch = 900 feet






















Parking in Downtown Santa Fe



















Sa Ra nt i aF l y ar e d















2013 ind ia n mark et N G IF









24 F IF




Feb. 2012 - City of Santa Fe GIS Division - JDG

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






2013 IndIan market


indian market

Graffiti artist Jaque Fragua, Jemez Pueblo, works on a mural on the side of the New Mexico Museum of Art during the 2012 Indian Market. Look for another mural in the same location this year.

Story By arin mckenna | photoS By luiS SÁnchez Saturno

the 21st-century challenge for the 92-year-old Santa Fe indian market is finding ways to keep traditional art forms alive while reaching out to the next generation of marketgoers. John Torres Nez, the Southwestern Association for Indian Arts’ new chief operating officer, is taking a multipronged approach toward finding that balance. Torres Nez (Diné) is not new to SWAIA. During two years’ service as artist services coordinator and another two as deputy director, he promoted several market innovations that are proving successful. Initiatives such as a separate classification for basketry, inaugurated in 2010, and the 2012 introduction of a Traditional Pueblo Pottery Award address a growing concern about threats to traditional Native arts. “There are not a lot of younger potters coming up, and the pottery families are worried about that and trying to figure out how to deal with it,” Torres Nez said. “We’re seeing something similar with textiles, basically the two most labor-intensive art forms.” The basketry classification has had major impact. “When Jeremy Frey won Best of Show for his baskets, the basketweavers were coming out of the woodwork,” Torres Nez said. “So they’re still out there.” Another initiative Torres Nez instituted two years ago has had an even broader effect: Artists are no longer limited to selling only the art form they juried in with. They can now sell any medium they work with — as long as they meet Indian Market standards. Potters, for example, may sell traditional clay pottery next to stoneware, or use the earth pigments to paint on canvas. 26

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Or they can diverge into a completely different art form, such as jewelry making, and offer both for sale in their booths. “I think younger folks are just more savvy about how to market their work and how to more quickly respond to customers. Which means they’re equally happy to do something traditional or something very contemporary. If the demand is there for both, people are willing to do both,” Torres Nez said. “So they’re not pigeonholing themselves, and we’re allowing them the freedom to express that by not pigeonholing them either. This gives artists, especially in this economy, a little more flexibility to branch out.”

a new breed of collector “Mixing it up” also encourages the new type of collector, one who is less likely focus on one art genre or seek out every artist in a family. “Young folks don’t do that,” Torres Nez said. “They have that one black pot that they liked. They have that one stoneware vessel that they bought made by a non-Native artist. They have a piece of Arts and Crafts furniture. Their homes are much more eclectic. So [the new flexibility] is keeping that diversity for them.” Indian Market’s increasing tribal diversity is another draw for that new breed of collector. When Torres Nez joined the organization in 2007, approximately 160 tribes were represented. This year there are nearly 220.

mixes it up

Indian Market’s first-ever flash mob, organized by 4 Directions Productions and Tabletop Sounds, filled the intersection of Palace and Lincoln avenues with Techno powwow music and dancers in 2012.

SWAIA lookS to ShAre the Work, buIld A fInAncIAl foundAtIon The number of applicants is increasing and, as artists who were tenured in during the 1980s retire, more juried spots are available to them — creating an unparalleled opportunity to collect indigenous art from across the United States in one location. “If you want beadwork from North Dakota, you either go up there or run across it at Indian Market. If you want raised beadwork from Upstate New York, you’re either going to have to go to New York or come to Indian Market for that,” Torres Nez said.

Welcoming a younger demographic SWAIA’s embrace of contemporary genres such as film also expands opportunities for artists and collectors alike. An emphasis on performing arts and literature during Indian Market Week has been very successful. This year’s Indian Market Week offers more film and an additional poetry reading. There’s also a hip new pre-market dance party at the Hilton Santa Fe Historic Plaza (co-sponsored by Native Peoples magazine) immediately following the Classification X award winners film screening on Thursday night. “We’re hoping to take all our young filmmakers and our Hollywood types that are in town and give them a really good welcoming party,” Torres Nez said. “We thought, ‘That group is here Thursday. Let’s keep them here through

Longtime Indian Market enthusiasts may have noticed that, unlike his predecessors, John Torres Nez’s title is chief operating officer rather than executive director. Torres Nez himself proposed the change to the Southwestern Association for Indian Arts’ board. “It was something Bruce [Bernstein, SWAIA’s former executive director] and I had talked about for years, that there really needs to be two positions — one that spends the money, basically, and one that gets the money. There just isn’t enough time for an executive director to do both,” Torres Nez said. The board agreed to reorganize and created two top positions: a chief operating officer to lead the organization and a business development officer to take charge of such things as fundraising and building an endowment. Torres Nez believes the arrangement will help ensure SWAIA’s longterm health. “For 91 years [we’ve just started] from scratch every year. And why? Why don’t we have a $20 million, $40 million endowment at this point?” Torres Nez asked. “Well, I don’t want to do that anymore. I want to be three years out, easily. This is how the big boys do it. This is how the corporate world does it. “We’re not going anywhere. We’re going on 100 years [old]. We might as well do it right.” Charlene Porsild, P.h.D., who joined the association in July, has accepted the position of chief business development officer.

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what’s the buzz? SWAIA connects through social media Indian Market may be 92 years old, but it is anything but technophobic. The Southwestern Association for Indian Arts has been ramping up its presence on social media sites and it’s really starting to pay off. “We’ve started posting stuff right away, and it really builds excitement for the show,” said the association’s chief operating officer John Torres Nez. “And artists are jumping in on that. Every time they post images of their work taking shape, they cross-post to the SWAIA page, knowing that we have way more followers than any individual artist does. “I think it builds this really unique energy that we haven’t [had] before, because market really is about that one-on-one, customer-to-artist relationship. And now we’ve extended that relationship from the beginning of spring to market, as artists ramp up. Anyone who’s a follower of SWAIA is a fan of Native art in general, so they love seeing what the jewelers are doing versus the painters versus the potters.” Feedback indicates the networking effort is working. “There were people who came to the SWAIA booth and said, ‘We want to thank you, because this is really working for us. We weren’t even thinking about coming to market this year, but we got to feel like we were really part of this whole event as you built it. And it was really exciting, so we came,’” Torres Nez said. Director of public relations and marketing Tailinh Agoyo (Narragansett/ Blackfeet) suggested another way SWAIA could generate excitement during the 2012 market: enlisting street photographers. Young photographers armed with iPhones and cameras took photos of anything and everything and uploaded it all live to social media sites such as Facebook, Pinterest and Instagram. “The Facebook feed was just constantly scrolling. Every few minutes it was yet another picture posting from some other place across market,” Torrez Nez said. “So you could say, ‘Oh, shoot, the dancers are coming on in Cathedral Park. Let’s go down there,’ because they just saw someone post them coming onto the stage. They could see who was on the main stage or that the frybread line was short. You could kind of strategically map out where you wanted to go. “It was really an interesting way to get a whole glimpse of what was going on simultaneously. It was very successful and we’re going to do it again.”

MORE Find SWAIA’s Facebook page at You’ll find links to the association’s Twitter feed (, Instagram and Pinterest pages there. Street team photos will be posted on both Facebook and Instagram ( Gene PeAch

the weekend — it’s a crowd that usually doesn’t come to market, but because of film, they’re coming. “We’re trying to make market feel welcoming to the 20- and 30-somethings who normally would just skateboard around the perimeter, do the other after-parties and that’s about it. Keeping those folks downtown with the film, entertainment, music and street art keeps them shopping until they find something they do want.” The long-term goal, Torres Nez said, is to turn them into art buyers. “And I think that’s working. We’re definitely seeing faces we don’t usually see at the events we’ve had thus far. They’re the Art Institute crowd, the Santa Fe University of Art and Design crowd, and the locals who haven’t bothered to think about Indian Market.” Despite that push for a younger demographic, Torres Nez decided last year to limit bandstand entertainment to traditional dance and music in 2013. “The primary reason is it’s quieter. The artists that are right around that stage were having a hard time talking to people because the rock and roll was just too loud. That’s what the audience wanted to see, but I wanted the artists to make the sales more,” Torres Nez said. “Wearing the new hat, I have many more constituents I have to deal with, but my roots really are with the artists — and if they’re making sales, they’re happy. And if they’re happy, I’m happy.” Finding new venues for performing artists is high on Torres Nez’ list of 28

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priorities, both during market and by expanding what the association calls SWAIA 360, its year-round programming. He is also looking for ways to incorporate new art forms. “I teach out at the Institute [of American Indian Arts] too,” Torres Nez said, “so I try to figure out what the students are doing and how Indian Market [can] keep up with what’s going on out there. How do we make sure the electronic artists, the graphic artists, the digital artists have a place to set up and do something?” SWAIA took a step in that direction last year when they hung a huge canvas on the side of the New Mexico Museum of Art and hired four graffiti artists — Jaque Fragua, Yatika Starr Fields, El Mac (Miles MacGregor) and Hoka Skenandore — to paint a mural. “It was an amazing mural. They ended up selling it and doing well. So it was great for them,” Torres Nez said. Look for another street mural, created by the same artist team, in the same location this year.

‘the more things change …’ “In a lot of ways, things are pretty much the same,” Torres Nez said. “But in a lot of important ways, everything’s different. For the first time I’ve had a lot of freedom to do what I think the next generation is all about. So it’s mixing things up. And I think that’s important for everyone who’s going to be here.”

Andrea Fisher

Fine Pottery

Indian Market Show:

Renowned Hopi potter and two time “Best in Show� recepient

Rondina Huma:

A Retrospect

August 16-18, 2013 Opening reception Friday August 16, 10am-2pm Artist will be present

Opening reception for Santo Domingo Potter, Thomas Tenorio Friday day August 16th 4pm-7pm Andrea Fisher Fine Pottery - 100 West San Francisco Street, Santa Fe, NM 87501 - - 505.986.1234 2013 IndIa n ma r ke t


SWAIA OffIcIAl Schedule Of eventS Monday, August 12 Sunday, August 18

artist/designer Ehren Kee Natay created for Santa Fe Indian Market 2013. Plaza Community Stage. Free.

The 13th Annual Native Cinema Showcase The Southwestern Association for Indian Arts and the Smithsonian’s National Museum of the American Indian present the 13th Annual Native Cinema Showcase, a seven-day celebration of films and videos by and about indigenous peoples. All films will be shown at the New Mexico History Museum, 113 Lincoln Avenue. Free. For complete schedule see pgs. 119121 or log onto

Saturday and Sunday August 17 and 18, 1-4 p.m. Buffalo Thunder Resort and Casino Cultural Stage on the Plaza The Plaza Community Stage showcases Native American dance, music and performance. Emergence Productions performs Saturday; Canyon Records presents Grammy award-winning singer Radmilla Cody, world-renowned hoop dancer and cane flutist Tony Duncan and other performers on Sunday. Santa Fe Plaza. Free.

Tuesday, August 13 8:30-10:30 a.m. Breakfast with the Curators — “NextGen SWAIA: Approaching the Next Century” SWAIA and the Museum of Indian Art and Culture present Breakfast with the Curators at the Museum of Indian Art and Culture, 710 Camino Lejo. Learn about the history and future plans of the Santa Fe Indian Market over breakfast with SWAIA’s COO, John Torres Nez. $35 per person ($20 per person for MNMF members), museum admission included. For tickets, call 505-476-1250.

Thursday, August 15 6 -9 p.m. Classification X Award Winners Film Screening A film premiere for the winners of Classification X, SWAIA’s classification category for moving images in the following categories: Narrative Short, Documentary Short, Animation Short, Experimental Short and Feature Length. New Mexico History Museum, 113 Lincoln Ave. Free.

Thursday, August 15th 8:30-11:30 p.m. Santa Fe Indian Market Launch Party SWAIA and Native Peoples magazine present the first annual Santa Fe Indian Market Launch Party featuring hip-hop reggae beats by Cempoalli Twenty and Quese IMC, and dance music by DJ Shock B. The Ortiz Room of the Hilton Santa Fe Historic Plaza, 100 Sandoval St. (entrance on W. San Francisco St.). Free.

Gene Peach

Malachi Tsoodle-nelson (Diné/Kiowa), in Powwow Men’s Fancy Dancer Regalia, performs in 2012.

Friday, August 16 11:30 a.m.-2 p.m.

Saturday, August 17 7 a.m-5 p.m.

Best of Show Ceremony and Luncheon This prestigious ceremony is the only time during the weekend when the best artists and works of Indian Market come together. Santa Fe Convention Center, 201 W. Marcy St. For tickets call 505-983-5220.

Sunday, August 18 8 a.m.-5 p.m.

Friday, August 16 3-4:30 p.m.

Santa Fe Indian Market Weekend The 92nd Annual Indian Market is the world’s most prestigious Native American arts show. Santa Fe Plaza. Free.

Saturday and Sunday August 17 and 18 9 a.m.-3 p.m.

Fourth Annual State of Native Arts Symposium “Art Quality: Getting Native Artists into Mainstream Museums” A panel discussion by educators, curators and experts about what defines quality in Native art. New Mexico History Museum, 113 Lincoln Ave. Free.

Children’s Activity Tent Activities for ages 5-18 include painting, pottery, basket weaving and Native American contemporary music. Washington Avenue. Free (materials provided).

Friday, August 16

Lifetime Achievement Allan Houser Legacy and Povi’ka Awards Presentation The Lifetime Achievement Allan Houser Legacy Award recognizes the contributions of a distinguished Native American artist to Native arts and culture. The Pov’ika Award recognizes service, leadership and support provided to the annual Santa Fe Indian Market and to Native artists and their communities. Plaza Community Stage. Free.

Sneak and General Preview of Award Winning Art Sneak Preview 5:30-7:30 p.m. General Preview 7:30-9:30 p.m. Sneak Preview gives SWAIA members the early opportunity to see the best of Indian Market art. The General Preview that follows opens the doors to the public for a glimpse at the award-winning artwork. Santa Fe Convention Center, 201 W. Marcy St. For tickets call 505-983-5220.

Saturday, August 17 11:30 a.m.-12:30 p.m.

Saturday, August 17 12:30-1 p.m. Santa Fe Indian Market Hip Hop Fashion Show Models and dancers show jewelry designed by SWAIA artists and the T-shirt line


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Saturday, August 17 5-9:30 p.m. Santa Fe Indian Market Live Auction Gala The most glamorous event of Indian Market Week — and SWAIA’s major fundraiser — features food, entertainment and the opportunity to bid on the highest quality Native Art. La Fonda on the Plaza, 100 E. San Francisco St. For tickets call 505-983-5220.

Saturday, August 17 Sundown, 8:30 p.m. Zombie Night in the Park Native Cinema Showcase and SWAIA present The Dead Can’t Dance, a film by Rodrick Pocowatchit. Come dressed as a zombie (or not) and bring your own lawn chairs and blankets. Santa Fe Railyard Park (Cerrillos Road and S. Guadalupe St.). Free.

Sunday, August 18 9 a.m.-12 p.m. Native American Clothing Contest A cherished tradition at market (and the most photographed), the NACC includes categories for traditional and contemporary Native American fashions, features children and adult participants and awards prizes in over 20 categories. Plaza Community Stage., Free.

Sunday, August 18 3 p.m. Classification X Award Winners Film Screening (See Thursday, August 15, for details)

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come out on Saturday night By EMILy DRABANSkI

LIVE AUCTION GALA WHEN: 5 p.m. Saturday, August 17 WHERE: La Fonda on the Plaza TICKETS: $150-$225. Purchase in advance at or reserve by calling 505-983-5220.

Carlton Jamon

As the first exciting day of Indian Market draws to a close, out-of-towners (and some locals) often ask, “What’s there to do on Saturday night?” Tailinh Agoyo (Narragansett/Blackfeet), director of public relations, marketing and programming for the Southwestern Association for Indian Arts, has an answer for them: “SWAIA has something for everyone this year: our Live Auction Gala and Zombie Night at the Park.” Those who enjoy putting on the glitz — maybe including some of their new Indian Market purchases — can enjoy a gourmet meal at La Fonda on the Plaza, engage in adrenaline-fueled bidding and rub shoulders with movie and market stars — all while supporting a good cause. Others — more inclined toward pop than posh culture, or travelling with tweens who whine that there’s nothing to do in Santa Fe — can kick back with a campy movie in Railyard Park. The stars will be out in the park, too, but you’ll have to look up to see them. Actually, moviegoers will get to meet the star and director of The Dead Can’t Dance after the film shows on the big inflatable screen. kitty leaken



the LIve auctIon GaLa The gala is SWAIA’s biggest fundraiser for the year — and the hottest ticket of Indian Market weekend. The event’s setting at La Fonda adds to the magic of the evening. “La Terraza [where the event starts] offers a terrific view of the Plaza and the cathedral,” Agoyo said. “And [it’s] a great place to watch the sunset.” Partygoers can sip cocktails and sample hors d’oeuvres while they bid on artwork in a silent auction starting at 5 p.m. The three-course gourmet dinner in the Lumpkins Ballroom starts at 7 p.m. During dinner, bidders can peruse a glossy program detailing the items in the live auction and watch brief videos profiling the artists who donated the artwork. When the live auction begins, expect a real rush. “It’s very exciting. There’s usually a lot of screaming and clapping,” Agoyo said. “It’s definitely a lot of fun for a great cause.” Both donors and buyers are eager to help SWAIA continue to fund the market. Bidders also recognize that they have the opportunity to buy extraordinary one-of-a-kind pieces. “All of the live-auction donors are exceptionally talented,” said Marina Ybarra, membership associate and event coordinator. Last year’s sterling silver, turquoise and coral Friendship Necklace incorporated the work of 13 different jewelers and brought in $60,000 for SWAIA. “We protect the privacy of the purchasers,” Agoyo said, “but I can tell you that the collector [who bought it] has a significant piece of history. There never was a necklace made like that before and there never will be another one like it.” The 2013 auction again features major works by established market artists. Jewelry, paintings, sculpture, pottery, beadwork — almost every art form that appears at Indian Market also appears on the gala auction block. A traditional sterling silver squash-blossom necklace created by Diné artist Tonya June Rafael features 10 blossoms with chunky clustered turquoise cabachons surrounded by swirly wire designs and a 12-stone centerpiece naja, all strung on handmade silver beads. “Being a SWAIA artist for the last nine years has definitely enhanced my career,” Rafael said. “I donated my necklace to keep SWAIA successful and [to support] the best Native American art show in the world. It is very important that SWAIA [continue] at its best for our future and our next generation.” Zuni Pueblo artist Carlton Jamon expressed similar sentiments about his donated piece, Zuni Silver Fetish Pot with Necklace, which received Best Use of Material at Indian Market in 2012 and Best of Show at the Museum of Northern Arizona’s Zuni Show. Jamon said the work is a tribute to the stone fetish carvers of the Zuni Pueblo. Once the necklace is removed from the pot, six animal fetishes also can be removed and attached to the necklace. “SWAIA and Indian Market played a very important role for me as an artist,” Jamon said. “Not only has it brought me notoriety and customers, [but it has also] brought me lifelong friendships.”

Tonya June Rafael

LIve auctIon donors Lonnie Vigil (Tewa/Nambe Pueblo) — Micaceous storage jar William B. Franklin (Diné) — Painting, acrylic on canvas Tony Lee (Navajo) — Fabricated steel sculpture Vincent Kaydahzinne (Mescalero Apache) — Bronze sculpture Tonya June Rafael (Navajo) — Silver and turquoise squash blossom necklace Carlton Jamon (Zuni) — Silver jewelry box with necklace and pendants Al Joe (Navajo) — Necklace with handmade beads and findings Mary Irene (Muscogee Creek Nation) and Samuel LaFountain (Chippewa/Navajo) — Hand-fabricated silver container with removable “Stargazer” ring Shawn Bluejacket-Roccamo (Shawnee/Cherokee) — Silver, citrine, natural topaz and tourmaline necklace Michael Rogers (Paiute) — 14k gold ring with multicolored natural stones Oreland C. Joe (Southern Ute/Navajo) — Black Imperial Chinese Marble bust Silvester Hustito — Acrylic on wood sculpture Upton Greyshoes Ethelbah — Hand-carved calcite sculpture Shane Hendren (Navajo) — Silver and gold bracelet with turquoise and coral Dominique Toya (Jemez Pueblo) —Jemez clay pot with micaceous slip Nocona Burgess (Comanche) — Painting, acrylic on canvas Allen Aragon (Navajo) —red coral necklace with ceramic and silver pendant Robin Waynee (Saginaw Chippewa) — 18k gold earrings with sapphires and diamonds Joe Cajero, Jr. (Jemez Pueblo) — Traditional Jemez clay sculpture with corn husk Jackie Bread (Blackfeet) — Beaded photorealistic pictorial bag 2013 IndIa n ma r ke t


Zombie Night On Saturday night

Zombie night in the park


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WHEN: Dusk (around 8:30 p.m.), Saturday, August 17 WHERE: Santa Fe Railyard Park, 740 Cerrillos Road ADMISSION: Free. PREP TIP: Have fun creating your zombie outfit. For ideas log onto Zombie-Costume-How-To.htm.

Filmmaker Rodrick Pocowatchit

everyone who isn’t attending the gala is invited to a free screening of the zombie flick The Dead Can’t Dance, sponsored by the Smithsonian’s National Museum of the American Indian and SWAIA. “SWAIA recognizes all of the arts, so it’s great to recognize filmmakers as well as visual artists,” Tailinh Agoyo said. Filmmaker Rodrick Pocowatchit, an alumnus of the Sundance Institute’s prestigious screenwriting program and Native American and Indigenous Program, spoke about The Dead Can’t Dance by phone from Wichita, Kansas. “This is my third film, and I’m thrilled to be part of the Native Cinema Showcase,” he said. “I really wanted to make a zombie movie and did a lot of research. The best zombie films are actually about the survivors, not the zombies, and that’s true about this film.” The Comanche/Shawnee/Pawnee filmmaker also wanted the film to have “a Native perspective that can appeal to all audiences.” In the storyline, non-Native people rapidly succumb to a mysterious illness spreading through Kansas. “In a way, there’s a touch of social commentary,” Pocowatchit said. “When the settlers arrived on the continent they brought diseases that killed many Native people. In a small way, the tables are turned in this film.” The filmmaker, his brother and nephew play the lead roles. “My brother’s character Ray is a father who really hasn’t learned what it means to be a father,” he said. “And through the course of the film he has to grow as a person. It’s interesting to watch the transformation.” Pocowatchit finances, directs, edits and acts in his films. Asked if his films make any money, he laughed. “Oh, no. I still have a lot of zombie debt. I do this because I love it. My other friends drive nice cars. Not me. That’s how I save money to make these films.” Pocowatchit will introduce the film at dusk (around 8:30 p.m.) and answer questions afterward. Moviegoers can buy popcorn, sodas and snacks from two vendors at the Railyard or bring their own munchies. While The Dead Can’t Dance is billed as a family event, Pocowatchit said, “This movie has most of the violence taking place off screen. There are some scary scenes and some adult language. It’s not officially rated, but I’d call it PG-13.”

2 01 3 IndIan market


Paulo T. PhoTograPhy

s T r i h s T s T r i h s T s T r i h s TBy Phaedra haywood

Ehren Kee Natay (Diné/Kewa Pueblo/Cherokee) is a musician, dancer and actor as well as an artist working in multiple media. He once played drums in a “pop, punk, emo, indi” band that gigged out of Las Vegas, and he has been tapped to decorate a room in a Native American-themed hotel in Albuquerque. Perhaps this is why, when the Southwestern Association for Indian Arts commissioned him to create a T-shirt for the first-ever Artist Designed Collection for Santa Fe Indian Market, he came up with not one but four unique designs. Natay’s first design, “Remimbres,” combines ancient Mimbres symbology with stylized graffiti lettering and a poster art sensibility. The logo on the shirt, which reads “SF NDN MKT 2013,” employs the slang shorthand “NDN,” which young Natives have taken to calling themselves. Another design, aimed at a younger audience, features Natay’s own signature character Kiva Head — an exuberant smiling creature. The shirt comes with several choices of contrasting color neon backgrounds. “In pop culture Natives always have red faces, big noses and feathers,” Natay said. “I wanted to create a character that shows the dynamics of our culture. I wanted to do something that looks Native, but like a Pokémon [Japanese anime character].” Natay’s blending of pop-culture icons with traditional Native American imagery shows up in the paintings he’ll show at this year’s market, too. The brightly colored Teenage Mutant Ninja Turtle Dancer (spray paint on canvas), for example, is influenced by both the 1990s cartoon and the Turtle Dances from San Juan Pueblo. The third design Natay created for SWAIA’s Artist Designed Collection is more “fashion forward.” The rainbow motif, he said, represents the feminine and is inspired by Navajo regalia, featuring a lyrical swoop of colors topped with a crown floating amongst tiny clouds. Natay offers a nod to more classic dressers in his final design — a black-and-turquoisecolored emblem that references designs seen on pottery and silver stamp work. It has a crisp white background and includes the SWAIA logo. Natay said he chooses his imagery carefully and that he seeks to be inspired by, rather 36

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than copying, traditional Native iconography while also attempting to preserve the ancient images. “I don’t want to be sacrilegious,” he said. “As an urban Indian I’m trying to find the medium. What’s available for me to use that a wide range of Americans will understand? Indian art helps me connect on a community level and pop art references help me connect to a larger community.” The young artist — who counts street-artist-cum-celebrity-graphic-designer Shepard Fairey and Navajo jeweler Fritz Casuse among his influences — will show his paintings and jewelry at booth 766LINW during this year’s Indian Market. And when market is over, he’ll get back to teaching visual and performing arts at a Montessori school in Velarde, studying jewelry making at the Poeh Cultural Center and Museum in Pojoaque — where he also acts a mentor to other students — and trying to figure out what he wants to be when he grows up. “I’m always looking for something that is going to fulfill me as an artist,” he said. “But it’s always changing. It would be awesome if I could find the one thing that I wanted to devote myself to — but that hasn’t happened yet. “


Ehren Kee Natay’s designs for SWAIA’s inaugural Artist Designed Collection will be available on mugs, bags and water bottles as well as on T-shirts. The limitededition merchandise is offered for sale at three booths during Indian Market. The main tent on the Plaza has the best selection. Other booths, located on Marcy Street and in Cathedral Park, offer a more limited selection. Merchandise can also be purchased online at All proceeds from the Artist Designed Collection directly benefit SWAIA and Santa Fe Indian Market. On Saturday, August 17, Ehren Kee Natay leads a hip-hop fashion show on the Plaza stage from 12:30 to 1 p.m. Models and dancers will show off his new T-shirt designs, as well as some jewelry crafted by participating SWAIA artists.

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You turn to us.

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Jessa Rae Growing Thunder (Sioux Assiniboine) First Place, Women, Jai Po Makowaping Harver (Pojoaque and Santa Clara Pueblos) Northern and Southern Plains and all other tribes, 2012 First Place, Boys 0-5, all Southwestern Tribes and Best of Show, 2012 Photo Kitty Leaken

Malachi Tsoodle-Nelson (DinÊ/Kiowa) Men’s Fancy Dancer Regalia. First Place, Men, All Southern Tribes, 2012


Traditional and contemporary regalia at the native american Clothing Contest Story By JeSSica r. Metcalfe, Ph.D. (TurTle MounTain Chippewa) PhotoS By gene Peach, Kitty leaKen

Detail: Tin cone tinklers on a dress worn by Jessa Rae Growing Thunder


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It is my favorite moment of Indian Market. Adorable tiny tots, beautiful children, handsome men and gorgeous women are all decked out in fine traditional and contemporary regalia. The wearers carry a noticeable aura of pride as they stand tall and move with elegant grace on stage in front of the overflowing audience of smiling onlookers. It is beauty embodied. It is the Native American Clothing Contest. The genesis of this event is related to the beginning of Indian Market itself. In black-and-white archival photographs from early fairs, you can see artists in their traditional Pueblo or Navajo attire. When the artists came to the market, they not only brought their exquisite artwork for display and judging, but they also came wearing equally immaculate dress. At first, informal awards were granted to the best-dressed artists. From these early awards developed the competition that is presently touted as the most photographed event of the weekend. Now, it is a separate event that you do not want to miss, held on the Sunday morning of Indian Market, when dozens of marketgoers take time off from visiting booths to sit and enjoy a fabulous show. The competition begins with some of the most memorable contestants, the tiny tots in the traditional category, and it continues on through all the age groups to the adults. From baby bonnets to beaded moccasins, all the clothing is a delight for the eyes and spirit.

2012 Native American Clothing Contest emcee, Jeri Ah-be-hill (Kiowa/Comanche)

Mack Henry, White Mountain Apache Crown Dancer, Boys 11-17, Northern and Southern Plains and all other tribes

Lillian Jones (Kiowa / Shawnee Delaware) left, Dyani Pino (Santa Clara Pueblo/Hopi), tied for Best of Show, Female, 2012

Persephone Bebo-Maybee, Second Place, Girls 0-5, Northern and Southern Plains and all other tribes

Valentina Elise Abeita (Santo Domingo Pueblo) Photo Kitty Leaken

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Girls and women don attire ranging from cream-colored buckskin dresses embellished with flowing fringes and sparkling beaded details to exquisitely woven Pueblo mantas and Navajo rug dresses. The boys have been ceremoniously painted on the skin, and they wear garments handmade by loved ones. The contestants also carry unusual accessories, including rare eagle feather fans, Victorian lace parasols, white or rust-colored moccasins and silver concho belts. Large bracelets, rings and strings of beadwork or turquoise are worn as signs of family wealth and prestige. But this contest isn’t just a feast for the eyes; it is also a time for sharing and learning. The show’s emcee describes the garments and jewelry, explaining the history, legends and relevance of what stands before us. Clothes aren’t just things that cover our bodies and protect us from the elements; they are also embedded with symbols that reference our cultural values and who we are as a people. For example, during the contest last year, the tin cone tinklers on a dress worn by Jessa Rae Growing Thunder (Sioux Assiniboine) recalled the story of an Ojibwe grandfather who sought medicine for his granddaughter when she fell deathly ill. In a dream, he was told to create the dress and to have his granddaughter dance in it. When a person is granted a vision of this power, he or she is obligated to see it take form in this world. The grandfather followed the instructions, and his granddaughter was healed. This medicine has been passed on to this day. The healing power of the jingle dress is still called upon, and the values of dancing for our personal and communal well-being are carried on from the past to future generations. The competition can also become a performance when garments are designed for ceremonial or social dances. The contestants demonstrate their powerful regalia in motion, swirling on the stage and activating the sounds of bells or tinklers attached to their dresses. Determining a winner is no easy task. Judges carefully score each contestant separately, and oftentimes there’s a tie. Last year, two small girls tied for the Best of Classification: Female Traditional ribbon, and when former SWAIA executive director Bruce Bernstein had to break the tie, he instead rightfully declared both girls winners. Upon this announcement, the audience cheered loudly. Dyani Pino (Santa Clara) and Lillian Jones (Kiowa) posed with their shared ribbon.

