Santa Fe Indian Market 2025 Booth Guide

Native American Regalia Showcase

A longstanding Indian Market event gets a new name and emphasis.

By Daniel Gibson

Photos by Kitty Leaken

Jody Naranjo, Daniel Begay, Matthew Bahe, and

A brief history of Indigenous storytelling and profiles of two of today’s leading voices, Deborah Jackson Taffa and Darcie Little Badger. By RoseMary Diaz (Santa Clara Pueblo)

Bracelets and bolo ties are perennial favorites at Santa Fe Indian Market. Meet some of the artists who create these popular pieces. By Daniel Gibson

The Muscogee Creek tribe seeks to reclaim their ancestors’ remains, part of the larger national battle over human remains, ceremonial objects, and sacred grounds. By Daniel Gibson

Wild Things

Meet Native artists focusing on works portraying animals: Joe Cajero Jr., Marwin Begaye, partners Troy Sice and Raymond Tsalate, and siblings Dawn Wallace Kulberg and David Wallace. By Neebinnaukzhik Southall (Chippewas of Rama First Nation)

This oil painting on linen by Choctaw artist Karen Clarkson was a natural fit to represent both traditional Native values and modern innovations as our cover image. It’s a Good Day to Dance! vibrates with the joy of a Diné child dancing in traditional regalia “with all her heart while her mom looks on,” Clarkson says. The image speaks of both hope for the future and respect for the past, perfectly representing SWAIA’s slogan for this year — Iconic Beginnings: Legacies in Motion. The award-winning Clarkson says her art has always been “about selfdiscovery and developing a way of communicating to others.” Find her in booth LIN E 726 at the Santa Fe Indian Market and online at clarksonart.com.

Every artist here stands at the intersection of past,

present, and future.

Step into the heart of the plaza during Santa Fe Indian Market and you’ll feel it: the packed streets, the hum of voices, the heat rising off the pavement, the presence of something larger than all of us. This energy isn’t merely excitement; it’s memory, movement, and meaning converging in real time.

This year’s theme, Iconic Beginnings: Legacies in Motion, reflects the truth that Santa Fe Indian Market has never stood still. What began over a century ago as a gathering rooted in preservation and education has endured because of the artists who have carried it forward with brilliance and an unshakeable strength of creative vision.

Every artist here stands at the intersection of past, present, and future. Some continue family traditions passed down through generations. Others are forging new paths and reshaping what Native art can be. Many are doing both. That is true legacy in motion.

To walk this market is to witness generations intertwined, to engage with history and futurity at once. It is a moment to look around and see the collective story unfolding as it continues to be written.

Representing over 1,000 artists from more than 200 tribal nations, Santa Fe Indian Market is the oldest and largest juried Native art market in the world. But it is also so much more than that. It is the epitome of Native excellence in its fullest expression.

We are honored to welcome you into this space. Whether it’s your first Indian Market or your fortieth, thank you for showing up with curiosity, care, and respect. You’re not just here to witness a legacy. You’re here to be part of it.

Jamie

Néá’eše (Thank you), Jamie Schulze

Schulze

Northern Cheyenne/Sisseton Wahpeton Oyate

SWAIA Executive Director

SWAIA Board of Directors

Dawn Houle (Chippewa Cree Tribe of Montana) Chair

JoAnn Chase (Three Affiliated Tribes) Vice Chair

Tom Teegarden Treasurer

Randall T. Chitto (Mississippi Band of Choctaw) Secretary

Andrea R. Hanley (Navajo Nation)

Russell Sanchez (San Ildefonso Pueblo)

Chris Youngblood (Santa Clara Pueblo)

Natasha K. Hale (Navajo Nation)

Leslie Wheelock (Oneida Nation of Wisconsin)

SWAIA Staff

Jamie R. Schulze (Northern Cheyenne/Sisseton

Whapeton Oyate) | Executive Director

Mary Coleman | HR/Finance Director

Mona Perea (San Ildefonso Pueblo)

Artist Services Coordinator

Carmen Wiley (Mvskoke)

Development Coordinator

Cingarkaq Devine (Yup’ik)

Data Systems Associate

Natasha Ashley-Brokeshoulder (Navajo Nation)

Membership Coordinator

Jennifer Bushe | Office Coordinator

SWAIA Strategic Community Partners

Thomas Schulze | Logistics

Draven Rowland (Northern Cheyenne)

Graphic Design

Goiyo Perez | Performance Coordinator

Sheyenne Lacy (Navajo Nation)

Social Media & Marketing

Audrey Rubenstein | PR & Media Liaison

George Rivera (Pojoaque Pueblo)

Consultant

Calendar of Events

There’s plenty to keep you busy during Santa Fe Indian Market, from the world-famous market itself to special events like the SWAIA Gala and SWAIA Native Fashion Show. Some events require tickets and sell out quickly, so don’t delay! Find out about other events happening in Santa Fe during market week on page 113.

Thursday, August 14

GET INDIGENOUS FILM FESTIVAL AND OPENING NIGHT PARTY

4:30 – 7 p.m.

New Mexico History Museum 113 Lincoln Ave.

By invitation only: Contact SWAIA for details

The Get Indigenous Film Festival (GIFF), focused on the theme “From Ancestors to Artists: Stories of Resilience Across Generations,” kicks off with a special invitation-only event. The evening begins with light refreshments followed by a screening of the 2025 film Jim Thorpe: Lit by Lightning and a Q&A with director Chris Eyre (Cheyenne and Arapaho Tribes of Oklahoma). The Spirit Rangers animated television show episode about the Jim Thorpe Fun Run, Kodi’s Old Shoes, will also be screened.

7:15 – 10 p.m.

Museum of Indian Arts and Culture (MIAC) 710 Camino Lejo

The VIP evening continues on Museum Hill with MIAC Under the Stars, including music by DJ Emcee One, dancing, and refreshments.

Friday, August 15

BEST OF SHOW CEREMONY AND LUNCHEON

11:30 a.m. – 2 p.m.

Santa Fe Community Convention Center Ballroom

201 W. Marcy St.

$250

SWAIA’s Best of Show Ceremony is one of the most anticipated events of Indian Market week. Artists across all juried categories are recognized for their exceptional craftsmanship and creativity, with the highest honor — Best of Show — awarded to a single outstanding work.

MEMBERS-ONLY SNEAK PEEK

2 – 4 p.m.

Santa Fe Community Convention Center Ballroom

201 W. Marcy St.

SWAIA members can get a preview of juried Indian Market artworks, including Best of Show and other “Best of” classification winners. Enjoy an opportunity to see award-winning art displayed in uncrowded conditions as you plan your Santa Fe Indian Market purchases.

SACRED SITES PANEL DISCUSSION

2:30 – 4 p.m.

Museum of Indian Arts and Culture

710 Camino Lejo

Free

The Muscogee Creek Nation will host contemporary Mvskoke artists and storytellers Joy Harjo (three-time U.S. Poet Laureate) and filmmaker Sterlin Harjo (Rez Dogs, This May Be the Last Time), plus representatives from Oce Vpofv (Hickory Ground), to explore how Native artists and grassroots communities can share their stories about ceremonial grounds and demand justice in an effort to save the most sacred of sacred, especially as the government and courts fail to uphold laws like the Native American Graves Protection and Repatriation Act. Both Joy and Sterlin Harjo traveled to Atlanta, Georgia, last fall to participate in the Muscogee Creek Nation’s “Journey for Justice” to bring attention to the plight of the ceremonial grounds and burial sites at Oce Vpofv. (Read more about Hickory Ground on page 96.)

GIFF: THE COLLECTIVE SPIRIT LEGACY SHORT FILMS

4 – 5 p.m.

Museum of Indian Arts and Culture

710 Camino Lejo

Free (limited space available)

Experience four powerful short films that honor the wisdom, artistry, and enduring legacies of First Peoples Fund Culture Bearers. A tribute to the spirit, strength, and stories of our tribal communities — all in one program. Hosted by the First Peoples Fund.

GENERAL PREVIEW OF AWARD-WINNING ART

4 – 6 p.m.

Santa Fe Community Convention Center Ballroom

201 W. Marcy St.

$50

You can view all of the artwork submitted for awards in one place during this public preview, including Best of Show and other “Best of” classification winners.

Saturday — Sunday August 16 — 17

103rd SANTA FE INDIAN MARKET

8 a.m. – 5 p.m.

Santa Fe Plaza & Downtown Free and open to the public

Explore a diverse array of artwork created by over 1,000 Indigenous artists representing more than 200 tribal nations, plus live performances, food vendors, cultural demonstrations, and family programming.

Saturday, August 16

GET INDIGENOUS FILM FESTIVAL PANEL — NATIVE NARRATIVES & NIBBLES: BRUNCH WITH DOCUMENTARY FILMMAKERS AND ARTISTS

11 a.m. – 1 p.m.

IAIA Museum of Contemporary Native Arts Courtyard 108 Cathedral Place

Free: Reserve your space at holdmyticket.com/ event/448863

Enjoy a brunch followed by a panel discussion and audience Q&A. The panel will be moderated by Lori Pourier, founder and senior fellow of the First Peoples Fund, and is scheduled to include artists Alfred “Bud” Lane III (Siletz), Lani Hotch (Tlingit), and TahNibaah Naatannii (Diné), and actor Duke Harris of the Chris Eyre film Jim Thorpe: Lit by Lightning.

SANTA FE INDIAN MARKET GALA & LIVE AUCTION

5 – 9 p.m.

Santa Fe Community Convention Center

201 W. Marcy St.

$350

Held during the height of Santa Fe Indian Market weekend, SWAIA’s annual gala brings together artists, collectors, and supporters for a night honoring generational Native excellence. The evening includes a courtyard cocktail hour and silent auction, a seated dinner with a live auction, and a runway fashion show showcasing the next wave of Native design.

Proceeds directly support SWAIA’s mission to uplift and invest in Native artists through year-round programming, advocacy, and opportunities for visibility. Tickets are limited! Reserve yours today and be part of sustaining the legacy.

Sunday, August 17

NATIVE AMERICAN REGALIA SHOWCASE

9 – 11 a.m.

Santa Fe Plaza Main Stage

Free and open to the public

A beloved tradition of Santa Fe Indian Market, the Native American Regalia Showcase invites Native participants of all ages to share the beauty and significance of their traditional clothing, dance regalia, and family heirlooms. (Read about the history of the showcase on page 40.)

VIP FASHION SHOW PRE-PARTY

1:30 – 3 p.m.

Santa Fe Community Convention Center Lobby 201 W. Marcy St.

Included with first or second row VIP fashion show tickets (see below)

VIP Fashion Show Pre-Party ticket holders will enjoy a tasting menu and curated cocktails while shopping looks from top Native designers.

NATIVE FASHION SHOW

3 – 4 p.m. (doors open at 2 p.m.)

Santa Fe Community Convention Center 201 W. Marcy St.

Tickets range from standing room ($25) to first-row VIP seats with fashion show pre-party ($500)

Celebrating Native talent at the intersection of fashion and design, the Santa Fe Indian Market Native Fashion Show is the stunning finale to the weekend’s festivities. Expect bold silhouettes and contemporary storytelling as models walk the runway in works that blend tradition and innovation. This show offers a glimpse of the future of fashion — led by Native visionaries.

Entertainment Schedule

Enjoy free live entertainment on the Santa Fe Plaza.These are the performances scheduled by press time, so check the schedule posted by the stage for updated information.

Saturday, August 16

7:30 a.m. Morning blessing

9 a.m. Randy Kemp

10 a.m. Indigenous House panel

11 a.m. The Lightning Boy Foundation

12 p.m. NARF panel: The Native Vote

1 p.m. Tony Duncan

2 p.m. Ramonda Holiday

3 p.m. Black Owl Society

4 p.m. Larry Yazzie

Sunday, August 17

9 a.m. Native American Regalia Showcase

11 a.m. Indigenous House panel

12 p.m. The Duncans

1 p.m. The Indian Arts and Crafts Board: Promoting and Protecting Authentic American Indian Art and Artists

2 p.m. The Next Generation Dancers

3 p.m. AJ Harvey

4 p.m. Jir Project

5 p.m. Closing prayer

TOC Legends by Himikalas

Cheryl Fallstead

Untitled (2024), Daniel Begay (Diné/Santa Clara Pueblo), northern New Mexico clay, hand-coiled, hand-burnished, deep-carved, and traditionally fired. Photo courtesy King Galleries.

POTTERY: INNOVATION MARCHES ON

These clay artists stretch the boundaries, forms, materials, and finishing techniques of an ancient medium

By RoseMary Diaz (Santa Clara Pueblo)

The basic process of Native American pottery making in the American Southwest has changed little across millennia, though individual artists have continued to evolve the art form along the path of time. The great matriarchs of clay — including Lucy M. Lewis (Acoma Pueblo; 1890–1992), Maria Martinez (San Ildefonso Pueblo; 1887–1980), Nampeyo of Hano (Hopi; 1859–1942), and Serafina Tafoya (Santa Clara Pueblo; 1863–1949) — among others whose work is often considered to be strictly traditional, added their own unique touches and incorporated new technologies into an ancient art form.

From shapes that departed from the historical template (from squat bowls to tall, slender vases, handled-bottle forms, and canteens) to the adaptation of new materials and tools (using cow and horse manure to produce a lovely black finish during firing, sandpaper replacing corn cobs or tree bark for smoothing a vessel’s dry surface, and using woodcarving tools instead of twigs or sticks), these visionary artists kept an open mind when it came to adopting into their repertoire things that worked better and saved time and labor.

This creative resourcefulness has continued to inspire inventive approaches to pottery making through the generations: Clay has been a canvas for Indigenous creativity in the desert Southwest for a very long time.

The 1970s brought sgraffito, a decorative technique in which designs are scratched into the surface of a fired piece of pottery, and other

New Life Water Jar by Tammy Garcia (Santa Clara Pueblo) features turquoise inlay and carved mountain lions and flora patterns. Photo courtesy King Galleries.

A 14-inch-tall water jar with Avanyu (circa 1920–25) by Maria Martinez (San Ildefonso Pueblo). Photo courtesy King Galleries.

incising techniques into the mix of innovations, and miniatures reigned tall in the work of artists like Grace Medicine Flower (Santa Clara Pueblo) and Joseph Lonewolf (Santa Clara Pueblo), who inspired an appreciation for small-scale ceramics that continues today.

The 1980s marked an especially prolific time when groundbreaking potters like Nathan Begay (Navajo; 1958–2010), Polly Rose Folwell (Santa Clara Pueblo), Susan Folwell (Santa Clara Pueblo), Tammy Garcia (Santa Clara Pueblo), Christine McHorse (Navajo; 1948–2021), Les Namingha (Tewa/Zuni), Virgil Ortiz (Cochiti Pueblo), Al Qoyawayma (Hopi), Diego Romero (Cochiti Pueblo), Russell Sanchez (San Ildefonso Pueblo), Richard Zane Smith (Wyandot), and Lonnie Vigil (Nambé Pueblo) began to stretch the clay to meet the far ends of the imagination. Like the great innovators of the past, they paved new roads for what was to come.

Throughout the 1990s and into the 2000s, these and other notable artists such as Jason Garcia (Santa Clara Pueblo), Charmae Natseway (Acoma Pueblo), and Kathleen Wall (Jemez Pueblo) have continued to push Native ceramic arts in new directions. And while most Indigenous potters have adhered to the traditional time-honored pottery-making methods regarding design and construction, the parameters of the artform have again been redefined by the current generation of ceramic artists who have shaped their own visions in contemporary Native clay work.

The last 25 years have brought forth new talents who are carrying clay even further into uncharted creative territory, introducing new ways of mastering an ancient art form — key to the continuance of Southwest Native pottery. These talents include Joan Mitchell Foundation Fellowship recipient Rose B. Simpson (Santa Clara Pueblo), Tony Da Innovation Award winner Jared Tso (Diné), and 2023 Santa Fe Indian Market Best of Show winner Jennifer Tafoya (Santa Clara Pueblo), whose eye-catching entry, Caught by Surprise, reveals the artist’s gift for design and use of color in an intricately incised masterwork featuring dinosaurs.