‘Wearable art’ takes the stage

The contest also features a contemporary category, which was added to the roster in response to Native American fashion designers who were turning Santa Fe into a hot fashion mecca. In the 1980s, avant-garde fashion shows featuring the work of artists such as Marcus Amerman (Choctaw) and Wendy Ponca (Osage) created demand for similar exciting events at the market. SWAIA responded by establishing a new contemporary clothing category. First Nations fashion designer Sho Sho Esquiro explained, “I was really happy to see them have a contemporary category. Although I love traditional clothing and regalia, I see a need for both categories to be included.” Up-and-coming Navajo designer Shayne Watson submitted an elegant white velveteen wedding gown. Inspired by traditional pleated broomstick dresses of Navajo women, this one boasted pretty turquoise accents on glimmering white velvet, a fabulous step-design neckline, a three-tiered full skirt and a long train trailing behind. Originally from Chinle, Arizona, Watson said he was inspired by the teachings of his grandmother; he has been designing clothes for more than seven years in the way she taught him. For Watson, contemporary fashion isn’t just an outlet for his creativity; it is a way for him to explore his cultural heritage. Another Navajo artist, Orlando Dugi, submitted two dresses, both inspired by desert heat. “This collection is about fiery fierceness, passion and confidence,” he said, “like a Southwest sunset.” The cocktail dress and gown were cut from silk fabric. He embellished each with glass beads, Swarovski crystals and various fine stone beads and gems, alongside hackle, duck and goose feathers. Designers jump at the opportunity to showcase their work in such an inspiring place as Santa Fe during the market, Esquiro explained, 40

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Entrants in the contemporary category

“Participation in the clothing contest helped me push myself to think outside the box. I am a competitive person, but in the end I’m just honored to have my creations on stage alongside all the amazing artists.” Esquiro, an amazing artist herself, entered a gown inspired by a Kaska Dene legend. She said, “Last year I spent 400 hours on my submission. It was adorned with over 1,000 feathers, salmon skin and lots of beadwork. This year my piece is created with silk and almost 600 pieces of abalone.” Sun Rose Iron Shell, an emerging designer, entered the clothing contest last year for the first time. Her pieces were inspired by Northern Plains parfleche containers, which were traditionally made from rawhide that was strong enough to deflect arrows. She created a parfleche-inspired hand-painted corset halter top. She said, “The hand-painted design is from traditional Lakota parfleche works representing AnuKite Wyan, Double Face Woman, the spirit of art. This supernatural entity is the embodiment of art and femininity.” Iron Shell’s creation, which also included matching shoes and earrings, earned an honorable mention at last year’s contest. “The four hide pieces that make up the corset are painted with this design,” she said, “and the corset is cut from a textile I created by dyeing and screen-printing the fabric. The print is of a gun called the Apache folding weapon, which is a device that transforms from brass knuckles to a knife while being a sixcylinder shooter. This is an image constant in my work and is my metaphor to stay sharp in this intellectual battle for our youth.” For Navajo fashion designer and jewelry artist JT Willie, his first time participating in the Native American Clothing Contest was a memorable occasion. His gown won the Best of Class ribbon for the contemporary category. He entered a lime-green ball gown made of eight-band trade cloth. He adorned it with synthetic elk teeth and beadwork. “I made a matching purse, earrings and necklace to accompany the beadwork on the dress. It was indeed one of a kind,” he explained. He titled the dress Indian Girls Go to Balls Too. “I like the idea of your work being displayed on a live model,” he said, “instead of the usual way of juried markets that limit the display of art.” For designers who create wearable art, the clothing contest is perfect because other classifications do not allow the use of a mannequin unless it was made by the artist. The clothing contest allows an ensemble to be worn and seen in action. Iron Shell added, “I would love to see the contemporary categories expanded. I believe it would spark more creativity and showmanship in Native fashion. The contemporary categories are a statement of progression and continuance. Fashion produced by Native designers keeps the identities of Native people forward moving and, most of all, not dictated by stereotypes.” Clothing and adornment continue to be important aspects of Native American cultures, and thanks to the persistence (and creativity) of clothing makers of the past and present, fashion is claiming its place next to the other arts at Santa Fe Indian Market.

Bottom row center, Best of Show, Contemporary 2012: JT Willie (Navajo) designer

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“It’s a Kiva bag” by Lloyd Kiva New. Private collection.

Lloyd Kiva New shirt with desert-inspired colors, ca 1950s. Private collection. Photos Jessica Metcalfe

naTive high Fashion Then, now and inTo The FuTure

By Jessica R. Metcalfe, Ph.D. (TurTle MounTain Chippewa) The year was 1945. It was fall in Phoenix, and a young Cherokee man had just returned from serving in World War II for nearly four years. As he walked up to a building on the dusty roads of the small town of Scottsdale, he unknowingly made a decision that would continue to have an impact to this day. That man’s name was Lloyd Kiva New, and with the encouragement of his friends, he would open a fashion boutique in the mid-1940s and launch his mission to create a high-quality Native American fashion and arts scene. In just a couple of years, he would count former first lady Eleanor Roosevelt as a supporter, and his work would be featured in various publications such as Harper’s Bazaar, The New Yorker and Town and Country. His accomplishments wouldn’t stop there. In 1949 the phrase “It’s a Kiva bag” was coined, and his purses were sold at Neiman Marcus and at Elizabeth Arden’s New York store. He branched out to design coats and jackets, and he expanded into fashion design and fabric silkscreening in the early 1950s. What New accomplished as a fashion designer is much more than just a list of accolades. His mission sought to transcend time and cultures, and his work as a designer would still have an impact 60 years later. His work provides an important model of creativity, cultural expression, continuity and success. Lloyd Kiva New went on to co-found the Institute of American Indian Arts in Santa Fe in 1962. By this point he had refined his Indian art education philosophy. He once said, “The freedom to express should not be hindered by ideas that Indians did the best work they could do in 1890.” New understood that fashion was one of the best forms of art to demonstrate this creative energy, and he ensured that textile arts were integrated into the IAIA curriculum from the beginning. The course options included home economics, weaving, silkscreening and a series of classes called “Traditional Techniques,” first taught by well-respected 42

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Comanche artist Josephine Wapp. Students who enrolled in these courses would go on to host fashion shows locally and throughout the United States and to serve as cultural ambassadors. As the unofficial grandfather of Native fashion, New would continue to serve as an adviser and mentor to the many young artists who pursued fashion design throughout the years until his passing in 2002. In the 1980s and 1990s, Native American fashion designers took over Santa Fe, hosting various events under the group name Native Uprising. This was the first Native American fashion collective of its kind, and it was comprised of over a dozen designers, models and artists. They fed the public’s desire for something new, something tribal and something exciting. The creativity of this group essentially forced the Southwestern Association for Indian Arts to create entirely new categories for Santa Fe Indian Market. Group members included Wendy Ponca, Marcus Amerman, Patricia Michaels, Pilar Agoyo and many others. Elsewhere, dozens of Native designers, including Margaret Roach Wheeler, Dorothy Grant, Margaret Wood and Virginia Yazzie Ballenger, emerged or took center stage in the 1990s. They would go on to display their work internationally to packed venues. While small movements of Native fashion designers rippled throughout Indian Country, the Southwest — and Santa Fe in particular — continues to play host to some of the greatest designers and most fabulous shows. Several Native American designers have stepped up in recent decades to promote a contemporary Native American fashion movement — one that looks to the past and the future simultaneously for inspiration. These designers seamlessly combine the traditional art theory concepts of their communities with modern materials and silhouettes. For example, Haida designer Dorothy Grant creates garments with traditional Northwest Coast–style designs that translate perfectly to the world of fashion. In addition, she uses the Northwest Coast artistic practice of wrapping a pattern around an object, but in this case the object is a human body and the design wraps

Hand-painted jacket with mesh sleeves and purse by Jamie Okuma. Earrings by Kristen Dorsey. Photo Thosh Collins. 201 3 I n dI a n ma r k et


MORE PATRICIA MICHAELS *Patricia Michaels presents eight looks, each displayed in its own unique environment, in a show opening at 5 p.m. August 15 and running through November 2013 at the Poeh Museum and Cultural Center, 78 Cities of Gold Road, Pojoaque. Michaels said the show offers a new definition of fashion as art and “stands up for the rights of fashion, textiles and women.” For more information, call 505-455-5041 or visit *During Indian Market weekend Michaels shows her work at the Legends Santa Fe gallery, 125 Lincoln Ave. An opening reception takes place at 7 a.m. August 17. For more information, call 505-983-5639. *Michaels is also offering two 3-hour workshops from 11 a.m. to 2 p.m. on Wednesday, August 14 and Friday August 16 to demonstrate some of her textile techniques. Workshops are limited to 15 participants each and cost $500. For more information or to enroll, call 505-983-5639. — Phaedra haywood

around the back or sides of the clothing. She says her inspirations include tall Northwest Coast trees, forests, killer whales, oceans, Haida formline art and basketry, elegant elder women, Coco Chanel and Mood Fabrics in New York City. Virgil Ortiz creates fashion that mimics traditional Cochiti pottery colors, symbols and shapes. About his fashion, he said, “All my inspiration originates from historic Cochiti pots, but with designs that I’ve pushed in other ways.” He comes from a family of potters, and he transfers Cochiti Pueblo aesthetic concepts to the world of fashion. Furthermore, to advance his goals of promoting Native language and arts, he incorporates Pueblo stories and symbols into his garments and shows. As a former governor of his pueblo, Ortiz recognizes and values the important roles that language and the arts play in maintaining culture and promoting ideas of nationhood. Pilar Agoyo (San Juan Pueblo) has been creating fashion since her early years as a student at IAIA, working alongside such notable designers as Patricia Michaels and Marcus Amerman. Her work is difficult to categorize, and her talents in couture are diverse. She has designed costumes for films and completed commission work for a varied client base. Agoyo often creates slick, edgy or theatrical pieces that add drama to the regular fashion-show format. The popular Navajo designer Penny Singer creates men’s and women’s shirts, jackets and accessories. She said, “The finished products are not simply clothes and handbags; they are true works of wearable fine art of the highest caliber, reflecting traditional Native designs in contemporary form.” Singer, who initially wanted to become a photographer but was sidetracked by her immense success as a fashion designer, frequently incorporates photographs into her handbags to help tell a visual story. Consuelo Pascual, who is Mayan and Navajo, looks to her ancestors, who were knowledgeable observers of the sky world, for inspiration for her collections. Her collections are influenced by the blackness of outer space, the glimmer of stars and the fluid architecture of spaceships. She works with iridescent fabrics, glittery cotton, shiny black suede cloth, metallic fur and black-on-black design and incorporates these unconventional materials with subculture designs into highend couture, producing sophisticated dresses with a distinctive edge. Jamie Okuma (Luiseño/Shoshone Bannock) is a well-respected and awardwinning artist. Okuma began working with beads as a child, creating her own dance regalia for powwows near her home on the La Jolla Luiseño Reservation. Historical accuracy, exemplary workmanship and keen attention to detail are the hallmarks of her work. At the age of 22, Okuma became the youngest artist in the history of Santa Fe Indian Market to win Best of Show — the first of her multiple prestigious Best of Show awards. She is now venturing into the exciting world of contemporary fashion. One designer who is making history now is Patricia Michaels (Taos Pueblo). Michaels says she is interested in the entire process of clothing making. She begins each piece like a blank canvas, with white fabric that she paints on, silkscreens and then constructs into garments. About the relationship of her clothing to stories, Michaels said, “Every garment that I make, the fabric and the cut of the garment, tells a story. … Some people do it through pottery or 44

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Photo thosh Collins

Couture by Patricia Michaels, native Couture Fashion show, idyllwild, California, 2013.

painting or jewelry. For me, I just thought, well, somebody can wear it. They can feel [these stories] on their skin.” In the past, Michaels’ work has been criticized as being “not Indian enough.” Since then, she has continued on, unwavering in her dedication to her art, and this hard work is finally paying off. In 2010 Michaels was the unanimous winner in Santa Fe Indian Market’s textiles classification, competing against traditional Navajo weavings. Her win was pretty much unheard of for such a contemporary political garment. Even though it was a landmark moment to have a contemporary textile win the Best of Class award, some individuals still dispute this decision. Through her dedication to her art, she has created many new paths for future Native American designers. Michaels was also a recent contestant on Project Runway. In this reality television series, fashion designers compete in various challenges to display their skills and creativity. Michaels was the show’s first Native American designer. She says she is inspired by the world around her. This inspiration point is important because this is what grounds her as a Native artist. Her perspective on her environment takes shape as patterns in hand-painted fabrics that she constructs into versatile and creative garments. They are artistic yet wearable — two qualities that proved to be rather beneficial for the reality TV series. Much of Michaels’ work is concept based, environment based or story based — which are some of the core entities of Native American creativity.

Couture by Pilar Agoyo. native Couture Fashion show in idyllwild, California, 2013 Photo thosh Collins.

BeYoNd BUCkSkIN In-depth interviews with contemporary designers, gorgeous historical Native American garments and interesting critiques of cultural misappropriations in fashion can all be found on the website Beyond Buckskin.

Photo thosh Collins

Couture by Dorothy Grant, native Couture Fashion show, idyllwild, California, 2013.

In February 2012 Michaels’ work was featured at Mercedes-Benz New York Fashion Week as part of the official Project Runway program. It was the first time in history that a Native American fashion designer was included in the official roster for NYFW, one of the top four fashion weeks in the world, alongside those in London, Paris and Milan. Michaels became Project Runway’s runner-up, claiming the second-place prize on the show, and she will display her garments again in New York this fall during fashion week in September. Thanks to Michaels’ successes and the hard work of the other designers mentioned above, young Native American designers everywhere are expanding their goals and boldly pushing their artistic visions forward. They are active participants in planning fashion events, publishing catalogs and selling their work online and in boutiques throughout the world. It is now easier than ever to buy or acquire clothing, jewelry and accessories made by Native American fashion designers. Native designers realize the value of fashion and continue to tap its power. They look within themselves and draw inspiration from their backgrounds and experiences. They know how to translate the artistic traditions of their Native communities to create items that can be appreciated and enjoyed by anyone and everyone. Furthermore, in staying away from stereotypes, they present a new vision and a new version of “the Native” in fashion. Let’s support these creative minds and give our indigenous designers the opportunity to show us the potential of Native fashion.

Beyond Buckskin was launched in 2009 as a place dedicated to showcasing the exciting world of Native American fashion. From the Northwest Coast to the Great Plains, and from Mohawk territory to the pueblos of New Mexico, Beyond Buckskin features the work of designers from throughout the U.S. and Canada (with a few excursions to other indigenous lands, like Maori Aotearoa). This site provides an unprecedented venue for people of all backgrounds to learn about Native North American adornment and fashion. While the Native fashion movement has been growing, retracting and transforming since the 1940s, Beyond Buckskin brings the different tributaries together into one beautiful river. Through words, images and links, visitors to the site can see the variety, talent and achievements of indigenous fashion designers. While featuring Native artists sits at the core of this website, some articles also discuss the misappropriation of traditional indigenous aesthetics by the fashion industry. Native American people are incredibly underrepresented and misrepresented in mainstream media and pop culture. When large companies or major fashion designers create mass-produced collections based on Native stereotypes, Beyond Buckskin calls them out on their destructive actions and demands accountability. It argues that companies should collaborate with Native artists instead of excluding them while profiting off caricatures of indigenous cultures. To encourage the incorporation of Native fashion into our everyday wardrobe, the Beyond Buckskin Boutique was launched in May 2012 to provide a space where customers can easily purchase Native-made clothes, jewelry and accessories. The boutique launched with 11 designers but now features more than 30 different artists, who create items that range from high-end couture to street wear. A primary mission of the boutique is to create a substantial movement of Native representation in the fashion industry. To further this mission, the boutique published the Beyond Buckskin Lookbook, which features designs by more than 15 Native American artists. This publication marks the first time a large group of Native fashion designers came together for a photo shoot, and the book features striking images alongside artist bios and quotes to begin the process of documenting in physical form the exciting fashion being produced today by Native designers. The project also presents Native-made fashion as strong visual forms of sovereignty as it pertains to reclaiming Native representations in mainstream media. Contemporary Native American designers represent a vital link from the past to the future. They serve as an important bridge from the well-documented Native American clothing of the 1800s to clothing that is yet to be produced by future generations. — JessIca r. metcalfe, P.h.d., founder, Beyond BuckskIn

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Show + Sale of New Works in Clay at the Studio of Virgil Ortiz | August 15, 2013 | 12 - 5 PM & A Family Affair - New Works in Clay by Four Generations of Ortiz Family Potters: Guadalupe Ortiz, Joyce Ortiz, Janice Ortiz, Lisa Holt & Harlan Reano, Dominique Reano, DJ Ortiz & Kyle Ortiz

Thursday | August 15

Friday | August 16

Saturday | August 17

Sunday | August 18

12pm - 5pm: eVOlution & A Family Affair

8:30am - 10:30am: Breakfast with the

9am - 5pm: Clay Works by Virgil Ortiz.

10am - 5pm: Selected works by Virgil

208 Cochiti St, Cochiti Pueblo, NM 87072

Curators @ the Museum of Indian Arts

Booth #746-LIN-W

Ortiz @ King Galleries located in the

& Culture. Breakfast with Virgil Ortiz

La Fonda Indian Shop. 100 E. San

followed by a presentation about his

Francisco St. 480.200.4290

art & fashion. Call MIAC for Tickets: 505.982.5057 10am - 6pm: Selected works by Virgil Ortiz @ King Galleries located in the La Fonda Indian Shop. 100 E. San Francisco St. 480.200.4290 More information at | | 424.259.1685 46

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in the spotlight Cutting-edge designers light up santa Fe

By UngelBah Dávila (DinÉ) Some would argue that fashion is as integral to culture as language and art, with humans using clothing to identify themselves and their kin since the beginning of recorded time. The couture of artists Virgil Ortiz and Orlando Dugi supports that theory: Through their collections, contemporary Native-designed fashion is making an international name for itself and demonstrating that American Indians are fashion-forward and cutting-edge in their creation of the new Native silhouette.

virgil Ortiz: Retelling the Pueblo Revolt

Imagine the year 1680, spiraled somewhere into the year 2180, where Po’Pay and all the heroes of the Pueblo Revolt are more like futuristic superheroes: They have daring hair styles, secret powers and are clad in the original fashions of Virgil Ortiz, supernova Cochiti potter, artist and designer. “My mission is to first of all keep the tradition of pottery making alive, because it is a dying art in Cochiti, and at the same time tell the whole world the story of the 1680 Pueblo Revolt, the first American revolution,” Ortiz said. “Because none of that is told in history classes, America doesn’t really know about it at all, but when I work in places like Amsterdam or Paris or Prague, they already know the story of 1680.” He developed the superhero theme, he said, to interest Native children, give them something to look up to and use as an educational tool. Ortiz, who was raised in a family of notable potters, grew up with his hands molding clay, having no idea he was making “art.” However, it is this clay that has spawned all of Ortiz’s many talents. “Clay is the core of all my creations,” he said. “Water feeds the clay; the sun feeds the wild spinach plant. Fire awakens the wild spinach plant, binding it to the hardening clay. The wind unfurls the cloth, inspiring my fashions. My work gives voice to these elements.” In junior high school, Ortiz, now 44, began experimenting with making his own clothes because the fashions he was attracted to were outside his means. He began the hard way, teaching himself to master leather, vinyl and latex before switching to easier cotton cloths. Leather remains his favorite fabric and it makes a bold appearance in his newest line, Leather Luxe, which debuted at the Autry National Center in Los Angeles in June. Leather Luxe is a high-fashion sportswear line for men and women that includes jackets, tops, shirts, skirts and pants. Ortiz said the decorative motifs on the clothes are indicative of the designs and imagery on his pottery, and that the “style and visual impact” of the garments is inspired by his story of the Venutian Soldiers — last year’s photographic, sculpture, pottery and design project that offered a new take on an important event in the Pueblo Revolution. In the epitome of lucky breaks, Ortiz received what he thought was a prank call from a jokester pretending to be women’s clothing designer Donna Karan, during Indian Market of 2002. But later in the day Karan, with an entourage of assistants, breezed into Ortiz’s Plaza boutique, Heat. She showed him her 2003 collection and told him she wanted to incorporate Pueblo pottery designs in her garments. A short time later Ortiz was on a flight to New York City where he was mentored by the fashion mogul herself. And the rest, as they say, is history. Ortiz’s design career is now in full swing. Anyone with an ear and an eye for rock ‘n’ roll should be sure to catch Lynyrd Skynrd’s Last of a Dyin’ Breed tour — the band might just be rockin’ the Leather Luxe look. All the media he works in influence each other, Ortiz said, and he has become known not only for creating a connection between clay and fashion, but also for breaking into the fashion industry at large through his labels Indigene and Made in Native America. Find Virgil Ortiz ( at Indian Market booth 746 LIN-W.

Virgil Ortiz

DeTAILS viRgil ORtiz *On Thursday, August 15, from 12-4 p.m., Virgil Ortiz opens his Cochiti home and studio to the public to unveil his Leather Luxe line and eVOlution, works in clay created for the 2013 Indian Market. Four generations of Ortiz family potters will also be present and show new works in clay. 208 Cochiti Street, Cochiti. For more information, call 424-259-1685 or email *On Friday, August 16, from 8:30-10 a.m., Ortiz talks about eVOlution as well the art, décor, fashion, video and film featured in the exhibit What’s New in New: Recent Acquisitions, during Breakfast with the Curators at the Museum of Indian Arts & Culture, 710 Camino Lejo on Museum Hill. Seating is limited and reservations are required. Call the MIAC shop for tickets — $35 per person, $30 per person for MNMF members — at 505-982-5057. *eVOlution and other clay works are on display during Indian Market at King Galleries, located inside the La Fonda Indian Shop & Gallery, “ 100 e. San Francisco Street. Call 480-200-4290 for additional information. 201 3 I n dI a n ma r k et


Gene Peach

OrlandO dugi: glitter inspired by starlight In Grey Mountain, Arizona, where Navajo beadworker and fashion designer Orlando Dugi found his first love — fashion — at age 4, the night sky is like a silver-studded swatch of black velvet draped from one end of the earth to the other. In a recent interview, Dugi recalled gazing at this baroque panorama during all-night ceremonies and waking to see shadowy figures surrounding him, the firelight dancing off their silver jewelry, making them sparkle in the moonlight. It was here, in the lavish Navajo skirts and blouses and opulent jewelry, that Dugi developed a fascination with the textures of cloth, the drape of a silhouette and the experience of adornment. Five years ago that childhood fascination became a driving force, propelling Dugi into the world of high fashion, fueled by the imagery of his youth. “A lot of it stems from starlight and Navajo star songs and prayers,” Dugi said. “Everything was done at night, in front of the stars.” Though Dugi’s work does not have a traditional Navajo feel to it, these celestial influences can be seen in subject matter or the color choices of the beadwork on many of his handbags. “I didn’t want to do traditional-looking objects, taking from Navajo deities or anything,” he said. “That wasn’t my interest when I started. So I took my interest in fashion and my attention to detail and I started a [beaded] piece of a phoenix flying through the universe.” The result was the award-winning Celestial Phoenix evening box purse Dugi created with Rebecca T. Begay (Diné). At age 5, Dugi began learning beadwork from his grandmother, an art form that he has since mastered and uses to embellish in his silk gowns, clutches and handbags — all of which he constructs himself, using silverwork to create custom clasps and even hand stitching entire silk gowns. While Navajo culture can’t help but influence Dugi’s designs, he said he is more interested in being recognized for the quality of his work than for being Native American. “Being a designer doesn’t always mean having to reinvent a look,” Dugi said, 48

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referring to a traditional Cherokee feather cape that he has embellished and altered for his first collection, Desert Heat. “I bring it from that traditional form to this, which can be worn in fashion.” Desert Heat features a line of silk gowns in a fiery array of tangerine and crimson, accented with smoky blacks and greys. Each piece is embellished with masterful beadwork, such as a hand-sewn red silk chiffon and charmeuse gown with a floral bodice, hand-beaded with 24-karat gold electroplated glass beads and Swarovski crystals. While other couture designers might travel the world gathering ideas, Dugi feels that — at least for now — there are enough cultures in the United States where he can find inspiration without needing to leave the continent. Find Orlando Dugi ( at Indian Market booth 237 PAL-S.

DETAILS OrLAnDO DugI *Orlando Dugi’s work is featured in It’s In the Details: Beadwork and Fashion by Orlando Dugi and Kenneth Williams. Dugi and Williams (northern Arapahoe/Seneca) collaborate to give a voice to and get people excited about the labor-intensive art of beadwork. At the Wheelwright Museum of the American Indian, open through January 12, 2014. The museum, at 704 Camino Lejo on Museum Hill, is open from Monday through Saturday from 10 a.m. to 5 p.m., Sundays from 1 to 5 p.m. For more information, call 505-982-4636 or visit *Dugi’s jewelry, handbags and gowns from his new Desert Heat collection can be seen (and purchased) online at

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7th annual breakfast with

Gib SinGleton

Self Portrait

bronze 18” x 10” x 8” edition of 77

join america’s foremost western and biblical sculptor

saturday august 17 9-11am rsvp required 505 984 5099

inDiAn MARKet GRoUP SHoW friday august 16 - Sunday August 18 scheduled to appear

james jensen l.m. chan


l.m. chan

galerie züger 120 w san francisco st, santa fe 505 984 5099 50

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IO R R WA Iron Shellota) k e Ros glala La n u S /O angu (Sic ner ig Des

silkscreened skirt & painted rawhide earrings

bracelet, rawhide earrings, & customized painted rawhide purse & belt

Model Carmen Selam (Yakama/Comanche)

Model monica Wapaha (White Mountain Apache/ Tohono O’odham) Makeup & Hair dina deVore (Jemez Pueblo)

t i ’ n i p p e R

nATIVE STYLE Art direction, photography and design by neebinnaukzhik Southall (Chippewas of Rama First Nation)

EDITOR’S nOTE Indian Market magazine gave 20-something Native graphic designer/photographer Neebinnaukzhik Southall (Chippewas of Rama First Nation) an assignment: Select, style and shoot the work of indigenous fashion designers whose work you think has a particularly young, fresh vibe. Neebin searched for apparel with strong color, strong contrast and design she found especially vibrant, bold and alive. “Ceremonial clothes are really cool,” she said, “but there is also something to be said for bringing your culture into daily life.” Because the fashion magazines she regularly reads show mostly white faces, Neebin said, she also wanted to “showcase beauty in different forms,” devising her shoot to represent a spectrum of Native America, featuring models and designers (some of whom she met at the 2012 Indian Market) who were both full-blooded and mixed, coming from tribes in different regions of the country. “It’s an exciting time for Native fashion,” Neebin said. “Designers are getting more exposure and I wanted to share my excitement about it.”

painted rawhide earrings, bracelet, silkscreened tee, customized purse wtih painted rawhide, & customized shoes

Model Juanita toledo (Jemez Pueblo)

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S U O N E G I IND CESS PRIN Tlingit mother-daughter design team Shaaxsaani and Mercedes Jack Model Sarah Valente (Lakota) Makeup + Hair daphne Coriz (Santo Domingo Pueblo)

Sealskin and batik dress, sealskin hoops, & assorted bracelets

Ermine dress + Arctic fox hair flower, purse (leather, abalone, sealskin), assorted bracelets/cuffs, coyote fur tuft earrings, necklace & sealskin ring


2013 ind ian m ar k et

“I’m not your Pocahontas Bro” dress, sealskin and ivory dangle chain stud earrings, & assorted cuffs/ bracelets

“Snakebite” corset (sealskin + leather) silkscreened jeans, skull flower belts, slave bracelet & earrings

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H S O H S e ene/Cre kaska d er Design es shosho

Model Peshawn Bread (Comanche/Kiowa)


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Model + Makeup Artist daphne Coriz (Santo Domingo Pueblo)

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dinĂŠ er Design m s y n n e p

Peshawn is wearing a Penny Singer appliqued dragonfly cape, which references water in several of its design elements. Makeup + Hair daphne Coriz


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MUSEUM OF INDIAN ARTS & CULTURE What’s New in New: Recent Acquisitions NEW MEXICO MUSEUM OF ART It’s About Time: 14,000 Years of Art in New Mexico NEW MEXICO HISTORY MUSEUM Cowboys Real and Imagined MUSEUM OF INTERNATIONAL FOLK ART New World Cuisine: The Histories of Chocolate, Mate Y Más

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swaia santa fe indian market presents

INDIVIDUAL MEMBERS PLATINUM CIRCLE Ann Griffith Ash GOLD CIRCLE Daniel & Janet Hidding, The Daniel & Janet Hidding Foundation Sally Wimberly & Michael Pettit Becky Moores Barbara & Paul Weiss Steven Rosenberg Joyce Davis Mary & Thomas James Anne & John Marion Ellen & Bill Taubman Larry & Christy Willman Lloyd & Reta Scherwinski Rick Nelson & Carolyn Gibbs Donna M. Aversano Gilbert Maw & Jenny Auger Maw Myssie & Barry Acomb SILVER CIRCLE Cassie Bunker, The Martha Jane Hapke Trust Marlane Scott Anna & Luvaghn Brown Lynne King Roberts Richard & Della May Moulson Richard & Vickie Van House Gilbert Waldman Jack & Karen Kinzie, Baker Botts LLP William & Bonnie Nagy Ronald Balbin Mary Nielsen & Joseph Wilson Terry Pechota Stock & Jan Colt Kathleen Hartnett & Mark Foster Gerald Stiebel & Penelope Hunter-Stiebel Karen & Richard Ford Barbara Denny Mrs. Charles A. Polster Donna & Michael Szymanski Mark & Maria Chase Marianne & Peter Westen Rev. Raymond O’Donnell Chad & Erika Burkhardt Nancy & Hamilton Harris TURQUOISE CIRCLE Alan Kazan Michael & Ellen Fine Barbara & James Peck Peter Dallo Connie & Buddy Sanchez, Glass Warehouse Mark & Linda Miller Eve & Fred Simon, Simon Charitable Foundation Sue Murphy & Ron Velaggia Bob Esselstein Gary & Mary Porter Francis Schumann & Heather Pullen Debbie Fleischaker & Kathleen Fontaine Susan Jacques William & Kathleen Mahon Arnold & Lorlee Tenenbaum Carolyn &Carl Trinca Perry Andrews Betty & Robert Becker Gloria Milanowski Judith & Bob Sherman


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The Board and Staff of the Southwestern Association for Indian Arts (SWAIA) would like to extend a very special thank you to the wonderful supporters of the 92nd annual Santa Fe Indian Market. WE HAVE DONE OUR VERY BEST TO INCLUDE A COMPLETE AND ACCURATE LIST OF DONORS AND SPONSORS AS OF 07/10/13. THANK YOU.

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LoLa Cody

story By Diana Del Mauro | photos By gene peach

Last summer Lola Cody won a Best of Classification award at Santa Fe Indian Market — her biggest prize at any juried show — for an unusually large Two Grey Hills rug made from 12 shades of wool she collected from the backs of her churro sheep. She spent two years hand-spinning the raw wool into threadlike yarn and another six months gradually scaling an 8-foot-high loom. To complete the upper half of the symmetrical pattern, she had to use a ladder and interlocking wooden blocks engineered by her husband, Alfred Cody.


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A modern nAvAjo womAn weAves her wAy through the world

At a time when most weavers stick with store-bought yarn and quick-sale sizes, Lola reached for the upper echelon. A close runner-up for the 2012 Best of Show award, “[Lola’s rug] was one of the best things to come off a Navajo loom in years,” recalled Mark Winter, one of the judges. “It was a monumental undertaking.” Winter, who has built a world-renowned collection of Southwest textiles and has authored a book called The Master Weavers, owns Toadlena Trading Post on the New Mexico side of the Navajo Reservation and a gallery in Santa Fe. He buys rugs only from local weavers who can trace their roots to the Navajo who pioneered the world-famous Two Grey Hills style, a regional design said to date to 1911. Lola, however, hails from Leupp, Arizona, a Navajo community an hour from Flagstaff that doesn’t lay claim to any regional rug design. She holds a bachelor’s degree in business administration and is proud of the fact that she is on her own, selling her weavings without a trader as the middleman. Lola’s prize-winning rug was extraordinary in part because of its size, measuring 7 feet 6 inches by 10 feet. “Our weavers never made a lot of big things,” Winter said, “although in the 1950s Rachel Curley caused a sensation when she unfurled a 12-by-18-foot Two Grey Hills rug.” Lola’s technique was first-rate. She used a lot of natural wool colors “in a coherent way,” Winter said. And she also packed a mean weft that gave the rug a sturdy structure. As she lay the weft in, she hit it hard with a comb, producing a weft-per-inch ratio that was “pretty fine for a rug that big.” The volume of wool Lola spun impressed Winter too. “I wish I could get more of my weavers to [spend] that sort of time,” he said. At 57, Lola refuses to be boxed in by tradition. She is always stretching her imagination and her talents, changing styles, sizes and materials. Winter suggested that her approach is that of a “modern Navajo. She has seen the world and is not isolated in a community with a long-standing tradition.” Lola’s range is remarkable. She not only draws from Burntwater, Two Grey Hills, Wide Ruins and Eye Dazzler designs, she also invents her own. On her BlackBerry, she pulls up a photograph of an oversized abstract

weaving she sold to a Sun City, Arizona, woman. “My collector always says she doesn’t like the contemporary pieces, but the last one I made, she ended up buying it,” Lola said. Another of her abstracts is in the pictorial section of Phoenix’s Heard Museum. Lola can point out the exact spot on the reservation that inspired the piece: Grand Falls, a 190-foot waterfall that rivals Niagara. And then there’s Lola’s extremely rare double-sided weaving. How rare is it? “I’ve bought over 6,000 rugs in 16 years, and I haven’t seen one yet,” Winter said. “The knowledge of how to do them is difficult.” A representative from the Smithsonian’s National Museum of the American Indian met Lola at the Navajo Nation Fair. He was there to photograph Navajo cowboys but expressed interest in one of her weavings, a pictorial of horses. The piece sold before he returned, but last summer he tracked her down at Santa Fe Indian Market. When he bought the doublesided rug, which has a Burntwater pattern on one side and stripes on the flip side, he told Lola the Smithsonian didn’t have one in its collection. Lola isn’t typical of the weavers Winter knows. “She’s a businesswoman, and that’s unusual,” he said. “She holds onto her rugs and gets a really good price.” A private collector in California bought her 2012 prize-winning masterpiece, which Winter said bore an asking price of $52,000. Understandably, Lola won’t say how much she got for it.

Deep roots Lola is of the Edgewater Clan, born for the Black-Streaked-Wood Clan. The Bitter Water People are her maternal grandfather’s clan, and the Yucca Fruit People are her paternal grandfather’s clan. She grew up speaking the Navajo language and herding her grandmother’s sheep. Her mother, Martha Schultz, a noted textile artist, wove rugs to help feed and clothe her 12 children. Her father, a union laborer, was often on the road. Starting at age 5, Lola helped her grandmother and mother finish off their rugs. By seventh grade, she could weave a rug from scratch. Her relatives gave her no formal lessons.

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Right to left: Melissa Cody, Martha Schultz, Lola Cody, three generations of Navajo weavers, courtesy University of Nebraska State Museum of Natural History

Instead of just copying the same rug designs, Lola consulted books to learn new designs. “The weaving stays the same; the designs are what change,” Lola said. “Even if you draw [the design on paper], it comes out different because of the space of the warps and the size of the yarn.” In 1978, after Lola and Alfred married in a hogan in Leupp that he built for the ceremony, the Codys became nomadic, living far from home. It had nothing to do with finding greener pastures for their sheep. In fact, the Codys didn’t have a sizable flock until recently. Alfred was a union carpenter who went where the work was. California. Texas. All over the reservation, which is the size of West Virginia. When their son and three daughters were young, the Codys sometimes lived in a travel trailer. Lola reserved a spot in the tight quarters for a small loom, and her children sat on her lap, pulling out the sticks until Alfred figured out a way to cap the ends. She used processed wool back then. Year after year, Lola managed to show up at Indian Market with rugs to sell, accompanied by two of her sisters, Mary Lou Schultz and Lena Williams, and her mother. “All of us started going [to market together] in the 1980s,” she said. “It was not competitive between us because all of our styles are different.” Her mother, Martha Schultz, won Best of Classification one year for a Two Grey Hills rug made of processed wool, and Lola’s sisters often brought home ribbons. Lola’s commitment to weaving never waned, even though she usually held a job outside the home. Weaving wasn’t a hobby or just another job. “It’s my life,” Lola said. About 15 or 20 years ago, when Lola and Alfred settled down in Flagstaff, her mother gave them five sheep from her flock, which roamed the land the Codys lived on. Lola didn’t use much hand-spun wool, though, because the small herd didn’t offer the variety of colors she needed. Four years ago, the reservation called them back. Alfred had been diagnosed with Parkinson’s disease and, no longer steady on his feet, had retired. The couple decided to move to Alfred’s childhood ranch, a place they call No Water Mesa. A cowboy at heart, Alfred feels more comfortable surrounded by horses, cattle, sheep and numerous relatives who live in the area. Alfred teases Lola that she grew up spoiled, with a candy bar in one hand and a soda pop in the other. A trading post was a short walk from her home, and her family had a truck, allowing them to transport hay for 62

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the animals rather than moving from sheep camp to sheep camp like Alfred’s family did. Alfred’s father was a medicine man with a quick sense of humor. His mother was a rancher who wove rugs mainly to buy school clothes for the blended family’s 15 children. Alfred was a senior in high school when his parents bought their first vehicle. “All they knew was this kind of life,” Alfred said. “They didn’t go to school, but they raised a bunch of kids.”

No Water Mesa The hour-and-15-minute drive from Flagstaff to the ranch takes them through Sunset Crater Volcano National Monument, Wupatki National Monument and Black Falls. The paved roads turn into bumpy dirt paths fit only for 4x4s. At the ranch, the majestic San Francisco Peaks hug the horizon. But the land as far as the eye can see looks barren, all sand dunes, anthills and low brush. There’s sage, snakeweed, tumbleweed and an occasional yucca — not enough vegetation to dye wool. “It’s been three years since the last good rain,” Alfred said. A lone tree provides a spot of shade. Every Tuesday Alfred drives 5 miles to a water station on top of a mesa, hauling gallons of water for the sheep, horses and household. He doesn’t complain. When he was a youngster, he took a horse-drawn wagon down a steep, windy path to a well, where he filled a barrel with water for cooking and drinking. The water turned out to be contaminated with uranium. Armed with binoculars and riding a Polaris Trail Boss 330 quad, Alfred babysits the sheep so the coyotes don’t catch them. Before he got Parkinson’s, he used to go on horseback. “I’m just slow. Everything I do is slow,” Alfred, 61, said. “Sometimes I drag my leg on the left side.” At the ranch, a sign inside the house says, “Behind every successful rancher is a wife who works in town.” For a time Lola worked as a business manager at a school in Leupp, her hometown, about 40 minutes away. Over the past few years, the Codys gradually expanded their flock to 25, giving Lola’s imagination the fuel to dream of making something mammoth. Soon enough, Lola had everything she needed: a living room with a high ceiling, a storage building packed with many shades of churro wool and a retired carpenter husband who had time to build a giant loom and engineer a rising platform. Alfred had always built the looms, any size Lola or the kids wanted. But the Parkinson’s made it harder this time, and the loom was bigger than ever. Their

son, Kevin, worked beside him. This is how her awardwinning Two Grey Hills rug began. “It was an honor to win that award,” Lola said, wiping tears from her eyes. “The tough part is my husband. … It was an accomplishment for him too.”

Back to toWN Lola’s life is once again shaping her weaving. Last winter, after her first grandchild, Reese Cody, was born, Lola left the ranch and moved by herself into an apartment in Flagstaff to babysit and weave. Saturdays she drives to No Water, where she is reunited with Alfred, her daughter Melissa and the sheep. Sundays she returns to Flagstaff to worship at a Nazarene church. In Flagstaff Lola’s loom stands in what would be the apartment’s dining room, leaving no space for a table. In late June, her yarn basket was filled with native vegetable-dyed yarn in purples, blues, greens and gold. She is making a 6-by-7-foot Burntwater-style rug for Santa Fe Indian Market. She bought the yarn from Bruce Burnham’s historic store near Sanders, Arizona (40 miles west of Gallup). He and another trader are credited with developing the Burntwater design in the 1960s, with that idea that Oriental rug motifs and pastel colors would encourage a broader market for Navajo rugs. “I’ve had this wool for a while,” Lola said.” I’ve been wanting to do it, but it just wasn’t time yet. You have to be in the mood to do it.” She sits on a wooden box, softened by a sheepskin she purchased in New York. Besides the standard wooden weaving tools, she keeps a tub of moisture cream, a pair of scissors and a measuring tape at her side. For the first time, Lola is a full-time weaver without the safety net of a regular paycheck and health insurance. She feels compelled to set an aggressive quota of 10 inches per week. Babysitting and weaving can be a tricky combination, however, and she often misses the mark by an inch or so. Eight-month-old Reese likes to pluck the strings on the loom, as if it were a harp, so Lola must be strict with her schedule. From 7 a.m. to 3 p.m., she weaves alone in the apartment, her back to the TV in the living room, her gaze fixed on the network of threads on her loom. At 3:30 p.m., Reese comes over so that her NavajoHopi mother, Jan-Avis Cody, can work as a FedEx ground operations manager. “It’s exciting to see Lola work and know that Reese will learn how to weave too,”

Jan-Avis said. Lola said she won’t weave unless Reese sits on her lap. “I have to be with her.” Three hours later, son Kevin, a construction project manager, arrives at the apartment, visits a while and takes Reese home. Then Lola is alone again. At the ranch, she could weave any time of day, but at the apartment she worries that the thumping of the comb against the weft might disturb her neighbors, so she politely stops early in the evening. “I told my neighbor I’m a weaver and to just let me know [if the noise bothers her]” she said. “I don’t want her to complain about me.” Lola keeps multiple projects going. Her fenced backyard is lined with bags of raw churro wool and looms in varying sizes. In the evenings, she beads necklaces to keep her hands busy. Or, using a worn spindle her mother bought her in high school, Lola spins the wool into black, brown and beige skeins. She cleans the wool with Dawn dishwashing soap. She is gathering wool to do another Two Grey Hills rug. In this period of steep changes, Lola keeps a devotional book by the couch and a handwritten passage from the Old Testament (Isaiah 41:10) on her bookcase: “So do not fear, for I am with you; do not be dismayed, for I am your God. I will strengthen you and help you; I will uphold you with my righteous right hand.”

Find Lola & Melissa Cody at booth 733 LIN-W. Find Martha and Marilou Schultz at booth 732 LIN-W.

MORE *To learn more about Navajo textiles, check out “The Durango Collection: Native American Weaving in the Southwest, 1860–1880.” The Center of Southwest Studies at Fort Lewis College in Durango, Colorado, organized this exhibition with the Wheelwright Museum of the American Indian in Santa Fe. Traders Mark Winter and Jackson Clark originally built the Durango Collection, which shows how Spanish, Navajo and Pueblo textiles were used and worn, and traces how different groups exchanged imagery and techniques. The show is up at the Wheelwright Museum of the American Indian, 704 Camino Lejo on Museum Hill, through April 13, 2014. There is no charge for admittance, although donations are appreciated. For more information, call 505982-4636 or visit *To see a video of Martha Schultz, Lola Cody and Melissa Cody demonstrating their craft at the University of Nebraska State Museum in 2010, visit research/anthropology/navajoweavers.html. *Melissa Cody’s rug Weaver’s Union Local #408 hangs in Buffalo Thunder Resort and Casino; to see a photo of it, log onto

Mothers and daughters ‘Traditional techniques, hip designs’

As part of the Textile Society of America’s international conference in 2010, Martha Schultz, Lola Cody and Melissa Cody demonstrated the stages of their craft at the University of Nebraska State Museum. They are a glimmer of hope in what some experts say is a precarious time for Navajo textiles. Until Lola’s grandmother Mary Clay died at age 104 a few years ago, they were part of four generations of Navajo women weaving into the 21st century. While Lola and her children express optimism that weaving will continue for generations to come, at least in their clan, Winter is dubious. “We’re enjoying a good spurt now, but it won’t last,” he said. “It’s changing really rapidly.” As the elders vanish, young emerging weavers are few and far between, Winter said. The laborintensive cottage industry pays less than minimum wage, and if tending sheep is part of the gig, it often means being out in the boonies, which means being out of cell phone range, which means no texting. “Who wants to do what grandma did?” Winter said. “It is a very labor-intensive medium and few young artists are taking it up — with just a few exceptions,” agreed John Torres Nez, SWAIA’s chief operating officer. “One of those exceptions is Melissa Cody, Lola’s daughter. She has taken Navajo weaving into a very modern and exciting direction. Same traditional techniques, but very hip designs.” Step into Melissa Cody’s quarters at No Water Ranch and you might think that Navajo weaving is totally trendy these days. Skateboards, Douglas Miles pop art

prints and Melissa’s black-and-white photographs of her grandmother weaving traditional rugs decorate the walls of her bedroom. One skateboard, signed by Miles and still shrinkwrapped, shows a caricature of Melissa with skulls on her shoulders. “Love is a losing game,” it says. The San Carlos Apache artist is founder of the Apache Skate Team, and his work is in permanent museum collections. A few feet away, two empty looms and Melissa’s weaving box sit in the corner. In an adjacent room, Melissa has begun a large rug in red, which she covered with a bed sheet while she was in Los Angeles participating in an art studio exhibit. She is drawn to the loud colors of the Germantown Revival style rather than the muted shades of the flock she helps tend. As a textile artist, Melissa enjoys busting stereotypes. Whenever she needs to, she violates the rules of tradition. She’ll weave a rug, chop it into pieces and put it in a frame. She’ll start a weaving with wool and then switch to found materials from her father’s tool shed and make it a tribute. She wove one rug, called Dopamine Regression, in response to her father’s diagnosis with Parkinson’s disease. Other pieces she imbued with her feelings about the Forgotten People of the former Bennett Freeze area, including her father’s family, who were subject to a BIA ban on home improvements from 1966 to 2009. Melissa also elevates tradition. For a recent show dedicated to contemporary female artists at the Navajo Nation Museum, Melissa retrieved the whirling log or

whirling symbol, which Navajo weavers dropped long ago because people confuse it with the Nazi swastika, even though its use by the Navajo predates World War II. Melissa also took textile art to an academic level, earning a bachelor’s degree in studio arts and museum studies at Santa Fe’s Institute of American Indian Arts. Through IAIA, Melissa and Lola traveled together to South Africa, where they showed local weavers the tools they use and taught them how to use plants to dye wool. Melissa also pored over historical Germantown weavings with a magnifying glass as an artist-inresidence at the de Young Navajo Textile Collection in San Francisco. She focused on Egyptian art at a SWAIA artist fellowship in 2011. Melissa has brought her rugs to Santa Fe Indian Market for 20 years, often winning ribbons alongside her mother. At the Heard Museum Guild Indian Fair & Market in Phoenix, she has received the Conrad House and Judge’s Choice awards. While discussing the Schultz-Cody weaving legacy, Lola disappeared briefly into the kitchen of the Flagstaff apartment and returned with rugs of various colors and designs made by her mother-in-law, her mother and her youngest daughter. She stores the treasured pieces in the freezer to keep them safe from moths. “The kids all know how to weave, but they don’t have the patience to sit there except [for] Melissa,” she said. “I feel like I’ve done my part in teaching them how to weave, and it’s up to them to carry it on.”

2013 IndIa n ma r ke t



2 01 3 i n d i a n m a r ket

Best of show 2012 Classi fi Cati on V i i i • b e adwork & qui llwo r k

Jamie Okuma (Luiseño/Shoshone Bannock)

top honors

Okuma takes third Best of Show Creating elaborate sculpture ‘just like breathing’ for artist By arIn mckenna 2012 Best of Show winner Jamie Okuma (Luiseño/ Shoshone-Bannock) considers herself a “contemporary Native artist … and lately,” she said at last year’s awards ceremony, “my work [has] really been pushing the contemporary aspect of it. “But I don’t think I truly can be a contemporary Native without a very, very strong traditional background. For me, it’s so exciting to win Best of Show with one of [the] most traditional pieces that I’ve ever done.” Okuma’s winning entry, a multimedia sculpture of a turn-of-the-century Lakota woman, had been in the wings for six years. “I wasn’t planning on making any figure last year,” Okuma said. “When I made her body six years ago, I already had in mind what I wanted to do with her. The challenge was [that] there are these little cross and triangle spots around the skirt and on the sleeves. Those are brass sequins. In the past, when I’ve done that type of work, I’ve actually punched out and drilled my own brass sequins. With this one having so many, I was not about to do that, so she just sat. “Then last November I went to an antique show and found a whole stash of micro antique brass sequins. So she was just meant to be made. Had I not found those, she wouldn’t have been made. Not right now, anyway.” Okuma has won numerous awards for her multimedia sculptures. She was 22 when she won her first Indian Market Best of Show in 2000 — the youngest artist in market history to win the coveted award — and received her second Best of Show in 2002. Both pieces were traditional designs. (She has also won two Best of Show awards at the Heard Museum Guild Indian Fair and Market in Phoenix.)

Synchronicity aids meticulous handwork Finding ways to capture motion has been Okuma’s focus in recent years. Her sculpture of a Northern Men’s Fancy War Dancer — which took years of experimentation to find a material that would mimic the dancer’s ribbons flying through space — won Indian Market’s Best of Classification in 2011. This year’s entry, the artist said, was in many ways less challenging for her. “She was almost the kind of work that is just so very easy to me, just like breathing,” Okuma said. “You don’t think about it — you just do it. [The 2011] piece was completely new, and every part of him was a new challenge.” What Okuma thinks of as “just like breathing” would confound most of us. The artist was five years old when she taught herself to bead so she could make her own dance outfits. She figured out the techniques by looking

at photographs. By the time she was in high school, Okuma was taking orders to make dance clothing for others. She made her first sculpture, a jingle dancer, when she was 15 years old. Okuma creates every aspect of her sculptures by hand. She sculpts the body from brain-tanned buckskin, sews and beads the outfits and does all her own metalwork. For 2012’s winning piece, she used four different quillwork techniques, size 22° beads (about the size of a grain of sand), dentalium shells and the antique brass sequins. She hand-fabricated the woman’s bracelets and the handles of the doctor’s bag the sculpture carries. She also dyed the quills herself. The artist has frequently created the body for a sculpture when an idea came to her, then waited — sometimes for years — for some key element to fall into place before creating the figure. The synchronicity of finding the brass sequins for last year’s Lakota woman or the wired ribbon for the previous year’s dancer is not unusual, Okuma said. “A lot of times my pieces are planned out, but more often than not, that’s how they come to be. Just one little thing will just totally change direction for me.”

Next up: Designer apparel Okuma has only one sculpture body left and does not envision making many more. She is moving away from sculpture and into the world of fashion. “I would love to have my own label and really be able to be a designer,” she said. Her shearling coats have already won awards at the Heard show, the Western Design Conference and a Best of Division at Indian Market in 2012. Okuma does 90 percent of the work by hand, painting dramatic abstract designs as the finishing touch. The artist is currently working on a collection of street clothing, which includes striking bracelets and handbags. Her latest passion is beading Christian Louboutin shoes. “I’m having fun doing those,” she said. When asked how she manages to create her elaborate patterns on the designer shoes, Okuma replied, “With a lot of broken needles. Each one is completely different. It’s not something you could even show somebody how to do, because the next pair is going to be totally different.” Okuma is optimistic about fulfilling her dream. “So far,” she said, “it’s been a blast. I’m making the right contacts and it’s getting better. So I’m pretty excited about it.” Since she is adding her distinctive flair to manufactured products, she does not expect to show her new line at this year’s Indian Market, but there are photos of the work on her Facebook page. 2 01 3 I n dI a n ma r k et


top honors

ClassifiCation Winners

2012 Best of ClassifiCation Best of show Jamie Okuma (Luiseño/ShoshoneBannock) ClassifiCation i: Jewelry

Vernon Haskie (Navajo/ Diné) ClassifiCation ii: Pottery

Lisa Holt (Cochiti Pueblo) and Harlan Reano (Santo Domingo Pueblo)

Vernon haskie, Jewelry

ClassifiCation iii:

Paintings, Drawings, graPhics anD PhotograPhy

Lisa holt and harlan reano, pottery

Angela Babby (Oglala Lakota Sioux) ClassifiCation iV:

wooDen Pueblo Figurative carvings anD sculPture

Arthur Holmes (Hopi)

Head of the class

Craftsmanship, creativity unite winners in diverse categories

ClassifiCation V:


Amelia Joe-Chandler (Navajo/ Diné) ClassifiCation Vi:

photos By kitty Leaken


Lola Cody (Navajo/Diné)

Several 2012 Best of Classification winners share a common bond: they have won this award more than once.

ClassifiCation Vii:

Jamie Okuma has won Best of Show three times, and she won Best of Classification in 2011. Vernon Haskie

Diverse arts

Kevin Pourier (Oglala Lakota) ClassifiCation Viii:

beaDwork & Quillwork

Jamie Okuma (Luiseño/Shoshone Bannock) ClassifiCation iX:

Youth (17

Years and under)

won his sixth Best of Classification in 2012, and Kevin Pourier won his third. Both Arthur Holmes and Valerie Calabaza won Best of Classification in 2011. Both multiple and first-time award winners share two common denominators — meticulous craftsmanship and boundless creativity. Creativity and craftsmanship are the earmarks of all the artists juried into the market, as John Torres Nez, chief operating officer of the Southwestern Association for Indian Arts, noted when he spoke about the record number of Indian Market applicants in 2013. “There were some folks who have been phoning it in for years, and they just didn’t get in. They just got outscored by younger artists [this year],”

Valerie Calabaza (Santo Domingo Pueblo)

Torres Nez said.

ClassifiCation X:

themselves to create something new, something more perfect, something that stands above the rest — and

Moving iMages

Yves Sioui-Durand (Huron Wendat) ClassifiCation Xi:


Kathryn Kooyahoema (Hopi) 66

stories By arin mckenna

2013 ind ian m ar k et

And that’s what makes Santa Fe Indian Market so outstanding. Artists compete with each other and with above anything they have done before. Marketgoers are the beneficiaries of that quest for excellence. For those who line up at artists’ booths at 4 a.m. to buy award-winning pieces, as well as those who are simply out to savor the event, the abundance of exceptional art makes Indian Market a joy to experience.








Bead work


C lassifiCation i • Je w e l ry

Vernon Haskie (Navajo/Diné)

Tapping The creaTive spiriT C las si fi Cati on i i • p otte ry

Lisa Holt (Cochiti Pueblo) and Harlan Reano (Santo Domingo Pueblo)

an arTisTic collaboraTion Vernon Haskie expects to run out of time before he runs out of ideas. “There’s just so much creativity out there, and I know in my mind I’m not going to get to everything I want to get to. I just try to pick the [ideas] I like the best,” Haskie said. “It’s just exploring deep inside your mind and letting those ideas and those designs that are flowing come out, then expressing it onto a hard copy.” Haskie’s “hard copy” is jewelry, an art he has practiced since 1979. Aside from learning basic jewelry-making skills from his father, Haskie is self-taught. “Once you master the skills, it’s just creativity after that. It’s like once you learn how to ride a bike, you can ride any bike or be creative with riding a bike, like doing high jumps or wheelies.” Haskie’s “high jump” last year was a coral bracelet called Cliff Roses Growing on Red Mesas. He incorporated a new idea that he calls a feather/ wave design into the inlay. “It reminds me of the bustle of an eagle. I took it and reinterpreted it, and that’s what came out.” That idea may have lain dormant for some time. “There may be an excerpt of a pattern that you see, and it sticks in your mind. And then later on when you’re working on a piece, you’ll say, ‘Oh, yeah, I remember that design. … I bet it will fit really nice right in this area.’” It is not only ideas that bide their time. The deep redorange coral that forms the centerpiece of the bracelet was purchased 12 years ago. “I just held onto that for a long time until it decided it wanted to be in that bracelet,” Haskie said. “Some of my stones are like that.” Attuning to the spirit of the stones is an essential part of Haskie’s work. “You can pick up a stone and you can feel like its spirit in there. … It’s like a really light glow around the outer part of the item.” Haskie’s creative exploration is matched by his meticulous craftsmanship. Everything is made from scratch, including the gold alloy for the winning bracelet. Cliff Roses Growing on Red Mesas is asymmetrical, with the wave pattern on one side and a more linear pattern on the other. “That gives a little bit of vibrancy to it,” Haskie said. “The asymmetry keeps you delighted from one end of the bracelet to the other, so you’re going ‘Ooh, ah’ all the way around instead of … ‘OK, it looks the same here as it does on the other side.’ You want a piece to jump out at someone.” Haskie’s pieces have jumped high enough to garner Best of Classification six times. “Somewhere along the line,” he joked, “if you put a couple of the Best of Classes together, they should equal a Best of Show.”

Lisa Holt and Harlan Reano have been making pottery together since around 2000. They began showing at the market 10 years ago. “What we both love best about doing pottery is just being able to work together and being able to create something that people enjoy and appreciate,” Holt said. Holt comes from a family of potters going back to her great-grandmother. She learned from her grandmother Seferina Ortiz and from her mother, Juanita Inez Ortiz. Reano also learned pottery making from Holt’s mother. Both are proud that their daughter, Dominique Reano, is carrying on the tradition and has won awards of her own at Indian Market. When the couple began working together, Holt would build the pots and Reano would paint them. Reano continues to sand and paint the pots, but now both build them. Their Cochiti-style figures are built by Holt. The entire family collects clay together, and Holt and Reano prepare the clay and fire together. “We think the best thing about working together is artistically pushing ourselves forward and continuing to motivate each other to create something fresh and new,” Holt said. “Artistically pushing” each other has paid off. Their pots and figures are beautifully executed and decorated with striking graphics. The pair received SWAIA’s Award for Excellence in Traditional Arts in 2004 and a Best of Division in 2006. They also won Best of Class at the Heard Museum Guild Indian Fair & Market in 2010 and 2011. “It means a lot when someone appreciates all the hard work we put into each piece,” Holt said. The couple seems unaware of how their bold graphic style sets them apart from other potters. “We think the fact that we work together on our pottery sets us apart, and the whole communication process that goes with that,” Holt said. “Other than that, we really don’t know what we do different than other potters. We try to take our time and work hard on every piece. We just want to continue to push the boundaries of Cochiti and Santo Domingo pottery and also to push [our own] artistic limits, and for our work to continue to evolve. We just want to try to keep our work fresh and new,” Holt said. “And just as we were inspired to think outside the box by all the artists before us, we want our work to inspire others to push the boundaries of their art.”

vernon haskIe

LIsa hoLt and harLan reano

2 01 3 I n dI a n ma r k et


angela babby

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

Angela Babby (Oglala Lakota Sioux)

painting with glass C lassi fi C at i o n i V • wo o de n p u e b lo fi gu ratiV e CarV ing s and sCulp t ur e

Arthur Holmes (Hopi)

listening to the wood

arthur holmes


2013 ind ian m ar k et

Angela Babby’s winning glass mosaic titled Kiksuyapi 1862 (Remember, don’t forget) was a triumph not only for the mastery of her art but also for the medium itself. “I have a complete obsession with glass,” Babby said. “There is no medium that can capture light and color like glass. I go into a warehouse and look at sheets of glass and see things in the glass that end up inspiring the artworks.” That obsession started in the mid-’90s, when Babby was working for Bullseye Glass, and it blossomed when she decided to switch from painting to mosaics around 2000. Babby was searching for inspiration for her first piece when she ran across a photograph of Medicine Bottle awaiting the gallows for his involvement in the U.S.-Dakota War of 1862. She credits the image with her evolution as an artist. “This photograph had a profound impact on me, and I had an immediate vision of the artwork,” Babby said. “After completing it, I felt compelled to teach myself to enamel on glass to better capture the emotional content of this rare and profoundly moving image.” When Babby juried into Indian Market in 2003, she submitted Medicine Bottle for judging. But because SWAIA had no category for it, the image was disallowed for judging, and she was prohibited from showing it at her booth. Babby lobbied to change that, and her work was placed in the diversified arts category the following year. She was allowed into the painting classification in 2011. Each of Babby’s mosaics is completed by hand, with hours of painstaking work. She cuts and grinds her pieces, arranges the picture on a kiln shelf and then carefully coats each piece slated for enamel. The mosaic is then fired in a kiln to over 1,000 degrees, a process that takes approximately 12 hours. Babby then glues the pieces to cement board and mixes her mortar. Babby admits the process can be overwhelming. “You have to get organized and figure out what’s going to happen and then do all of the absolutely insane preparation work of getting all the pieces to be exactly like you want them.” But for Babby, the complexity also keeps it interesting. “Right when you think you’re going to go crazy because you’ve been cutting and grinding, then it switches over to a painting phase. And then you’re constructing it. So it changes so much you don’t really get bored with it. It’s like doing many different mediums.” The results are always uncertain. Because enamel changes color when fired, Babby fires test strips before starting a piece, but it’s still “your best guess about what you’re going to end up with” — something that fascinates Babby. “When you make something, you really don’t know what it’s going to look like, and you’re just dying of curiosity. It’s fun, because I’m a control freak with my paintings. This is out of your control in a lot of ways, and I love that. … It’s what drives my obsession.”