The artistic vision of the three award-winning potters highlighted below has also been key to the continuance of Native ceramic arts. They have each followed their own creative calling, earning top awards at Santa Fe Indian Market and the Heard Museum Guild Indian Fair & Market where their unique styles have distinguished them among their contemporaries. Whether working through traditional constructs or embracing new approaches in the ceramic arts, each represents a singular chapter in the collective ancestral story of clay.

Deep-carved vessel with intaglio (inscribed) hummingbird design by Grace Medicine Flower (Santa Clara Pueblo). Photo courtesy King Galleries.

Just Around the Corner by Jennifer Tafoya (Santa Clara Pueblo), a triangular bowl with natural colored slips. Photo courtesy King Galleries.

Matthew Bahe

Contemporary multidisciplinary artist Matthew Bahe (Diné) never considered pottery to be his ideal medium, but says, “I was determined to challenge myself with mastering the process of ceramics.” He adds, “Though I never learned the traditional methods of Southwest pottery, I highly respect the art form and the potters [who] practice it. I feel like I will always be a contemporary potter, though I will always respect the older ways.”

Encouraged by his mother, Bahe enrolled in a class to learn modern pottery techniques. “My instructor, Don Ellis, was an instrumental teacher and mentor,” he says. “He shared his knowledge with me and pushed my artistic abilities in pottery.”

Bahe’s one-of-a-kind ceramics are realized through a combination of techniques and styles utilizing a wide range of forms and finishes. Some resemble Ancestral Puebloan, Hopi, or Navajo wares of long ago in shape and decoration; some embody elements of Asian design aesthetics, as seen in the artist’s elegant, color-strong, lidded vases and jars; and some can be described as pure modern art. Much of the work depicts universally relatable imagery like animals, birds, and nature-based subjects, brought to life in contemporary configurations of surface designs in bright colors. And, he explains, whether it be creating the pot itself, the painted imagery, incising, carving, or glazing, everything is done by hand.

“My style of working with pottery is introducing different types of firing methods to create different surface qualities,” says Bahe. “I using my painting and illustration background to reflect a tattooing style onto my pottery, and I use modern ceramic material like underglazes, low-fire clay bodies and glazes, and electric kilns. I hand paint all my work with underglazes on wheel-thrown pots and try to push myself to try different methods when it comes to ceramics, [like] processing my work in a raku or saggar firing and using modern glazing and high-fire methods.”

Bahe became interested in the older style of Diné pottery, so he decided to retrace his culture’s pottery style and get reconnected. “I always personalize my pottery with symbols or inspired Diné imagery in some way to give the pots a Diné personality,” he explains. “But my style is contemporary and modern, so even if I learn the traditional Diné style, my artistic personality may compel me to incorporate contemporary elements, whether that be with functional ware or decorative ceramics. I try my best to create contemporary, stylized pottery while bridging my Indigenous background into a contemporary ceramic world to allow growth and artistic expansion.”

The artist recognizes that some of that growth and expansion comes from the learning opportunities that come with each of his ceramic creations. “In the building process, I believe pottery can be a teacher,” he says. “So many things can go wrong while creating. The pottery will tell the creator what they could be doing wrong; the clay will tell the potter.”

And when a pot is successful, Bahe finds it satisfying. “If it is not,” he says, “efforts are made to avoid discouragement, and I think about how I can learn from my failure. The best advice I was given at the beginning of my pottery career, and the best advice I can give to others, is never fall in love with a pot. Sometimes it will break your heart.”

He values the old ways of doing things but acknowledges the importance of innovation in Native ceramic arts. “I believe innovation and tradition in Native pottery are equally important,” Bahe says. “The art world is constantly growing and expanding. It doesn’t hurt to explore, grow, and open new artistic doors in the pottery world. It allows contemporary potters and traditional potters to learn from one another and hopefully together create something new in the pottery industry.”

Clockwise from top left, Evolving Dream, inspired by mandala forms; Flowers on a Bottle; Seeker , all by Matthew Bahe (Diné).

Jody Naranjo

Like most Pueblo potters, Jody Naranjo (Santa Clara Pueblo) was introduced to clay as a child and learned to make pottery from her family by helping and watching. She says, “Pottery was a daily part of life growing up.”

Among her earliest creative influences, she cites her grandmother Rose Naranjo as particularly important. Rose’s large-scale works inspired her interest in working with clay and gifted Jody with fond culinary memories. “She made these huge vessels out of micaceous clay,” Naranjo recalls. “She smoothed them to perfection and fired them with cedar and cow manure to get the smoke clouds. Beans had a special flavor cooked in her pots.”

Like her grandmother and many other women in the Naranjo family — innovators she has always looked up to, including aunts Jody Folwell and Nora Naranjo-Morse and cousin Roxanne Swentzell — the artist has shaped a life from clay. And through the course of a career that has spanned more than four decades, she has achieved a signature style that is instantly recognizable to the knowing eye. It is quality work from a technical standpoint, and work that immediately endears viewers to its often whimsical and nature-inspired subject matter. “My pottery is very playful and I like to tell little stories through my work,” says Naranjo. “Probably because as a mother, and now a grandmother, I’ve always had small children around.”

In the early days of her career, her work followed close to tradition in both technique

and design. But as she refined her skills and as her individual style evolved — from small carved bowls and jars to tall, slender vases with intricately incised surfaces — so too did her repertoire of decorative options. “Soon after I started making pottery, I was considered very modern,” she says. “But ‘traditional’ seems to change a little with each generation. Now, there are many potters who are more contemporary.”

Today, Naranjo’s work continues to draw from both the ancient and the modern. “I enjoy playing with a mixture of traditional and contemporary through design and materials,” she says. Even after years of creating some of the most collectable pottery in the world, she remains pragmatic and still defers to the clay for guidance, sometimes finding an unexpected but welcome turn in the creative process, which is perhaps where the seeds of innovation begin to take root for many artists. “When my pots don’t work out as I planned, I let the clay dictate what it wants to do. It will surprise me with something new and different.”

Innovation is key in every art form, and she notes, “It is interesting to see what potters come up with using the same clay, techniques, and process. I hope Pueblo pottery will continue to evolve in the future. We need to be careful not to lose this tradition, passed down by our grandparents.”

Reflecting on the idea of creative legacy, Naranjo says she hopes “to be remembered as a good potter who blended traditional and contemporary successfully.”

Horse & Landscape , a sgraffito-carved pot with acrylic paint by Jody Naranjo (Santa Clara Pueblo). Photo courtesy Blue Rain Gallery.

Buffalo Pot by Jody Naranjo (Santa Clara Pueblo), a hand-coiled sgraffito-carved pot with acrylic paint and turquoise inlay. Photo courtesy Blue Rain Gallery.

Jody Naranjo (Santa Clara Pueblo) holds a few of her distinctive carved pots in rich chocolate tones. Photo courtesy Michael and Shelle Neese.

Daniel Begay

“I’ve had my hands in clay since I was 3 or 4 years old,” says Daniel Begay (Diné/Santa Clara Pueblo), whose own young children are starting to show an interest in pottery. “Now they ask for clay when they see me working.”

Begay, whose work has recently expanded into photography and graphic design, learned to make pottery from his parents, Harrison Begay Jr. (Diné) and Marie John (Santa Clara Pueblo). Growing up in Santa Clara Pueblo, the younger Begay was inspired by its many renowned potters, noting Nathan Youngblood and Tammy Garcia as creative influences. “I also find inspiration from artists like my dad and other legendary potters like Les Namingha, Robert Patricio, and Hubert Candelario,” Begay says. “Those artists are examples of creators who have done something new in their respective careers and styles of pottery. [Over the years], they’ve gained valuable experience, [nurtured] a desire to grow their skill, and done something that has set them apart from their peers.”

He also finds inspiration in his mixed tribal heritage, combining elements of both Diné and Pueblo culture in his work. “There’s so much versatility in the world of Native pottery,” he notes.

Bold sculptural shapes, deeply carved and meticulously polished surfaces, and black-, red-, and earth-tone-fired finishes are hallmarks of Begay’s stand-alone style, which often includes design and decorative elements reminiscent of those of the artist’s early muses. “I came up at a time when I was able to incorporate a more contemporary flair into my work, experiment with new techniques, and grow as an artist,” he says.

He hopes to continue to grow and improve his skills. In terms of pushing his art form in new directions, “I challenge myself with my carving,” Begay says. “Recently, I’ve been practicing a fusion of carving with forms that have sharp corners and hope to continue work in that area.”

Though Begay creates a contemporary style of pottery, “I draw from older forms and try to incorporate and even adopt older techniques,” he says. “I’m barely starting to learn about the history and evolution of Santa Clara Pueblo pottery, and it amazes me that carving was an innovation that came about just within the last century. So, the emergence of this style of pottery is relatively new when you look at the extensive history of Pueblo people. The creators who started adding carving to pottery, which helped the art form become more appealing to buyers in the early 1900s, are among the most important innovators.”

Innovation helps the art form grow, he explains. “In the last 25 to 50 years, the innovation has been astounding. That leap in terms of evolution of the art form is happening considerably fast. I’m honored to be part of that evolution and I really hope that those who collect and appreciate the art form will find acceptance with new [innovations]. Whether they be innovations with the tools or techniques used, like the use of 3D printing, I see it as a necessary growth to the art form.”

Considering pottery’s evolution over the next 50 years, he hopes to see a growth in the number of young creators. Begay says, “Although I expect that growth to be slow — there are just so many options and choices for young people now — I envision it leading to a surge in creators, and that in turn will lead to a rise in innovations. With that rise in innovation, I envision a steady influx of new technology to be experimented with and incorporated into the art form.”

Inspirited by old, large-scale works, Begay aspires to produce more sizable pieces in the next stage of his career. “It gives you a deeper appreciation for working with clay,” he says. “So much blood, sweat, and tears goes into it, and because you’ve spent so much time with it, you get attached to it.” Like most potters, he knows the heartbreak of losing pieces during firing, the riskiest part of the pottery-making process that can reduce weeks or even months of work to dust in an instant. “I’ve lost two big ones in the past year,” he says. “I’m always thankful for the pieces that are successful; there’s a sense of relief when one of my creations makes it through the firing process.”

Begay also knows that a career in clay requires not only a steady hand, but a steadiness of heart and mind as well. “You have to be more calm, more patient, when working with clay,” he says. “There’s a connection between the potter and the clay: Whatever energy you put into it will affect the end result.” And when it comes to Southwest Native pottery, the end result is what matters most.

RoseMary Diaz (Santa Clara Pueblo) is a freelance writer based in Santa Fe. She studied literature and its respective arts at the Institute of American Indian Arts, Naropa Institute, and the University of California, Santa Cruz.

Untitled deep-carved abstract vessel by Daniel Begay (Diné/Santa Clara Pueblo) made from northern New Mexico clay, hand-coiled, handburnished, and traditionally fired. Photo courtesy DTB Creative.

Untitled bear-stoppered container in blackon-black style by Daniel Begay (Diné/Santa Clara Pueblo). Photo courtesy DTB Creative.

Walk in the Canyon by Daniel Begay, a deepcarved pot finished with a novel red micaceous slip. Photo courtesy King Galleries.

Native American Regalia Showcase

Remodeled,

re-imagined, and reinvigorated event reflects the vitality of vintage and traditional Native attire and ceremonial accessories

By Daniel Gibson | Photos by Kitty Leaken

Perhaps the single most popular aspect of the Santa Fe Indian Market over the years has been the presentation of tribal and familial apparel and accoutrements on the Santa Fe Plaza on Sunday morning. The Native American Clothing Contest, as it was previously known, had legions of followers, but the development of Indian Market’s contemporary fashion show in recent years drew some of the attention and impact away from the longstanding event. Now, the clothing contest has been reorganized, reinvigorated, and renamed as the Native American Regalia Showcase, and is set this year to resume its prominence at Indian Market.

Brokeshoulder women in regalia head to toe. Left to right: Sharon (Diné/Ute Mountain), her daughter-inlaw Natasha (Diné), and Audrey (Diné/Hopi/Shawnee) swing their shawls as they step to the drum. All are seasoned presenters of traditional Native regalia, with Natasha now serving as creative director of the showcase.

“We wanted to shift the emphasis from it being a competition to it becoming a celebration of regalia,” explains Natasha AshleyBrokeshoulder (Diné), the event’s creative director for the last three years. “There were lots of questions about how to judge the event, the distribution of prize money, and the categories used to divide the participants. We’ve opened it up now, done away with age categories, and will allow anyone to participate. You don’t have to be a juried Indian Market artist to showcase your work.”

This re-imagined event showcases traditional clothing, regalia, and family heirlooms, with contemporary clothing now highlighted in another popular Indian Market event, the SWAIA Native Fashion Show (see schedule on page 30).

“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,” wrote notable Native apparel authority Jessica R. Metcalfe (Chippewa) in the Santa Fe New Mexican in 2013. This, essentially, is the

concept behind the updated regalia showcase, with its new emcee, James Edwards (Pawnee/Cheyenne Comanche), explaining the history and symbolism of regalia as well as the relevance of the work.

Native American regalia consists of specialized attire and ornamentation worn during traditional ceremonies, dances, and important life events. It is a visual form of cultural expression and identity, often reflecting the wearer’s heritage, family history, and individual artistic style. In addition to the primary garment, it can include items like breastplates, hair ornaments, headbands, or other forms of adornment, often made from fur, leather, feathers, or beads. Regalia can also include items like bags, tobacco pouches, fans, rattles, or bells.

The design and materials reflect the sacred bond between ancestors, family members, and community. Creating regalia is a spiritual activity that represents traditional knowledge passed down from generation to generation.

Trae Little Sky (Lakota/Nakoda) in full regalia in 2022.

History of the Event

This keystone Indian Market event began in the early years with artists turning up in their finest attire and an informal award given to the best dressed. Eventually, it became a Sunday morning staple and the most-photographed event of the entire weekend, with categories for men and women ranging from toddlers to elders. Over time, a special category was established for contemporary clothing, which quickly grew exceedingly popular, to the point that it was split off and developed into its own free-standing event, the SWAIA Native Fashion Show, now held at the Santa Fe Community Convention Center. The original Native American Clothing Contest also spawned the annual SWAIA Native Fashion Week, which marked its second staging in May 2025.

Much of the growth of this “wearable art” event can be attributed to the late Jeri Ah-be-hill (Kiowa/Comanche), who directed the Native American Clothing Contest from 1991 through 2008. Born Geraldine Fuller on September 23, 1933, in Apache, Oklahoma, she was a greatniece of the noted Kiowa artist Silver Horn. She studied at Riverside Indian School in Anadarko, Oklahoma, where she was asked to model in 1951 at the Indian Arts and Crafts Association fashion show in Peoria, Illinois. At the age of 21, she made the decision to wear nothing but American Indian-inspired clothing, creatively blending the old with the new.

As director of the Native American Clothing Contest, she oversaw the recruitment of volunteers, participants, and prizes, and also used it as a forum, along with long-time emcee Rex Arrowsmith, to educate the public about Native culture. In 2011, she was honored with the Povi’ka Award from the Santa Fe Indian Market in recognition of her leadership and support to Native American artists and communities. She passed away in March 2015.

One of the points Ah-be-hill continually stressed was that the attire and regalia seen on stage at the event are not costumes. A costume is worn when you are pretending to be something you are not, like at Halloween, she would note. Regalia and traditional apparel are directly linked to the wearer’s Native heritage, character, and identity.