Arthur Holmes took up carving 20 years ago, when he was healing from alcohol and drug addiction. “I started this for personal growth, spiritual healing,” he said. “You really take your heritage further and go beyond. It’s like a spiritual awakening.” Holmes’ 2012 winning piece, Brothers Forever, honors those who helped him through that difficult period. “There was a point in my life where I was going through hard times, and a certain individual is always there for you, no matter whether it was your own sibling or just a friend, but there’s one friend that was constantly there,” Holmes said at last year’s ceremony. “That’s what we all need, someone, like an angel, to watch over you. If you’re down, they pick you up.” Brothers Forever features two kachina figures, one carrying the other. Both figures are carved from the same cottonwood root. “Those two kachinas are helping one another. One is paralyzed, so the other one is carrying him around. But that one can’t see, so the one being carried sees for the other kachina,” Holmes said. “So that’s what it represents to me: combining not just one but two together makes you stronger.” Holmes learned to carve from his father, Arthur Holmes Sr., and from his uncle Stetson Honyumptewa, the 2010 Best of Show winner. Holmes also won Best of Classification in 2011. The carver lives with his family in Prescott Valley, Arizona, but works on his kachinas at Hopi, in a house that belonged to his grandmother. “All the work I do is done where I plant my fields and my corn crops,” Holmes said. “It starts from there. … It’s like a connection between the Mother Earth and your spirit inside. That spirit in the wood just takes a form of its own.” He listens to ideas collectors give him, but it is the wood that dictates what he creates and when he creates it. “It’s good to get ideas, but once you start working on the piece, it just starts taking a pull of its own, and it just becomes something else,” Holmes said. “I have a couple of pieces that I’m working on right now that are just sitting up on my shelf. I started, but it’s like [the figure is] stingy in giving himself to you. He doesn’t want to get finished right away. He just wants to sit there and be admired for a while. “Some other woods I’ll pick up and look at it … ‘No, this ain’t the one.’ Then, all of a sudden, you pick up one and it will just click. ‘Oh, yeah, I’ve got this one,’ and it just starts forming on its own.” With that kind of connection to the wood, it is not surprising that Holmes takes little credit for the awards he has won. “I have my work speak for itself,” he said. Holmes hopes to bring a third piece from the same cottonwood root, a chief kachina, to market this year.

Clockwise from top left, angela Babby, arthur Holmes, Valerie Calabaza, kevin Pourier, kathyryn kooyahoema, amelia Joe Chandler, Lola Cody

2 01 3 I n dI a n ma r k et


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

Amelia Joe-Chandler (Navajo/Diné)

A sculpturAl storyteller C lassi fi C at i o n V i • t e xt i le s

Lola Cody (Navajo/ Diné)

rising to the chAllenge

amelia joe-chandler

lola cody


2013 ind ian m ar k et

All of Amelia Joe-Chandler’s work — whether jewelry or small sculptural pieces — tells a story. “They’re all narratives, and they’re all about myself and my family,” the artist said. The story behind Joe-Chandler’s award-winning precious metal sculpture Rez Ball at Grandma’s brought tears at market last year. The piece honors two beloved family members. Joe-Chandler started the piece as a dome-shaped teapot with a tree beside it in honor of her grandmother’s passing. When her brother died suddenly, she added a basketball hoop to the tree. “My brother was a basketball player, and my grandmother had a mud hogan, which is why I used copper,” Joe-Chandler said. “Both of their passings were unexpected. He was always teasing my grandma, to the point where my grandma could not stop laughing. And I was thinking, ‘They’re probably together again.’ So that piece was very happy. I was very happy that he was with her again, probably teasing her.” The delicate contours of Rez Ball at Grandma’s disguise a tremendous amount of hard work. “It’s very physical. It takes your shoulder, it takes your elbow, and there’s a little muscle in the back that it irritates all the time. If I were to work on it day in and day out, eight hours a day, it would probably take about four months to do. But since I broke it up over time, it took about two years.” Joe-Chandler described a process of hammering the copper to just an eighth of an inch, then reducing stress on the metal by heating it with a torch and cooling it in water. She then cleaned it with acid and baking soda and repeated the whole sequence until the desired shape was achieved. After that, fabrication began: creating the lid and soldering on pieces such as the handle. “The whole time you’re doing that, you have to think about not changing the shape with heat. So you have to be aware of the heat at all times, especially with copper. It’s a really soft metal,” Joe-Chandler said. “After that is the hard part — cleaning up the fire scale.” That process involved sandpapering off as much fire scale as possible, leaving the piece in an acid bath overnight and then scouring it for several more hours before finishing it with pumice and a brush. With no children of her own, Joe-Chandler sees her work as a legacy for her nieces and nephews. “All I have to leave behind is my artwork, so that’s why I try to fill them with stories. My goal is to tell as much as possible about the way things were through my art pieces, so that the kids … will have something to refer to that isn’t out of a book on U.S. history or Western society’s idea of what happened. These are stories of the Navajo people, stories of my family.”

Lola Cody’s hand is in every aspect of her award-winning Two Grey Hills rug. Cody raised and sheered the sheep, carded and spun the wool, and wove it on a loom that her husband built. The rug, woven entirely of natural-colored wool, measures 7 feet 6 inches by 10 feet. It is the largest piece she has ever attempted. “It was a challenge for me to do something like that,” Cody said. “Sitting in front of it and making sure all my designs were correct, my colors were right. It was awesome to work on it.” The loom that Cody’s husband, Alfred, engineered and built — using heavy-duty pipes that would not bow under the tight warp — filled an entire wall in their home. Cody’s son Kevin helped with the onerous task of getting the warp on the loom. Cody started spinning wool for the piece more than a year before market and began weaving in February. “I set a quota for myself … that I would do so many inches every week. I knew that was the only way I could work on it and get it completed in time for market.” Matching the design on such a large rug was challenging, especially with Cody’s intricate pattern. “When I weave, I try to use every space that I have in there and not leave too much gap between my spaces. That’s why it’s very busy,” Cody said. “When it was on the rack, it was like the whole design was just moving. It played a trick on your eyes. “I had to really measure it to make sure my designs were right. I started with my borders, and then I looked at it and realized it was so huge, the border was just going to get lost in there. So I made a wider border and then another design similar to a border.” Cody has been weaving since she was 5 years old. “My mom used to weave all the time, so it was always a constant in our home. I just picked it up and started weaving. I used to help my grandmother finish off her rugs, and that’s how I learned. Then eventually I started weaving rugs on my own. And that was a source of income when I was growing up. We used that to buy our school clothes, and then we’d help with the family.” Cody’s rugs are in the collections of the Heard Museum, the Eiteljorg Museum of American Indians and Western Art, and the National Museum of the American Indian. She weaves both traditional rugs with natural wool and more contemporary abstract designs using either dyed processed wool or wool she dyes herself. “It was awesome to get this award, especially because my husband helps with my looms, and he has Parkinson’s [disease]. So this was a challenge with his condition,” Cody said. “It was a project for us. It just had a special meaning.”

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

Kevin Pourier (Oglala Lakota)

reinvigorating an art form C lassi fi C at i o n i X • yo u t h ( 1 7 ye a r s a n d u n de r)

Valerie Calabaza (Santo Domingo Pueblo)

growing by leaps and bounds

kevIn pourIer

valerIe calabaza

Although Kevin Pourier’s art form — carving and inlaying buffalo horn — is centuries old, the ideas he expresses through it are completely contemporary. “My material may really scream Native, but my designs are taking us into the future, the 21st century,” Pourier said. “For an Indian person to have to do Indians and buffalo over and over, or spiritual images or designs, it’s like we’re in a box. To step out of that box and try new things makes it so much fun being an artist.” The Plains people used buffalo horn for everything from personal adornment to cups and utensils, but the art form died out with the decimation of the bison herds. Pourier was pretty much in the dark when he began working with buffalo horn. His work has evolved through research, which led him to discoveries such as horn spoons. “That started my track to finding a bigger canvas to work on, which meant I could do more stories,” Pourier said. “I always had this urge to talk about loss of land, of being put in the poorest county in the United States, about Mount Rushmore being carved in the Black Hills. It’s always hard to talk about these things. But with art — being able to put that out there and have people see that — it was a whole different way of empowering myself.” A challenge to Pourier’s use of crushed stone at market led him to do research at the National Museum of the American Indian, where he discovered that Plains Indians did use crushed stone in their inlay. “One of the coolest pieces I saw at the museum was a piece Crazy Horse made. It was the only piece that was inlaid with the blue material I use, so that was a really special thing to see.” Pourier’s award-winning piece in 2012 was a buffalo horn concho belt inlaid with a contemporary geometric design. Jeweler Charles Loloma was the inspiration for the materials and dramatic colors Pourier used — gold mother-of-pearl and various shades of sandstone accented with malachite. “I was part of this exhibit where we were supposed to create something influenced by Charles Loloma,” Pourier said. “That was what really made me step out of the box.’” Pourier’s win last year was his third Best in Classification, following previous awards in 1998 and 2005 and the Innovation Award in 2010. He is hopeful that the recognition will inspire others. “I always think if there had been a continuation of the buffalo horn work and I had come from nine generations of buffalo horn carvers, how much further along would my work have been by now? So I’m kind of excited, because if I can take this art form to these levels of innovation and recognition in just 20 years, what’s it going to be like for the next six generations? What kind of art is going to be made from horn because of me being the generation just starting it?”

Fourteen-year-old jeweler Valerie Calabaza is excited by the strides she has made since winning her first Best of Classification in 2011. “It felt shocking to win two years in a row, and a lot has changed,” Calabaza said. “I became more experienced and advanced at putting sophistication into the turquoise inlay and black jet and mother-of-pearl inlay.” Calabaza’s relationship with her art has changed as well. In 2011 her tenacity was often the only thing that kept her going when stones and shell would break as she was working. Since then, she said, “I got better at not breaking the pieces, or reusing the pieces I do break and making them into a better piece. I actually enjoyed it this time.” Calabaza set a new challenge for herself last year: creating a shell thunderbird for a centerpiece. “I had to have guidance from my grandma to help me shape it and figure out how I was going to do it,” Calabaza said. Her grandparents Mary and Joe Calabaza are her mentors. “I went through many shells to find the best one to put in the middle. It was very difficult to do the thunderbird shape because I started out with the rough shell, which has the spines sticking out, and had to grind it to a smoother surface. Once I had that, I had to trace out the thunderbird. It was very difficult to cut because I didn’t want to break any of the sides of the shell and have to restart and waste the shell. I was able to do it on the first shell.” Mary inspired Calabaza to create the thunderbird. “It’s actually a traditional necklace from Santo Domingo, and it was done by the ancestors,” Mary said. Mary also told Valerie how her own parents (Valerie’s great-grandparents) had created thunderbirds with materials such as old phonograph records and sold them at the trading post at Santo Domingo Pueblo. Mary and Joe are teaching Valerie and their other grandchildren not only traditional jewelry-making techniques but also their cultural values. “I also teach them to pray for other people, not for just themselves,” Mary said. “This is how we were brought up. We were taught to pray for one another. We pray for other people at the same time, for everybody, not just Natives but for the entire world.” Now Calabaza has taken up a new challenge — making heishi beads. “I want help my grandparents with their fine heishi. I started working with them on the heishi about a year ago, and it’s very difficult to do.” Mary is proud of her granddaughter’s accomplishments. “This is something that they need to pass on to the next generation,” she said. Valerie has every intention of doing that. “I’m still thinking about what I should do and how I can do it to make it different from others, expressing myself through jewelry,” she said. Valerie can be found at her grandparents’ booth during market.

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C lassi fi C at i o n X • mov i n g i m ag e s

Yves Sioui-Durand (Huron Wendat)

a Pioneering sPirit C lassi fi C at i o n Xi • b ask e t ry

Kathryn Kooyahoema (Hopi)

Preserving an endangered art Yves Sioui-Durand has been breaking ground for indigenous people in the performing arts since 1985, when he founded Ondinnok Theater with his wife, Catherine Joncas, and a friend. Sioui-Durand was studying music and Joncas was studying acting when they met in 1970. “It was in those years that I discovered theater and its power,” Sioui-Durand said. “It’s difficult to state what exactly brought me into theater — the theater itself, for sure, but also the need to express my own identity and to express an inner point of view of Native culture on stage.” It was at Ondinnok that Sioui-Durand wrote and produced the play Hamlet the Malecite, which his Best of Classification film Mesnak was based on. He dreamed of transposing the play to film, and producer Ian Boyd offered him that chance in 2004. The film took five years from conception to completion, largely due to the challenges of translating the stage play into a screenplay and obtaining financing. Sioui-Durand had to learn film techniques and crew management as well. Sioui-Durand chose nonprofessional actors to work with, eliciting the performances he wanted through training. “We had some workshops to break the barrier with acting and to preserve the truth in the characters,” he said. “I’m really proud of the young actors who have played with me.” Mesnak confronts contemporary issues facing Native people through parallels with Shakespeare’s Hamlet. Sioui-Durand sees Hamlet’s tortured question “To be or not to be?” as the central question for indigenous people today. “For a Native up north on our reserve — and I think everywhere in North America — it’s a question that they have to answer each day: if they want to survive or not. We Natives have a Shakespearian destiny, facing the anguish of whether to stay Indian or to integrate. For the youngest of us, there is a more cruel question: whether to stay alive with the suffering or to [commit] suicide. The fact is that our Native societies are living some very strong contradictions, and they have to reform, to reintroduce a strong ethic.” “I hope with this movie to ring a bell, an alarm: Don’t waste the younger generation. They are our future.” The movie also explores questions of love and redemption. “I wanted to convey that when a society collapses, the signal of that is when you sacrifice the beauty itself and the power of love. So one question is: Is it still possible to love when everybody betrays everybody?” Mesnak offers a more hopeful answer to that question than Hamlet. Mesnak earned Sioui-Durand a best director award at the Dreamspeakers Film Festival in Edmonton, Alberta, and was chosen best film at the American Indian Film Festival in San Francisco. “You have to consider that in Quebec, this is the first fictional Native movie done by a Native director, so I am a pioneer in theater and in movies too,” Sioui-Durand said. “I hope that it will open the doors. The recognition I receive here, it’s not [for] me. It’s for the younger generation and their future.” 72

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Kathryn Kooyahoema is modest about her basket weaving. She was shocked when she was accepted into Indian Market in 2009, shocked when she won Best of Division her first year and shocked to win Best of Classification last year. “I know there are really, really great weavers and that I may never reach where they’re at,” Kooyahoema said. The Classification XI judges might disagree with that assessment. At first glance, Kooyahoema’s meticulously executed yucca basket appears to be an abstract design, but closer examination reveals the profile of a Comanche kachina figure with corn kernels on the right border and raindrops on the left. “Kachinas pray for rain to sustain life for all mankind. But mankind should never forget the plants. So you see the corn kernel a lot in my work to symbolize plant life,” the artist said. Kooyahoema learned to weave from her mother and grandmother. “The learning process started when I was really young. My mother was always weaving, and they used to have basket-making parties. I’d pick up their scraps and mimic them. That’s where the learning process starts. … Then, as I got more into it, I would sit down with my mother, and she began to teach me how to strip, how to gather the materials, how to color the material.” Kooyahoema weaves many baskets for ceremonial purposes. She is a member of the women’s order in charge of the Basket Dance and participates in an adulthood ceremony in which young women are taught to weave. She is also teaching her 12 goddaughters to weave. With few women weaving baskets today, she takes that responsibility seriously and hopes her goddaughters will carry on the tradition. Last year Kooyahoema was able to reconnect with an important piece of her family’s legacy. In 1925 her grandmother’s sister, Nellie Quamalla, created a basket so large that she had to break open her doorway to get it out. The basket is a legend in Hopi, but the family did not know what had become of it. Kooyahoema recently traced it to the collection of Gregory Schaaf and Angie Yan Schaaf and came to Santa Fe to see it. “That was really emotional, because it’s part of me and my grandmother. I got to touch the basket. I wish it were still in the family, but of course we have no means of keeping it in an environment that could preserve it for a long time, and it’s in need of repairs.” Another basket now is calling Kooyahoema. It’s one her mother started 25 years ago that has the potential to be as large as Quamalla’s. Kooyahoema inherited the basket and admits, “It frightens me.” She is considering finishing it off as a smaller basket. Only time will tell who wins that battle — Kooyahoema or the basket.

InnovatIon award


WeAvIng A nAtIve response

2012 Innovation Award winner uses basketry to create political dialogue By arIn mckenna Whether they were experimenting with new pottery techniques, trading with distant tribes for shells to create jewelry or embracing European silversmithing, Native American artists have always explored new techniques, materials and subject matter. The Southwestern Association for Indian Arts’ Innovation Award, first presented in 2008, acknowledges the role such inventiveness plays in keeping Native art vibrant. Any piece entered for judging at Indian Market is eligible for the stand-alone award.

The value of homeland Shan Goshorn (Eastern Band Cherokee), who won the Innovation Award in 2012 for a basket called Removal, shreds reproductions of documents and photos and weaves them into traditional Cherokee-style baskets, drawing attention to Native issues such as treaty violation, stereotypes, land issues and the impact of boarding schools. The inner weave of Removal is a reproduction of the Indian Removal Act of 1830, which initiated the removal of American Indian people from their homelands to land west of the Mississippi River — primarily to what is now Oklahoma. One of Goshorn’s double-exposed, hand-tinted black and white photographs forms the exterior. The doubleexposed image combines an Oklahoma landscape and a woman in traditional tribal regalia. “There are currently in Oklahoma 39 federallyrecognized tribes, more than any other state. That’s sort of what the double exposure expresses,” Goshorn said. “It shows that we are removed from our homeland, but it’s about dual citizenship, too. Because now [Oklahoma] is also [the] homeland for so many of us. I go back and forth to North Carolina every 60 to 90 days. I’m still very active with my tribe, especially with the arts, and I’m active with my family there. It’s not uncommon for Indian people to travel back and forth to their homeland. “I was also trying to do a piece that communicated a

unique contemporary issue that’s valid for every Indian person today. I’m not talking about something 200 years ago that doesn’t affect us anymore. It does. It affects everything about Indian people, being removed from their homeland.” A professional photographer for three decades, Goshorn wove her first basket in 2008, nearly 30 years after the possibility took root in her mind while she was illustrating a book on Southeastern basketry for the U.S. Department of the Interior’s Indian Arts and Crafts Board. “I did 20-plus black-and-white pen and ink drawings of Cherokee basket patterns,” Goshorn said. “And by the time I got to number 16 or 17, I’m thinking to myself, ‘I could weave a basket.’ ” The thought came and went, but in 2008 Goshorn was struck by the idea of using documents to give baskets a political voice. She taught herself to weave as she created Pieced Treaty; Spider’s Web Treaty Basket, woven from a shredded reproduction of the Tobacco Compact between Oklahoma and the Cherokee Nation. Goshorn utilized a spider’s web weave to suggest the tortuous attempts to reach agreement and left the basket unfinished to indicate ongoing negotiations. That basket was purchased by the National Museum of the American Indian. Goshorn decided to tackle a difficult double-weave with her next work, Sealed Fate; Treaty of New Echota Protest Basket. The outside of the basket is woven from the Treaty of New Echota, which authorized the United States government to remove the Cherokee people to Oklahoma. The inside is woven from a document disputing the legality of the treaty on the grounds that it was signed under the cover of darkness by a handful of Cherokee men with no authority to do so. The protest has 95 pages of Cherokee signatures. The basket lid features a traditional design called Manin-the-Coffin, woven with splints printed with President Andrew Jackson’s signature. Despite being saved by a Cherokee warrior at the Battle of Horseshoe Bend, Jackson refused to even view the protest documents. Goshorn studied a square basket with a lid for her

Shan GoShorn

pattern and technique. She later learned it was called the Coffin shape, which was considered sacred at one time and is one of the most difficult to make. The Museum of the Cherokee Indian named her the 14th living maker of double-weaves. Addressing contemporary political issues is very important to Goshorn, a longtime human rights activist who chooses the titles and the patterns that she uses for each piece very carefully. “This medium has really become a powerful format for me to be able to educate non-Indians, and sometimes Indian people, about issues that I’ve become aware of,” Goshorn said. “The big difference between doing it in baskets and some of the previous ways I’ve tried is that it’s a lot less angry and that people are really, really responsive to it. I don’t know why [the baskets] are easier for people to understand and less controversial, but I have been completely amazed at how interested people are and how they’re getting it. “I work really hard to make [the work] archival, but it is paper,” Goshorn said. “My work is valuable as a tool to create dialogue. It’s about having conversations about this so people can understand.” Goshorn’s latest honor is a 2013 Eiteljorg Fellowship for Native American Fine Art. To learn more about her work as a whole, visit 2 01 3 I n dI a n ma r k et


2013 swaia Awards offer freedom and encouragement fellowships to established and emerging artists By kay lockridge The Southwestern Association for Indian Arts Fellowship Program, begun in 1980, has helped build a bridge between generations of Native American artists by providing the financial and mentoring resources that can help launch new careers and revive those that have been neglected or lost. The 2013 Fellows will be introduced at a special honoring ceremony on Saturday, August 17, at 11:30 a.m. on the Plaza Community Stage.

SWAIA YOUTH FELLOWS Artists 17 and younger are eligible for the Youth Fellowships, which include a certificate and $500 to be used for research and supplies. As SWAIA suggests, the future of Native art rests with the younger generation.

Emma Soctomah (Passamaquoddy) baSkEt wEavEr

If anyone illustrates the passage of art through generations, it is 8-year-old Emma Soctomah, who is a basket weaver like her grandmother, mother, sisters and brother. “Making baskets is important to me because it’s what my people do,” Emma said, “and it’s what my family always does. I made my first basket with my brother, George Neptune, when I was five. I like to make baskets with my Gram [Molly Neptune Parker], too. My best friend’s name is Alannah, and she is my cousin. We like to make baskets together. I especially like it when the whole family makes baskets together. We go to my grandmother’s house to do it … my mom and older sisters … Alannah’s mom makes them, too.” Emma prefers to use a plaited weave with braided sweet grass, which she colors with Rit Dye, for her baskets. “I always choose my own colors and make my own designs and patterns,” she said with pride. “I have a lot of fun making baskets, although it takes a long time. I want to be able to make beautiful baskets like my Gram,” Emma said. That means she’ll have to tackle baskets with shapes other than round — and she knows that will be harder. Her brother George will teach her how to do curls and the porcupine weave, she said — something she looks forward to as she ponders what promises to be a long life in art.

JoSEph Youngblood lugo (santa Clara Pueblo) pottEr

Seventeen-year-old Joseph Youngblood Lugo, who is a traditional Pueblo potter, has some mighty big shoes to fill: his mother is renowned potter Nancy Youngblood and his great-grandmother was equally famed Margaret Tafoya. The teen, who has already won awards and usually sells out at Youth Market, was taught pottery making by his award-winning mother and has been creating his own work since he was 10. “We do everything the old way,” Joseph said. He digs and prepares the clay, then coils it to create the pots, then sands and polishes them before firing — during which, he said, anything can happen: “I use an open pit fire and cover the pots with horse manure if they are to be black. I’m happy to say I’ve lost very few pots.” Joseph uses a wood-carving tool or a precision 74

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screwdriver to carve designs on the pots and plans to use the fellowship prize money to purchase his own carving tools and polishing stones.

SWAIA DISCOVERY FELLOWS These fellowships encourage artists to explore the creative process and push the boundaries of their respective art forms. Discovery Fellows receive $5,000 for use toward this effort.

ramona EmErSon (navajo/diné) writEr/filmmakEr

Ramona Emerson is a storyteller in film, having recorded both life and death as a forensic videographer for more than 13 years. She grew up with her mother, visual artist Bobbi Emerson Kitsman, surrounded not just by art but also by practicing artists in a number of disciplines. Today, Ramona runs her own production company, Reel Indian Pictures, with her husband Kelly Byars, a filmmaker and sculptor. Now Emerson is ready to tackle another art form — a novel tentatively titled Shutter. “The novel really began inside my head as a short story about a Navajo forensic photographer who, after many years on the job, is haunted by taboos from her past,” Emerson said. “But the story has grown into a novel over the past few years and my hope is to eventually get it to the big screen. In the meantime, the novel is my first and foremost effort.” The fellowship will give Emerson the time to complete the novel and explore various routes to publication, including self publishing. “[The fellowship] is a godsend to this project,” she said. “I have put so much of my time and effort into making this a reality, and I look forward to sharing it with readers everywhere, allowing them into a life and experience that will both haunt and inspire them.”

Shan goShorn (eastern band Cherokee) baSkEt wEavEr

Shan Goshorn’s art career began in the mid-1980s, when she produced hand-colored black-and-white photographs — even though she says she has never considered herself a photographer. “Rather, I think of myself as an artist who starts with an idea — most frequently a human rights issue that targets Indian people — and chooses the medium through which that idea can best be expressed,” Goshorn said. “In the last 10 years, I have deliberately challenged myself to stretch beyond the paint, photography and metalwork of my formal training and explore new formats and media. Surprisingly, I find myself drawn back to the traditional crafts of my people — such as basket weaving — as a powerful way to bring awareness to issues that affect Native people today. “I learned the process of gathering supplies, preparing materials and weaving baskets when I was a teen-ager in the late 1970s. But it was not until 2007, when I had an idea to address tribal sovereignty, that I decided this genre would lend itself to my political statement.” Goshorn digitally copies reproductions of treaties and historical documents and then cuts them into splints to weave in both single- and double-weave baskets — a unique process. She plans to use the fellowship to pursue research into written and visual archival documents at

the National Museum of the American Indian and the National Museum of Natural History in Washington. “The final goal of this research is to weave reproductions of the photographs and archival documents into political and artistic statements,” Goshorn said. “Direct contact with the originals will inspire how I execute my statement and, of course, the finished product.”

SWAIA/SANTA FE ART INSTITUTE RESIDENCY FELLOWS Residency Fellows receive a two-month residency at the Santa Fe Art Institute, which includes a private studio space and $1,000 for supplies for each of the two months. They also receive a complimentary fellowship booth at Indian Market.

mErcEdES Jack (tlingit) JEwElEr and clothing dESignEr

Mercedes Jack, a native of Southeast Alaska, has ideas too big fit into her small workspace. Jack shares a small, one-bedroom apartment with her artist mother, younger brother and baby sister — and somehow, in this space, creates contemporary jewelry, accessories and clothing out of traditional Tlingit materials such as sealskin, walrus ivory, smoked moose hide and deerskin. The studio space at the Santa Fe Art Institute will give her the opportunity to experiment with clothing designs she could not attempt in her tiny workspace. “The combination of having my own, wide-open studio space and getting the opportunity to see and talk to other artists will be so immensely motivating, encouraging and energizing that there is no doubt in my mind that I will finish my summer and fall clothing collections,” Jack said. “The designs I create are a unique blend of traditional materials and contemporary flair. My pieces represent my own experiences in walking in both my traditional lifeways and my modern-day life.”

Jodi wEbStEr (ho-Chunk/Prairie band Potawatomi) paintEr

Jodi Webster, an artist who uses oil and acrylic paint as well as graphite and colored pencils in her site-specific artworks, also looks forward to a studio space of her own for two months. Within that time, she plans to create an art piece “that highlights the city of Santa Fe … with a [tribal] Woodlands figure juxtaposed against a Southwest atmosphere. The artwork will acknowledge the city while contrasting my own Ho-Chunk/Potawatomi forms of art,” Webster said. “The image aims to demonstrate how Native artists from all over the U.S. visit the city of Santa Fe, perhaps to attend the Institute of American Indian Arts [as she did], the SWAIA Indian Market or to be inspired by the beauty of the location itself.” At home in Kansas, the kitchen is her workspace. “My kitchen is the busiest room in the house,” Webster said with a laugh. She also looks forward to the “freedom to create works without the distractions of being a full-time student and the mother of two.” This December, Webster will graduate from Kansas University with a BFA in painting and drawing.

Shan Goshorn ramona emerson

Jodi Webster

emma Soctomah

Jodi Webster

mercedes Jack

Joseph Youngblood Lugo

emma Soctomah

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Tammy g arc i a awar d for e xc e lle n c e

Susan Folwell (Santa Clara)

‘InnovatIon wIth refInement’ By arin mckenna Whether she is working in clay, bronze, glass or jewelry, Santa Clara Pueblo artist Tammy Garcia’s imaginative design and flawless execution set her apart. Known for pushing boundaries and exploring new territory, Garcia may combine classic pottery shapes with modern iconography or create asymmetrical shapes using ancient clay techniques. Her contemporary bronze, blown glass or etched glass masterpieces are embedded with historic Puebloan motifs. The one-time Tammy Garcia Award for Excellence in 2012 recognized an Indian Market artist who embodies those same qualities in her work — contemporary creativity, technical virtuosity and beauty. “[The award] was a way to encourage artists to not be afraid to explore their creative desires,” Tammy said. “As an artist myself, I definitely hope to encourage other artists to not put limits on what they want to do artistically. It was also a way of us giving back to SWAIA and supporting Indian Market.” “Tammy started her career with Indian Market and showed for four years,” said Leroy Garcia, Tammy’s husband. “It kind of launched her career. It’s always good to help, to look back and help others who are behind you, to help elevate them.” The $5,000 award was sponsored by Blue Rain Gallery, which is owned by the Garcias. “What we’re really looking for,” said Leroy, who worked with SWAIA to set up the award, “is the combination of innovation with refinement.” The award may also recognize work that had been overlooked in the main judging, he added, noting that the piece that won had received no other major recognition.

Beauty and humor — a winning combination Tammy selected Santa Clara potter Susan Folwell’s piece, The Attack of the 50-Foot Collector, as the award winner from among 1,200 pieces submitted to Indian Market for judging in 2012. “When I was looking through and trying to decide who I was going to give this award to,” Tammy said, “I was definitely looking for something that was different, an artist who was pushing the limits creatively and looking for their unique style and technique as well as design and form. It was cool just going through and not having any boundaries as I was viewing the work.” Having “no boundaries” in selecting a winner was important to Tammy — especially after her own experience of bringing pieces for judging for which there were no categories. “I think an art show as renowned as Indian Market should reflect the times,” Tammy said. “There are so many new materials and techniques and ways of achieving a sculpture or a piece of artwork, it’s nice to use the options that are available and not be limited by categories that we might be grouping people in for art shows.” Folwell’s winning piece was a 27-inch pot of hand-coiled Santa Clara clay with a light wash of Santa Clara red slip. Folwell fired the piece traditionally, placing manure around the rim before it cooled to create a black matte finish on the lip. “The firing turned out to be a beautiful crispy black on top and then a gradation of red at the bottom,” Folwell said. “I didn’t touch it for months, because the firing was so beautiful. I was just thrilled to look at it as a piece.” She eventually brought herself to carve, etch and paint the story she had in mind: two 50-foot collectors on either side of the pot, towering over a classic image of the Santa Fe Plaza during Indian Market, a cascade of pottery tumbling down beside each collector. “I got that imagery from the B movie The Attack of the 50-Foot Woman. There was this scientific experiment gone wrong, and she just turns into this giant, crazy, mad thing,” Folwell said. “I like a lot of humor in my work, so I thought it would be fun.”