Regalia as Fine Art

Ah-be-hill’s daughters, Teri Greeves and Keri Ataumbi, grew up around the event, and both have gone on to become well-known artists — Teri focuses on beading as a medium, and Keri is a jeweler (see page 90). Both sisters show and sell at Indian Market; for Greeves, the 2025 market will mark her 27th appearance. “Because Mom oversaw the clothing contest,” she explains, “I felt it was not appropriate for me to participate in it.”

Looking back at their mother’s dedication to the event, Greeves notes, “Mom wanted people to recognize the diversity of our people, our nations, and attire and regalia as a form of artistic expression. The crowd is mostly white, and often knows almost nothing about Native life and culture. There is a huge learning curve for most, and Mom set out to educate them in a non-threatening way. She was very witty and fun, and she knew the value of fashion to be able to speak to a large, non-Native audience. She really believed in communication and education, that the more non-Natives knew about us the less threatening we’d seem to them, that we are Americans and a foundational aspect of the fabric of the United States.”

Greeves continues, “Mom added contemporary clothing as a separate category. She lived and breathed it for most of her life, so adding it was not a difficult choice for her. But this was not the fashion runway scene, which has a totally different value system. Contemporary fashion is

Top: Zeke Argaenas (Diné) modeling a wool shawl by Zefren Anderson (Diné) that earned Best of Show, Men’s Traditional, in 2019.

Jeri Ah-be-hill, originator of the event, in 2012 in a dress made from Blue Bird Flour sacks.

A young Apache dancer emerges from the dressing area after a touchup from his mother and grandmother. He took first place in the Youth Division in 2008.

a sort of churn of Western capitalism. The Native American Regalia Showcase is something much different. While it can be a form of personal artistic self-expression, it is actually much more foundational, an expression of our communal belonging to a specific tribal nation. It is an expression of our sovereignty, of who we are, and how we are to be seen.”

Greeves began beading at age 8, and broke beading out of its traditional “box” while in college with a pair of high-heeled Converse sneakers she adorned and modified. She followed this with a beaded deer-hide umbrella depicting a local parade, which won Best of Show at Indian Market in 1999. Her work is found in the Albuquerque Museum of Art, the Autry Museum of the American West in Los Angeles, the British Museum in London, the Denver Art Museum, the Montclair Art Museum in New Jersey, the Brooklyn Museum, the New Mexico Museum of Art, the Heard Museum in Phoenix, and many more.

A June 2024 article about her by Julia Carmel in The New York Times begins: “Teri Greeves was born into a world of beads. ‘I was brought home in a fully beaded cradleboard,’ she said at her home studio in Santa Fe, New Mexico. ‘I had a fully beaded diaper bag. I had beaded moccasins before I could walk.’”

That is the essence of regalia, which will be on full display at the 2025 Native American Regalia Showcase, a don’t-miss-it event!

Event Details

The Native American Regalia Showcase will be held on the Santa Fe Plaza bandstand on Sunday, August 17, from 9 –11 a. m. Attendance is free. Head-to-toe outfits of traditional apparel and regalia by 20 to 25 creators from across the country will be modeled. A panel of 15 guest reviewers, to be selected from the audience by Creative Director Natasha Ashley-Brokeshoulder, will present ribbons in three fields: the Youth Honoring Award, the People’s Choice Award, and the Jeri Ah-be-hill Award for the best representation of tribal traditions. The winner of the latter award will be given a special robe by Teri Greeves and Keri Ataumbi, and all participants will receive a modest stipend. Participants can register online and will be accepted on a first-come, firstincluded basis. For details, check online at swaia.org.

Daniel Gibson has served as the editor of many Santa Fe Indian Market magazines and was the editor of Native Peoples magazine for 12 years.

THE SOUTHWESTERN ASSOCIATION FOR

Meet Your Santa Fe Indian Market Host: INDIAN ARTS

By Cheryl Fallstead

As you browse the booths at this year’s Santa Fe Indian Market, take a moment to think about what it takes to make it all happen. The exceptional talent and hard work of the artists are on full display, but it’s easy to overlook the massive effort behind the scenes. Who is at the heart of bringing all this together?

Meet your host: the Southwestern Association for Indian Arts (SWAIA).

The forerunner to today’s Santa Fe Indian Market had a longer name when it launched in 1922 under the leadership of Edgar Lee Hewett and Kenneth Chapman of the Museum of New Mexico: the Southwest Indian Art Fair and Industrial Arts and Crafts Exposition.

Multiple evolutions took place between the inaugural fair and 1934, when SWAIA’s first iteration, the New Mexico Association of Indian Affairs, took over sponsorship of the market. The name Southwestern Association for Indian Arts was adopted in 1993 when Indian Market became the organization’s focus, along with cultural preservation and education about Native-made goods.

Over the years, tens of thousands of Native artists and millions of collectors have come together at Santa Fe Indian Market to celebrate Indigenous arts. During that time, the overall Native art market evolved from curios sold to tourists at train stations or Harvey Houses to the fine art it is acknowledged to be today.

An important part of that evolution at Santa Fe Indian Market was instituting a formal, stringent jurying process in the mid-1980s. This ensures that only the highest quality of Native art is available at this world-renowned market.

In addition, at a time when mass-produced pieces misrepresented as Native-made are sold in many locations, SWAIA ensures that all art sold at the market is created by artists who are registered members of federally recognized tribes.

SWAIA TODAY

SWAIA is a small-yet-mighty nonprofit organization based in Santa Fe with the mission of bringing Native arts to the world by inspiring artistic excellence, fostering education, and creating meaningful partnerships. Led by Executive Director Jamie Schulze (Northern Cheyenne/Sisseton Wahpeton Oyate), SWAIA not only stages the world’s largest and bestknown juried Native art market each August, but also hosts the Winter Indian Market and, for the last two years, SWAIA Native Fashion Week in May.

That’s a lot to take on for a full-time staff of only six! Fortunately, they are supported by a handful of contractors, seasonal employees, interns, hundreds of volunteers, and a dedicated volunteer board of directors.

SWAIA team members (from left to right) Natasha Ashley-Brokeshoulder, Z Nez, George Rivera, Jennifer Bushe, Mona Perea, Cingarkaq Devine, Carmen Wiley, and Sheyenne Lacy.

Santa Fe Indian Market is teeming with activity both on the streets and behind the scenes. Photo by Gabriella Marks.

VOLUNTEERS

Volunteers manage ongoing tasks like data entry and administrative duties. At the summer and winter markets, they are instrumental in receiving artwork from artists, helping to set up and execute the jurying process, monitoring booths, and keeping artwork safe. During Native Fashion Week, about 60 volunteers are stationed at critical places to provide information and assist in seating guests.

As Schulze leads SWAIA into the 2025 Indian Market, she says, “Rooted in tradition and reaching toward the future, this year’s market will be a celebration of Native creativity, community, and connection. At SWAIA, we are proud to walk alongside our artists as they shape the next chapter of Native art.”

SWAIA BOARD

Nonprofit organizations rely on their boards for many essential roles, such as fundraising, stewardship, developing new connections, and governance of the nonprofit. SWAIA board members also work with Schulze to ensure every event addresses artists’ needs.

SWAIA’s nine-member board includes artists, lawyers, business owners, and nonprofit leaders. Their charter requires that the board has a minimum of three artists and that at least half the board is Native.

“As a board, we are deeply committed to supporting Native artists and strengthening

SWAIA’s foundation,” says Dawn Houle (Chippewa Cree Tribe of Montana), SWAIA board president. “By combining diverse expertise with a unified dedication to Native art, we ensure every decision uplifts the artists and communities we serve.”

STAYING FUTURE FOCUSED

Board members help SWAIA staff stay focused on the future of Native art and how the nonprofit can better serve as a conduit for Native voices. The addition of SWAIA Native Fashion Week in May is one highly visible way that SWAIA continues to evolve with the times as more Native fashion designers attain international recognition. Native designs today represent both traditional elements and innovative, high-fashion flair. No wonder they are in such demand!

FUNDING THE ORGANIZATION

Every nonprofit must keep its mission in mind while also finding creative ways to fund the activities that support that mission. Schulze says SWAIA’s largest annual fundraiser is the Indian Market Gala and Live Auction, held on Saturday night during the summer market. Funds raised at the star-studded gala help support the two markets and fashion week. Sponsorships, memberships, and donations also help SWAIA fulfill its mission (learn how you can become a member or donate at swaia.org/donate).

HELPING NATIVE ARTISTS YEARROUND

While the Santa Fe Indian Market, held the third weekend of August on the Santa Fe Plaza, and the Winter Indian Market, held Thanksgiving weekend at the Santa Fe Community Convention Center, provide thousands of Native artists the opportunity to showcase their talent and sell their work, SWAIA’s efforts go beyond these two physical markets. The SWAIA website features an online directory with profile pages for market artists, providing a year-round, worldwide reach.

SUPPORTING THE NEXT GENERATION OF ARTISTS

Young aspiring artists can participate at Santa Fe Indian Market at the booth of a family member who was juried in, allowing the next generation to start honing their artistic and marketing skills. A partnership with the Boys & Girls Club of America provides other young Native artists the chance to be represented at Santa Fe Indian Market.

So, as you decide which of the thousands of worthy pieces of art you want to take home from Santa Fe Indian Market, take a moment to appreciate not only the talented Native artists but also the many people who help make the market possible.

A quiet morning at Santa Fe Indian Market before the crowds arrive, looking east to St. Francis Cathedral.

Photo by Gabriella Marks.

SWAIA staff members Cingarkaq Devine (left) and Carmen Wiley are part of the team that makes the magic happen. Photo by Kelly Bedoni.

SWAIA Board President Dawn Houle with SWAIA donor Bob Balzer at Native Fashion Week. Photo by Kelly Bedoni.

Indian Market Awards 2024

Photos by Tira Howard

2024 Best of Show

Dan Vallo (Acoma Pueblo) was awarded both Best of Show and Best of Class (Diverse Arts) for his set of Pueblo warrior weapons created in the style of the 1680s.

3.

4. Painting, Drawings, Graphics & Photography: Johnson Yazzie (Navajo)

5.

2. Jewelry: Sarah Aragon (Navajo)

Pottery: Garrett Maho (Hopi)

Wooden Pueblo Figurative Carving: Arthur Holmes Jr. (Hopi)

6. Sculpture: Ryan Benally (Navajo)

7. Textiles: Isabel Gonzales (Jemez Pueblo)

8. Beadwork & Quillwork: Monica Raphael (Grand Traverse Band Ottawa/Chippewa)

9. Youth: Aydrian Day (Ho-Chunk/Anishinaabe/ Lakota)

10. Basketry: Caleb Hoffman (Cherokee)

Strength in Unity (2020) by Eugene Tapahe (Diné), taken in Grand Teton National Park, Wyoming.

Raven Rising (2014) by Zoe Urness (Tlingit Alaskan), sepia-toned print, photographed on the Lummi Nation, Washington.

PHOTOGRAPHERS REFLECTING THEIR WORLD THE NATIVE EYE

By Arin McKenna

Native American photographers began documenting their lands and cultures in the late 19th century. They were followed by 20th-century photographers from Jennie Ross Cobb (the first known female Native American photographer), who documented her fellow Cherokees’ lives, Horace Poolaw (Kiowa), and Lee Marmon (Laguna Pueblo) to contemporary artists like Wendy Red Star (Crow), Cara Romero (Chemehuevi), photojournalist Jaida Grey Eagle (Oglala Lakota), Zig Jackson (Mandan/ Hidatsa/Arikara), and Will Wilson (Diné). These and other Native photographers have brought an understanding of the lived experiences of Indigenous communities that those outside the culture can never match.

Their strong ties to the land generate powerful landscape photography, and many contemporary photographers actively combat both the romanticized images of a “dying” culture or depictions of Indigenous people leading lives of poverty and despair. For example, Matika Wilbur (Tulalip/Swinomish) counteracts stereotypical images of American Indians by creating positive Indigenous role models through a project in which she is photographing members of all 562 federally recognized tribes. (For more on Wilbur and her work, visit project562.com.)

The Santa Fe Indian Market has been the launchpad for many emerging Native photographers. Every year these numbers grow,

from just a few a decade ago to more than a dozen today, including Zoe Urness (Tlingit Alaskan), Eugene Tapahe (Navajo), Deborah Lujan (Taos Pueblo), Eli Secody (Navajo), Derrick Kosea (Diné), Sam Minkler (Navajo), Benjamin West (Otoe-Missouria), Lisa Hudson (Chickasaw), and Myron Fowler (Navajo). Here we spotlight four of these phenomenal Native photographers showing at this year’s Santa Fe Indian Market — offering just a glimpse into this blossoming field of Indigenous art.

Monument Glow by Derrick Kosea (Diné), taken in Monument Valley, Utah.

Her Peace by Lisa Hudson (Chickasaw).

EUGENE TAPAHE

Eugene Tapahe (Diné) was drawn to landscape photography some 15 years ago so he could share his photos with his 106-year-old grandmother who could no longer walk the land herself.

“It was about wanting to capture the spirit of the land, to be able to share it with my grandma,” Tapahe says. “And that’s my focus on everything I do now: I just want to capture the spirit of the land. I don’t want to just give you a pretty picture that will be on a postcard. I want you to feel what I felt when I was there.”

Tapahe’s response to the COVID pandemic, the Jingle Dress Project, has moved hearts everywhere and become his defining work to date. During that grim time, which hit the Navajo Nation particularly hard, Tapahe lost his aunt and his livelihood. In the midst of his sorrow, he had a dream that he was in Yellowstone National Park, watching bison graze at sunset, when jingle dress dancers arrived and appeared to be dancing with the bison. “It was just really, really calm and I felt really peaceful. I felt like I had hope.”

The dream haunted him until he told his wife, Sharon, and his daughters, Erin and Dion, “I think this dream was trying to tell me that we needed to take healing power to the land” in the form of jingle dancing. His daughters and family friends Sunni and JoAnni Begay were willing to dance. Another friend, Bryan Janson, recorded a jingle dress dance honor song for them.

They chose Bonneville Salt Flats, close to their home in Utah, as the site for their first dance. Tapahe had researched portraiture photography and brought all the recommended

lighting equipment. But as he looked through the viewfinder at the girls in the artificial light, he decided to put all that away and “just go with what nature’s giving us. I wanted the land and them to work together. I wanted them to be unified, because we’re here to bless the land and the ancestors who lived here before us.”

After the girls danced, they were all in tears from the power of the moment. “My daughter said to me, ‘Dad, we could feel the ancestors dancing with us. We’re not here alone.’ And that’s how I felt. I felt like the spirit of the land was with us. That’s when my other daughter said, ‘Dad, we can’t do this just this one time. We’ve got to take it to the land.’”

And that’s what they did, traveling across the country to state and national parks, beginning with Yellowstone. They shared their journey on social media, and people started asking them to dance for loved ones who were sick or had died from COVID. Mothers wrote that they were finally finishing their daughters’ jingle dresses, and young women wrote to say they had stopped drinking or doing drugs so they could have the mental, physical, and emotional purity necessary to perform the jingle dress dance. Jingle dress dances are vessels for redemption, Tapahe explains, “because every jingle on the dress represents a prayer.”

The Jingle Dress Project continues with presentations for communities, museums, universities, and grade schools. “We’re not a performance group,” Tapahe finishes. “We’re a healing group. We’ll come to heal and spread goodness.”

And make some remarkable photographs.

Strength & Dignity (2020), taken in La Push, Washington.

We Have a Dream (2021), photographed at the Lincoln Memorial, Washington, D.C.

Spiritual Sunrise (2022), Yellowstone National Park.

ZOE URNESS

When people ask Zoe Urness (Tlingit Alaskan) which museum collection her sepia-toned photos came from, she loves telling them she just recently created the photos herself, then hearing, “Oh my gosh, Native Americans still look like that?”

Urness sees her photos as a form of time travel, taking the viewer back in time while emphasizing the living traditions of modern-day Native people. This linkage of past and present interrupts misconceptions about Native people and offers viewers a new perspective. “They’re realizing we are still here today, and we live traditionally and carry on our songs and dances,” Urness notes. “I like that they are kind of woken up to know that we’re not just in history books.”

The visual echo of Edward Curtis’ work is not accidental. Urness was inspired by Curtis’ sepia photos of Native people in books her dad gave her. After years working as a photographer in portrait galleries, Urness used that style in her first venture into fine art portraiture, a photo of Raven Dancer from her Tlingit dance group, and was hooked. “It just really spoke to me with the warmth of the sepia tone, and it took me to another place, like a whole different time,” Urness says.

Another photographer who inspired her passion for fine art portraiture was Annie Leibovitz. “I just loved how she picked the settings for each person, based on their mood and emotions, and the lighting.” In high school,

the entire perimeter of her bedroom was covered with Leibovitz’s portraits.

As a child, Urness fell in love with light when someone gave her light-sensitive paper that let her capture images of leaves and other objects. Her grandmother bought her a camera for a family road trip when she was seven, and in middle school she was given a camera to photograph sports for the yearbook. That was it: “I’m the photographer. That’s my job,” Urness recalls. “It found me at a very young age, and I just knew that I wanted to be a photographer.”

Urness is now exploring color photography, often placing women in brightly colored powwow regalia against backgrounds with muted colors, black and white, or sepia tones.

These photos have a playful side, like her take on the famous Lunch Atop a Skyscraper photo of Mohawk Skywalkers sitting on a high beam during the construction of Rockefeller Center in 1932. In her image, Urness replaces the workers with laughing women in bright regalia. In another photo, women dressed in the colors of the rainbow stand in a sepia-toned field with the dark silhouette of Shiprock behind them. A series called “Indian Time” depicts women in colorful powwow dresses driving a Mustang down a dirt road as though they are stepping out of history into the present day, bringing Urness’ linkage of past and present to a whole new level.

Year of the Women (2019), in front of Shiprock in New Mexico.

NDN Time #3 (2024), photographed on the Pala Reservation.

Dem-I-Thia (2022), photographed on the Lummi Nation, Washington.

LISA HUDSON

Lisa Hudson (Chickasaw) brings a new perspective to photography, using the flexibility of digital photography to alter tones and colors to emphasize certain aspects of the photograph or to change angles and produce a completely different feeling.

“I like to take a more spontaneous approach to my work, just allow the moment and environment to speak to me,” Hudson says. “Then later I will make some tweaks and edits to highlight some aspect of the subject. Sometimes this is just a simple color adjustment. Other times this could be adding more layers or elements to the image to transform the subject into a more dynamic piece that really conveys what I want others to see or feel.”

Hudson’s background is in painting and sketch work, but photography drew her as a tool to showcase the beauty of the Chickasaw people and their culture. “I want to highlight the beauty of natural, everyday people and things. It’s important that we cherish what we have. Things change so rapidly today, and everything can be gone before you know it. If I can make people have a greater appreciation for the subjects of my pieces and stop and smell the roses in their own lives, that would make me happy.”

Hudson’s experimentation with layers adds

striking elements to her photographic images, such as overlaying a portrait with a floral or leaf pattern or making plant stems with empty seed pods appear to radiate light.

“One thing about my process is that nothing is set in stone,” she explains. “A lot of it is just experimenting with different visuals and colors. I rarely arrive at a conclusion to a piece in one session. Many times, I will come back to it after days or weeks and have a different perspective, then make some adjustments.”

Not all of Hudson’s photographic works have that complexity. “I love the simplicity of great black and white images. Creating these types

of works really brings back my roots of just capturing the energy of a simple moment in time. I love the classic, nostalgic energy these works bring.”

Photography is a natural extension of Hudson’s appreciation of the world around her. “Ever since I was young, I have always had a love for simple everyday moments and try to see the beauty in everything,” she concludes. “I always enjoyed taking a pause to soak in these moments, whether it’s the way the light hits the meadow or the smile on someone’s face. I want to be able to highlight these moments and share the beauty and emotion I feel with others.”

Sage: Grounded by Wisdom and Resilience

Innocence

DERRICK KOSEA

Derrick Kosea (Diné) grew up with the Bisti/ De-Na-Zin Wilderness of northwestern New Mexico “in his backyard,” and has explored these badlands and other areas of the Navajo Nation as a hiker and runner. These landscapes inspired him to purchase his first camera six years ago.

“I want my photographs to showcase my beautiful homeland in Bisti and other areas in and around the Navajo Nation, a place I hold dear to my heart and am blessed to have grown up in,” Kosea says. That love of his homeland comes through the artist’s dramatic images of the earth tinted by vibrant sunrises and sunsets. The way he harnesses light makes the land seem to glow from within.

Even Kosea’s cityscapes have a landscape quality to them, with buildings accented by dramatic skies: the Washington Monument playing second fiddle to sunset clouds reflected in the Lincoln Memorial Reflecting Pool, or red rose bushes offsetting the stark white of the

U.S. Capitol. “I like to expand out and just look at my surroundings, and something will stand out, like the flowers in front of the capitol,” Kosea notes. “I had an idea of what I wanted to capture, but being there in person, you get to see the actual layout and something you never thought would be there.”

Kosea says he gets lucky when he captures a dramatic sunrise, but a lot of planning goes into that luck. He makes sure he is on location during the “magic hour” of sunrise or sunset, hoping the clouds will cooperate. Kosea often uses technology to increase the odds of capturing the perfect shot, such as a phone app that shows the level of cloud cover so he can pinpoint when the high clouds that yield the most intense color will be present.

His photographic experimentation yields some surprising results. One photo, Lava in the Desert, appears to show lava flowing through Monument Valley. When Kosea saw a car driving through the valley, he reset his camera for a long exposure, and the taillights created the “lava” effect.

He also enjoys highlighting the “alien” quality of the Bisti Badlands and other southwestern landscapes in series such as “Star Wars in the Southwest.” As a fan, Kosea couldn’t resist

asking someone dressed up in a Star Wars costume to pose for him. But the photos that really emphasize those alien qualities and spark a sense of wonder are his nightscapes of the Bisti Badlands with the Milky Way soaring overhead, which he creates by working during the “blue hour,” just after sunset or before sunrise when the Milky Way is at its peak visibility, and using long exposures.

“The badlands have really dark skies,” Kosea explains. “I’ve always envisioned, especially with the hoodoos, that it really looks like another planet. Being able to use that aspect of the landscape and then mix it with the night sky feels like you are on another planet.”

To discover more talented Native photographers working today, visit the Indigenous Photograph website, indigenousphotograph.com.

Arin McKenna is an award-winning journalist whose career began in 2002 hosting a radio show about the arts and culture of Santa Fe. She has written for New Mexico Magazine, the Santa Fe New Mexican special editions, and many other publications. She currently serves as staff writer/ reporter for Northern New Mexico College.

New Mexico Sunset, taken in the Bisti Badlands, New Mexico.

Shiprock Locals, in far northwestern New Mexico.

Conversing Space, taken as the Milky Way rises between New Mexico hoodoos.

Kosea in the San Juan Mountains, Colorado.

NEW MEXICO HISTORY MUSEUM

A note about tribal affiliations

Native American tribes and Indigenous nations are known by many different names, from autonyms, or names the people call themselves in their own languages, to legal names to various alternative names. For example, while Navajo Nation is the tribe’s official name, its autonym is Diné, and artists might opt for either term.

Some tribes have changed their legal names to reflect the names used in their own languages. For instance, Kewa Pueblo was formerly Santo Domingo, and Ohkay Owingeh was San Juan Pueblo. While Jemez Pueblo has not changed its legal name, some of its members use its autonym, Walatowa. Some artists prefer the former names and continue to use them.

Some artists identify themselves with larger ethnic, linguistic, or cultural groups. Anishinaabe includes Ojibwe, Odawa, Potawatomi, Algonquin, and Oji-Cree people from the United States and Canada. Tewa includes Nambé, Pojaque, San Ildenfonso, Ohkay Owingeh, Santa Clara, and Tesuque Pueblos, as well as the Hopi-Tewa, who descend from Pueblo warriors who helped defend the Hopis against raiders.

Through forced relocation in the 19th century, many tribes were split between their homelands and Indian Territory, so artists may clarify which group they belong to by a designation such as Northern Arapaho or Southern Cheyenne.

The name Sioux comes from the Ojibwe language and includes the Dakotas, Lakotas, and Nakotas (or Assiniboine and Stoney people). Some reservations, such as Fort Peck Indian Reservation, comprise all three of these groups. Americans tend to use the term Blackfeet, while Canadians prefer Blackfoot, but both names refer to the same confederacy of four tribes on the Northern Plains.

Typically, when an artist descends from multiple tribes, the tribe she or he is enrolled with is listed first. Native artists carefully choose how to list their tribal affiliations to reflect history, geography, culture, and other important aspects of their identities.

I JEWELRY

Abeyta, Harvey Pueblo of Kewa PAL N 202

Abeyta, Lester Pueblo of Santo Domingo PAL N 209

Abeyta, Richard Pueblo of Santo Domingo PLZ 26

Abeyta, Sabrina

Pueblo of Kewa PAL N 202

Abeyta, Sharon

Pueblo of Santo Domingo PLZ 26

Abeyta, Temuujin Pueblo of Santo Domingo PAL N 209

Adams, Victoria Cheyenne & Arapaho PAL N 236

Aguilar, Avery Pueblo of Santo Domingo CP 01

Aguilar, Bea Pueblo of Santo Domingo CP 01

Aguilar, Mary Pueblo of Santo Domingo FR N 317

Aguilar, Richard Mississippi Band of Choctaw Indians FR S 332

Anderson, Ephraim

Navajo Nation LIN E 737

Aragon, Allen

Navajo Nation LIN E 748

Aragon, Sarah Navajo Nation FR S 323

Arviso, Steven

Navajo Nation LIN E 718

Ataumbi, Keri Kiowa Tribe of Oklahoma POG 122

Becenti, Alexander Navajo Nation FR S 330

Beck, Nanibaa

Navajo Nation PAL N 246

Begay, Abraham Navajo Nation FR N 307

Begay, Azalia Navajo Nation POG 101

Begay, Beverly Navajo Nation FR N 305

Begay, Darryl Navajo Nation PLZ 73

Begay, Eddie Navajo Nation FR S 306

Begay, Erick Navajo Nation PLZ 68

Begay, Jayson Navajo Nation CAT 908

Begay, Kenneth Navajo Nation PAL N 210

Begay, Leander Navajo Nation FR S 337

Begay, Leroy Navajo Nation SFT 515

Begay, Narbona Navajo Nation LIN E 727

Begay, Philbert Navajo Nation FR N 305

Begay, Rebecca Navajo Nation PLZ 73

Begay, Robert Navajo Nation PLZ 73

Benally, Ernest Navajo Nation POG 116

Benally, Veronica

Navajo Nation POG 116

Bennett, Donna Pueblo of Acoma CP 02

Bennett, George Hualapai CP 02

Betsoi, Raymond

Navajo Nation PAL S 214

Bia, Leona Navajo Nation PAL S 229

Bia, Norman Navajo Nation LIN W 760

Boivin, Wendy Menominee Tribe of Wisconsin PAL N 233

Boone, Evalena Pueblo of Zuni FR N 315

Box Anderson, Karen Southern Ute MAR 810

Brokeshoulder, Aaron Absentee Shawnee LIN E 762

Cajero, Althea Pueblo of Santo Domingo SFT 521

Calabaza, “Ca’Win” Jimmy Pueblo of Santo Domingo SFT E 534

Calabaza, Estefanita Pueblo of Santo Domingo PAL N 239

Calabaza, Gerard Pueblo of Santo Domingo POG 117

Calabaza, Joseph Pueblo of Santo Domingo PAL N 249

Calabaza, Mary Pueblo of Santo Domingo POG 117

Calabaza, Valerie Pueblo of Santo Domingo PAL N 249

Calabaza, Valerie Jade Pueblo of Santo Domingo LIN W 709

Calamity, Milford Navajo Nation WA W 401

Calladitto, Henry Navajo Nation FR P 301

Calladitto, Mark Navajo Nation FR P 301

VICTORIA ADAMS AVERY AGUILAR ANDERSON MARION

LEANDER BEGAY

Calladitto, Myles

Navajo Nation FR S 338

Calnimptewa, Poeceillmana Hopi PLZ 65

Carrillo, Franklin

Laguna Pueblo PAL S 254

Casuse, Fritz

Navajo Nation LIN W 726

Casuse, Mosgaadace

Navajo Nation PLZ 40

Caté, Clayton

Pueblo of Santo Domingo FR N 303

Caté, Lorraine

Pueblo of Santo Domingo FR N 303

Charlie, Richard

Navajo Nation PLZ 47

Chavez, Dana

Pueblo of Santo Domingo LIN E 735

Chavez, Dorothy

Pueblo of Santo Domingo SFT 509

Chavez, Franklin Jr.

Pueblo of Santo Domingo SFT 509

Chavez, Jared

Pueblo of San Felipe FR N 306

Chavez, Joseph

Santa Domingo Pueblo LIN W 743

Chavez, Julian

Navajo Nation PLZ 29

Chavez, LeJeune

Santa Domingo Pueblo LIN W 743

Chavez, Richard Navajo Nation FR N 306

Chee, Frank

Navajo Nation PAL S 252

Chee, Ryan

Navajo Nation LIN W 754

Christophersen, Erik Ermineskin Tribe WA E 414

Clark, Carl Navajo Nation PLZ 63

Clark, Irene

Navajo Nation PLZ 63

Coochwikvia, Marcus Hopi LIN W 764

Coonsis, Phyllis Pueblo of Zuni PAL S 203

Coriz, Joseph Pueblo of Santo Domingo FR S 310

Coriz, Rodney Pueblo of Santo Domingo FR P 304

Coriz, Rudy Santo Domingo FR S 324

Crawford, Michael Navajo Nation LIN E 732

Crawford, Taina

Navajo Nation FR S 337

Cummings, Edison Navajo Nation PAL S 207

Custer, Cheyenne Navajo Nation FR N 334

Custer, Gary Navajo Nation PAL S 236

Dalangyawma, Ramon Hopi Tribe LIN W 718

Denipah-LaRance, Marian Tewa-Ohkay Owingeh SFT 516

Dukepoo, Causandra Pueblo of Taos PAL N 245

Duwyenie, Preston Hopi WA W 410

Edaakie, Raylan Pueblo of Zuni PAL N 223

Edaakie, Sheryl Pueblo of Zuni PLZ 30

Emery, Terrance Jr. St. Croix Chippewa of Wisconsin LIN E 749

Enoah, Evangeline

Navajo Nation CP 12

Fendenheim, James Tohono O’odham PAL N 205

Fender, Erik Pueblo of San Ildefonso FR P 303

Francis, Florence

Navajo Nation LIN W 760

Garcia, Aaron Pueblo of Kewa LIN W 746

Garcia, Jonathan Pueblo of Santo Domingo FR S 341

Garcia, Kevin Pueblo of Santo Domingo SFT 511

Garcia, Mary Navajo Nation PAL N 198

Garcia, Michael Na Na Ping Pascua Yaqui LIN E 755

Garcia, Nelson Pueblo of Kewa LIN W 746

Garcia, Nicole Navajo Nation PLZ 67

Garcia, Ray Pueblo of San Felipe LIN W 788

Gasper, Duran Pueblo of Zuni

PAL S 208

Gatewood, Anthony Pueblo of Isleta WA W 406

Gene, Leonard

Navajo Nation LIN E 736

Goldtooth, Sage

Navajo Nation LIN E 709

Goodluck, Arnold

Navajo Nation LIN W 770

Goodluck, Karlene

Navajo Nation LIN W 770

Gordon, Derrick

Navajo Nation PAL S 210

Grabiec, Cheyenne Navajo Nation CAT 915

Greenstone, Regnar Jr. Navajo Nation PAL S 212

Hale, Clarissa

Navajo Nation PLZ 76

Hale, Vernon Jr. Navajo Nation PLZ 76

Harjo, Jessica Otoe-Missouria SFT E 526

Harris, Cheyenne Navajo Nation POG 124

Harrison, Jimmie

Navajo Nation PAL S 257

Haskie, Vernon

Navajo Nation FR S 315

Hatathlie, Carol Navajo Nation CP 25

Henderson, Wade Navajo Nation PAL S 198

Hendren, Shane Navajo Nation LIN E 712

Henry, Ronnie Navajo Nation PAL S 227

Herrera, Tim Pueblo of Cochiti PLZ 06

Hill, Jonah Quechan LIN E 747

Honwytewa, Jerolyn Hopi FR P 310

Hope, Lily Central Council of the Tlingit and Haida Indian Tribes of Alaska SFT 506