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Rewarded for taking chances Folwell’s piece stood out for Garcia for a number of reasons. “I love her being able to use traditional materials and incorporating modern materials, being able to use acrylic paint or oil paints, whatever you like,” Garcia said, referring to Folwell’s blending of acrylics with wood stains to paint her images. She also appreciated the artist’s attention to detail, right down to differences in the collectors’ nail polish, which helps distinguish one from the other. One collector is a redhead with a Gucci handbag and dress that match her Charles Loloma jewelry. The other is a brunette wearing Cheyenne Harris jewelry, sporting a different Gucci bag and dress. Although both are collecting pottery, the artists they favor also set them apart. Folwell designed the cascading pots in the style of such famous artists as Hubert Candelaria, Jody Naranjo, Margaret Tafoya and Diego Romero. “You can understand very subtle differences in the jewelry that they’re wearing, and the pots that are cascading like a waterfall down through the lettering and onto the Plaza itself are, for the most part, identifiable — which makes it a lot of fun,” Folwell said. Tammy Garcia’s acknowledgement of her artistic vision means a lot to Folwell. “It’s an absolute honor, and I’m thrilled, particularly, to be truly acknowledged for what I do,” Folwell said. “I’m part of a contemporary world. I experiment a lot with slips and imagery and the materials I use, although it’s always native clay [and] it’s always processed traditionally. Once it gets to the firing and on, it’s whatever I choose to make it. It’s nice to be acknowledged for branching out — particularly by someone like Tammy.”

2013 Lifetime Achievement Awards

Recognizing excellence and seRvice By kay LockrIdge How do you measure a lifetime? In years? Achievements? Memories? Indian Market’s lifetime achievement award was initiated in 1995 to recognize those artists whose bodies of work reflect a lifetime of integrity, achievement and service. This year, the Southwestern Association for Indian Art’s Lifetime Achievement Allan Houser Legacy Awards were bestowed on 81-year-old Kewa/Santo Domingo potter Crucita Melchor and the late Navajo jeweler Herbert Taylor “in recognition of their excellence in artistry and their significant contributions to the American Indian art world,” said John Torres Nez, SWAIA’s chief operating officer. Plaques commemorating the award were given to Melchor and to Taylor’s mother at the annual Indian Market Honoring Ceremony in June.

A link in Pueblo traditions

Crucita Melchor, who has won awards throughout her long career, was born into a rich family tradition of potters. She always knew she would follow in the footsteps of her ancestors, she said, including her mother, Santana Melchor, and her grandmother Maria Garcia. Melchor, in turn, has taught her own children and grandchildren the fine art of pottery making, thereby passing on Pueblo values and techniques. The pots are handformed with coils of native clay, lightly stone burnished, then decorated with natural pigments and pit fired. “We design pots using the ancient forms and decorations,” Melchor said, “including black-and brick-colored motifs. Our pottery is unique in that it is truly authentic in both creation and design. It is easily recognized and appreciated.” In 1974, both Crucita and Santana Melchor were invited to the White House as guests of First Lady Pat Nixon in recognition of their time-honored art.

Marking his place in history

Herbert Taylor, whose tragic death in 1996 at age 36 ended a stellar career, said he knew he would make art, specifically jewelry, his life’s work. His parents followed traditional Navajo paths — his father was a medicine man and silversmith; his mother is a weaver. “I want my art to be a mark in history … of who I was and the kind of jewelry I made,” the award-winning artist said in a 1994 interview published in The Daily Courier of Arizona’s Yavapai County. To this end, he made his own tools and all his jewelry was handmade, with no machinemade pieces of any kind. In that interview, Taylor said he often worked into the early morning hours but still would rise every day before sunrise. “I try to beat the sun every day. If the sun comes up and sees you working, you will be rewarded. If the sun comes up and sees you still in bed, you won’t be rewarded. “The hardest part of jewelry making is the designing,”

Taylor noted. He said he began a piece by sketching the design in a notebook with the natural shape of a turquoise stone to guide him. He would then trace the shape of the stone on paper and design the piece around it. Taylor got his turquoise in Nevada and would set the best pieces in gold. Those who could afford the exquisite one-of-a-kind pieces both collected and treasured them. With Taylor’s encouragement, his wife, Wichita tribal member Dina Huntinghorse, also became a successful jeweler. Her interest in creating jewelry was piqued in 1989, she said, when Taylor taught her to cut beads and do inlay work. (Before that, she had created award-winning beaded deerskin purses and accessories.) Huntinghorse began making jewelry full-time in 1996, and her work is featured in galleries throughout the Southwest, as well as at Indian Market. Taylor’s mother, Lillie Taylor, his sisters Rosie Taylor and Diane Taylor-Beall, and his brother, Leonard, accepted the award on his behalf, while his daughter, Kim Johnson, and other family members looked on. At the presentation, Taylor-Beall said she was sure that “spiritually, [Herbert] is here with us.”

crucita melchor

Povi’ka Award acknowledges centenarian Josephine Myers-Wapp SWAIA created the Povi’ka Award, named for famed potter Maria Martinez, in 2006 to recognize and honor service, leadership and support of the annual Santa Fe Indian Market and Native American artists and communities. (At home, in San Ildefonso Pueblo, Martinez was known by her Tewa name, Povi’ka.) This year, legendary Comanche weaver and educator Josephine Myers-Wapp was the honoree. Now 101, Myers-Wapp was not able to attend the ceremony in Santa Fe. Her good friend and 2011 Povi’ka Award recipient, Kiowa/Comanche trader and Native arts advocate Jeri-Ah-be-hill, accepted on her behalf the special plate created by San Ildefonso Pueblo potters (and Martinez/Povi’ka descendents) Barbara Martinez and Cavan Gonzales. In a video shown at the honoring ceremony MyersWapp described the unique form of finger weaving for which she is known: “There are only three basic patterns of finger weaving [weaving by hand, without a loom]. Naturally, I picked the hardest one, the arrow point, but I just kept on it until I mastered it. I really like the finger weaving. You can put whatever colors you want. They are woven all the way across, one thread at a time. This takes more time than other methods, but I enjoy it. I don’t keep track [of the time]; I just do it at my leisure. It’s relaxing,” the artist said. Myers-Wapp also spent much of her life practicing and teaching the traditional arts learned from her maternal grandmother, Tissy-chauer-ne. Following her childhood in Apache, Oklahoma, Myers-Wapp traveled to Santa Fe for a two-year teacher-training course in American

Herbert taylor family Indian arts and crafts — including pottery under the instruction of Maria Martinez, the Lifetime Achievement Award namesake, who created the black-on-black pottery so prized today. She later taught in Indian schools in Oklahoma and attended both the University of Oklahoma and Oklahoma State University, from which she earned a bachelor’s degree in education. Myers-Wapp was one of the first instructors invited to teach at the Institute of American Indian Arts in 1963, where she stayed for 10 years, teaching all types of weaving, costume and fashion design, beadwork and Native dance. During her tenure at IAIA, Myers-Wapp and colleague Otellie Loloma (who posthumously received the SWAIA Lifetime Achievement Award in 2010), coordinated a dance exhibition featuring IAIA students at the 1968 Summer Olympics in Mexico City. In 1972, she exhibited original clothing designs in IAIA’s auxiliary fashion show at La Fonda. Myers-Wapp retired from IAIA in 1973 to concentrate on her weaving, her active membership in the Comanche community and the workshops she continued to present. Asked if the rumors that she’s the oldest living Comanche are true, the artist/educator chuckled and said, “I don’t know, but I really don’t feel any different than when I was younger. I can still weave when I want to.” 2 01 3 I n dI a n ma r k et


tradi ti on al pue b lo p otte ry an d ton y da awa r ds

Martha Appleleaf (San Ildefonso Pueblo)

A history of collAborAtion

By arin mckenna Martha Appleleaf of San Ildefonso Pueblo, the first artist honored with the Southwestern Association for Indian Arts’ new Traditional Pueblo Pottery award, has roots among the potters who helped build the Santa Fe Indian Market. Appleleaf casually reminisced about her family’s long line of well-known potters. “I kind of knew what was what with watching my grandmother, Desideria Sanchez. She was the one who raised me,” Appleleaf said. “They all sat down together polishing — Maria and Aunt Clara and my other aunt. They didn’t say, ‘Oh, that’s your pot or that’s mine. They all worked together.” “Maria” was Appleleaf’s great aunt, the legendary potter Maria Martinez. Appleleaf’s mother, Carmelita Dunlap, was the daughter of Juanita Vigil, one of Maria’s sisters. “Aunt Clara” Montoya was another one of the sisters. “It was kind of nice when my mom received this award,” Appleleaf’s son Erik Sunbird Fender said, “because it’s like coming back full circle.” At the awards ceremony in 2012, Appleleaf said the honor was as much Fender’s as hers because they carry on the traditional ways of sharing labor, as well as the techniques of gathering and preparing clay and building, sanding, polishing, painting and firing the pots. Just as her grandmother and aunts would polish together and Martinez’ husband Julian would paint her pots, Appleleaf and Fender share various stages of the process. Another tradition Appleleaf and Fender carry over from the past is a relaxed attitude regarding authorship — although there was no question about the award-winning greenon-black pot being Appleleaf’s work. “When we’re getting ready to fire and go to sign [the pots], it’s like, ‘I know this is your shape.’ But with others it’s, ‘No, you sign that.’ It doesn’t really matter,” Fender said. “And that’s the way those ladies were in the past, from what [my mother] said. They’d sit there, make their pots and then come together, put all the pots in the middle and start polishing. And it [didn’t] matter if they were polishing their [pots] or their sisters’ or their nieces’ — it just [got] done.” Appleleaf’s green-on-black pot also won the Tony Da Award for Pottery, which tends to go to artists who innovate using traditional methods and techniques. (Another of her green-on-black pieces won the award in 2010.) The green-on-black is a variation on the green-on-red pottery that first set Appleleaf and Fender apart. SWAIA almost disqualified the green the first time the pair tried showing it at market. But the judges examined the clay and were convinced of its authenticity. The green was a fortuitous discovery made in 1988 — although Appleleaf did not see it as such at the time. She expected the clay slip that produced the green to turn the usual buff color. When the pots came out of the firing green-on-red, Appleleaf was horrified. “I was telling my uncle that I ruined my pots,” Appleleaf said. “And he said just take them to Santa Fe. Show them at the galleries. Somebody will like them. So Erik and I went, and sure enough, something like three galleries bought.” It was Fender who decided to try a black firing in 1998, although both believed the green clay would likely turn matt black. But the clay maintained its green coloring, and the black firing has been part of their repertoire ever since. The green clay now holds special significance for Appleleaf. “We all got Indian names and the girls all got pretty flower names. I was so upset because my sisters all have nice flower names and my grandma named me Appleleaf. Why not Apple Blossom? Why Appleleaf ? But you know how they say my life was already planned when I got that name? We ended up calling the green Appleleaf Green. So I guess it was predestined.” Despite the tremendous skill, patience and hard work traditional pottery requires, Appleleaf obviously loves her art and has instilled that in her son. “It’s our privilege and honor that the Clay Mother lets us make her beautiful,” she said. “She allows us to do all this to her — and it allows us to have all that we have.”


2013 ind ian m ar k et

Traditional Pueblo Pottery award recognizes excellence in a legacy art form When the Southwestern Association for Indian Arts board and staff realized that the number of painters juried into the 2012 market had surpassed the number of potters, an alarm sounded. “Bruce [Bernstein, SWAIA’s former executive director, found] some big-time pottery collectors that had come to market the last several years and had gone home emptyhanded because they have not found someone doing something that they thought was worth adding to their collections,” said SWAIA’s chief operating officer John Torres Nez. “So we thought, ‘How do we give a boost to that very important art form, an art form that literally built market in its beginnings?’” SWAIA’s concern was not only reviving pottery at market, but also as an art form. “The potters themselves have seen this pattern in their own villages and have known what was happening, especially in the last couple of years. The economy’s been tough and people just aren’t buying pottery,” Torres Nez said. The organization found donors willing to fund both the new award and a special symposium and reception for potters held at the Allan Houser Compound in 2012. They honored potters with a Lifetime Achievement Award and presented attendees with a commemorative pendant designed by award-winning potter Jody Naranjo. Every pueblo as well as Hopi was represented at the symposium, where approximately 200 potters tried to define what makes pottery “traditional.” “I was just amazed [by what I learned at the symposium] because to me it’s always about what’s on the pot. And to them it had nothing to do with what was on the pot,” Torres Nez said. “It was all about, ‘Did you gather the clay? Did you grind the temper? Did you coil it? Scrape it? Was it fired outdoors?’ Painting wasn’t a part of it. Each village has its own issues about what’s traditional, but those are the five main categories that they all believe a traditional pot has to have.” The team of judges for the new Traditional Pueblo Pottery Award — most of them potters — was drawn from judges for other pottery categories. The traditional foundations the potters agreed upon at the symposium came into play with their choice of the award-winning piece — Martha Appleleaf’s green-on-black pot. Everything about the pot met traditional standards, including the clay slip responsible for the green color. “The fact that it was bright green put it in another realm [for me],” Torres Nez said. “But not to the judges — because it had actually nothing to do with what was on the outside of the pot. And that’s where innovation can happen in the traditional pottery world.” Torres Nez expects the freestanding Traditional Pueblo Pottery Award to attract more potters to market and to the awards competition. “This year, now that it’s really out there and people saw that Martha won, we’re hoping to see potters that haven’t entered in a really long time coming back and re-entering. Feeling that their contribution to market is being recognized is really important — to us and to them — and I’m committed to making sure that stays alive.”

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2013 ind ian m ar k et

ALLAN HOUSER 2013 Indian Market Events

The Allan Houser Gallery • 125 Lincoln Ave, Santa Fe, New Mexico

♦ Friday, August 16, 5pm to 8pm ♦ Indian Market Opening Reception

“Allan Houser Ceremonial Works” An exhibition of Bronze and stone sculpture, drawings, and paintings interpreting the ceremonies of diverse tribal cultures. Indian Market Hours: Saturday, August 17, 10am to 5pm & Sunday, August 18, 10am to 4pm

Allan Houser Studio and Sculpture Garden ♦ Saturday, August 17 & Sunday, August 18, 10am to 4pm ♦ Indian Market Open House (free to the public) Tours of the Allan Houser Archives and Historic Studio House, 10-acre sculpture gardens featuring 80 outdoor works, indoor gallery with hundreds of sculptures, drawings and paintings.

♦ Special Events, Sunday Only, August 18 ♦ Lecture & Guided Tours by Phillip M. Haozous, 11am and 1:30pm The very special host, Anna Marie Houser, also plans to greet guests in the visitor’s center from 1–3pm.

Special Concert Performance by Joanne Shenandoah 3-5pm 30 minutes South of Santa Fe, off the historic Turquoise Trail (Hwy 14)













AUGUST 12–18


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.

FRIDAY, AUGUST 16 | 11 A.M. TO 1 P.M. Major Works in Clay by Nathan Youngblood and Jewelry by Sonwai

7100 MAIN STREET, SUITES 3 & 4, SCOTTSDALE, AZ 85251. 480.481.0187 AND 480.200.4290

Gerald Peters Gallery

All Image details © 2013 courtesy, Gerald Peters Gallery

Current 2013 exhibitions the royal road, artistiC imPressions of el Camino real: leon louGhridGe dwellinGs: ChristoPher benson | tom birkner | Peri sChwartz beyond the surfaCe: John felsinG and les PerhaCs

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

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





August 31, September 1 & 2

Quality crafted products, traditional pottery, jewelry, baskets, contemporary sculptures, paintings, Indian food, farmers’ market, entertainment and much more!




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w e a ls o f eat u r e J ew elry by b e n n i g h t h or s e ( nor t h er n C h ey en ne ) and C a r l a n d i r en e C l a r k ( n avaJ o) For information contact John Macker at or (505) 954-5757

1011 Paseo de Peralta, Santa Fe, nM 87501 | tel (505) 954-5700




Thank you for 75 years of business



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Contemporary Masters JULY 26 – AUGUST 23, 2013 Frank Buffalo Hyde

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Edgar Heap of Birds

N. Scott Momaday

George Morrison

Roxanne Swentzell

David Johns

Steven Paul Judd •

• •

John Feodorov Armond Lara

Robert Rauschenberg


PREVIEW: Friday, July 26, 5–7 pm ARTIST RECEPTION: Thursday, August 15, 5–7 pm PUBLIC EVENTS:

Breaking Through the Buckskin Ceiling Panel, Wednesday, August 14th, 1–3 pm Masters of Contemporary Film Panel, Wednesday, August 14th, 3–5 pm Live Performance Painting by Bunky Echo-Hawk, Saturday, August 17th, 2–3 pm N. Scott Momaday Lecture, Saturday, August 17th, 3–4 pm Illustration by Edgar Heap of Birds

Alfred Young Man Lecture, Sunday, August 18th, 2–3 pm The Contemporary Indian Painters Movement Panel, Sunday, August 18th, 3–5 pm

505 982-8111 Monday–Saturday 10–5

Anita Fields

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Friday, August 16, 4–6 pm Artists will be present

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Thank you for 75 years of business

2013 I n dI an mark e t


The Case Trading Post Presents Old Friends, New Faces 2013 Thursday augusT 15

In the Case Trading Post “4 Phases” The pottery of Calvin analla Jr. 10:00 am Opening of a sales exhibition of the unique work by Laguna Potter Calvin Analla Jr. “southwest art defined: an Illustrated guide” by Margaret Moore Booker Book Signing 11:30am–1:00pm Margaret will be available to sign copies of her new book. “New Works” The Jewelry creations of Mike Bird romero. 2:00pm– 4:00pm Opening of a sales exhibition of the new creations of San Juan Pueblo Jeweler Mike Bird Romero. Mike will be present to show his latest creations in metal and stone.

FrIday augusT 16

Old Friends, New Faces 2013 Artist Demonstrations 9:00 am to 12:00 noon. Meet and greet with artists under the demonstration tent on the Museum patio. An opportunity to watch artists of various mediums work and to learn more about their creative process. Native Chic Jewelry 9:00 am to 12:00 noon A special sales show under the demonstration tent, featuring traditional and cutting edge jewelry especially created for this event by Case Trading Post Artists.

Expanded Museum and Case Trading Post Hours Thursday, August 15, 10:00am – 7:00 pm Friday, August 16, 8:30 am – 5:00 pm Saturday, August 17, 10:00am – 5:00 pm Sunday, August 18, 10:00 am – 5:00 pm Wheelwright Museum of the American Indian 704 Camino Lejo, Museum Hill, Santa Fe, NM 87505 98

2 0 1 3 i n d i a n marke t

Artists will be present. For Additional Information Call (505) 982-4636, Ext 110 Free shuttle and offsite parking available.

The Durango Collection: Native American Weaving in the Southwest, 1860–1880 May 12, 2013–April 13, 2014 Wheelwright Museum of the American Indian In partnership with the Center of Southwest Studies, Fort Lewis College, Durango, C0

Wheelwright Museum of the American Indian 704 Camino Lejo, Museum Hill Santa Fe, NM 87505 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; and several private donors. Photo by Addison Doty

2013 I n dI an mark e t


Market Stories bring Indian Market artists, visitors together

story By staci Golar photos By luis sÁnchez saturno The annual Santa Fe Indian Market is undeniably about art. But it’s also about the people, the traditions — both old and new — and the stories they tell about the event. With more than 1,000 artists and tens of thousands of tourists, collectors and other spectators descending upon the Santa Fe Plaza each Indian Market, the festival is immense and can be overwhelming to the senses. Sometimes it’s easier (and more satisfying) to focus on the little moments, when people from all ends of the earth come together to celebrate Native American creativity and forge connections to one another in the process. Here are some of our favorite stories from the 2012 market.


Juanita Growing Thunder stood across the street from the family booth on Washington Avenue enjoying the shade of a tree. “I’ve been bringing Jessa to the Indian Market since she was a week old,” the bead artist said, pointing at her daughter, Jessa Rae Growing Thunder. Twenty-three-year-old Jessa was not only representing her artwork at this, her 23rd Indian Market, but she was also representing Indian Country. Given the title of Miss Indian World at the famous Gathering of Nations powwow held earlier in the year, the Fort Beck Assiniboine and Sioux tribal member served as an ambassador for Native people until she passed her crown on to the next winning contestant. Visitors stopped to take photos with her and ask questions. “Is the beaded sash you have to wear heavy?” they wondered. She replied with her head tilted to one side, “Yes! Sometimes it can make my neck a little sore.” She wouldn’t be wearing her sash, crown and other gorgeous regalia until the SWAIA gala, so for now she simply wore blue jeans and a top. In a week she would visit the Rosebud Reservation to speak about suicide prevention, but today she talked about her latest beaded creation, a white buckskin bag that commemorates the first buffalo calf born to her tribe from a pure strain buffalo herd acquired from Yellowstone National Park. “Two days before the Miss Indian World pageant, the first buffalo calf was born in the herd,” Growing

Jessa Rae Growing Thunder, right

Thunder said. “The buffalo hold our culture because we are from the Tatonka Oyate (Buffalo Nation). I felt like everything was coming full circle when that happened, so I beaded the background in circular patterns.” Using miniscule size 16 beads, Jessa painstakingly stitched row after row to create the brown baby buffalo in the middle of dark and light blue swirls. White beads interspersed here and there define the swirling background. As she stood among the work created by both her and the other women of the Growing Thunder family, she admitted, “It still doesn’t feel real to be Miss Indian World.”

embossed style that is achieved through the use of the “hump” or “rope” stitch. Three-dimensional shapes form by sewing beads in raised arches or by sewing beads over beads. Started decades ago by Tuscarora women who saw the opportunity to sell their work to tourists at nearby Niagara Falls, Jonathan hopes to keep the beadwork alive, recognized and evolving. While he talked with a potential customer, his friend Sarah shared that he is an indigenous environmental affairs coordinator with the U.S. Environmental Protection Agency in New York City


Walking by artist Grant Wade Jonathan’s booth, one couldn’t help but be drawn in by the bright velvet shapes covered in beadwork. They are visual candy for the eyes, filled with color, sparkle and shape. They are also very different than the majority of beadwork one sees at Indian Market. And this is exactly the reaction that the Tuscarora artist wants. “My main purpose for coming to the Indian Market is to get Tuscarora-style beadwork out there and let people know what it is and that we are still making it,” said Jonathan, who lives and works in New York. “I had heard about the market from people back home, and my first time showing here was in 2008. Since then I’ve won three Indian Market awards.” Tuscarora beadwork is known for a raised or Toya's Famous Pueblo Food Indian Tacos


2013 ind ian m ar k et

by day and an artist by night. “He doesn’t usually tell people at art shows that he is a successful attorney,” she said. “He works a lot with the Haudenosaunee Confederacy on environmental concerns.” The soft-spoken artist sported a Mohawk hairstyle — what is actually a look from several of the Iroquois Confederacy tribes. Sitting down after visiting with the customer, Jonathan noted that he collects antique Tuscarora tourist art, once called “whimsies” by the Europeans tourists, with about 600 pieces in his collection. “I share these pieces with other bead artists, so we can all see the old patterns and be inspired by them,” he said. “However, I’m trying to not just copy the old work but to reinterpret it.” We can only guess that his mother, who was instrumental in teaching him the craft, would be proud.


The line in front of Toya’s Famous Pueblo Food booth wraps almost to the intersection of Lincoln and Marcy streets. It’s noon and people are hungry for lunch. Savory smells drift downwind, pulling people to try a uniquely Indian Market meal including items like fry bread and Indian tacos (which are made from — what else? — frybread, only in this iteration topped with beans, chile, tomatoes, lettuce and cheese), and decidedly Pueblo fare like Jemez enchiladas and feast day-style cookies. With shopping bags in tow, Del and April Ahlstedt are two of the many customers waiting patiently in the long line at Toya’s. They have made an annual pilgrimage, all the way from Lexington, South Carolina, to experience the greasy and spicy goodness that is an Indian taco with chile. “We first came to the Indian Market 20 years ago. We love the culture, and the people here, but we also love the frybread,” Del said with a smile. “We do get green chile shipped to us, but we have to come to the motherland for the real stuff.” Chris Toya, the Jemez Pueblo tribal member in charge of all that is happening behind the scenes in the booth, said he and members of his family have been cooking for the Indian Market masses off and on while the booth was a fundraiser for St. Catherine’s, a Native American boarding school that graduated its last class in 1998. “Since then we have used the income to help pay for our costs, things like college, but it is a lot harder now because of the overhead,” Toya noted. “We have to pay $2000 in booth fees, pay for insurance and then pay our workers. We may not be able to do it in the future.” One glance at the lines, serpentined up and down Marcy, however, and it seems if not them, then someone else will.

Indian Market flash mob, 2012


It was about 2 p.m. on Saturday, the time of day when the heat made people wish they’d arrived at Indian Market much earlier. A steady flow of foot traffic moved back and forth over streets, sidewalks and the Plaza at the corner of Palace and Lincoln avenues, between the giant gold clock and the temporary real estate of white-topped tents. Suddenly, several individuals emerged from the crowd where only minutes ago they blended in with the masses. A blare of techno powwow music mix and suddenly people were dancing — not perfectly, but nonetheless in sync. A Pueblo Buffalo Dancer joined the circle. The dancers moved in time with the music, motioning like they were pounding an oversized drum. Within minutes, it was over and the performers dispersed, disappearing back into the crowd as if nothing had happened. Spectators who, just minutes earlier, were peering, giggling and madly photographing the performance, stopped to dissect what they’d just seen. Comments from “That was cool” to “Well, that was not very well rehearsed!” could be heard as people resumed whatever they had been doing before. Did they realize they had just witnessed a little bit of Indian Market history in this, the first-ever Indian Market “flash mob”?

Thomas Tapia didn’t have to travel far to attend Indian Market. Hailing from Tesuque Pueblo, only 10 miles north of Santa Fe, he’d been attending the annual event since high school. It is the only art show Tapia participates in all year. A potter and a painter in the two-dimensional style that many call traditional Pueblo painting, Tapia learned his method from a family of artists: his grandfather, late brother, and three late uncles. In his work one sees the flat but colorful renditions of Pueblo dances, ceremonies and day-to-day life. Tapia sat under the Palace of the Governors portal in what has affectionately been nicknamed “Painter’s Row” because of the plethora of Indian Market artists located there who specialize in paintings and prints. Tapia took a moment to chat with an onlooker and discovered that this was her first visit to Indian Market. “I’ve never been before, but I can tell you that I’ll never miss it again!” she exclaimed.


This year it all begins again: the transformation of downtown Santa Fe into the largest American Indian art festival in the world. With it will come the mind-boggling array of art, many thousands of visitors — and all their stories. Who will be attending for the first time? Who has attended since before they could walk? What new work will win an award? All one has to do is make the trek to the Plaza to visit and talk with the artists. It’s the easiest and most fun way to find out.


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ViVi of Santa Fe presents Kate Boyan in person

One of America’s Finest Bead Artists

Showing at The El Dorado Hotel concourse

August 15th, 16th, 17th and 18th • 9:00 am to 6:00 pm email: phone: 505-603-5550 1 02

2013 ind ia n m ar k et

Rooms to dReam in Ar ti st s de sig n co nt em po rA ry spAc es At nAti vo Lo dg e

By megan kamerIck

Rhett Lynch had a moment of panic when he entered the room he was to design at Nativo Lodge in Albuquerque: None of his plans would work. But there was also the excitement of a deadline. “I thought, ‘This will be great. I won’t have to think. I won’t have time to edit. I just have to do it,’” he recalled. “It took on its own movement, its own life. It was my favorite thing I ever accomplished.” Lynch is one of four contemporary Native American artists selected by Heritage Hotels and Resorts Inc. and the Southwestern Association for Indian Arts to transform four rooms at the boutique hotel. Maresa Thompson, marketing and creative director for Heritage Hotels, was inspired to pursue the project, in part, by a stay at San Francisco’s Hotel des Arts, which showcases contemporary work from emerging artists. “This offers an experience for guests to be way more intimate with art,” Thompson said. The four artists — Lynch, Nanibah Chacon, Heidi K. Brandow and Ehren Kee Natay — brought widely different styles to the project. Don’t look for Kokopelli or howling coyotes here. For his room, Hózhó, Lynch layered paint over gold foil on several large wall pieces, creating a depth of shimmering colors. On the piece above the bed he added 175 prayer ties. “My intent was for them be a spiritual gift to the people in the room,” he said. A spirit window created from bars of color painted on the wall that catches the morning light is a direct reflection of his own daily meditation practice from which he draws much of his creative inspiration.

the four artists — rhett Lynch, nanibah chacon, Heidi K. Brandow and ehren Kee natay — brought widely different styles to the project. don’t look for Kokopelli or howling coyotes here.

Photo Leo York PhotograPhY

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Find Rhett Lynch ( at Indian Market booth 722 LIN-W. Find Nanibah Chacon at Indian Market booth 772 LIN-E. Find Ehren Kee Natay ( at Indian Market booth 766 LIN-W. Heidi K. Brandow ( is not showing at this year’s Indian Market.

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Lynch is Diné (Navajo) but grew up in Lubbock, Texas, and struggled to maintain connections to his heritage. He created a series of paintings of Big Chief Tablets because they were important touchstones for him growing up in a racist environment, something he calls a “crazy irony.” He began drawing at an early age and found a mentor in artist Romeo Reyna, who taught him that this was a serious profession. Now 52, he has been painting, sculpting, writing and acting for more than 30 years. He has lived all over the West and Southwest and now calls Albuquerque home. Currently he is working on a series of nudes and other prayer-tie paintings he will bring to Indian Market, as well as trying to get a script he wrote for a feature film produced.

exploring the universal heidi K. Brandow is also Diné as well as Native Hawaiian. She comes from a long line of singers, musicians, storytellers and medicine people. But her artwork rarely reflects that overtly. “I carry all those things inside of me and they’re definitely part of who I am and what I believe in, but I choose not to portray it in an outward way,” she said. “Plus I think our existence is so much more than these cultural symbols.” There are bold chevron designs on the wall of her Nativo room, Question: (Material) Culture. But those are the only obvious “Native” elements. Several paintings themed around chairs came from interviews she did with people who brought objects and talked about why these things were important to them, a continuing theme in her work. “I’m more interested in creating work that is universal, rather than geared to one culture, one race, one cultural experience,” Brandow said.