Howard, Ivan

Navajo Nation SFT W 524

Hunter, Cody

Navajo Nation PAL N 231

Hunter-Pine, Wilma

Navajo Nation PAL N 231

Huntinghorse, Dina

Wichita WA E 409

Jackson, Nicholas

Navajo Nation PAL S 199

ERICK BEGAY

ROBERT BEGAY

VERONICA BENALLY

DONNA BENNETT

Jim, Harrison Sr. Navajo Nation PLZ 66

Jim, Thomas Navajo Nation SFT 500

Joe, Alfred Navajo Nation SFT W 525

Joe, Bruce Navajo Nation PAL N 199

Joe, Bryan Navajo Nation PLZ 33

Joe, Ethan Navajo Nation SFT W 525

Joe, Rylan Navajo Nation PLZ 33

John, Daniel

Navajo Nation LIN W 711

Johnson, Kenneth Muscogee Creek LIN W 732

Johnson, Robertson

Navajo Nation LIN W 753

Jones, Burrell

Navajo Nation PAL S 231

Jones, Seth

Te-Moak Tribe of Western Shoshone FR S 335

Kemp, Rykelle Muscogee Creek SFT E 528

Ketah-Roxas, Nofretiri “Neffie” Tlingit WA W 401

Keyonnie, Julius Navajo Nation POG 121

Kirk, Elizabeth Pueblo of Isleta LIN E 720

Kirk, Michael Pueblo of Isleta LIN E 720

Koinva, Lucion Hopi POG 119

Kulberg, Dawn Chugach Sugpiaq PAL N 254

LaFountain, Samuel Navajo Nation LIN W 724

Lane, Bruce Navajo Nation PLZ 71

LaRance, Cree Ohkay Owingeh SFT 516

LaRance, Steve Hopi SFT 516

Latone, Christie Pueblo of Zuni POG 112

Lee, Alfred Navajo Nation PLZ 90

Lee, Russell Navajo Nation PLZ 41

Lee-Anderson, Kyle Navajo Nation WA E 415

Lee-Anderson, Trent Navajo Nation WA E 415

Lee-Anderson, Wyatt

Navajo Nation POG 125

Lister, Alice Navajo Nation PLZ 05

Lister, David Navajo Nation PLZ 05

Lister, Davida Navajo Nation PLZ 05

Lister, Ernie Navajo Nation PAL S 201

Livingston, Irene Navajo Nation SFT E 525

Livingston, Jake Navajo Nation SFT E 525

Livingston, Jay Navajo Nation FR N 321

Livingston, Jaysen Navajo Nation PLZ 85

Lomaventema, Gerald Hopi FR P 310

Loretto, Estella Pueblo of Jemez LIN W 725

Loretto, Glenda Pueblo of Jemez POG 113

Lovato, Andrew Pueblo of Santo Domingo PAL N 251

Lovato, Calvin Pueblo of Santo Domingo PAL S 234

Lovato, Martine Pueblo of Santo Domingo PAL S 246

Lovato, Monica Pueblo of Santo Domingo LIN W 788

Lovato, Ray Pueblo of Santo Domingo PAL N 251

Mace, Tanya Navajo Nation CAT 918

Macias, Sean Hopi CAT 919

Manygoats, Benson Navajo Nation PAL N 226

Marion, Anderson Navajo Nation PAL S 248

Martinez, Leon Navajo Nation LIN E 753

Medina, Jennifer Pueblo of Kewa SFT 512

Menadelook, Joshua Native Village of Diomede PLZ 59

Mitchell, Reginald Navajo Nation LIN W 742

Mitchell, Toney Navajo Nation PAL N 228

Morgan, Jacob Navajo Nation FR N 334

Muskett, Morris Navajo Nation FR N 320

Nakagawa, Jerome Navajo Nation FR S 336

Natan, Gabriel Navajo Nation CP 20

Natan, Naomi Navajo Nation CP 20

Navakuku, Emmett Hopi LIN W 762

Nells, Albert Navajo Nation PAL S 230

Nelson, Peter Navajo Nation PAL S 250

Nelson, Virginia Navajo Nation PAL S 255

Nequatewa, Verma Hopi PLZ 09

Nez, DeAnna Navajo Nation PLZ 76

Nez, Leonard Navajo Nation FR N 311

Nez, Marian Navajo Nation FR N 311

Nez, Nicholas Navajo Nation FR N 323

Ortiz, Isaiah Pueblo of San Felipe FR S 301

Otero, Joseph Navajo Nation FR P 312

Owen, Angie Pueblo of Santo Domingo WA E 408

Owen, Cornelio Santo Domingo WA E 408

Owen, Rena Pueblo of Santo Domingo WA E 407

Pacheco, Farrell Pueblo of Santo Domingo PAL S 246

Pacheco, Reyes Pueblo of Santo Domingo PAL S 246

Padilla, Betty Navajo Nation PAL N 237

Peshlakai, Norbert Navajo Nation PAL N 242

Pinnecoose, Adrian Navajo Nation PLZ 15

RIC CHARLIE

JOSEPH CHAVEZ

SHERYL EDAAKIE

NICOLE GARCIA

Platero, Denna

Navajo Nation PAL N 200

Platero, Enoch

Navajo Nation CP 07

Platero, Melvin

Navajo Nation PLZ 88

Plummer, Earl

Navajo Nation FR S 321

Poblano, Jovanna

Zuni SFT 510

Poblano, Veronica

Zuni SFT 510

Pruitt, Christopher

Pueblo of Laguna FR S 314

Pruitt, Pat

Pueblo of Laguna LIN W 710

Rafael, Tonya

Navajo Nation FR S 307

Ramel, Timothy

Bad River Band of Lake Superior Chippewa PLZ 51

Rankin, Heidi

Shawnee WA W 407

Reano, Arnold

Pueblo of Santo Domingo WA W 402

Reano, Charlene

Pueblo of San Felipe SFT W 527

Reano, Debra Pueblo of Santo Domingo WA W 402

Reano, Janie

Pueblo of Santo Domingo PAL N 253

Reano, Joe

Pueblo of Santo Domingo PAL N 259

Reano, Rose Pueblo of Santo Domingo PAL N 253

Reano-Valencia, Janalee

Pueblo of San Felipe SFT W 527

Robbins, Jesse Muscogee (Creek) PAL S 220

Rogers, Shaun

Navajo Nation FR N 309

Samora, Maria Pueblo of Taos FR N 313

Sanchez, Alex Navajo Nation PLZ 61

Sanderson, Cody Navajo Nation LIN W 716

Schrupp, Nelda Pheasant Rump “Nakota” 1st Nation Sioux PAL S 219

Scott, Raynard

Navajo Nation LIN W 723

Secatero, Lyle Navajo Nation LIN E 776

Secatero, Wylie

Navajo Nation CP 24

Sequaptewa, Raymond Sr. Hopi Tribe PAL S 218

Shepherd, Rosabelle

Navajo Nation LIN E 709

Short, Christopher

Citizen Potawatomi Nation MAR 805

Shorty, Perry

Navajo Nation PLZ 92

Sickles, Benjamin Oneida Nations of the Thames CP 16

Silversmith, Deborah Navajo Nation PLZ 17

Simbola, Tolpiyine Pueblo of Picuris LIN E 719

Sixkiller, Karen Cherokee Nation SFT W 528

Slim, Marcus Pueblo of San Felipe PLZ 18

Slim, Marvin Navajo Nation LIN W 744

Smith, Herman Navajo Nation LIN W 751

Smith, Patrick

Navajo Nation PLZ 70

Snyder, Travis Eastern Shoshone PAL S 228

Sorensen, Matagi

Yavapai Apache Nation WA E 405

Spry, Wanesia

Minnesota Lake Superior Chippewa Tribe PLZ 40

Stevens, Harold Jr. Navajo Nation WA E 417

Stevens, Mark Laguna Pueblo LIN E 722

Tafoya, Lorenzo Pueblo of Kewa LIN E 775

Tafoya, Mary Pueblo of Kewa LIN E 775

Takala, Jason Hopi PAL S 241

Talahaftewa, Roy Hopi PAL S 261

Taylor, Rosie Navajo Nation LIN E 736

Tenorio, Feliciano Pueblo of Santo Domingo PAL N 257

Tenorio, Leslie Pueblo of Santo Domingo PAL N 257

Thompson, Brosnan

Navajo Nation PAL N 230

Thompson, Daman Navajo Nation CP 26

Thompson, Langston Navajo Nation PAL N 230

Tidwell, Andrea Cherokee FR N 32

Toadlena, Aaron Navajo Nation SFT W 526

Todacheene, Alvin Navajo Nation LIN W 726

Todacheene, Michael Navajo Nation LIN W 726

Tom, Bryan Navajo Nation PAL N 247

Tom, Jack Navajo Nation PLZ 46

Tom, Mary Navajo Nation FR N 339

Toya, Ellouise Pueblo of Santo Domingo SFT 517

Tripp, Andrew Tlingit SFT 506

Tsingine, Olin Navajo Nation PLZ 82

Tsiosdia, Leonard Navajo Nation FR N 331

Tsosie, Lyndon Navajo Nation LIN W 789

Tsosie, Richard Navajo Nation SFT P 523

Tuni, Wilbert Navajo Nation FR N 341

Tyler, Keetahni Navajo Nation CP 05

Wadsworth, Piki Hopi FR N 338

Wall, Adrian Pueblo of Jemez LIN E 743

Wallace, David Chugach Sugpiaq LIN E 746

Wallace, Denise Chugach Sugpiaq LIN E 746

Wallace, Elizabeth Navajo Nation FR P 308

Waynee, Robin Saginaw Chippewa Tribe of Michigan PAL N 250

Weahkee, Sharon Navajo Nation SFT 503

White, Matthew Navajo Nation PLZ 92

Willie, JT Navajo Nation PLZ 62

RAY GARCIA

EMMETT NAVAKUKU

DEANNA NEZ

RENA OWEN

Willie, Wesley

Navajo Nation FR N 338

Wilson, Holly

Delaware Nation LIN W 719

Yabeny, Ednei

Navajo Nation PAL N 240

Yazzie, Christopher

Navajo Nation PLZ 24

Yazzie, Peterson

Navajo Nation LIN W 783

Yazzie, Timmy

Pueblo of San Felipe FR S 311

Yazzie, William

Navajo Nation WA E 406

Yellowhorse, Alvin

Navajo Nation PLZ 39

Yellowhorse, Bryon

Navajo Nation PLZ 39

II POTTERY

Abeita, Karen

Pueblo of Isleta FR S 302

Abeyta, Benina Pueblo of Jemez SFT W 523

Adams, Jeremy

Hopi PAL S 224

Aguino, Karen

Pueblo of Santa Clara SFT W 534

Aguino, Lea Ohkay Owingeh SFT W 534

Analla, Calvin Jr. Laguna Pueblo FR N 324

Antonio, Frederica Pueblo of Acoma FR N 302

Antonio, Melissa Pueblo of Acoma FR P 302

Aragon, Allen

Navajo Nation LIN E 748

Aragon, Ralph Pueblo of Zia FR S 325

Aragon, Wanda Pueblo of Acoma PLZ 23

Bahe, Matthew

Navajo Nation CP 27

Begay, Daniel Pueblo of Santa Clara PAL S 222

Begay, Harrison Jr. Navajo Nation PAL S 245

Benally, Jennifer

Oneida Nation of Wisconsin LIN E 752

Borts-Medlock, Autumn Pueblo of Santa Clara PLZ 22

Cajero, Aaron Pueblo of Jemez POG 110

Cajero, Esther Pueblo of Jemez FR S 320

Candelario, Hubert Pueblo of San Felipe PAL S 217

Carpio, Caroline Pueblo of Isleta PLZ 21

Charley, Karen Hopi LIN W 736

Chino, Shaylene Pueblo of Acoma SFT P 531

Cling, Alice Navajo Nation WA W 408

Concho, Carolyn Pueblo of Acoma SFT P 530

Concho, George Pueblo of Acoma SFT P 531

Cornshucker, Melvin United Keetoowah Band of Cherokee Indians POG 102

Correa, Prudence Pueblo of Acoma WA E 411

Curran, Marie Dolores Pueblo of Santa Clara PAL N 229

Curran, Ursula Ohkay Owingeh PAL N 229

Cutler, Christopher Pueblo of Santa Clara PAL N 255

Davis, Tehya Acoma PLZ 45

Duwyenie, Debra Pueblo of Santa Clara WA W 410

Duwyenie, Preston Hopi WA W 410

Earles, Chase Caddo Nation WA E 403

Early, Max Pueblo of Laguna PAL S 239

Ebelacker, James Pueblo of Santa Clara LIN W 755

Fender, Erik Pueblo of San Ildefonso FR P 303

Fender, Martha Pueblo of San Ildefonso FR P 303

Foley, Gordon Pueblo of Jemez SFT W 523

Fragua, Glendora Pueblo of Jemez PLZ 96

Fragua, Linda Pueblo of Jemez WA E 412

Gachupin, Laura Pueblo of Jemez SFT W 523

Garcia, Gloria Pueblo of Pojoaque POG 123

Garcia, Jason Pueblo of Santa Clara POG 123

Garcia, Sharon Pueblo of Santa Clara FR S 313

Garcia, Tammy Pueblo of Santa Clara PLZ 22

Goldtooth, Larson Hopi PAL N 220

Gutierrez, Melony Pueblo of Santa Clara PLZ 57

Hanna, Crystal Cherokee Nation SFT 513

Harrison, Rowan Pueblo of Isleta LIN W 717

Hundley, Zoe Cherokee Nation LIN W 719

Johnson, Norvin Navajo Nation PAL S 239

Juanico, Delores Pueblo of Acoma PAL N 217

Juanico, Marietta Pueblo of Acoma PAL N 244

Juanico, Melvin Pueblo of Acoma PAL N 244

King, Robert Choctaw Nation of Oklahoma PAL N 238

Lansing, Bob Navajo Nation CP 09

Latoma, Joseph Pueblo of San Felipe CAT 904

Lewis, Edward III Pueblo of Acoma LIN E 771

Lewis, Lorraine Laguna Pueblo PLZ 60

Lewis, Sharon Acoma PLZ 45

Loretto-Tosa, Laverne Pueblo of Jemez PAL S 237

Louis, Corina Pueblo Of Acoma POG 105

Lovato, Monica Pueblo of Santo Domingo LIN W 788

Lucero, Mary A. Diana Pueblo of Zia WA E 412

Lugo, Joseph Pueblo of Santa Clara LIN W 730

Lugo, Sergio Pueblo of Santa Clara LIN W 730

Maho, Garrett Hopi LIN E 713

Manymules, Samuel Navajo Nation LIN E 714

MELISSA ANTONIO

DEBRA DUWYENIE

ROBERT PATRICIO ESTHER CAJERO

Marcus, Eric

Pueblo of Taos FR S 304

Martinez, Manuel

Pueblo of San Ildefonso LIN W 776

Martinez, Marvin

Pueblo of San Ildefonso LIN W 776

Martinez, Marvin Lee

Pueblo of San Ildefonso LIN W 778

Moquino, Mark Lee

Pueblo of Zia PAL S 202

Namoki-James, Valerie

Hopi Tewa PAL N 248

Naranjo, Angela

Pueblo of Santa Clara FR P 309

Naranjo, Bernice

Pueblo of Taos FR S 312

Naranjo, Dusty

Pueblo of Santa Clara FR S 312

Naranjo, Frances

Pueblo of Santa Clara PLZ 86

Naranjo, Jody

Pueblo of Santa Clara WA W 405

Naranjo, Johnathan

Pueblo of Santa Clara FR S 317

Naranjo, Joseph

Pueblo of Santa Clara FR N 314

Naranjo, Kevin

Pueblo of Santa Clara WA W 412

Naranjo, Madeline

Pueblo of Santa Clara PLZ 86

Naranjo, Mary Pueblo of Santa Clara FR P 309

Naranjo, Monica Pueblo of Santa Clara PAL N 260

Naranjo, Sammy Pueblo of Santa Clara PLZ 57

Natseway, Thomas Laguna Pueblo SFT P 522

Navasie, Fawn Hopi WA W 413

Nuñez-Velarde, Shelden

Jicarilla Apache PAL S 209

Oakley, Nancy Eskasoni Mi’kmaq CP 16

Ortiz, Mary Pueblo of Cochiti LIN W 745

Ortiz, Ricardo Pueblo of San Felipe PAL N 206

Ortiz, Virgil Pueblo of Cochiti LIN W 745

Padilla, Anthony Pueblo of Santa Clara SFT W 534

Pahponee

Kickapoo Tribe PLZ 20

Paisano, Michelle Pueblo of Laguna LIN W 715

Paloma, Gabriel Zuni PLZ 56

Panana, Rufina Ruby Zia Pueblo LIN E 717

Patricio, Robert Pueblo of Acoma LIN E 756

Pecos-SunRhodes, Rose Pueblo of Jemez PLZ 42

Peters, Franklin Pueblo of Acoma WA E 413

Peynetsa, Anderson Zuni LIN W 782

Peynetsa, Anderson Jamie Zuni LIN W 782

Polacca, Delmar Hopi SFT W 533

Qoyawayma, Alfred Hopi SFT E 529

Redcorn, Clarence Osage Nation CAT 901

Salvador, Maria Pueblo of Acoma PAL S 258

Sanchez, Alisha Pueblo of Acoma FR N 326

Sanchez, Russell Pueblo of San Ildefonso LIN E 711

Sando, Caroline Pueblo of Jemez FR S 319

Setalla, Dee Hopi PLZ 53

Suazo, Rose Pueblo of Santa Clara FR P 309

Suina, Jeff Pueblo of Cochiti LIN W 758

Tafoya, Jennifer Pueblo of Santa Clara PAL N 255

Tafoya, Stephanie Pueblo of Santa Clara FR N 332

Tafoya-Sanchez, Linda Pueblo of Santa Clara PAL N 241

Tapia, Terry Tesuque Pueblo (Tewa) POG 109

Tapia, Thomas Pueblo of Tesuque (Tewa) POG 109

Tenorio, Thomas Pueblo of Kewa LIN E 744

Tippeconnie, Aiden Navajo Nation SFT E 524

Tohtsoni, Therese Navajo Nation CP 21

Tosa, Wilma Pueblo of Jemez PAL N 203

Toya, Mariam Pueblo of Jemez PAL N 256

Toya, Maxine Pueblo of Jemez PAL N 256

Trujillo, Adrian Pueblo of Acoma FR P 300

Tso, Jared Navajo Nation FR S 318

Tsosie, Darrick Pueblo of Jemez FR P 313

Tsosie, Leonard Pueblo of Jemez FR P 313

Vallo, Daniel Pueblo of Acoma PAL N 261

Vann, Lillie Cherokee Nation SFT P 527

Victoriano, LaDonna Pueblo of Acoma SFT P 528

Victorino, Charlene Pueblo of Acoma LIN E 771

Victorino, Cletus Pueblo of Acoma POG 111

Victorino, Sandra Pueblo of Acoma POG 111

Vigil, Lonnie Nambe Pueblo PAL 272

Walkingstick, Karin Cherokee Nation LIN E 759

Wall, Kathleen Pueblo of Jemez PLZ 78

Westika, Gaylan Zuni LIN W 749

Yazzie, Angie Pueblo of Taos FR S 304

Yepa, Alvina Pueblo of Jemez PLZ 77

Yepa, Marcella Pueblo of Jemez PLZ 77

Youngblood, Nancy Pueblo of Santa Clara LIN W 730

III 2-D ART

Aguilar, Joseph Pueblo of Santo Domingo FR N 317

Alexander, George Muscogee Creek PLZ 50

Allison, Marla Pueblo of Laguna LIN E 730

Anderson, Ephraim Navajo Nation LIN E 737

LAURA GACHUPIN ANDERSON JAMIE PEYNETSA DELMAR POLACCA

LINDA TAFOYA-SANCHEZ

Aragon, Allen Navajo Nation LIN E 748

Aragon, Ralph Pueblo of Zia FR S 325

Asher Banks, Le’Ana Ojibwe-Keewenaw Bay PAL S 240

Balloue, John Cherokee Nation PAL S 226

Bear Don’t Walk, Carlin Crow LIN W 720

Begay, Corey Navajo Nation PAL S 231

Begay, Nathan Navajo Nation MAR 801

Begay, Tedra Navajo Nation LIN W 779

Begaye, Daryl Navajo Nation MAR 813

Begaye, Marwin Navajo Nation PAL S 206

Bell, Tamara Haida FR S 316

Benally, Giovanni Navajo Nation PLZ 97

Bigwater, Christian Navajo Nation LIN W 785

Black, James Cheyenne & Arapaho PAL S 253

Blacksheep, Beverly Navajo Nation PAL N 234

Boome, Peter Upper Skagit PLZ 31

Brandow, Heidi Navajo Nation POG 118

Bread, Jade Navajo Nation PLZ 52

Bread, Wakeah Comanche Nation LIN E 750

Broer, Roger Oglala Lakota PAL N 207

Brokeshoulder, Devin Choctaw LIN E 765

Brokeshoulder, Randall Absentee Shawnee FR S 309

Brown, Derek No-Sun Shoshone-Bannock LIN W 740

Burgess, Nocona Comanche Nation LIN W 728

Burgess, Quanah Comanche Nation SFT 518

Calabaza, Estefanita Pueblo of Santo Domingo PAL N 239

Cavin, Jeremy Choctaw Nation of Oklahoma LIN W 739

Charley, Avis Spirit Lake Dakota LIN W 738

Chee, Carlis Navajo Nation LIN E 777

Chee, Norris Navajo Nation LIN E 768

Chee, Raymond Jr. Navajo Nation SFT E 530

Clarkson, Karen Choctaw Nation of Oklahoma LIN E 726

Crawford, Michael Navajo Nation LIN E 732

Curfman, Del Crow Tribe of Montana PLZ 36

Curley, Andrew Navajo Nation CP 13

Curley, Jonathan Navajo Nation CP 20

Dalasohya, David Jr. Pueblo of Laguna MAR 814

Dark Mountain, Dawn Oneida Nation of Wisconsin LIN W 722

Day, James Bois Forte Band of Chippewa LIN W 750

Decker, Aspen Confederated Salish and Kootenai Tribes MAR 807

DeGroat, Shandiin

Navajo Nation SFT W 532

De Jolie, LeRoy Navajo Nation LIN E 769

Denetclaw, Myron Navajo Nation PAL S 221

Dougi, Ishkoten Navajo Nation FR S 342

Douglas, Carol Northern Arapaho SFT P 525

Duwyenie, Mary Hopi WA W 410

Edaakie, Keith Pueblo of Zuni PAL N 223

Emerson, Anthony Navajo Nation SFT E 532

Enjady, Oliver Mescalero Apache WA E 402

Epaloose, Lakin Pueblo of Zuni LIN W 747

Etsitty, Garrett Navajo Nation MAR 813

Fowler, Frank Navajo Nation LIN E 734

Fowler, Myron Navajo Nation LIN W 769

Free, Regina Chickasaw Nation PLZ 08

Garcia, Jason Pueblo of Santa Clara POG 123

Goan, Hunter Navajo Nation PAL S 238

Good Day, Lauren Mandan, Hidatsa, Arikara Nation PLZ 07

Goodluck, Raymond Navajo Nation POG 115

Goseyun, Terrill San Carlos Apache PAL 274

Greenwood, Robert Ponca Tribe of Oklahoma SFT 507

Growing Thunder, Darryl Fort Peck Dakota PLZ 03

Guardipee, Terrance Blackfeet Nation of Montana PAL S 235

Haldane, Erin Native Alaskan, Tsimshian CAT 920

Harjo, Jessica Otoe-Missouria SFT E 526

Harrison, Rowan Pueblo of Isleta LIN W 717

Harvey, Sheldon Navajo Nation LIN E 751

Henderson, Loren Chippewa Cree Tribe CP 10

Henry, Karma Paiute LIN W 784

Hicks, Jennifer Chickasaw Nation LIN W 713

Honyumptewa, Akema Hopi CAT 917

Honyumptewa, Hoh Mana Laguna PLZ 11

Horace, Kevin Hopi LIN W 767

Hudson, Lisa Chickasaw LIN E 725

Hudson, Tyson Chickasaw LIN E 725

Humetewa Kaye, Donna Hopi LIN W 731

Hundley, Zoe Cherokee Nation LIN W 719

IronShell, SunRose Rosebud Sioux LIN E 747

MARLA ALLISON

LE’ANA ASHER BANKS

DAVID DALASOHYA JR.