She often explores issues of immigration, identity and sustainability. Now 31, Brandow spent four months in Istanbul, Turkey, last year studying industrial design and plans to pursue that track. Artists tend to get boxed in and not use all their skills, she said. “Just the fact that you’re an artist means your approach to a problem is totally different. That’s what this new economy needs.”

making connections ehren Kee natay’s work often reflects his desire to bridge gaps in cultural identity. His Nativo room, Keeva, features the Buffalo Dance and Avanyo, a Tewa water deity. But it’s all done in street-art style with bold spray-paint colors. A playful Pueblo figure sporting red high-tops wields his own spray-paint can in one corner. Natay grew up immersed in art and cartoons and comics. He’s also a musician, and some of his earliest paintings were based around the feelings evoked in him by jazz and blues. After joining a progressive rock band in Las Vegas, Nevada, he came back to New Mexico four years ago and began taking classes at the Poeh Museum & Cultural Center on Pojoaque Pueblo. That’s where he first started learning jewelry and silversmithing, which then brought him back to painting. “I don’t necessarily have a favorite medium,” he said. “The creative process is what intrigues me.”

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Natay is Diné and Kewa Pueblo, but grew up off the reservation. He tries to fuse that cultural heritage with popular or mainstream art. “I’m always trying to bridge that gap and find my way to connect with both sides — the American culture and the other urban Indians and explore stereotyping and taboos of Native culture,” he said. Natay is 28 now and his jewelry designs are still evolving, he said, but they tend to be more abstract and more like sculpture. He is also making pottery. Natay still plays gigs, too, and hopes to raise enough money to fulfill a longstanding dream to cut an album.

Balance and creation Popular culture also spurred naniBah chacon to begin her artistic life. She is Diné and Chicana, growing up in Chinle, Arizona, and Corrales, New Mexico, and became a graffiti artist at 16. She was definitely in a minority as a woman doing graffiti. “It made me work that much harder and made me really focus on what I was doing,” she said. Ten years in, and pregnant with her

first child, she decided to move into the studio and take up oil painting. But working on large walls made moving on to mural work, a medium she entered last year, easier. She did murals for the International Symposium of Electronic Arts in Albuquerque, the Navajo Nation Museum and the Museum of Contemporary Native Art. Chacon’s work explores idea of feminism, sexuality, imagination, form, shape, color, power, culture and modernism. Her Nativo room, Creation at Dawn, features Changing Woman and First Woman. In Navajo creation stories, these women gave birth or conceived at dawn. Blue birds symbolize creation and are flying toward the dawn outside the window. They are also indicative of the Navajo philosophy of creating balance. Production illustration work from the 20th century and pin-up girls have inspired her. Such work was functional and created for the masses, she said, but it also lacked cultural context, so that’s something Chacon tries to add. “The aim was to re-write that imagery into something I could relate to,” she said. 201 3 I n dI a n ma r k et

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Telling stories

Lauren Good Day Giago By dennis J. Carroll Lauren Good Day Giago tells stories of traditional Native life on canvasses that themselves hold clues to the relationships among Plains Indians, their military occupiers and the white settlers near their villages and reservations. Giago, at 26 already an acclaimed ledger, bead and clothing artist, is descended from the earlier, mostly male, buffalo-hide storytellers of four tribes — the Arikara and Hidatsa on her mother’s side, the Blackfeet and Plains Cree on her father’s. With the eradication of the buffalo and their confinement to the reservations created in the late 1800s, Plains Indian artists were forced to abandon their traditional use of hides to tell the colorful and often bloody stories of Indian conquests, hunting exploits and other adventures. “Once we got put on the reservations, we no longer had access to the buffalo hides,” she said. “What we ended up [using] was the paper from the general stores and [other sources] that were around us — reusing it as

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a new medium to tell our stories.” In addition to the merchants’ accounting ledgers, the Plains Indian storytellers also scavenged a number of ledger books and other papers from traders, government agents, missionaries and military installations. Many such original ledgers and papers of record remain in the hands of Native collectors and artists. “I put my drawing on top of the paper, which had already been used, and you can see the writing in the background,” Giago said. “When you buy a ledger piece you are kind of getting a two-for-one, because you are getting the antique accounting paper that may have told you what a person bought, and you get the Native American story on top of it.” Giago focuses her ledger work on the female aspects of Plains Indians’ lives, often featuring women and children in her stories. Last year, she placed second in the ledger art division at Indian Market. A student at the Institute for American Indian Arts’ Indigenous Liberal Studies, she also does quill work. Porcupine quills, affixed to clothing with animal sinew, were used for textile adornment before the advent of European beads. Quill artists must first get the permission of Hidatsa tribe leaders before they craft materials using the quills, Giago said. An award-winning textile and clothing designer, Giago won Best of Show in the men’s division of the 2011 Indian Market clothing



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competition for her husband’s wedding regalia, which included a beaded vest, buckskin leggings, cuffs, armbands, a belt and moccasins. She also took a first place in fabric attire at this year’s Eitlejorg Museum Indian Market in Indianapolis for a hand-painted jacket and a second place in patchwork, ribbonwork and quilts for an appliquéd courting robe. “The arts that I do are really culturally based because I have had to learn them from my elders,” said Giago, who grew up on the Fort Berthold Reservation in North Dakota. Learn more about Lauren Good Day Giago at Find Lauren Good Day Giago at Indian Market booth 335 FR-N.

All in the family The Edd sisters

By dennIs J. Carroll Young Navajo artist Sierra Edd, 17, of Durango, Colorado, was talking about one of her favorite artworks, Indigenous. In her mixed-media painting, Sierra depicts four iconic native leaders — the Apache’s Geronimo, Navajo Chief Manuelito, Sitting Bull of the

From left: Santana, Chamisa, Sierra and Ruthie Edd

Lakota and the Chief Joseph of the Nez Perce — all known widely for their fierce and ultimately futile resistance to American occupation. We have all seen paintings or photos of the defiant four mounted on horses, in warrior garb or posing stoically after surrender. But Sierra had a different vision. “I wanted to show them as Native American celebrities,” she said. “It’s like they were all doing a premier, like at a Hollywood show opening” — as though they have just stepped off the red carpet, peppered by reporters and paparazzi. Sierra’s chiefs are dressed in flashy, bling-laden outfits. Geronimo’s locks jut out around a do-rag. Chief Joseph’s face bears the white paint and spidery imagery of Kiss’s Gene Simmons, complete with chains and wrist manacles; Sitting Bull’s long braids hang bright red and he’s wearing round wire John Lennon specs. Hands in the crowd hold a copy of Entertainment Weekly magazine, the chiefs splashed across the cover. 201 3 I n dI a n ma r k et

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“They would be the stars who represent us,” Sierra said, comparing her celebrated chiefs to the thousands of modern-day Natives who live in anonymity. Sierra and her three artist sisters — Ruthie, 19, Chamisa, 13, and Santana, 11, have been participating in Indian Market for as long as any of them can remember. This year Ruthie, who first attended market as a 5-year-old, won’t be here because she has grown too old for the youth division; she will likely return next year as an adult. The four are the daughters of Dan Edd, a sculptor, and Esther Belin, a poet and printmaker who met in the early 1990s as students at the Institute of American Indian Arts in Santa Fe. “Growing up we were always encouraged to express ourselves artistically,” said Ruthie, who will be a sophomore in Native American and Indigenous Studies and journalism next fall at Fort Lewis College in Durango. All four work primarily in acrylic paints and watercolors, but also create mixedmedia drawings. Chamisa says she has learned a lot from her older sisters. “We help each other,” she said, “especially if we see something that would make [the artwork] more clear.” She hopes that her paintings — which tend more toward fantasy than her sisters’ work — send a message to even younger artists “to use [their] art as a public voice.” One of her favorite works is a painting of skeletons that conveys that American Indian culture lives on and that ancestors “are having a blast up there in heaven.” At 11, Santana is out to cut her own style. “I don’t want my paintings to turn out like theirs,” she said. Santana draws inspiration from animals — particularly her own pet turtles and fish. “I like to have them doing things, like making fry bread or clothing.” The girls’ mother, Esther, said perennial marketgoers have gotten to know her daughters’ work “and they come by to see how they have developed year to year.” She says that in her daughters’ work and that of other young Native artists, she can see how “the face of Indian people is really changing. There’s a revitalization in [Native art] and it’s not always what people like to see.” Learn more about the Edd sisters at Find the Edd girls at Indian Market booth 750 Lin-W.

Sculptor shares Apache history Vincent Kaydahzinne By dennis J. Carroll History is alive for Vincent Kaydahzinne. He recalls creating a motherdaughter sculpture from an alabaster stone. Tradition had it that a mother and child had once lived near where he found the stone. “In carving the alabaster I took from there,” he said, “I was bringing them back to life.” Kaydahzinne is an acclaimed artist whose work is drawn from Apache culture and history and has appeared in museums, galleries and shows around the country, particularly the Southwest. Kaydahzinne, 60, carves mostly in stone — pink and white alabaster being his favorite medium. “Alabaster is sacred to me,” he said. “It’s like the stone was just waiting for millions of years for me to come along.” At times, Kaydahzinne has a clear vision of what a stone will become under his hammer and chisel — at other times, not so much. “Sometimes I see a stone that is lying out there. I can see what is in it. Other times I don’t know what I am carving until it starts showing up,” he said.


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Apache Way of Life, Vincent Kaydahzinne

Kaydahzinne’s family tree goes back to the famous Apache leader Cochise and the warrior scout Chato, and is rich in Apache culture — particularly that of the Mescalero, Chiricahua and Lipan traditions. “I grew up around a lot of old people,” Kaydahzinne said of his life on the Mescalero reservation in Southeastern New Mexico. “There were people there who knew Cochise and Chato.” His life and art also were strongly influenced by his mother Pauline, a weaver, and his grandmother Helen Chato, Chato’s widow. Her recollections of battling and dodging the U.S. Cavalry and more than 20 years of imprisonment by the Americans — along with Cochise, Geronimo and the entire Chiricahua tribe — had a marked influence on Kaydahzinne. “We were together 11 years — hand in hand — until she passed,” he said of his grandmother. “She always cherished me as her only one.” For decades, Kaydahzinne carved his stone and played his music in obscurity, until a gallery owner in Ruidoso came across his work in the mid1990s, about the same time the artist began conducting sculpting workshops in Cloudcroft. “He said, ‘You know there is a purpose for your art and it is unlike any other.’” Kaydahzinne also credits his wife, Carol, a nurse practitioner with training at Harvard and Johns Hopkins, for convincing him that his artistic abilities were a gift from a spiritual source and that he had an obligation to share the history and culture of the Apache people through his art. Kaydahzinne donated one of his award-winning bronze sculptures, Apache Way of Life, for auction at SWAIA’s 2013 fund-raising gala. The piece depicts one of the most sacred of Apache ceremonies, the Gan dance, a ritual of healing, thanksgiving and strength. Represented in the sculpture are all aspects of the dance — including fire, the heavens with the moon and stars and the Apache singers. “This sculpture is more than a work of art,” Kaydahzinne said. “It is the outward expression of my Native beliefs, and it allows me to present these to the public.” See more of Vincent Kaydahzinne’s work at Find Vincent Kaydahzinne at Indian Market booth 731 LIN-E.

Calling people in

Couple creates life in art

By arIn mckenna

By kay LockrIdge

Gary Roybal’s turkey calls are works of art The crowded streets of Indian Market are the last place you expect to hear the sound of a turkey gobble, much less an elk chirp or a coyote howl. All three sounds emanate from a single turkey call, which draws people to Gary Roybal’s booth just as it calls wildlife to him in more natural settings. Roybal (San Ildefonso Pueblo) began making turkey calls about 14 years ago, challenging himself to replicate two his father-in-law owned. His first concern was accurately mimicking the game calls. “It’s a lot about being outdoors, listening to these birds and animals and seeing if I could communicate with them,” he said. “A lot of people think that it’s easy to do this, and it’s not. You’re making these animals think that you’re another animal. You have to say the right thing and do the right thing at certain times so that they won’t get scared and turn around and go the other way.” Roybal has apparently managed that. He called 17 elk to him on one hunt — he is chief guide at the Santa Fe Guiding Company — and has had turkeys walk over him. The artist makes both friction- and air-operated calls. His latest triumph is a wooden turkey call that improves upon a traditional wingbone design. “Those are some of the oldest forms of calls there are besides using your natural voice,” Roybal said. “But I couldn’t get the high-pitched sounds I wanted out of that turkey call, so I started developing my own. One day my daughter started playing around with the little straws you stir the coffee with and she said, ‘Look, dad, I can make this sound like a turkey.’ That light bulb went off and Turkey call, Gary Roybal I said, ‘Let’s see if I can make that into something.’” It took him two years, but that call is now one of his best sellers. Once Roybal mastered the mechanics, he began incorporating artistic traditions passed down through both sides of his family in his work, inlaying his calls with turquoise, pipestone and abalone shell, or painting them with designs inspired by traditional pottery. Roybal’s calls are also an avenue for teaching others about his culture’s connection to nature. “In our traditional ways,” Roybal said, “the turkey is one of the most sacred animals, besides the bear and mountain lions and the eagle. A lot of our traditional dances and ceremonies require that we use these turkey feathers. And that’s the one thing I try to tell people: these [calls] are made to get to what you need.” Roybal has been branching out. He won a first place at market in 2010 for a traditional bow and arrow set, he designs squirrel bags based on traditional Puebloan carry bags for East Coast hunters and he is hoping to perfect duck and goose calls, as well as create others for elk or quail. “It’s kind of a growing art,” he said. “If I can take this beautiful piece of wood and make it even more beautiful and make a sound [come] out of it, that’s even better.” Find Gary Roybal at Indian Market booth 732 LIN-E.

Joe and Althea Cajero

Joe and Althea Cajero create equally stunning but very different art: He is an award-winning sculptor in clay and bronze, she is a leading contemporary jeweler. Yet their most intimate creation is that of a true life partnership. “My understanding of my creativity is that it can be a deeper expression from my soul,” said Althea, whose mother, Dorothy, was a silversmith from Acoma Pueblo and whose father, Tony Tortalita, is a lapidary jeweler and tribal leader of Kewa/Santo Domingo Pueblo. Her parents made their living selling their art under the portal at the Palace of the Governors in Santa Fe, as well as at art shows. “I am continually learning who I am and what I can do,” Althea said. “From creating, I learn patience and acceptance; the patience to allow each process to take the time necessary and to accept that it may not become exactly as I visualized but can become something even more beautiful than I imagined.” Althea carves designs in cuttlefish bone and then casts silver into one-ofa-kind pieces of wearable art. She sets her work with stones and sometimes accents it with gold. “Cuttlefish bone casting is one of the oldest forms of casting,” the artist said. “Cuttlefish can be used as a mold for casting jewelry because it will easily retain any impression made in its softer side, and because it has the ability to withstand high temperatures.” Althea worked for the Indian Health Service for almost 20 years. During that time she met Joe Cajero, Jr., already a noted sculptor. After they married in 2005, Althea said, “it was being in his creative space that inspired [me] to think about [my] own creative capabilities. With Joe’s encouragement, she attended a jewelry class at the Poeh Center at Pojoaque Pueblo, where she worked with prominent Navajo jeweler Fritz Casuse, who taught her to hand-fabricate and cast silver and gold. After that class — and with Joe’s support — Althea resigned from the IHS and became a full-time artist. Joe Cajero, Jr., of Jemez Pueblo, said he knew early on that he would be an artist. Known today for his clay and bronze sculptures, Joe initially thought he would become a painter, like his father. His mother, Esther, a potter, had different ideas. When Joe was a teenager, she suggested he work with clay. From traditional clay bear figures, he progressed to standing bears with human characteristics and then to smiling koshare (Pueblo clowns) in bronze. He continues to create clay originals, using both commercial and traditional Jemez Pueblo clays, as well as limited-edition bronze sculptures in which patinas play an important part. Joe later attended the Institute of American Indian Art, where he studied two-dimensional art, with a few classes in traditional pottery making. He noted that his mentor and cousin, Felix Vigil, provided him with a variety of useful qualities, including confidence in himself and his faith. “My creative energy is often spiritual in nature,” Joe explained. “Each of my sculptures represents some aspect of praise and appreciation for life’s beauty. Since my Pueblo religion restricts the realistic unveiling of ceremonial life, the challenge is to use abstract art to represent the sacred — images that specifically capture a reflection of my spirituality and expressions of my intercession with the Creator.” Learn more about the Cajeros and their art at Find the Cajeros at Indian Market booth 521 SF.

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Hard work and gratitude

Glenda McKay draws on her rich heritage By emily draBanski

Michael Roanhorse’s vision By emily draBanski Michael Roanhorse’s eye-catching contemporary jewelry featuring bold, sweeping geometric lines has secured him a steady spot at the Santa Fe Indian Market for about a decade. But don’t be surprised to see a growing array of sculpture and mixed-media paintings at the Diné artist’s booth this year. “I always have to feel as though I’m pushing the envelope,” he said during an interview at his studio. “But no matter what the medium, I think buyers can look at the work and say ‘That’s a Michael Roanhorse.’” Roanhorse explained that his pieces reflect his abstract vision of his cultural heritage. He pointed to an oblong circular shape on one of his pieces. “That was inspired by the eye of a yeibichai dancer.” While the 37-year-old self-professed “gearhead” surrounds himself with the latest technology in his studio, when he needs inspiration he looks at or touches an old tree stump that serves as the stand for his jewelry tools. It comes from his home in Crystal in the Chuska Mountains on the Navajo Reservation. “My dad gave me that when I was starting out,” he said. “I learned so much about silver- and metalsmithing, as well as the value of hard work, from my father [Eugene Crawford].” The materials used in Roanhorse’s jewelry run the gamut from the more traditional silver and turquoise to gold with diamonds and coral. “When I started making jewelry about 11 years ago, the price of silver and gold were much lower,” he said. With the increase of material costs, his prices rose. Art sales stalled during the recession, but Roanhorse said he’s seeing a real turnaround this year. His jewelry, which has been described as wearable sculpture, is now being sold in an upscale boutique in Japan and he has had several jewelry and sculpture commissions this summer. The attractive carpeted panels and shelves that display his latest creations in his Indian Market booth are the product of his business venture, RB Panels, launched two years ago during the downturn in the economy. The 37-year-old entrepreneur and his younger brother, Mark Roanhorse Crawford, also a market artist, share a studio and operate the business out of 2,200-square-foot shop in Santa Fe. Michael credits Mark with developing the panel designs. Last year, about 15 artists at the market used panels from their company. “I expect that number to really increase this year,” Roanhorse said. “Artists can either rent or buy the panels. And if they rent them, we set them up and take them down. We get going at about 3 a.m. loading trucks and getting the set-ups ready so all the artists need to do is display their work.” The brothers often work through the night by napping on a bench covered with a carpet. “I’m used to hard work,” Roanhorse said. “I was baling hay as a young child and I am used to working every day.” Learn more about Michael Roanhorse at Find Michael Roanhorse at Indian Market booth 717 LIN-E.


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Glenda McKay’s miniature dolls, wearing intricately beaded garments and tiny fur mukluks based on Alaskan Native cultures, have caught the eyes of art market judges and captured the hearts of collectors. “My doll scenes portray my traditional stories, a historical event or people who have touched my heart,” she said. “They depict actual ceremonies of my ancestors, their lives, culture and history. I see my dolls as teaching tools.” The Alaskan artist draws on her own Ingalik-Athabascan roots, as well as her extended Yupiit and Inupiat Eskimo family, for her stories and materials. As she sipped a glass of iced tea at Downtown Subscription, McKay quietly yet profusely expressed gratitude for the “gift of time” she received this summer as the recipient of the Ronald and Susan Dubin Fellowship at the School for Advanced Research. While in residence, she will create Basket Maker, a miniature doll scene that incorporates traditional materials such as walrus stomach, sealskin and dried cranberries. Pointing to a photo of a miniature mask — the masks, carved ivory jewelry and miniature weapons set into frames will be included in her booth at this year’s Indian Market — McKay explained, “The masks are used in storytelling. If you visited the village, someone might make a mask of you and later there would be a little storytelling skit to tell the story of your visit.” Her own saga would intrigue any storyteller. Spirit of the Drum, Glenda McKay McKay was already sewing and beading by age six. Her father, who was a bush pilot, instilled a sense of adventure in her. “My [Inupiat Eskimo] aunts insisted that I learn how to survive on my own. They took me every summer [from about age six to her late teens] to what is now Denali National Park. I wasn’t even allowed to bring a pocketknife. I had to learn how to make my own snares to hunt rabbits, squirrels and foxes. I learned how to tan hides and they showed me how to use every part of the animals. They also taught me how to gather bark, roots and berries to eat or use as medicines and natural dyes.” McKay continues to hunt and gather materials for her 1-1/2-to 6-inch tall dolls. She hunts animals for food, then brain-tans the furs and smokes the skins. She works three to six months making each doll. She began selling her dolls about a decade ago, but suffered a setback in 2007 when an Alaskan gallery owner took 28 of her dolls and never paid her. “I lost everything,” she said. McKay’s husband, Cliff Cloud (Seneca), said, “Life then became like a scene from the movie Pay it Forward.” They were living in a tepee in Talkeetna, Alaska, with a frigid winter rapidly approaching, when a group of

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Alaskan artists organized an old-fashioned barn raising. The result was a 10- by 16-foot log home for the couple. McKay is very grateful for the home and the kindness of so many others, including Jhane Myers of the Southwestern Association for Indian Arts. “But I don’t understand why I deserve this,” she said. Others might beg to differ. In addition to creating award-winning art, she has been a foster parent to more than 30 youngsters — primarily teen girls — to whom she has taught sewing, beading and other aspects of Native culture. Find Glenda McKay at Indian Market booth 618 PLZ

Preserving culture through art Clark Tenakhongva By arin mckenna Clark Tenakhongva is something of a Renaissance man. The Hopi kachina artist and musician has served in the military, worked in the political arena, been a successful deputy prosecutor and served as a tribal court advocate. He has a degree in engineering and has been a counselor for Veterans’ Outreach Services for the past 13 years. Tenakhongva’s devotion to his culture is the thread that binds all those disparate endeavors together — a devotion evident even in elementary school, where he was repeatedly punished with a bar of soap in his mouth for speaking Hopi. When he left the military, Tenakhongva returned to his home in Hoat’Ve’La (Hotevilla, Arizona) with his wife Ann so their children could grow up knowing their culture and religion. When KUYI Hopi Radio came on the air with a commitment to promote the Hopi language, Tenakhongva was eager to volunteer. He produced a program interviewing people who were 75 or older about their achievements, and — encouraged by his daughter — began to perform some of his own compositions during the musical breaks. Tenakhongva made a demo CD for Canyon Records and was immediately signed. He has since recorded three CDs of his own work and been a finalist for two Native American Music Awards. His third CD, Po’li, won Best International Album CD at the 2008 Indian Summer Music Awards. He is now working on his fourth CD — a compilation of lullabies and children’s songs to support efforts to revitalize the Hopi language — which he expects to release by Indian Market. (Market rules currently do not allow Tenakhongva or other musicians to sell their CDs at their booths, but they can be purchased through Canyon Records at “I had that determination that nobody was ever going to tell me not to speak Hopi again,” Tenakhongva said. “And that’s the reason why I’m recording these songs for the future generations.”

carving in the old-style Tenakhongva learned to carve kachinas (also called katsinam) when he was initiated into the Hopi Katsina Society at 12. He started his professional career with a contemporary, intricate style, and turned to traditional kachina carving when his daughters were born. “In the ceremonies your children get dolls as gifts from the kachinas. So rather than have them recognizing my work, I started doing what I do today,” Tenakhongva said. The figures are roughly carved and painted with natural materials such as a kaolin whitewash, copper oxide and a black made from sunflower seeds. Tenakhongva adorns them with feathers, cornhusks, leather, shells and beads.

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Traditional-style doll, Clark Tenakhongva

A trader who sold Tenakhongva’s work saw his children’s dolls and asked him to start working in that style. The artist was further inspired when he visited his first Indian Market in 1987 and saw the traditional work of Manfred Susunkewa. Tenakhongva juried into Indian Market in 1989 and won Best of Classification his first year, an achievement he repeated a few years later. He was one of the artists who advocated for separate divisions for traditional and contemporary kachinas in the mid-1990s. Both Tenakhongva’s art and music are sustained by his culture and his religion. He is very involved in the ceremonial cycle at both his own village and at his wife’s home in Walpi Village. He still hosts special programs on KUYI featuring Hopi culture, such as storytelling and oral history, as well as tribal or language issues. “If I sell my dolls, I give it that respect. Because it’s not a creation of my own, but it’s a gift from the Hopi people and the Hopi ceremonial cycle that I’m allowed to make these dolls,” Tenakhongva said. Learn more about Clark Tenakhongva at See and hear Clark Tenakhongva perform at the 2009 Indian Market at Find Clark Tenakhongva at Indian Market booth 657 PLZ.


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Heads wobble at Indian Market Jonathan Loretto’s creative path By dennis J. Carroll Sculptor Jonathan Loretto has seen the future of Native American art — and it is bobbleheads. Or at least Loretto, 46, feels that sculpting the head-wobbling caricatures popular in American sports and Hollywood circles is his future. Loretto, who is from the village of Walatowa (Jemez Pueblo) and Cochiti Pueblo, first took up silversmithing, learning to make jewelry at the knee of his older brother, Phil. He also did inlay work for several jewelry companies and shops on the Santa Fe Plaza. At about 17, Loretto turned to pottery making, “more out of desperation than anything.” He was living with a sister at the time and “needed food and money for rent — and it takes a lot of money to buy materials for jewelry-making.” He has always thought of clay work, Loretto said, as “keeping me grounded because it’s all natural. It’s not like you are using all kinds of acids and stuff like that to create something.” After about 30 years of crafting mostly seed pots, Loretto turned to sculpting “because I felt like doing something different would be still traditional but contemporary at the same time.” And that’s how his bobblehead figures, modeled after Pueblo people, were born. “Sometimes they look like people in the village, with characteristics of someone that I know,” he said, “but I am not building them to look like someone .… It’s however the clay wants to form itself.” Loretto’s figures are often designed as drummers or dancers. Recently he began creating animal heads — particularly coyotes drawn from stories

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handed down through generations of Pueblo elders — bobbling on a human body, often that of a drummer. He uses his skills as a jewelry designer to decorate the figures, inlaying turquoise and semiprecious stones in the clay. Eventually, the artist would like to do life-size bobblehead sculptures. “That’s my goal — to get larger — but right now I am playing with the techniques and designs for the small pieces.” Loretto’s artwork has been shown at the Wheelwright Museum of the American Indian and Institute of American Indian Arts in Santa Fe; the Roxanne Swentzell Tower Gallery in Pojoaque; Hui No’eau Visual Arts Center in Makawao, Hawaii, and the Vermont Studio Center in Johnson, Vermont. In 2012, Loretto was chosen as the Rollin and Mary Ella King Native American Artist Fellow at the Santa Fe-based School for Advanced Research, a nonprofit center for the study of archeology and ethnology of the American Southwest. The fellowship, which includes a cash stipend and a home and studio on the organization’s campus, gave Loretto more time to work on his bobbleheads and more exposure for his work. His time at SAR has given him “new insight into the creativity of his art,” Loretto said, and taught him “how important it is to be persistent in following a dream.” Find Jonathan Loretto at Indian Market booth 791 LIN-W.


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Silvester hustito

neebin souThall

Don’t break the Spell by Jeffrey gibson, on the cover of issue One.

america meredith

Joining the collective conversation Two new magazines for and about native artists make their debut By UngelBah dávila (Diné) Artist-entrepreneurs America Meredith (Cherokee) and Silvester Hustito (Zuni) saw the need for a platform for Native American artists to join the collective conversation on art — and they launched two fresh Native-owned and -operated art magazines this year. The two artists initially began working to create one magazine, but after realizing their visions varied too greatly from one another, they branched off to create two separate publications — Meredith’s First American Art Magazine, celebrating a wide range of historical and contemporary indigenous American art forms, and Hustito’s Contemporary Native Art Magazine, showcasing a broad spectrum of contemporary Native art and artists.

a space for native artists

“I was so sick of reading the same stories over and over,” said Meredith. “And there’s so much out there. So let’s hear about the artists we haven’t covered.” In April 2013, after six months of work, Meredith launched her pilot issue, a meaty, 80-page publication. First American Art Magazine is in fact a first of its kind, featuring stories such as “More Than Just a Trend: Rethinking the ‘Native’ in Native Fashion” and “Northern Lights: Greenlandic Art in the 21st Century.” The publication is replete with profiles on artists such as Orlando Dugi, Anita Fields, Tom Jones and Erin Shaw. It also offers a collection of riveting reviews, such as “Real N.D.N — Native Diaspora Now” and “Arte Textil Contemporáneo.” Intrigued? Well the girl’s not done. Meredith rounds off the issue with a little creative writing, book reviews and a piece on Native graphic design. (The entire issue is available online at “We’re trying to create a sustained discussion that’s outside of academia that reaches the average artist, because most Native artists haven’t been to art school, so a lot of dialogue just doesn’t happen,” Meredith said.

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Information about new artists, trustworthy galleries and upcoming shows is “currency” for Native artists and something she makes a point of highlighting in her publication — creating a space for Native artists to discuss all aspects of the art world to which they belong. The reviews Meredith plans to include in each issue are important to her because, as a working artist herself, she knows how much time and labor go into a show, just to have it disappear when it is over. Through the reviews, she can capture a show through a discourse and allow it to live on and be more completely fleshed out.

“It’s nice to see this void being filled and being opened to the understanding of what it means to be indigenous and having meaningful discussions about Native art,” said Neebinnaukzhik Southall, Chippewas of Rama First Nation, a graphic designer and a contributor to the magazine. “Still in the mainstream there is a very limited idea of what Native art is, and this [magazine] creates a broader experience.” Issue 1, which Meredith expects to publish in August, will feature profiles of four artists, including Shan Goshorn (Eastern Band Cherokee) and Nani Chacon (Diné/Xicana); exhibit and book reviews; poetry by Natalie Diaz (Mohave/Gila River Indian Community); and seven new articles, including “Inner-City Southwestern Disenchantment,” “The Revival of Southeastern Woodland Beadwork” and “How Not to Write an Article on Native Artists.”