James, Peter

Navajo Nation PAL N 258

Jim, Damien Navajo Nation SFT 500

Joe, Orval

Southern Ute CP 22

Joe, Penélope

Navajo Nation WA W 413

John, Alvin

Navajo Nation LIN W 752

John, David

Navajo Nation LIN W 787

John, Hadiibah

Navajo Nation LIN W 787

John, Myleka

Navajo Nation LIN W 752

John, Terion

Navajo Nation LIN W 752

Johnston, Heather

Qagan Tayagungin PLZ 35

Jojola, Deborah

Pueblo of Isleta FR N 310

Jones-Crouch, Micqaela

Te-Moak Tribe of Western Shoshone

MAR 808

Kemp, Randy

Muscogee Creek SFT E 528

Kempenich, Hillary Turtle Mountain Band of Chippewa LIN E 767

Keyonnie, Cristoff Navajo Nation POG 121

King, James Navajo Nation SFT E 522

Kosea, Derrick Navajo Nation LIN E 760

Largo, Tara Navajo Nation PAL 273

Last Gun, Terran Piikani Nation (Blackfeet) PAL S 256

Learned, Brent Cheyenne & Arapaho LIN E 740

Lee, Derrick Navajo Nation CAT 905

Levi, George Cheyenne & Arapaho Tribes of Oklahoma LIN E 740

Levi, Halcyon Cheyenne & Arapaho Tribes of Oklahoma LIN E 740

Little, Monty Navajo Nation LIN W 765

Little Thunder, Merlin Cheyenne PLZ 44 Logan, Linley Onondowaga POG 124

Loretto, Estella Pueblo of Jemez LIN W 725

Lujan, Deborah Pueblo of Taos POG 114

Mace, Antonio Navajo Nation CAT 918

MacKnight, Sheridan White Earth Chippewa Tribe WA W 409

Martin, Bobby Muscogee (Creek) LIN W 721

Martin, David Pokagon Potawatomi MAR 812

Maybee, Dallin Northern Arapaho LIN E 733

McCullough, Stephen Choctaw MAR 800

Minkler, Sam Navajo Nation LIN E 745

Mitten, Katrina Miami Tribe of Oklahoma PLZ 37

Murphy, William Navajo Nation LIN E 717

Naranjo, Bernice Pueblo of Taos FR S 312

Natachu, Elroy Jr. Pueblo of Zuni WA E 410

Nelson, Benjamin Kiowa PAL S 243

Nelson, Bennie Navajo Nation PAL S 242

Nevaquaya, Timothy Comanche Nation LIN W 786

Nez, Natalya Navajo Nation CP 11

Nordwall, Raymond Pawnee PAL 276

Omeasoo, Lyle Blackfeet/Northern Cree PAL 271

Ortiz, Lake Pueblo of San Felipe FR S 301

Parrish, Jason Navajo Nation LIN W 775

Paschall, Sallyann Cherokee Nation LIN E 738

Pena, Maya Pueblo of Santa Clara LIN W 757

Pinnecoose, Adrian Navajo Nation PLZ 15

Platero, Matthew Kiowa Tribe SFT E 525 A

Pochoema, Melissa Hopi PLZ 16

Poseyesva, Curtis Hopi WA E 416

Purdy, Dolores Caddo FR N 319

Quam, Kandis Pueblo of Zuni WA E 410

Rabbit, Traci Cherokee Nation LIN E 764

Raymond-Overstreet, Darby Navajo Nation LIN W 766

Red Corn Mudge, Rox Osage CAT 901

Reed, Lauren Choctaw Nation of Oklahoma LIN E 763

Richards, Rueben Navajo Nation LIN W 761

Romero, Mateo Pueblo of Cochiti LIN E 739

Romero, Santiago Pueblo of Taos PLZ 06

Salazar, Jeremy Navajo Nation MAR 817

Salazar, Jerry Navajo Nation MAR 811

Sampson, Stuart Citizen Potawatomi Nation LIN W 768

Sanders, Leonard Jr. Navajo Nation PAL S 233

Schwebach, Joseph Pueblo of Laguna LIN W 715

Scott, Gilmore Navajo Nation FR N 335

Secody, Eli Navajo Nation PLZ 49

Selam, Carmen Yakama Nation FR S 305

Shafer, Mikaela Hopi PLZ 27

Shakespeare, Lindsey Mescalero Apache SFT 507

Short, Cathleen Citizen Potawatomi Nation MAR 805

Short, Christopher Citizen Potawatomi Nation MAR 805

Singer, Monty Navajo Nation LIN E 766

Singer, Ryan Navajo Nation PLZ 38

Sisneros, Michelle Pueblo of Santa Clara FR N 301

Smith, Keith Jr. Navajo Nation LIN E 774

ESTEFANITA CALABAZA JONATHAN CURLEY LEROY DE JOLIE

CRISTOFF KEYONNIE

Spruce, Randee Seneca Nation FR S 303

Stevens, Shannon Laguna Pueblo LIN E 722

Stock, Alexandra Osage Nation SFT E 526

Suazo, David Pueblo of Taos PAL S 216

Tacheney, Priscilla

Navajo Nation POG 106

Tapahe, Eugene

Navajo Nation LIN W 763

Tapia, Thomas Pueblo of Tesuque (Tewa) POG 109

Teters, Joan Spokane LIN W 748

Toledo, Joseph Pueblo of Jemez POG 100

Toya, George Pueblo of Jemez PLZ 83

Toya, Michael Pueblo of Jemez LIN W 759

Tsa-toke, Beau Kiowa PAL N 215

Tsoodle, James Kiowa PLZ 14

Tsosie, Everton Navajo Nation LIN W 772

Tsosie, Hiro Navajo Nation LIN W 789

Tsosie, Nelson Navajo Nation SFT 519

Tuni, Wilbert Navajo Nation FR N 341

Umsted, Jane Choctaw PAL S 244

Urness, Zoe Tlingit PLZ 04

Valencia, Jason Pueblo of San Felipe FR S 329

Vicenti, Carson Jicarilla Apache CP 28

Vigil, Felix Jicarilla Apache SFT 508

Vigil, Virgil Pueblo of Tesuque PAL 275

Wall, Kathleen Pueblo of Jemez PLZ 78

Walters, Daniel Navajo Nation PAL N 225

Walters, Gertrude Navajo Nation PAL N 225

Walters, Shondinii Navajo Nation LIN E 743

Waytula, Bryan Cherokee Nation LIN E 770

Wesley, Tillier Kiowa LIN E 728

Wilson, Holly Delaware Nation LIN W 719

Wilson, Rhiannon Navajo Nation FR N 340

Winters, Jessica Nunatsiavut Government Beneficiary (Labrador Inuit) CP 19

Yazzie, Donovan Navajo Nation LIN E 716

Yazzie, Janet Navajo Nation LIN E 774

Yazzie, Johnson Navajo Nation CAT 906

Yazzie, Peterson Navajo Nation LIN W 783

Yellow Bird, Monte Sr. Arikara/Hidatsa-MHA Nation LIN W 777

IV PUEBLO WOODEN CARVINGS

Albert, Robert Hopi Tribe PLZ 43

Brokeshoulder, Randall Absentee Shawnee FR S 309

Calnimptewa, Cecil Hopi PLZ 65

Chavarria, Manuel Hopi LIN W 736

Chimerica, Darance Hopi PLZ 53

Deel, Shawn Navajo Nation PAL N 252

Gashweseoma, Ryan Hopi PLZ 13

Harris, Larsen Jr. Hopi SFT 505

Holmes, Arthur Jr. Hopi Tribe PAL N 219

Honanie, Ernest Hopi PLZ 69

Honyumptewa, Aaron Pueblo of Picuris PLZ 11

Honyumptewa, Ronald Hopi SFT P 529

Honyumptewa, Stetson Hopi PLZ 11

Horace, Kevin Hopi LIN W 767

Kaye, Wilfred Hopi LIN W 731

Kaye, Wilmer Hopi

WA W 403

Kayquaptewa, Eric Hopi PLZ 91

Kayquoptewa, Brendan Hopi WA W 414

Kayquoptewa, Horace Hopi LIN W 718

Koruh, Renferd Hopi LIN W 762

Lalo, Raynard Hopi Tribe SFT W 530

Lomatewama, Justin Hopi PAL S 251

Macias, Sean Hopi CAT 919

Namingha, Wayland Hopi POG 104

Nasafotie, Adrian Hopi

LIN W 764

Naseyoma, Cordell Hopi FR N 327

Patterson, Earl Jr. Saginaw Chippewa Indian Tribe of Michigan SFT W 531

Pochoema, Kevin Hopi

PLZ 16

Polequaptewa, Tayron Hopi

PAL S 249

Seechoma, Edward Hopi PLZ 48

Sockyma, Donald Hopi PLZ 72

Taho, Mark Hopi PAL N 222

Tenakhongva, Leander Hopi

CP 06

Begay, Anthony

Navajo Nation LIN E 727

Begay, Fred Jr. Navajo Nation PLZ 79

Begay, Joseph

Navajo Nation

PAL S 247

Benally, Ryan

Navajo Nation PLZ 97

JOHN BALLOUE

JOSEPH TOLEDO ADRIAN NASAFOTIE

RENFERD KORUH

Beyale, Randall

Navajo Nation LIN E 772

Boome, Peter Upper Skagit PLZ 31

Boone, Evalena Pueblo of Zuni FR N 315

Cajero, Joe Jr.

Pueblo of Jemez SFT 521

Carpio, Caroline

Pueblo of Isleta PLZ 21

Chee, Duwayne Sr.

Navajo Nation LIN W 754

Chee, Raymond Sr. Navajo Nation PLZ 49

Chitto, Randall

Mississippi Band of Choctaw Indians LIN E 724

Clark, Ahnesah

Navajo Nation MAR 802

Crawford, Michael

Navajo Nation LIN E 732

DeCelles, Jared

Gros Ventre/Assiniboine PLZ 19

DeCelles, Jon

Gros Ventre/Assiniboine PLZ 19

Dougi, Ishkoten

Navajo Nation FR S 342

Edaakie, Dee Zuni LIN W 749

Ethelbah, Upton Jr. Pueblo of Santa Clara PLZ 80

Fischer, Mark Oneida Nation of Wisconsin LIN E 723

Flanagan, Sean Pueblo of Taos PLZ 81

Fowler, Cynthia Navajo Nation SFT E 522

Fragua, Clifford Pueblo of Jemez LIN E 729

Free, Regina Chickasaw Nation PLZ 08

Frey, Gabriel Passamaquoddy PLZ 89

Goeman, Stonehorse Tonawanda Seneca LIN W 741

Goodman, M. Navajo Nation SFT W 529

Gunville, Wayne Turtle Mountain Band of Chippewa FR S 331

Harvey, Sheldon Navajo Nation LIN E 751

Horace, Kevin Hopi LIN W 767

John, Alvin

Navajo Nation LIN W 752

John, David

Navajo Nation LIN W 787

John, Myleka

Navajo Nation LIN W 752

Johnson, Kenneth Muscogee Creek LIN W 732

Kelm, Carl Chickasaw Nation CAT 909

King, Robert Choctaw Nation of Oklahoma PAL N 238

Kuck, Cynthia Menominee

CP 04

LaFountain, Saige

Navajo Nation LIN W 724

Lomatewama, Ramson Hopi CAT 900

Loretto, Estella Pueblo of Jemez LIN W 725

Lujan, Carol Navajo Nation FR N 318

Monk, Shannon St. Theresa Point First Nation

CP 17

Morris, Grant Cherokee Nation CAT 902

Novak, Jazmin

Navajo Nation SFT P 526

Ortiz, Virgil Pueblo of Cochiti

LIN W 745

Pahponee Kickapoo Tribe PLZ 20

Panana, Ryan Pueblo of Jemez

LIN W 737

Patterson, Earl Jr. Saginaw Chippewa Indian Tribe of Michigan SFT W 531

Perley-Dutcher, Shane Maliseet Nation

CP 19

Pictou, Jennifer Mi’kmaq Nation

PAL N 212

Quam, Jayne Navajo Nation PAL N 235

Quam, Lynn Pueblo of Zuni PAL N 235

Quandelacy, Talia Zuni

PAL S 254

Red Shirt, Osceola Oglala Lakota PAL S 204

Robertson, Melinda

Lake Manitoba First Nation

CP 17

Rogers, William

Navajo Nation LIN E 761

Shorty, Eddy

Navajo Nation MAR 801

Sice, Troy Pueblo of Zuni FR P 305

Sixkiller, Karen Cherokee Nation SFT W 528

Thompson, David Wichita Tribe PAL S 205

Tsalabutie, Loren Pueblo of Zuni PAL S 208

Tsosie, Nelson Navajo Nation SFT 519

Umsted, Jane Choctaw PAL S 244

Vicenti, Carson Jicarilla Apache CP 28

Vigil, Felix Jicarilla Apache SFT 508

Wall, Adrian Pueblo of Jemez LIN E 743

Wall, Kathleen Pueblo of Jemez PLZ 78

Walters, Roy Jr. Navajo Nation LIN W 765

Walters, Shondinii Navajo Nation LIN E 743

Weahkee, Daniel Navajo Nation SFT 503

Weahkee, Manuel Zuni SFT 503

Weahkee, Robert Pueblo of Zuni MAR 806

Wilson, Holly Delaware Nation LIN W 719

Woody, Ben Navajo Nation MAR 803

Yazzie, Cody

Navajo Nation LIN W 771

Yazzie, Donovan Navajo Nation LIN E 716

Yazzie, Lance Navajo Nation WA W 404

Yazzie, Larry Navajo Nation LIN W 773

Yazzie, Peterson Navajo Nation LIN W 783

VI TEXTILES

Allen, April Nunatsiavut Inuit

CP 15

Anderson, Ephraim

Navajo Nation LIN E 737

Aragon, Irveta Navajo Nation SFT E 523

ANTHONY BEGAY

JOE CAJERO JR.

CAROLINE CARPIO

WILLIAM ROGERS

Aragon, Joan Pueblo of Zia FR S 325

Aragon, Loren

Pueblo of Acoma LIN W 781

Aragon, Nellie

Navajo Nation LIN E 748

Aragon, Venancio

Navajo Nation SFT E 523

Aspaas, Kevin

Navajo Nation FR N 304

Ballenger, Virginia

Navajo Nation PAL 270

Begay, Berdine Y.

Navajo Nation LIN E 715

Begay, Cordelia

Navajo Nation FR N 330

Begay, Dorothy

Navajo Nation LIN E 715

Begay, Gerard

Navajo Nation WA E 404

Begay, Gloria

Navajo Nation FR P 311

Begay, Mary

Navajo Nation SFT W 522

Begay, Nellie

Navajo Nation PLZ 01

Begay, Rena

Navajo Nation PAL N 246

Begay, Sarah Navajo Nation PLZ 74

Benally, Jefferson Navajo Nation PLZ 94

Benally, Jennifer Oneida Nation of Wisconsin LIN E 752

Bia, Leona Navajo Nation PAL S 229

Black Horse, Catherine Seminole Nation of Oklahoma PAL S 235

Charley, Berdina Navajo Nation LIN E 715

Cody, Lola Navajo Nation LIN W 733

Cody, Titus Navajo Nation PAL S 232

Cook, Calandra Navajo Nation PLZ 55

Day, Alexa

Grand Traverse Band LIN W 750

Descheny, Vivian Navajo Nation FR S 328

Emmons, Elaine Cherokee CAT 913

Etsitty, Doreen

Navajo Nation LIN E 742

Fain, Gloria

Navajo Nation SFT E 531

Freeman, Melissa Chickasaw PAL N 204

Glasses, Monica Navajo Nation PAL S 238

Glasses, Naiomi Navajo Nation PLZ 75

Glasses, Tyler Jr. Navajo Nation PLZ 75

Gonzales, Isabel Pueblo of Jemez PAL S 215

Good Day, Lauren Mandan, Hidatsa, Arikara Nation PLZ 07

Henderson, Alberta Navajo Nation SFT E 524

Honyumptewa, Akema Hopi CAT 917

Hope, Lily Central Council of the Tlingit and Haida Indian Tribes of Alaska SFT 506

Hudson, Suzanne Navajo Nation PLZ 13

Kady, Roy Navajo Nation FR N 304

Laughing, Charlene Navajo Nation PLZ 02

Laughing, Mona Navajo Nation PLZ 02

Lowe, Jaylee Seminole Nation of Oklahoma FR S 333

Mountainflower, Sage Ohkay Owingeh WA W 418

Muskett, Morris Navajo Nation FR N 320

Naataanii, TahNibaa Navajo Nation PLZ 58

Nelson, Benjamin Kiowa PAL S 243

Okuma, Jamie Luiseño-La Jolla Band of Indians PAL N 218

Onesalt, Chambreigh Navajo Nation FR N 304

Ornelas, Barbara Navajo Nation LIN W 774

Ornelas, Michael Navajo Nation LIN W 774

Peacock, Alisa Navajo Nation PLZ 98

Pochoema, Melissa Hopi PLZ 16

Rabbit, Traci Cherokee Nation LIN E 764

Raphael, Monica Grand Traverse Band Ottawa/Chippewa Indians PAL N 216

Reid, Jonessa Navajo Nation FR P 307

Rideout, Sandra Nunatsiavut CP 18

Schrupp, Nelda Pheasant Rump “Nakota” 1st Nation Sioux PAL S 219

Schultz, Marilou Navajo Nation LIN W 735

Short, Cathleen Citizen Potawatomi Nation MAR 805

Singer, Penelope Navajo Nation LIN W 734

Smith, Glendebah Navajo Nation SFT 514

Taylor, Rosie Navajo Nation LIN E 736

Tsosie, Pauline Navajo Nation WA E 401

Tsosie-Sisneros, Michelle Pueblo of Santa Clara FR N 301

Woodie, Bonita Navajo Nation CAT 914

VII DIVERSE ARTS

Abeyta, Harvey Pueblo of Kewa PAL N 202

Adams, Victoria Cheyenne & Arapaho PAL N 236

Allen, Renee Hopi PLZ 25

Aragon, Ralph Pueblo of Zia FR S 325

Artis, Cody Navajo Nation LIN W 751

Begay, Jalen Navajo Nation SFT 504

Begay, Jayson Navajo Nation CAT 908

Begay, Taina Navajo Nation FR N 312

Begaye, Melanie Navajo Nation CP 03

Begaye, Sylvia Navajo Nation CP 03

Bell, Tamara Haida FR S 316

Bigman, Colleen Navajo Nation LIN E 758

LILY HOPE GLORIA FAIN

MONA LAUGHING ISABEL GONZALES GOLGA OSCAR

Bird, Jolene Pueblo of Santo Domingo PLZ 93

Bitsie, Leslie Jr.

Navajo Nation PAL S 259

Black, James Cheyenne & Arapaho PAL S 253

Boome, Peter Upper Skagit PLZ 31

Bowie, Albert Ohkay Owingeh FR S 326

Box, Debra Southern Ute MAR 810

Cajero, Aaron Pueblo of Jemez POG 110

Cajero, Jose Sr.

Pueblo of Jemez FR S 320

Charley, Darius

Navajo Nation LIN E 721

Chavez, Christopher Eastern Shoshone/ Meskwaki LIN W 727

Chavez, Franklin Jr.

Pueblo of Santo Domingo SFT 509

Chavez, Joseph

Santa Domingo Pueblo LIN W 743

Chavez, LeJeune

Santa Domingo Pueblo LIN W 743

Chavez-Thomas, Margaret Pueblo of Isleta WA E 418

Christie Mankiller, Serena Cherokee PLZ 70

Christophersen, Erik Ermineskin Tribe WA E 414

Church, Kelly Match E Be Nash She Wish Tribe LIN E 738

Clarkson, Karen Choctaw Nation of Oklahoma LIN E 726

Darden, Steven Navajo Nation MAR 815

Day, Alexa Grand Traverse Band LIN W 750

Day, James Bois Forte Band of Chippewa LIN W 750

Del Rosario, Yasmine Choctaw Nation of Oklahoma SFT 502

Dupree, Mikenzi Navajo Nation PAL N 243

Esquivel, Dennis Grand Traverse Band of Ottawa and Chippewa Indians LIN E 731

Farris, Thomas Cherokee PAL N 208

Flanagan, Sean Pueblo of Taos PLZ 81

Fowler, Melissa Lac Courte Oreilles of Wisconsin FR N 333

Fragua, Glendora Pueblo of Jemez PLZ 96

Frey, Gabriel Passamaquoddy PLZ 89

Gene, Leonard Navajo Nation LIN E 736

Gloyd, Jeff Northern Arapaho CAT 903

Goseyun, Terrill San Carlos Apache PAL 274

Growing Thunder, Camryn Fort Peck Assiniboine Sioux WA W 416

Growing Thunder, Darryl Fort Peck Dakota PLZ 03

Growing Thunder, Ramey Fort Peck Dakota PLZ 03

Growing Thunder Fogarty, Marritta Fort Peck Assiniboine and Sioux tribes WA W 416

Haynes, Hayden Seneca Nation FR S 303

Hedgepeth, Will Oneida Nation LIN E 757

Herrera, Gilbert Pueblo of Cochiti LIN E 778

Honyouti, Richard Hopi LIN E 741

Honyumptewa, Hoh Mana Laguna PLZ 11

Hope, Lily Central Council of the Tlingit and Haida Indian Tribes of Alaska SFT 506