Interviews at the heart of it

Like Meredith, Silvester Hustito feels a need for a platform that can bring awareness to new and lesser-known Native artists and can showcase their voices — specifically those working in the contemporary art movement. “I thought that showcasing Native art in this format would be amazing, doing very in-depth interviews with the artists themselves,” said Hustitio, an avid magazine fan. He grew up poring over auction catalogs, spending hours studying the images and descriptions of artwork. Hustito describes Contemporary Native Art Magazine as a “fan magazine.” Growing up, he read Interview magazine, which was created by Andy Warhol as a way to promote his favorite pop stars and help them get wider exposure. Hustito said he wanted “to create something that would be in the same format, because there are many fans out there of contemporary Native art.” It was while running Fire God Gallery (which closed in 2012) that Hustito discovered the strong movement happening in contemporary Native art. “I feel like this publication validates these artists and their work and their struggles and all the sacrifices they’ve made to get to where they’re at and the sacrifices they are still making to get to where they want to get to in their career,” he said. Sure, you can go to artists’ websites and read about them or look them up online, but Hustito said he wanted to take that exploration one step further by opening up a dialogue between artists and their fans, so readers could get to know artists in a more intimate way, making it easier, he hopes, for readers and fans to approach artists in the future. Hustito said that during his time as a gallery owner, “My best sellers paid the bills, and then I had the great opportunity to be able to promote and encourage younger artists to develop themselves.” This love of giving artists a chance inspires and informs Hustito’s selection of individuals to feature and interview in his magazine. The pilot issue (available online at features interviews with painters Doug Coffin (Potawatomi/Creek) and Monty Singer (Diné), among others. Hustito asks about Coffin’s memories of Haskell boarding school. He asks Singer how he is trying to “push the limits, especially being native” and asks whether Singer’s nudes are sexual images or depictions of models’ natural beauty. Hustito’s interviews are candid, funny, personal and, most importantly, evidence of history in the making. They are the kind of interviews we wish we had with humanity’s greatest artists and are a sure indication that these Native artists, too, will one day enter the canon of masters. The line-up for Issue 1 of CNAM includes cover artist Jeffrey Gibson, ceramic artist Natasha Smoke Santiago and storyteller Towanna Miller. Among the interviews in the issue, which Hustito plans to launch in August, is one featuring artist Hoka Skenandore, who interviews Micah Wesley, who in turn interviews Cannupa Hanska Luger. “In the interview they were so funny and wild,” Hustito said. “These guys are very contemporary. I couldn’t stop laughing. Micah’s interview with Cannupa was almost like a cartoon interviewing an artist.”

NeebiN Southall

naomi Bebo

DETAILS First American Art Magazine 1000 Cordova Place, #843 Santa Fe, nm 87505 505-473-0149

For subscription and single-copy rates and a list of retail outlets, visit a digital version of the pilot issue is available on the website at no charge. Find american meredith at Indian market booth 229 PaL-n.

Contemporary Native Art Magazine For subscription and single-copy rates, visit a digital version of the pilot issue is available on the website at no charge.

Contemporary Native Art Show Silvester Hustito, editor of Contemporary Native Art Magazine, curates “my Land,” an exhibition exploring artist’s ideas around nature and the politics of land at Winterowd Fine art Gallery, 701 Canyon road, from august 12 through august 19. the show features contemporary native painting, sculpture, ceramics, mixed media and textiles and includes work by Christine nofchissey-mcHorse, Joel mcHorse, douglas miles, Chris Pappan, amber Gunn Gauthier, kathy Whitman-elk Woman, melissa Cody, Silvester Hustito, melissa melero, Brian Coffin, Jamison Chas Banks and max early. Join the artists from 1-4 p.m. on august 15 for an intimate afternoon of poetry, demonstrations and performance. the opening party is from 6-8 p.m. on Friday, august 16. For more information, call 505-992-8878 or visit

StarGazer by Jeffrey Gibson

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Class X: Moving iMages Native american filmmakers redefine “Indian” for the 21st century

By Harlan mckosato (Sauk/Ioway) Artists all over Native America are doing their best to redefine what is considered “Indian” in the 21st century. If art is truly a reflection of society, and film is art, then the changing landscape of Native America is well represented at the 13th Annual Native Cinema Showcase held at the New Mexico History Museum from Monday, August 12, through Sunday, August 18. Five years ago the Smithsonian’s National Museum of the American Indian and the Southwestern Association for Indian Arts teamed up to form a new category at the Santa Fe Indian Market — Classification X: Moving Images. There are five divisions in the award category: Animation Short, Narrative Short, Documentary Short, Experimental Short and Feature Length. To be eligible for inclusion in the showcase, 50 percent of the film’s principle creative team members must be enrolled in a federally recognized U.S. tribe or Canadian First Nation. “I think it’s a great thing to see our own [Native cinematic] content flow in every year pushing all creative boundaries,” said Jhane Myers (Comanche/Blackfeet), project manager for the Native Cinema Showcase/ Class X awards and an accomplished artist in her own right. “As Native people, artists, directors, writers, actors and producers, we couldn’t even dream of this 20 years ago. “Storytelling through film is new to Native filmmakers, but where we bridge the gap is [that] storytelling is one of our valued traditions,” said Myers, also a champion Southern Buckskin powwow dancer who was crowned World Champion in 2003. “We have so many talented filmmakers working in the industry today, which increases our film content. The film and television industry is booming here in Santa Fe, and we have more people working in the mainstream behind the camera, not just Natives as actors or extras.”

experimental film takes class

Jamison Chas. Banks (Seneca-Cayuga/Cherokee) is a multitalented artist whose 10-minute short film Cibola: Seven Cities of Gold not only won the Experimental division, but also was awarded Best of Class X, which makes him eligible for the coveted Best of Show title. Cibola is set in 1864 in the New Mexico Territory. While the Civil War is being waged, a Confederate renegade sets out to claim riches. Banks wrote, co-directed, produced and played the lead role in the film. “About three or four years ago, I started to research my own genealogical history,” said Banks, who resides in Santa Fe. “I soon discovered that my Cherokee grandfather had been on the Trail of Tears as a young man [in 1837]. After surviving that genocide, he got caught up in the Civil War. I decided to blend the two histories of Indian Territory [Oklahoma] and New Mexico Territory into a single narrative. The cementing factor is Native Americans as the central points of perspective. “The point of view was not how we as Native people fit into a European story, but more how those ‘others’ fit into ours,” added Banks, who received his Bachelors Degree of Fine Arts from the Institute of American Indian Arts and also served as an adjunct professor at IAIA. “This ancient tradition [storytelling from a Native perspective] is a major point of focus for me. I am trying to remain traditional without relying on expected traditional motifs.” Banks used antiquated imagery for his film, giving it the texture of a movie from the early days of moving pictures. “In opposition to modern motion pictures of the western genre, I wanted Cibola to have the sensibility of a silent film,” Banks said. “I was inspired by various modern films like The Outlaw Josey Wales, along with most of the Spaghetti Westerns, but also the original Western, The Great Train Robbery [produced in 1903].” 1 18

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Cibola: Seven Cities of Gold — Jamison chas. Banks, director

Banks also chose not to use dialogue in his film. Instead the soundtrack is orchestral music that provides an ominous mood to the visuals. “For me, the absence of dialogue can create an aura of mystery. That magic vanishes once the viewer interprets a voice,” he said. “I envisioned this story with a certain amount of information being filled in by the viewer. I hope that the experience will remain visceral.” The other Class X division winners for 2013 are: Animation Short: Shhh! by Steven Paul Judd (Choctaw/ Kiowa); Documentary Short: The Gathering by Tewana Joseph (Squamish); Feature Length: Young Lakota by Heather Rae (Cherokee); and Narrative Short: A Red Girl’s Reasoning by Elle-Maija Tailfeather (Blackfeet). Cibola: Seven Cities of Gold can be seen, along with the other Class X division winners, on Thursday evening, August 15, starting at 6 p.m. The same films will screen again on Sunday, August 18, at 3 p.m. Both free screenings are at the New Mexico History Museum, 113 Lincoln Avenue.

Zombies and indians

This year the Native Cinema Showcase also features a special screening on Saturday, August 17, called “Zombie Night at Railyard Park.” The festivities begin at sundown (about 8:30 p.m.). A perfect film for the night’s theme is The Dead Can’t Dance, a film about zombies and Indians. “I didn’t want to put Natives in the stereotypical old Western story. I wanted to put them in new settings and new light,” said Rod Pocowatchit (Comanche/Pawnee/Shawnee). He produced the film as well as writing, directing, editing and acting in it. Pocowatchit said he believes Native screenwriters/storytellers do have a distinct pattern or way of telling a story. “What’s different about Native films is that they contain some familiarity with other Native people, as opposed to someone who is not familiar with our culture. But on the other hand, people who are not Native might feel excluded. So I was looking for a middle ground.” “The Santa Fe Indian Market and its Native Cinema Showcase have a rich tradition and hold a high standard that I think all Native artists, no matter what talent level or status, can appreciate,” said Banks. “This venue additionally allows for profound exposure and sharing, and in the end, that is fundamentally what art is.”

The 13th Annual Native Cinema Showcase August 12-18, 2013 Free admission

SWAIA and the Smithsonian Institution’s National Museum of the American Indian bring a seven-day celebration of films and videos by and about Native peoples to Santa Fe Indian Market. All screenings are held at the New Mexico History Museum, 113 Lincoln Avenue. For more information, call 505-476-5200. All films and screening times are subject to change. For the most up-to-date guide, visit or

Monday, August 12 7 p.m. The Lesser Blessed *FOr matUre aUdIenCeS* Co-presented by imagine natIVe Film + media arts Festival (Canada, 2012, 86 min.) director: anita doron; Writers: richard Van Camp (tlicho), anita doron Fort Simmer, northwest territories. By Larry Sole’s reckoning, there’s not much to do there “if you’re not into booze or sports,” especially not if you’re an awkward teen trying to keep a low profile and the secrets of your past buried on the neighboring rez. But when you’re 16, how do you avoid the raw lure of life? Preceded by: The Hunt (Canada, 2012, 10 min.) Writer/director: Jordan tannahill; Co-writer: annabella Piugattuk (Inuit) In the long light of the midnight sun, a young woman searches for her teenaged son.

Tuesday, August 13 1 p.m. Indian 101 – Work in Progress Screening Presented by Vision maker media (USa, 2013, 63 min.) director: Julianna Brannum (Comanche) From her childhood in Cotton County, Ok, through her years in Washington, dC, where oftentimes she was the only “visible Indian,” to her current occupation as a mentor to dozens of young native leaders, Ladonna Harris continues her impactful work shaping social and political practice impacting native people. 3 p.m. The Searchers (USa, 1956, 119 min.) director: John Ford In 1956, John Ford’s The Searchers released to mixed reviews. Over the ensuing decades the film has come to be thought of as one of the most influential, cinematic productions in american film history. For native people, the misrepresentations of the Comanche people have elicited the opposite response: often one of anger and rejection due to its stereotypical, hateful characterizations. at the same time, hundreds of navajo people participated as extras and crew members on the production, and their images on screen, their dress, the location, their style of riding are important depictions of navajo people in the mid twentieth century. this screening of The Searchers is presented on the heels of the recently released Hollywood blockbuster The Lone Ranger, another characterization of Comanches over 50 years later. Join us after the screening for an extended discussion of the past, current and future media representations of native people with nmaI director, kevin Gover (Pawnee), Ladonna Harris (Comanche) and Chris eyre (Cheyenne/arapaho), independent filmmaker and chair of the Santa Fe University of art and design moving Image art department. Preceded by: Shhh! (2013, USa, 1 min.) In kiowa and english director: Steven Paul Judd (kiowa/Choctaw) Interruptions during the main event are nothing new.

Wednesday, August 14 11 a.m. NAPT Educator’s Workshop: Sousa on the Rez: Marching to the Beat of a Different Drum (USa, 2012, 27 min.) director/Producer: Cathleen O’Connell When you hear the phrase “native american music” you may not think of tubas, trumpets and Sousa marches. Yet this rich musical tradition has been a part of native american culture for over 100 years. this documentary challenges viewers to expand their definition of native american music and broadens their understanding of contemporary Indian life (from the film’s website). Join Vision maker media’s assistant director, Georgiana Lee (navajo) for a discussion and review of the best way to maximize the school curriculum developed for Sousa on the rez by Jamie Lee, former instructor at the Oglala Lakota College, where she taught for five years. 1 p.m. Indian Relay Presented by Vision maker media (USa, 2013, 57 min.) director: Charles dye One rider, four horses, three wranglers, three laps. every year teams across Indian country compete on the Indian relay racing circuit. the film follows three competitive teams: team murray from Browning, mt; team tissidimit from Ft. Hall, Id; and mm express from Crow agency, mt as they vie for the national Championship. Preceded by: The Gathering (Canada, 2010, 23 min.) director: david martin In 2010 over 300 First nations, Inuit and métis men and women, aged 19-29, were chosen to participate in the Indigenous Youth Gathering convened by the Four Host First nations and the Vancouver Organizing Committee for the 2010 Olympic and Paralympic Winter Games to represent the aboriginal people of Canada during the opening ceremonies of the Vancouver 2012 Olympic Winter Games.

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3:30-6 p.m. Images of Indians directors: robert Hagoplan and Phil Lucas; narrator: Will Sampson in 1979-80, robert Hagopian and Phil Lucas produced a groundbreaking, five-part series for PBS. Images of Indians examined the Hollywood stereotypes of native people and the societal effects those portrayals had on the public’s understanding of indian history, experience, culture and participation in contemporary american life. ( all episode descriptions taken from the original production notes.) Join us after the screening for discussion with Will Sampson’s daughter, andra Freeman and dawn Jackson. 3:30 p.m.: Images of Indians: The Great Movie Massacre this first episode traces the indian warrior stereotype from its use in dime novels and Wild West shows to present-day films, with clips from Hollywood versions of Buffalo Bill. 4 p.m.: Images of Indians: How Hollywood Wins the West this segment explores how movies have wontedly tried to justify the white man’s atrocities against the indian by having indians perpetrate monumental acts of terror. 4:30 p.m.: Images of Indians: Warpaint and Wigs an examination of how the movie image — the noble Savage and the Savage Savage — has affected native americans’ self-image. 5 p.m.: Images of Indians: Heathen Injuns and the Hollywood Gospel this part of the series looks at the distortion and misrepresentation of indian religion and values in movies. 5:30 p.m.: Images of Indians: The Movie Reel Indians the Hollywood stereotype of the savage indian is explored. dennis Banks and Vine deloria comment on the portrayal of indians in the film industry, as well as on filmmakers’ fantasies. 7 p.m. Young Lakota (USa, 2013, 82 min.) directors/Producers: marion Lipschutz and rose rosenblatt; Producer: Heather rae (Cherokee) On the Pine ridge reservation in South dakota, Sunny Clifford, her twin Serena, and their neighbor, Brandon Ferguson, share an inchoate dream of changing the harsh world around them. their opportunity comes when a tribal election hinging on abortion politics and women’s rights sets off a chain reaction in the lives these three young Lakota, forcing each to make choices that define who they are, and the adults they will become. in person: Cecelia Fire thunder and Sunny Clifford. Preceded by: Barefoot (Canada, 2012, 16 min.) director: danis Goulet (métis) in a small town, some adolescents will go to extremes to fit in.

Thursday, August 15 1 p.m. Winter in the Blood (USa, 2013, 98 min.) directors/Producers: alex Smith and andrew Smith a young Blackfoot man searches to understand his place and time in light of the love and torments of his childhood. Preceded by Derby Kings (USa, 2013, 11 min.) Writer/director: Valerie Bischoff native american brothers collide as hardworking Jim (tatanka means) struggles to bring demolition derby diehard ace (Jerry Wolf) to trial.

courtesy sundance InstItute

Bird runningwater, center


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4 p.m. Sundance Panel: Producing Films in Today’s Ever-changing Marketplace audiences today are consuming content in more ways than ever. Join Bird runningwater, director of Sundance institute’s native american and indigenous Program, producer Chad Burris (Mosquita y Mari; Barking Water; Four Sheets to the Wind), and Sundance Production’s Laura michalchyshyn as they explore what it takes to make a strong production that connects with audiences in today’s ever-changing marketplace.

7 p.m. Class X Winners 2013 (Repeats at 3 p.m. Sunday) total running time: 128 min., not including youth pieces this special program features the Santa Fe indian market moving image Classification X winners. this category is the tenth and one of the most recent classifications to be added to the juried market. awards for narrative Short, documentary Short, animation Short, experimental Short, Feature Film, and music Video, 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. Division A: Animated Short – Shhh! (2013, USa, 1 min.) director: Steven Paul Judd (kiowa/Choctaw) Division B: Narrative Short – A Red Girl’s Reasoning (2012, Canada , 10 min.) director: elle-maija tailfeather (Blackfoot/ Sami) Division D: Documentary Short – The Gathering (2011, Canada, 24 min.) director: david martin Division E: Experimental Short – Cibola; Seven Cities of Gold (2013, USa, 10 min.) director: Jamison “Chas” Banks (Seneca/ Cayuga/Cherokee) *Best of Class* Division F: Feature Film – Young Lakota (2013, USa, 82 min.) directors: marion Lipschutz and rose rosenblatt Followed by: Youth Winners 2013

Friday, August 16 12 p.m. Coral: Rekindling Venus PrOGram at tHe diGitaL dOme @ iaia Science and technology Building, 83 avan nu Po road, 505-428-5814 (aUStraLia, 2012, 45 min.) director: Lynette Wallworth an extraordinary journey into a mysterious realm of fluorescent coral reefs, bioluminescent sea creatures and rare marine life, revealing a complex community living in the oceans most threatened by climate change. 4:30 p.m. Future Voices of New Mexico introduced by marcella ernest (Bad river Band of Ojibwe), Project director, Future Voices of new mexico (Program running time: 90 minutes) the third annual Future Voices of new mexico native Youth Film Festival showcases outstanding film and video by young and emerging filmmakers. Future Voices is a collaborative project of the Lensic Performing arts Center, Santa Fe Photographic Workshops and indigenous Language institute. For information, visit 8 p.m. The Darker Side: Shorts Program *FOr matUre aUdienCeS* total running time: 98 min. Language of Love (Canada, 2012, 11 min.) director: marie Clements (métis/dene) Stephen Lytton gives an open and honest account of his 13 years in Canadian residential school, from the perspective of an artist, activist and individual with cerebral palsy. Throat Song (Canada, 2011, 18 min.) director: miranda de Pencier; Producer: Stacey aglok macdonald (inuk) a young inuit woman finds her way out of her abusive relationship by finding the voice she thought she’d lost forever.

Natives (USa, 2013, 20min.) director: Jeremy Hersh rachel and anita, a young manhattanite couple, are visiting anita’s parents on the Seneca Indian reservation she grew up on for the first time as a couple. Tehokkenhén:tons/Close to Death (Canada, 2012, 18 min.) director: Brandi Boulet; Writer: kaherawaks thompson (mohawk) the failed suicide attempt of a lonely, disconnected poet is not what it seems when he finds new life through his encounters with annenake, a cryptic young mohawk nurse assigned to his suicide watch. The Colony (Canada , 2007, 24 min.) director: Jeff Barnaby (mi’kmaq) Produced for: aboriginal Peoples television network In english and mi’kmaq with english subtitles Graphic imagery pushes boundaries to capture the descent into madness of a native man displaced from the reserve and living in the city. In Person: kaniehtiio “tiio” Horn Target Girls (Canada, 2012, 7 min.) director: ariel Smith (Cree/Ojibway/roma/ Jewish) a “familiar ritualistic sacrifice of the female body in the form of the magician’s lovely assistant,” Target Girls recycles the aesthetics of film noir, vaudeville and German expressionism, recasting them as a tragicomic rebellion against Hollywood glamour and submission. A Red Girl’s Reasoning (2012, Canada, 10 min.) director: elle-maija tailfeather (Blackfoot/Sami) a no-holds-barred, neo-noir action/thriller wherein an ass-kicking female vigilante seeks revenge in this commentary on violence against indigenous women.

Saturday, August 17 1 p.m. On the Path: Shorts Program The Smoke Shack (Canada, 2012, 8 min.) director: kaniehtiio “tiio” Horn (mohawk) Selling smokes gets boring. this is what happens when you are confined to a small space for far too long. Set in a cigarette store on the reserve. Joseph’s War Pony (USa, 2012, 8 min.) director: Seth Friesen; Writers: Jack kohler (Hoopa), megan malone Joseph and his father’s recent move to a big city provides for challenges that most kids in the city learn at a much younger age. Indian Santa (USa, 2012, 9 min.) directors: david Lee and rex new; Producers: adam Crepelle (Houma), david Lee and rex new. With his pickup truck sleigh, thomas dardar, Chief of the United Houma nation, becomes Indian Santa. Kiaho’: TransFormation of Agave to Kia-ho (USa, 2011, 13 min.) director/Producer/editor: Frank turfler (Salt river Pima-maricopa aw-thum); Produced by the Salt river Pima maricopa Indian Community Video Productions department through “Binding Our Future to the Past: agave,” royce manuel (Salt river Pimamaricopa aw-thum) shared his research experience with 45 community members to bring the kiaho’ (traditional burden basket) back to life for the aw-thum.

STILL (USa, 2011, 8 min.) director: Lou karsten; Producer: tracy rector (Seminole) Glen Pinkham of the Yakama nation educates us on government to government treaties and the importance of fighting for his community’s right to hunt and fish their ancestral lands. Yukon Kings (USa, 2013, 7 min.) director: emmanuel Vaughan-Lee Yup’ik grandfather ray Waska and his family are out fishing on the salmon run, but unexpected environmental changes and the encroachment of outside ideals lead him to wonder how much longer this tradition will go on. Huitzilopochtli/ Hummingbird (USa, 2013, 5 min.) director: tracy rector (Seminole) though being displaced from traditional homelands may lead to the loss of culture and lifeways, one family displays its ancestral knowledge and love through dance. Skátne Ronatehiaróntie/They Grow Together (Canada, 2012, 7 min.) In mohawk with english subtitles, director: marion konwennénhon delaronde (mohawk) the story of the marriage of Corn, Beans and Squash as told by a grandfather to his grandson, is illustrated in a animated collage. The Longest Sun (USa, 2012, 17 min.) tewa/ english subtitles, director: Patrick William Smith For some, the fight to keep their love alive is worth the greatest sacrifice. Children of the Northern Lights (USa, 2013, 17 min.) director: andrew Okpeaha macLean (Iñupiaq) two astronauts on a prospecting mission to find a new supply of energy crash land on a distant planet, where alien beings offer a chance at survival — but at a great cost. 4 p.m. Star Wars — In navajo with english subtitles (USa, 1977, 121 min.) director: George Lucas (not confirmed) 9 p.m. The Dead Can’t Dance PrOGram at raILYard Park (USa, 2011, 97 min.) director: rodrick Pocowatchit (Comanche) Preceded by: We Now Have Zombies (USa, 2012, 5 min.) director: Patrick morris

Sunday, August 18 11 a.m. Working it Out Together (Canada, 2011, 2 episodes of season one, 30 min. each) director: tracey deer (mohawk) a six-part documentary series that follows Olympian Waneek Horn-miller on her journey to empower six mohawk people to reclaim their vitality through health, wellness and fitness. 1 p.m. Off the Rez (USa, 2011, 90 min.) director/Writer: Jonathan Hock Shoni Schimmel, living on the Umatilla Indian reservation in Oregon, was the star basketball player on the local team. then Shoni’s mother took a job coaching a team in Portland, bringing Shoni and her siblings with her. now, Shoni’s senior year has become the most important year of their lives as mother and daughter fight to prove that native american women can become champions off the rez.

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featuring featuring

Fine American Indian Pawn and•contemporary jewelry - Vintage Marie Romero Cash Gregory Lomayesva Mexican jewelry - Hispanic folk art - Photography of Edward Curtis

THE RAINBOW MAN since 1945

107 E. Palace Ave. Santa Fe 982-8706

SANTA FE EXCHANGE Buying Gold & Silver for 30 Years Old Time Trading Post Old Time Prices Jewelry & Collectibles • 525 W. Cordova Rd • 983.2043 • T-F 10:30am - 5:30 pm • Sa 12- 5pm

Experience this living tradition through this visual feast of Acoma pottery brought together for the first time, featuring fine examples of historic pottery as well as unique “Dyuuni” created during the last Century from collections of the Haakú Museum, School for Advanced Research, Museum of Indian Arts & Culture and Collections of David Rasch.

August 31, 2013 – September 7, 2014 IAF.935 ca.1670

IAF.645 ca. 1810

IAF.997 ca. 1870-1880

IAF.682 ca. 1880-1890

1-40 Exit 102 South 15 miles • Pueblo of Acoma, NM • 800 747 0181 • School for Advance Research, Catalog Number IAF.645., IAF.682., IAF.935., IAF.997. Detail Photogarphy by Addison Doty 122

2013 ind ian m ar k et

J o i n

Georgia O’Keeffe in New Mexico:

museum of indian arts & culture

Architecture, KAtsiNAM, ANd the LANd

indian market week the CURATORS Get a rare behindBREAKFAST with

M ay 1 7 – S e p t e M b e r 1 1 , 2 O 1 3

NextGen SWAIA: Approaching the Next Century 8.13.13 John Torres-Nez, Chief Operating Officer of SWAIA Santa Fe Indian Market speaks on NextGen SWAIA: Approaching the Next Century. Virgil Ortiz: eVolution 8.16.13 Cutting edge artist, Virgil Ortiz, combines art, décor, fashion, video and film, featured in the MIAC exhibition What’s New In New: Recent Acquisitions, presents a look at his eVOlution as an artist. Heartbeat: Music of the Native Southwest 8.23.13 Tony Chavarria, MIAC Curator of Ethnology, leads a behind the scenes tour of Heartbeat: Music of the Native Southwest, opening in September 2013.

Georgia O’Keeffe, Black Cross with Stars and Blue, 1929. Oil on canvas, 40 x 30 inches. private Collection © Georgia O’Keeffe Museum

the-scene peek of Native American art with the Museum of Indian Arts & Culture’s annual Breakfast with the Curators. This series of four breakfasts paired with talks, tours, and artists presentations is an exciting opportunity to meet artists, curators, and scholars in an informal setting.

Turquoise, Water, Sky 8.9.13 Maxine McBrinn, MIAC Curator of Archaeology, guides a behind the scenes preview of our upcoming exhibition Turquoise, Water, Sky opening in April of 2014.

u s

8:30–10:00 a.m. Full breakfast at the Museum Hill Café followed by programs at the Museum.

$35 per person; $30 for MNMF members. (MNMF members attend all four breakfasts for $100). Price includes full breakfast and museum admission. tickets: Reservations are required and seating is limited. Purchase tickets in advance at MIAC gift shop or call 505-982-5057. All topics subject to change, please call to confirm.

and so much more....

Programming highlights below, Visit our website for a complete listing,

This beauTiful exhibiTion tells the little-known story of how the new Mexico landscape, and O’Keeffe’s introduction to Hispanic and indigenous art and architecture, inspired a significant creative shift in her painting. in addition to O’Keeffe’s iconic landscapes, it includes newly discovered paintings, and the work of Hopi artists ramona Sakiestewa and dan namingha.

Decoding the Art and Imagery of Virgil Ortiz 8.9.13 • 4–5pm Virgil Ortiz (Cochiti) will decode the meanings in his work: the designs, symbolisms, S&M, Pueblo Revolt, and more. In the MIAC Theater, seating is limited. Free. Talk and Book Signing with Walter Echo-Hawk 8.14.13 • 12–1pm Walter Echo-Hawk (Pawnee) talks about his book In The Light Of Justice: The Rise of Human Rights in Native America & the UN Declaration of the Rights of Indigenous Peoples followed by a book signing. In the MIAC Theater, seating is limited. Free.

Georgia O’Keeffe in New Mexico: Architecture, Katsinam, and the Land was organized by the Georgia O’Keeffe Museum. this exhibition and related programming were made possible in part by a generous grant from the burnett Foundation. additional

Film Showing and Discussion 8.14.13 • 3–4pm The film The De Anza Motor Lodge and Its Zuni Connection (30 mins.) explores the history of the Route 66 De Anza Motor Lodge built in 1939 by Indian Trader Charles Garrett Wallace, followed by a discussion with Elizabeth Chestnut, film producer, and Jonathan Sims (Acoma) filmmaker. In the MIAC Theater, seating is limited. Free.

support was provided by american express, the Healy Foundation, Shiprock Gallery, Hotel Santa Fe, the City of Santa Fe arts Commission 1% Lodger’s tax Funding. partiaLLy Funded by tHe City OF Santa Fe artS COMMiSSiOn and tHe 1% LOdGerS’ tax.


of Cultu r

Affairs •




Museum Hill | 710 Camino Lejo (off Old Santa Fe Trail) 505-476-1250 |

p a rt m e

Talk and Book Signing with Women Ledger Artists 8.15.13 • 3–4pm Women and Ledger Art: Four Contemporary Native American Artists explores the narratives of Plains Indian ledger art and cross-cultural feminism. Ledger artists Linda Haukass (Lakota Sicangu), Sharron Ahtone Harjo (Kiowa) and Dolores Purdy Corcoran (Caddo) join the discussion and book signing. In the MIAC Theater, seating is limited. Free. 217 Johnson street, santa fe, nm 87501



w Mexico

201 3 I n dI a n ma r k et


AROUND TOWN MU S E U MS, gAl l E RIES AND SpEcIAl EV ENTS offER SoME T hI N g f o R EV ERyo N E Thursday, August 15

By kay Lockridge

10-11:30 a.m. case trading Post/Wheelwright museum. “Four Phases,” new pottery by calvin analla, Jr., of Laguna Pueblo. Free.

SWaia’s indian market may be the biggest show in town this week, but it’s not the only one in Santa Fe. these four museums spotlight the work of indian artists throughout the year.

10:30-11:30 a.m. “reflections on repatriation in Light of the French Judicial decision on Hopi Sacred objects and cultural Patrimony,” a discussion with poetry by Suzan Shown Harjo. in the miac theater (seating is limited). Free.

MUSEUM OF CONTEMPORARY NATIVE ARTS (MoCNA) 108 cathedral Place, 1-888-922-4242 For more information about exhibits, hours and history, visit: Just around the corner from the Plaza and across the street from the cathedral Basilica of St. Francis of assisi stands mocna, home of vast and diverse collections of the institute of american indian arts. Changing Hands: Art Without Reservations 3/ Contemporary Native North American Art from the Northeast and Southeast/Selected Works concludes a cycle of landmark exhibitions organized by the museum of arts and design in new york, and presents a comprehensive and in-depth crosssection of innovative and groundbreaking work by indigenous artists. also on display are solo exhibitions by cannupa Hanska Luger, Jacob meders and Steven J. yazzie. SWaia’s moving images / class X Winners 2013. award-winning short films will be shown in the Helen Hardin media gallery august 19 through december 31. admission to mocna is free during indian market Week (august 12-18). MUSEUM of INDIAN ARTS & CULTURE (MIAC) 710 camino Lejo, 505-476-1269. For more information about exhibits, hours and history, visit: ongoing exhibits at miac include What’s New In New: Recent Acquisitions; They Wove for Horses: Diné Saddle Blankets, which ends Sunday (aug. 18); and the basket exhibit Woven Identities, featuring 60 different cultural groups. Long-term displays feature Southwestern pottery in the Buchsbaum gallery and Here, Now and Always, a major exhibition based on eight years of collaboration among native american elders, artists, scholars, teachers, writers and museum professionals. PABLITA VELARDE MUSEUM OF INDIAN WOMEN IN THE ARTS 213 cathedral Place, 505-988-8900. For more information about exhibits, hours and history, visit: the newest museum in Santa Fe — and the only national museum recognizing the achievements of indian women in all art forms — highlights the all-too-brief career of Helen Harden, daughter of the late Pablita Velarde. For the first time since her untimely death in 1984 at the age of 41, Hardin’s life and legacy are celebrated through this career-long retrospective grouping of her paintings and pen-and-ink drawings. the museum is named in honor of Santa clara Pueblo painter Pablita Velarde, who was the first native woman to paint full time as a career in the United States. over time, the museum will include women able to trace native ancestry within three generations and will feature women

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2013 ind ian m ar k et

11:30 a.m.-1 p.m. case trading Post/ Wheelwright museum. Book signing by margaret moore Booker, author of Southwest Art Defined: An Illustrated Guide. Free. 2-4 p.m. case trading Post/Wheelwright museum. new works by jeweler mike Bird romero of San Juan and taos pueblos. Free.

3 Views of Crow, rick Bartow, chiaroscuro contemporary art artists working in all media, including, painters, potters, sculptors, weavers, jewelers, dancers, musicians, filmmakers, poets and writers. POEH MUSEUM (IN THE POEH CENTER) 78 cities of gold road, 505-455-3334 For more information about exhibits and hours, visit: the Poeh museum presents native american art, history and culture through its changing exhibitions, permanent collection and programs. the museum hosts three rotating exhibitions a year, along with its permanent exhibit, Nah Poeh Meng (tewa for along the continuous Path). the museum is housed in the tribally-owned Poeh center, which focuses on the tewa- and tiwa-speaking Pueblos of new mexico. WHEELWRIGHT MUSEUM OF THE AMERICAN INDIAN 704 camino Lejo, 505-982-4636. For more information about exhibits, hours and history, visit: a summer highlight is the museum’s 38th annual auctions of indian art. Both the thursday, august 15, silent auction and the Friday, august 16, live auction afford the casual visitor, as well as the avid collector, an opportunity to begin or add to their collections. the auctions are held in tents on the grounds of the museum; admission is free. inside, the small, elegant museum features The Durango Collection: Native American Weaving in the Southwest, 1860-1880 and It’s in the Details: Beadwork and Fashion by Orlando Dugi and Kenneth Williams. admission is free; donations are gladly accepted.

INDIAN MARKET WEEK EVENTS compiled by kay Lockridge and kris ota

MUSEUMS Tuesday, August 13 8:30 a.m. museum Hill café. Breakfast with the curators: “nextgen SWaia: approaching the next century” features dr. John torres nez (diné), chief operating officer of the organization that sponsors indian market, discussing the next 100 years of the nation’s largest indian market. admission of $35 per person includes breakfast and miac admission. reservations are required, and seating is limited. tickets are available at the miac gift shop or call 505-982-5057.

Wednesday, August 14 12-1 p.m. Walter echo-Hawk talks about his book In The Light Of Justice: The Rise of Human Rights in Native America & the UN Declaration of the Rights of Indigenous Peoples in the miac theater (seating is limited) followed by book signing in the miac shop. Free. 3-4 p.m. museum of indian arts & culture. DeAnza Motor Lodge: Zuni Connection is a 30-minute film exploring the history of the iconic motel built on the central avenue alignment of route 66 in albuquerque in 1939. the screening will be followed by a discussion with elizabeth chestnut, the film’s producer. Free admission. 5:30 p.m. the institute of american indian arts hosts its 2013 Benefit dinner and auction at La Fonda on the Plaza, raising money for student scholarships through silent and live art auctions. auction items include pieces by allan Houser, t.c. cannon, nocona Burgess, Patricia michaels, Jody naranjo and more. $175 with limited seating. contact gracie Schild at 424-2310 or

3-4 p.m. miac. dr. richard Pearce talks and signs his book Women and Ledger Art: Four Contemporary Native American Artists, relating the narratives of Plains indian ledger art with his commitment to cross-cultural feminism. Ledger artists Linda Haukass (Lakota Sicangu), Sharron ahtone Harjo (kiowa) and dolores Purdy corcoran (caddo) will join dr. Pearce. Free. 4-6 p.m. Wheelwright museum of the american indian. the museum’s Silent auction and Live auction Preview are held on museum grounds. Free. 5-7 p.m. opening reception for the new exhibits: Changing Hands: Art Without Reservation 3/Contemporary Native North American Art from the Northeast and Southeast/ Selected Works; cannupa Hanska Luger’s STEREOTYPE: Misconceptions of the Native American; Jacob meders’s Divided Lines; and Steven J. yazzie’s The Mountain, with a special performance by oneida-iroquois singer, composer and acoustic guitarist, Joanne Shenandoah. mocna. Free.

Friday, August 16 8:30 a.m. museum Hill café. Breakfast with the curators: “Virgil ortiz: eVolution” brings cutting-edge artist Virgil ortiz to museum Hill, where he will discuss art, décor, fashion, video and film as seen in the miac exhibition, What’s New in New: Recent Acquisitions. admission of $35 per person includes breakfast and miac admission. reservations are required, and seating is limited. tickets are available at the miac gift shop or call 505-982-5057. 9 a.m.-Noon Wheelwright museum library. “old Friends, new Friends,” a panel spotlighting both emerging and established indian artists featured in the case trading Post. Free. 9 a.m.-Noon case trading Post/Wheelwright museum. meet and greet artists informally. 10-11:30 a.m. Wheelwright museum of the american indian. the annual collectors’ table provides beginners and collectors with the rare opportunity of purchasing historic and current art by notable indian artists at special prices. Free.

10 a.m.-4 p.m. diné weaving demonstration by Gilbert Begay in the Blommer Gallery as part of the closing weekend for the exhibit They Wove for Horses: Diné Saddle Blankets. Gilbert Begay is the only man following in a family’s weaving tradition. Free with museum admission. 1-4 p.m. Wheelwright museum of the american Indian. the live auction of iconic, one-of-akind Indian art from throughout the United States and Pacific northwest is held on museum grounds, come rain or shine. Free. 5-6 p.m. Panel discussion, “Beyond the ‘tribal trend’: developing Proactive native american Collaborations in Fashion.” designers and others discuss a collaboration with the Paul Frank brand, the creation of a collection and developing proactive native partnerships in the fashion world. reception to follow, 6-7:30 p.m. moCna. Free.

Friday, August 16 through Sunday, August 18 Dylan Miner’s Bicycle Installation displays a number of unique bicycles made in Santa Fe. Using anishinaabeg, métis and Cayuse knowledge, the bicycles reflect upon sustainable transportation and contemporary indigenous ways of life. moCna’s allan Houser art Park. Open Artist Studio of nanibah “nani” Chacon (diné/Chicana). Chacon’s work references an archetype of female characters that explores ideas of feminism, sexuality, softness and power, among others. moCna. Paul Frank collaborates with four Native designers, dustin martin (diné), autumn dawn Gomez (Comanche/taos Pueblo), Louie Gong (nooksack) and Candace Halcro (Plains Cree/métis) in limited edition pieces, which will be showcased and sold throughout the weekend. early Fritz Scholder drawings, Revisiting the Paradox, feature never-beforeshown early works on paper from the late 1960s, premiering for sale Indian market weekend. moCna Store.

Saturday, August 17 10 a.m.-1 p.m. Southern red drum Group perform songs and drumming for museum visitors, mIaC Portal. Free.

OTHER MUSEUMS Ongoing new mexico History museum, Santa Fe Found: Fragments of Time tells the story of cultural encounters between early colonists and native americans. Telling New Mexico: Stories from Then and Now sweeps across more than 500 years of stories from early native inhabitants to today’s residents. Segesser Hide Paintings display rare examples of the earliest known depictions of colonial life by indigenous new mexicans. 113 Lincoln ave., on the Santa Fe Plaza, 505-4765200, new mexico museum of art, Tracking New Mexico: Traces in Time showcases traces left in the mountains, canyons, mesas and buttes of new mexico by prehistoric animals and ancient cultures. Shiprock and Mont St. Michel: Photographs by William Clift exhibits photographs including Shiprock, an eroded volcanic form sacred to the diné. 107 West Palace ave., just off the Santa Fe Plaza, 505476-5072, Georgia O’keeffe museum, Georgia O’Keeffe in New Mexico: Architecture, Katsinam, and the Land includes representations of Hopi and Pueblo katsinam. 217 Johnson St., 505-946-1000,

Saturday, August 17 and Sunday, August 18 10 a.m.- 1 p.m. Southern red drum Group, mIaC Portal. Fee. 10 a.m.- 5 p.m. artisans Celebration in the shady Palace Courtyard offers music, handcrafted art, raffles, a native specialties food booth, sno-cones, pickles and traditional Indian dances. enter through the blue gate south of the new mexico History museum’s main entrance at 113 Lincoln avenue. Free. 10:30 a.m. diné artist Will Wilson produces contemporary tintype portraits of indigenous artists and arts professionals in the east sculpture garden of the new mexico museum of art, 107 W. Palace ave. 505-476-5072.


10 a.m.-noon “extreme Cartography” with artist Steven J. Yazzie, a live art performance. Yazzie observes and documents architectural elements of the moCna building, then discusses process and his work. moCna allan Houser art Park. Free.

Wednesday, August 14

2-3:30 p.m. Panel discussion, “Vice Versa: traditional/Contemporary.” the panel includes artists kenneth Williams, Carla Hemlock, Jordan Bennett and Shan Goshorn in a lively conversation on native artistic practices and traditional aesthetics within a contemporary context. moCna. Free.

5-8 p.m. artist reception for Jeff Slim (diné), thomas “Breeze” marcus (akimel/tohono O’odham) and Cannupa Hanska Luger (mandan/Hidatsa/arikara/Lakota), Blue rain Gallery, 130 Lincoln ave., Suite C, 505-954-9902,

4-5 p.m. Panel discussion, “meet the native museum directors: new Visions for native arts.” President/CeO W. richard West, Jr. of the autry national Center of the american West and CeO Jim Pepper Henry of the Heard museum join director Patsy Phillips of moCna in a dialogue on new directions for native arts and cultural institutions. moCna. Free.

10 a.m. (and thursday, august 15) Lecture on copyright in art. Call for details and reservations. Golden dawn Gallery, 201 Galisteo St., 505-988-2024,

Thursday, August 15 5-7 p.m. Opening reception for exhibit Native Vanguard: Contemporary Masters. Paintings and sculpture by t.C. Cannon, Bunky echoHawk, John Feodorov, anita Fields, edgar Heap of Birds, Frank Buffalo Hyde, david Johns, Stephen Paul Judd, armond Lara, George Longfish, n. Scott momaday, George morrison, robert rauschenberg, ramona Sakietstewa, and roxanne Swentzell, among others. Zane Bennett Contemporary art, 435 S. Guadalupe St., 505-982-8111,

5-7 p.m. Opening for group show, including sculptor Joe Cajero (Jemez Pueblo/Santo domingo Pueblo). manitou Galleries, 123 West Palace ave., 986-9833, (again on Friday, august 16) 5-8 p.m. reception for david Bradley (Chippewa), Hyrum Joe (diné), al Qoyawayma (Hopi), maria Samora (taos Pueblo), mateo romero (Cochiti Pueblo) and Holly Wilson (delaware/Cherokee). new paintings, pottery, jewelry and sculptures. Blue rain Gallery, 130 Lincoln ave., Suite C, 505-954-9902,

Friday, August 16 10 a.m. Pottery show and sale. (Preview 8-9:45 a.m.) new pieces by tammy Garcia (Santa Clara Pueblo) and richard Zane Smith (Wyandotte). Blue rain Gallery, 130 Lincoln ave., Suite C, 505-954-9902, 11 a.m.-4 p.m. Live demonstrations: glass blowing by Preston Singletary (tlingit), bronze patina by Bronzesmith Foundry and pottery by richard Zane Smith and al Qoyawayma. Blue rain Gallery, 130 Lincoln ave., Suite C, 505-954-9902, 4-6 p.m. Opening reception for contemporary jewelry exhibit by award-winning collaborators, metalsmith Yazzie Johnson and designer Gail Bird. Zane Bennett Contemporary art, 435 S. Guadalupe St., 505-982-8111, 4-7 p.m. Opening for diné silversmiths Shane Hendren and Gary Custer. Silver Sun, 656 Canyon road, 983-8743, 5-7 p.m. Opening reception for new works on canvas and wood panels by award-winning artist raymond nordwall (Pawnee/Ojibwe/Cherokee). Show continues for two weeks. nordwall Gallery and Studio, 618 Canyon road. For information, call 505-988-5057 or visit 5 p.m. Private reception for Pablita Velarde, Helen Hardin and margarete Bagshaw exhibit. Call for invitation. Golden dawn Gallery, 201 Galisteo St., 505-988-2024, 5-7 p.m. Concurrent opening receptions for abstract painter emmi Whitehorse (diné) and the Contemporary Native American Group Show, featuring rick Bartow, Harry Fonseca estate, rose B. Simpson, Yatika Starr Fields, and others. Chiaroscuro Contemporary art, 702 ½ Canyon road, 992-0711, 5-8 p.m. Opening reception for Ceremonial Works, allan Houser Gallery, 125 Lincoln ave., 982-4705, 5-8 p.m. artist reception for tony abeyta (diné), Preston Singletary (tlingit) and Jody naranjo (Santa Clara Pueblo). new pieces. Blue rain Gallery, 130 Lincoln ave., Suite C, 505-954-9902, 5:30-7:30 p.m. reception for artist darren Vigil Gray, recipient of the 2013 Governor’s award for excellence in the arts. the solo exhibition runs from august 1-24. kristin Johnson Fine art, 323 east Palace ave., 505-780-5451,

Saturday, August 17 10 a.m.-4 p.m. allan Houser Studio Sculpture Gardens and Gallery Open House. 30 minutes south of Santa Fe, 505-982-4705, allanhouser. com. Free.

11 a.m. reception for Jeff Shetima, well-known Zuni fetish artist. keshi, 227 don Gaspar ave., 505-989-8728, 11 a.m.-4 p.m. Bronze patina demonstrations by Bronzesmith Foundry. Blue rain Gallery, 130 Lincoln ave., Suite C, 505-954-9902, 2 p.m. reception for Zuni fetish artists Jackie and norman Cooeyate. keshi, 227 don Gaspar ave., 505-989-8728, Pottery demonstrations by thomas tenorio (Santo domingo Pueblo) and rondina Huma (Hopi). andrea Fisher Fine Pottery, 100 W. San Francisco St. Call for details: 505-986-1234.

Sunday, August 18 11 a.m. reception for the Quam family, Zuni fetish artists. keshi, 227 don Gaspar ave., 505-989-8728, 11 a.m.-5 p.m. Special events at the allan Houser Studio Sculpture Garden and Gallery, 30 minutes south of Santa Fe, 505-471-1528, all events free. 11 a.m. & 1:30 p.m. Lecture and guided tour by Phillip m. Haozous. 1-3 p.m. Very special host anna marie Houser greets guests in visitor center. 3-5 p.m. Special performance by Joanne Shenandoah.

OTHER SPECIAL EVENTS Saturday, August 10Tuesday, August 13 The Santa Fe Show: Objects of Art, fine art of all kinds from around the world, including american Indian art. In the railyard at el museo Cultural de Santa Fe. Show dates: Saturday, august 10-monday, august 12, noon-7 p.m. & tuesday, august 13, noon-5 p.m. run-of-the-show tickets for $13, 505-660-4701,

Sunday, August 11Tuesday, August 13 The 35th Annual Whitehawk Antique Indian Art Show, the oldest and largest event of its type in the world. Santa Fe Community Convention Center, corner of Grant ave. and marcy St., tickets available at the door, cash or check only. 505-992-8929, whitehawkshows. com. Gala Preview Opening: Sunday, 6-9 p.m., $75. Show times: monday and tuesday, 10 a.m.5 p.m., $10 for one day, $17 for both days.

Tuesday, August 13 6-9 p.m. At the Artist’s Table. artist emmi Whitehorse (diné) and chef tracy ritter collaborate on an exquisite menu, discuss their inspirations and present each guest with a signed original limited edition work of art by Whitehorse. Proceeds benefit the City of Santa Fe arts Commission’s artist exhibit and education Program and Partners in education Foundation for the Santa Fe Public Schools. $250. Santa Fe School of Cooking, 125 north Guadalupe St., 505-983-4511, attheartiststable. org or

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2:30PM-5:00PM - 6 Vista de la Vida - Luxury 4549 sqft home ideal for guests and entertaining includes 3 BR/4 BA, office, family/media room, fitness center & workshop. Wide plank Nortic pine & travertine stone floors, vigas, 4 fireplaces. $1,150,000. MLS 201301256. (Camino La Tierra, right on Fin del Sendero. Right on Lluvia de Oro, right on Bella Loma. Right on Vista de Esperanza, left on Vista de La Vida. House is on the left.) Matt Desmond 505-670-1289 Santa Fe Properties.

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1:30PM-4:30PM - 3 Campo Rancheros - Stunning 5536 sq ft Western Mountain-style home in the Estancias, built by Roger Hunter with Spectacular Jemez and Sangre de Cristo mountain views. Pitched roof, stone/ wood finishes, entry rotunda. $1,495,000. MLS 201300813. (599 - rt @ Camino La Tierra, 2 miles rt @ first Y, rt @ second Y after Parkside Drive (do NOT go under the Bridge). Stay on Camino La Tierra, past Trailhead, rt @ Campo Rancheros.) Tim Galvin 505-795-5990 Sotheby’s International Realty.


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1:00PM-4:00PM - 19 Camino De Colores/Las M e l o d i a s - Style and value are now available in Las Campanas. Each of the 22 developed lots are sited to maximize panoramic views. Each home is quality constructed; choose from 5 floor plans. $434,000. MLS 201201818. (From 599, exit off on Camino La Tierra (Las Campanas), follow signage to Las Melodias, make a right at Paseo Aragon (at gate contact Realtor), make a right onto Camino de Colores. Model home on left.) Gary Bobolsky 505-470-0927 Sotheby’s International Realty.

1:00PM-4:00PM - 14 Rising Moon, Las Campanas Magnificent Sangre de Cristo views! Beautiful, well constructed "adobe" home! 3BR/4BA/3767’ with multiple patios/portals. Versatile floor plan with a few interior steps. 2.42 AC $975,000. MLS 201301196. (Las Campanas Drive, left on Koshari, 2nd left on Rising Moon, #14 on left.) Tom Shaw, Host 512-7555270 Bell Tower Properties, LLC.

12:00PM-5:00PM - 709 Luna Vista - Open Fri-Mon. Stop by and we’ll show you the details of our quality construction at Piñon Ridge. Address is model home not for sale. Poplar floor plan available. 254,900 $254,900. (Take 599 Bypass, exit onto Ridge Top Road and head north. Turn right on Avenida Rincon, follow around to Camino Francisca, turn right on Luna Vista. Follow signs to open house.) Carmen Flores 505-699-4252 Homewise, Inc.

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Art, Antiques, Restaurants & Shops



1. Array 2. Bodhi Bazaar 3. Dell Fox Jewelery 4. Double Take 5. Kowboyz 6. Ohori Coffee Roasters 7. Omira Bar & Grill 8. Peruvian Connection 9. Sanbusco Market Center 10. Sissel’s 11. Wink Salon

2013 I n dI an mark e t




I got it at wink!

Sanbusco Market • 988-3840



Bodhi Bazaar • Cost Plus World Market • Dell Fox Jewelry • Eidos Contemporary Jewelry • El Tesoro Café • Get It Together • Kioti • Mercedes Isabel Velarde Fine Jewelry And Art • On Your Feet • On Your Little Feet • Op. cit. Bookstore Pandora’s • Play • Pranzo Italian Grill/Alto • Raaga Restaurant • Ristra Restaurant • Rock Paper Scissor SalonSpa • Santa Fe Pens • SoulfulSilks • Teca Tu – A Paws-Worthy Emporium • The Reel Life • Wink Salon

In the Historic Railyard District

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RAILYARD & GUADALUPE DISTRICTS Locally roasted gourmet Arabica coffees. A local favorite for 30 years.

New LocatioN at

505 cerrillos Road 1098 ½ S. St. Francis Dr. , on Pen Road, Santa Fe, NM 505.982. 9692 • 82.9692

Home of the Nightingale Necklace

DellJewelry FoxwithJewelry passion Sanbusco Center, 500 Montezuma Ave., Santa Fe • 986-0685 •

! E L A RS


The BIGGEST Used Boot Store Around

5000 Pairs of new & happily used boots for men, women, and kids. Plus hats, skirts and a lot more!


Home of the $99 Boots





In the DesIgn Center 418 CerrIllos roaD, santa Fe, nM 505.699.2760

345 W. Manhattan | Santa Fe, NM | (505) 984-1256 Across from the Train Station Open Every Day |

2013 I n dI an mark e t




30% Off Sale! • Large selection of authentic Indian jewelry at affordable prices

Open 7 Days

541 S. Guadalupe


The Hottest New Restaurant in Santa Fe

Unlimited Brazilian Style Grill • All You Can Eat Gourmet Salad Bar Unique Craft Belgian Beer • Extensive Fine Wine List Come and explore our internationally inspired menu!

Artisan apparel for nomads and romantics 328 S Guadalupe St • 505.438.8198 Open Tue – Sun | Lunch 11– 2:30 | Dinner 5–9 1005 South Saint Francis Dr. | Between Susan’s Fine Wine and Tiny’s | 505-780-5483

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Boston • San Francisco • Chicago Washington, DC • Kansas City • Santa Fe



Santa Fe’s Nationally Known Largest Retail/Resale Store

The Ranch Galler y

Kato by Sedalio Lovato

Works by K.W. Moore, Sr.

At the Ranch | Encore Vintage & Designer | Baby Store | Hacienda

At the corner of Guadalupe & Aztec 505.989.8886


Santa Fe Potter y | Men, Women & Kids

“Like” us on Facebook at

2013 I n dI an mark e t

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The Artistic Legacy of Five Generations of Hopi Women Potters

Opening Reception: Friday August 9 from 5 to 7 pm.

STEVE ELMORE INDIAN ART “The Destination in Santa Fe for Historic Native Jewelry and Pueblo Pottery”

839 Paseo de Peralta, Santa Fe • Free Parking between Palace and Alameda 505.995.9677 •

San Felipe Pueblo Potters Reception and Sale Thursday, August 15, 2013 • 5–8 pm La Fonda Hotel, The New Mexico Room

Featuring: Daryl Candelaria • Gerren Candelaria Hubert Candelario • Ray Garcia Joseph Latoma • Geraldine Lovato Ricardo Ortiz (505) 954-7205

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swaia Santa Fe Indian Market


Swaia Winter Indian Market Nov 30 - Dec 1 . Santa Fe Community Convention Center . 505.983.5220 . . Photos by Kitty Leaken taken at the 2012 SWAIA Winter Indian Market


The Real Look of Santa Fe

Palace Jewelers at Manitou Galleries

Palace Jewelers - Now Representing

Walt Doran

Hal & Margie Hiestand

Steve Taylor

Roger Wilbur

Kathy Adams, Ed Aguilar, Masha Archer, Carolyn Morris Bach, Amber Beata, Arland Ben, Carl & Irene Clark, Cippy Crazyhorse, Bruce Eckhardt, Vernon Haskie, Dina Huntinghorse, Tommy Jackson, Alfred Lee, M.K. Lente, Charles Loloma, Al Nez, Shreve Savill, Pam Springall, Wes Willie, Leo Yazzie, Alvin Yellowhorse, Star York

Palace Jewelers at Manitou Galleries 123 W Palace Ave & 225 Canyon Rd 505.984.9859


2013 I n dI an mark e t


Robert Rivera Extraordinary Gourd Artist

NEW! Yellowman - Original Paintings

Reception and Drawing for Work of Art created by Robert for Indian Market Fri. Aug 16, 5-7 Artists also present on Saturday, August 17, 12-5

Indian Market Hours: Fri. 10-7 Sat. 10-5 Sun. 10-5

The Torres Gallery

102 E. Water St., El Centro Galleries, Santa Fe, NM 87501 505-986-8914 • e-mail: 2 01 3 I n dI a n ma r k et

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A Socially Responsible Company Follow the Maasai Project at Walk in Fashion Walk in Comfort

Located in La Fonda Hotel 100 E San Francisco St 505-984-2828

indian Market on canyon road at jacQueline’s Place We Will knock you out With our MuseuM Quality native aMerican jeWelry and clothing Please join us Friday, august 16th to Meet aWard Winning native aMerican jeWelry artist, Wayne aguilar and aWard Winning clothing designer, virginia yazzie-Ballenger and herBert rations

photo: daniel nadelbach

FroM 2PM to 7PM at jacQueline’s Place Fashion shoWs throughout the day, Food and Music. don’t Miss this Weekend oF Fun at jacQueline’s Place.

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Home Building Santa Fe Style





H and S Craftsmen, LLC

Santa Fe’s Best Open House

August 9-11 & 16-18, 2013 Fri. - Sun. 11 am - 6 pm $15 ENTRY TO PARADE HOMES Visit for more information and to purchase tickets. Non refundable - Non transferable

Brought to you by the Santa Fe Area Home Builders Association 505.982.1774 •

Locally roasted gourmet Arabica coffees. A local favorite for 30 years.

New LocatioN at

505 cerrillos Road 1098 ½ S. St. Francis Dr. , on Pen Road, Santa Fe, NM 505. 982.9692 • 505.982.9692 201 3 I n dI a n ma r k et

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Photo by Peter Ogilvie

150 Washington Ave. • Santa Fe • 505.983.9103

TONY MALMED JEWELRY ART handmade in Santa Fe since 1982 108 Don Gaspar • 505-988-9558 • 201 3 I n dI a n ma r k et

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Indian Market Booth 903 Cathedral Place

215 S. Muskogee Avenue, Tahlequah, OK ar


918 - 453 - 5728




505.982 .8 478













T HUR SDAY, AU G U S T 15 , 1 P M


Kind of Beauty

Mixed Media on Board

30” X 30”

Michael Namingha © 2013

Dan, Arlo, and Michael Namingha New Works Opening Reception August 16, 2013 5-7:30pm 125 Lincoln Avenue • Suite 116 • Santa Fe, NM 87501 • Mon–Sat, 10am–5pm 505-988-5091 • fax 505-988-1650 • •

ERNEST CHIRIACKA is renowned for his accurate depictions of Native American tribes and the American West in sketches and paintings. Exclusively represented by Casweck Galleries.

“Bull Moon”

Robbi Firestone Oils and Illustrations of the West

Portrait of Armond Lara, Navajo Artist

exhibition openS September 13th

“Spirit of Santa fe” exhibition openS auguSt 9th

CASWECK GALLERIES 203 West Water Street, Santa Fe • 505-988-2966 •


822 Canyon Raod Santa Fe, NM 87501 505.989.1700

Joshua Tobey

Indian Market Group Exhibition Friday, August 16th 5 - 8 pm

Join us on the plaza during Indian Market in the Hotel Chimayo courtyard! 125 Washington Ave Saturday, August 17 &  Sunday, August 18

Robert Taylor

Trevor V. Swanson

Jami Tobey

Amy Poor

Russell Sanchez and Jill Giller of Native American Collections invite you to a day of celebration at Russell’s studio in the San Ildefonso Pueblo.

We will be featuring new works by Russell Sanchez, Nancy Youngblood and Jennifer Moquino.

Two + .....New Collaborations in Clay by: Russell Sanchez, Nancy Youngblood, Jody Naranjo, Jennifer Moquino, Dora Tse Pe, Grace Medicine Flower, Dolores Curran, Erik Fender, Autumn Borts-Medlock, Susan Folwell, Steve Lucas, Yvonne Lucas, Thomas Tenorio, and Linda Tafoya Sanchez

Friday, August 16, 2013 • Noon to 5 PM NAC will also be exhibiting other fine work 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 sayin SAN ILDEFONSO PUEBLO. His studio is directly in front of the famous contton wood tree in the middle of the Plaza

accessories Buckles Belts

Join us for these upComing events tuesday, august 13, 5-9 pm b g mudd reCeption Invitation Only thursday, august 15, 5-9 pm Chris pruitt & pat pruitt reCeption Invitation Only Sign up for our newsletter at

to receive your invitation.

By providing wearable art from the highest quality leatherworkers and silver artists in the Southwest, Tom Taylor has become a trusted source for luxury belts, buckles and accessories since we opened our doors in 1985. Conveniently located in the historic La Fonda Hotel, just off the Santa Fe 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

Indian Market Show: Santo Domingo Potter

Thomas Tenorio: August 16-19, 2013 Opening reception Friday August 16, 3pm - 7pm Artist will be present

Opening reception for Renowned Hopi Potter, Rondina Huma Firday August 16th 10am - 2pm Andrea Fisher Fine Pottery - 100 West San Francisco Street, Santa Fe, NM 87501 - - 505.986.1234



Receptions Thursday Aug.15 thru Sunday Aug. 18th 4 to 8pm Artist Demonstrations, and Live Music, Sat. Aug.17th 8 am to 7pm Artists in attendance - Ray Tracey, Michael Horse, Amado Peña, Spencer Nutima, Denny Wainscott, Mary Hunt, Roark Griffin, Ellen and Kathryn Alexander, and Michael and Stephen McCullough


Specializing in Contemporary Western, Native American Paintings, Sculpture, Pottery, and Jewelry

211 Old Santa Fe Trail, Santa Fe, NM 87501 Tel: 505-820-7413 • Fax: 505-820-7414 • •

2013 LImIted edItIon tees ehren Kee natay for sWAIA santa Fe Indian market Production and Printing by santa Fe sports and Images Photo by Paulo t. Photography

Rare Lander Blue Turquoise set Circa, 1970’s

Come & see us in


August 15-18, 2013 9AM-6PM Reception - Friday August 16th 5-7PM ELDORADO HOTEL & SPA ANASAZI GRAND BALLROOM 309 W. SAN FRANCISCO, SANTA FE, NM


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Native American Managed


On the Plaza

84 East San Francisco Street, Santa Fe, NM 87501 505.986.5015 | 505.603.0191

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