Hopkins, Kathryn Seneca MAR 816

IronShell, SunRose Rosebud Sioux LIN E 747

Jacobs, Mary Seneca Nation MAR 816

Jacobs, Samantha Seneca MAR 816

King, Carina Cherokee Nation PAL N 227

Lastiyano, Kendra Pueblo of Jemez FR N 316

Latone, Christie Pueblo of Zuni POG 112

Lee, Derrick Navajo Nation CAT 905

Lewis-Barnes, Melissa Navajo Nation LIN E 754

Lowe, Jaylee Seminole Nation of Oklahoma FR S 333

Martin, Darylene Navajo Nation FR P 306

Martin, David Pokagon Potawatomi MAR 812

Maybee, Dallin Northern Arapaho LIN E 733

McKay, Glenda Athabascan PAL N 221

Medina-Emery, Dorothy Pueblo of Jemez LIN E 749

Michaels, Patricia Pueblo of Taos PLZ 17

Monk, Shannon St. Theresa Point First Nation CP 17

Moran, Beverly Standing Rock Sioux Tribe PLZ 32

Morris, Grant Cherokee Nation CAT 902

Morrow, Rachel Mohawks of Kahnawake MAR 809

Myers, Aliyah Choctaw Nation of Oklahoma SFT 502

Nequatewa, Alicia Navajo Nation PLZ 09

Oscar, Golga Yup’ik Nation – Kasigluk PLZ 87

Poblano, Jovanna Zuni SFT 510

Poseyesva, Curtis Hopi WA E 416

Pourier, Kevin Oglala Lakota FR N 322

Ramel, Timothy Bad River Band of Lake Superior Chippewa PLZ 51

Raphael, Monica Grand Traverse Band Ottawa/Chippewa Indians PAL N 216

Ratt, Christal Anishinabe — Mitchikanibikok Inik FR S 339

Red Shirt, Osceola Oglala Lakota PAL S 204

Reid, Jonessa Navajo Nation FR P 307

Rideout, Sandra Nunatsiavut CP 18

Robertson, Melinda Lake Manitoba First Nation CP 17

GLENDA MCKAY

RENEE ALLEN

GILBERT HERRERA

Robledo, Tessa Comanche Nation LIN W 714

Roybal, Gary Pueblo of San Ildefonso WA W 415

Scott, Rainard Pueblo of Acoma LIN W 723

Shaax’ Saani

Tlingit and Haida Central Council Tribes of Alaska PLZ 84

Shakespeare, Lindsey Mescalero Apache SFT 507

Short, Cathleen Citizen Potawatomi Nation MAR 805

Short, Christopher Citizen Potawatomi Nation MAR 805

Spry, Wanesia Minnesota Lake Superior Chippewa Tribe PLZ 40

Tidwell, Andrea Cherokee FR N 325

Traylor, Lynn Navajo Nation LIN W 729

Tso, Lenaya Navajo Nation CAT 907

Vallo, Daniel Pueblo of Acoma PAL N 261

Victoriano, LaDonna Pueblo of Acoma SFT P 528

Williams, Diamond Tlingit SFT W 525A

Willie, JT Navajo Nation PLZ 62

Worcester, David Chickasaw FR N 329

VIII BEADWORK/ QUILLWORK

Atkisson, Kristina Mohawks of Kahnawake MAR 809

Bailon, Francisco Santo Domingo LIN W 780

Begay, Michael Navajo Nation PAL S 213

Belgarde-Cornelius, Patricia Turtle Mountain Band of Chippewa CP 23

Bitsie, Leslie Jr. Navajo Nation PAL S 259

Boivin, Wendy Menominee Tribe of Wisconsin PAL N 233

Box, Debra Southern Ute MAR 810

Brahmer, Kiani Navajo Nation PAL N 243

Bread, Jackie Blackfeet PLZ 52

Bush, Beth Pokagon Band of Potawatomi PAL S 260

Chitto, Hollis Mississippi Choctaw LIN E 724

Cody, Lola Navajo Nation LIN W 733

Darden, Steven Navajo Nation MAR 815

Day, Alexa Grand Traverse Band LIN W 750

Day, James Bois Forte Band of Chippewa LIN W 750

Drapeau, Devon Yankton Sioux SFT E 527

Dubois, Kateri

Wolastoqiyik Wahsipekuk First Nation PAL N 212

Duran, Quinton Laguna Pueblo CAT 921

Escarcega, Esther Navajo Nation PLZ 03

Familo, Karlene Seneca PAL N 232

Ferguson, Anita Tuscarora Nation CAT 916

Fogarty, Joyce Fort Peck Assiniboine Sioux Tribes WA W 417

Fogarty, Juanita Fort Peck Assiniboine Sioux Tribes WA W 417

Fowler, Cynthia Navajo Nation SFT E 522

Fox, Randi Three Affiliated LIN E 757

Gloyd, Jeff Northern Arapaho CAT 903

Greene Smith, Kehala Tuscarora CAT 911

Greeves, Teri Kiowa LIN E 731

Growing Thunder, Ramey Fort Peck Dakota PLZ 03

Hawkins, Yonavea Caddo Nation LIN E 759

Hedgepeth, Will Oneida Nation LIN E 757

Her Many Horses, Emil Oglala Lakota PLZ 51

Hernandez, Anthony Northern Paiute from the Duck Valley Indian Reservation LIN W 712

Holy Bear, Charlene Standing Rock Sioux Tribe LIN E 710

Hopkins, Kathryn Seneca MAR 816

Ironhawk, Lynnae Cheyenne River Sioux Tribe SFT E 527

Jack, Aiyana Yankton Sioux Tribe of South Dakota PAL S 225

Jacobs, Mary Seneca Nation MAR 816

Jacobs, Samantha Seneca MAR 816

Jonathan, Grant Tuscarora PAL N 201

Jones, Faith Muscogee Creek CAT 912

Lastiyano, Kendra Pueblo of Jemez FR N 316

Lepscier, Crystal Little Shell Chippewa Tribe of Montana PAL S 200

Lujan, Tanya Blackfoot Confederacy PAL N 211

Lush, Rita Yankton Sioux CAT 910

Mahkewa, Leith Oneida Nation of Thames PAL S 223

Manygoats, Keileb Navajo Nation SFT E 533

Marquez, Arla Seneca—Cayuga Nation of Oklahoma SFT 520

Martin, Darylene Navajo Nation FR P 306

Maybee, Dallin Northern Arapaho LIN E 733

Mendoza, William Oglala Lakota POG 107

Mitten, Katrina Miami Tribe of Oklahoma PLZ 37

Moore, Noella Mi’Kmaq Lenox Island CP 14

Moran, Beverly Standing Rock Sioux Tribe PLZ 32

Morrow, Ramona Lac Courte Oreilles Ojibwe CP 08

Murie, John Chippewa/Cree of the Rocky Boy’s Reservation PLZ 64

Newman, Harriet Navajo Nation MAR 804

Newman, Joseph Navajo Nation MAR 804

Not Afraid, Elias Apsaalooke (Crow) PLZ 10

MICHAEL BEGAY

ESTHER ESCARCEGA

ANTHONY HERNANDEZ

DEANA WARD

Okuma, Jamie

Luiseño-La Jolla Band of Indians PAL N 218

Okuma, Sandra

Luiseño/ShoshoneBannock PAL N 218

Owen-Reese, Bazille Ho-Chunk Nation of Wisconsin LIN W 766

Padilla, Betty Navajo Nation PAL N 237

Peters, Summer Saginaw Ojibwe of Michigan/Mt. Pleasant PLZ 34

Pyke, Kiera St. Regis Mohawk PAL N 213

Pyke, Michelle

St. Regis Mohawk PLZ 12

Raphael, Monica Grand Traverse Band Ottawa/Chippewa Indians PAL N 216

Ratt, Christal Anishinaabe— Mitchikanibikok Inik FR S 339

Rattling Leaf, Debbie Northern Arapaho CAT 903

Red Corn Mudge, Rox Osage CAT 901

Redhouse, Kendra

Navajo Nation FR N 337

Redman, Jordan Standing Buffalo Dakota Nation FR S 334

Roan, Kendra

Ermineskin Cree Nation FR N 342

Roan, Osamuskwasis Ermineskin Cree Nation LIN E 773

Robledo, Tessa Comanche Nation LIN W 714

Snyder, Sean Navajo Nation FR S 340

Stein, Corey Tlingit SFT 501

Stevens, Adrian San Carlos Apache FR S 340

Stevens, Ian San Carlos Apache FR S 327

Thompson, Mikailah Nimîipuu PLZ 28

Thundercloud, Ria Ho-Chunk PAL N 224

Tidwell, Andrea Cherokee FR N 325

Toehe, Rosemary Navajo Nation MAR 815

Victors, John Tohono O’odham PAL S 211

Ward, Deana Choctaw Nation of Oklahoma POG 108

Williams, Sayokla

Oneida Tribe of Indians of Wisconsin FR S 322

IX YOUTH

Abeyta, Analiese Pueblo of Santo Domingo PAL N 209

Aguilar, Jayleena Pueblo of San Felipe FR S 329

Allen-Holy Bear, Justus Standing Rock LIN E 710

Aragon, Lance Navajo Nation FR S 323

Benally, Apaolo Navajo Nation PLZ 97

Brown, Mary Helen Navajo Nation LIN W 789

Cajero, Dana Pueblo of Jemez POG 110

Cajero, Darius Pueblo of Jemez POG 110

Calladitto, Jordan Navajo Nation FR P 301

Casaus-Hunt, Raven Pueblo of Pojoaque LIN E 712

Day, Aydrian Ho-Chunk LIN W 750

Edaakie, Jordynn Zuni Pueblo PLZ 30

Gadd, Ethan Chugach/Alutiiq PAL N 254

George, Isaiah Pueblo of Santa Clara PAL N 260

Goldtooth, Reiny-Pearl Navajo Nation FR P 307

Henry, Fiona Paiute—Ft. Independence Indian Reservation LIN W 784

Joe, Ethan Navajo Nation SFT W 525

Joe, Rylan Navajo PLZ 33

Johnston, Kilie Qagan Tayagungin PLZ 35

Kempenich, Niska Turtle Mountain Band of Chippewa LIN E 767

Lansing, Audianna Navajo Nation CP 09

Lee-Victorino, Mya Pueblo of Acoma CAT 905

Lewis, Jordynn

Navajo Nation PAL S 229

Maho, Suyma Hopi LIN E 713

Naats Tla’a Tlingit and Haida PLZ 84

Naranjo, Eli Pueblo of Santa Clara WA W 412

Naranjo, Sylas Pueblo of Santa Clara WA W 412

Peters, Waabigwan Saginaw Ojibwe of Michigan PLZ 34

Shorty, Ireland Navajo Nation PLZ 92

Suazo, Xavian Pueblo of Santa Clara PLZ 86

Taho, Jalen Hopi PAL N 222

Tootoosis, Numunaina Poundmaker Cree Nation LIN E 750

Tootoosis, Ukunaapitu Poundmaker Cree Nation LIN E 750

Tosa, Amirah Pueblo of Jemez PAL S 237

XI

BASKETRY

Aitson, Mary Cherokee Nation of Oklahoma FR N 328

Black, Sally Navajo Nation LIN W 756

Church, Kelly Match E Be Nash She Wish Tribe LIN E 738

Cottrell, Vivian Cherokee Nation POG 120

Douglas, Carol Northern Arapaho SFT P 525

Frey, Gabriel Passamaquoddy PLZ 89

Goeman, Ronni-Leigh Onondaga LIN W 741

Gutierrez, Melony Pueblo of Santa Clara PLZ 57

Hoffman, Caleb Cherokee Nation of Oklahoma SFT P 524

Honwytewa, Jerolyn Hopi FR P 310

Johnston, Alma Aleut PLZ 35

Johnston, Donald Quagun Tayagungin PLZ 35

Kayquoptewa, Wilmetta Hopi PLZ 91

Keazer, Debra Cherokee WA W 411

JOSEPH NEWMAN

JAYLEENA AGUILAR

MARY HELEN BROWN SUYMA MAHO

Kooyahoema, Kathryn Hopi FR N 336

Lewallen, Talisha Cherokee Nation LIN E 733

Lomahaptewa, Josephine Hopi POG 119

Lomatewama, Jessica Hopi PAL N 214

Lomayestewa, Reba Hopi POG 103

Mitchell, Ann Saint Regis Mohawk Tribe PLZ 95

Pyke, Michelle St. Regis Mohawk PLZ 12

Richard, Nora Mi’kmaq Canadian CP 14

Ryan, Loa Tsm’syen (Metlakatla, BC) MAR 808

Ryan, Teresa Tsm’syen (Metlakatla, BC) MAR 808

Secord, Theresa Penobscot Nation SFT P 524

Wallace, Elizabeth Navajo Nation FR P 308

Wong-Whitebear, Laura Colville (Sinixt) POG 113

Young, Stephen Jr. Susanville Indian Ranchería—Mountain Maidu FR S 327

LATE ADDITIONS

JEWELRY

Calabaza, Tyson N. Pueblo of Santo Domingo SFT 499

Phillips, Loren (Family of) Hopi SFT P 529

Slim, Darrell Navajo Nation SFT 498

Slim, Michelle Navajo Nation SFT 498

BEADWORK/ QUILLWORK

Calabaza, Naomi L. Pueblo of Santo Domingo SFT 499

CALEB HOFFMAN KATHRYN KOOYAHOEMA

DEBRA KEAZER

LAURA WONG-WHITEBEAR

THE WRITTEN WORD

NATIVE AUTHORS PEN A NEW NARRATIVE

By RoseMary Diaz (Santa Clara Pueblo)

At first she thought the writing would be easy. She was extremely confident in her ability to dream, to imagine, and she supposed that expressing her dreams in words, in writing, would be entirely natural, like drawing breath. She had read widely from the time she was a child, and she knew how to recognize something that was well written. She admired certain lines and passages so much that she had taken complete possession of them and committed them to memory . . . . And she knew many Kiowa stories and many long prayers in Navajo. These were not feats of memory in the ordinary sense; it was simply that she attended to these things so closely that they became a part of her most personal experience. She had assumed them, appropriated them to her being. But to write! She discovered that was something else again.”

— N. Scott Momaday, The Ancient Child

Prior to 1968, only nine novels by Native American authors had been published in the United States and Canada. The first was The Life and Adventures of Joaquin Murieta: The Celebrated California Bandit, written by John Rollin Ridge (penning as Chees-quat-a-law-ny, or “Yellow Bird”), a member of the Cherokee Nation. Published in 1854 as a fictionalized biography, it also holds the distinction of being the first novel published in California.

One hundred and fourteen years after Ridge’s tome rolled off the printing press, Kiowa author N. Scott Momaday’s Pulitzer Prize-winning debut masterpiece, House Made of Dawn,

brought the realities of the modern Indigenous experience to the storytelling fore and changed the way the world experienced Native American literature. The novel marked the beginning of the Native American Renaissance and cleared a path for other Native writers.

Today, Native American literature — that is, literature written by Native Americans and not about Native Americans — is often assigned to one of four time periods, each characterized by a discernable voice that reflects the politics and society of its respective era.

The body of literary work produced during the first wave of the Native American Renaissance

was largely defined by the struggle many Native Americans faced in finding identity while living both reservation and urban experiences, with each set of experiences requiring fundamentally different, often conflicting, ways of being in the world. Colonial oppression and cultural displacement, authorial connections to the land and a return to traditional lifeways and belief systems, and the importance of oral traditions were also foundational subjects during this transformative and introspective era. From this early period emerged other groundbreaking writers such as Vine Deloria Jr. (Standing Rock Sioux), Janet Campbell

Hale (Coeur d’Alene/Kootenay/Cree), Leslie Marmon Silko (Laguna Pueblo), Gerald Vizenor (Minnesota Chippewa), and James Welch (Blackfeet/A’aninin), whose powerful behind-thescenes-of-Indian-life narratives sustained the momentum of the first wave’s collective voice and saw it soundly to the shore of the next one.

The many notable authors whose works were foundational to the second wave include Eddie Chuculate (Muscogee/Cherokee), Thomas King (Cherokee), David Treuer (Ojibwe), and Simon J. Ortiz (Acoma Pueblo), as well as numerous female writers — Paula Gunn Allen (Laguna Pueblo/Sioux), Louise Erdrich (Chippewa), Joy Harjo (Muscogee), Linda Hogan (Chickasaw), LeAnne Howe (Choctaw), nila northSun

DEBORAH JACKSON TAFFA

(Shoshone/Chippewa), and Susan Power (Standing Rock Sioux).

The next proliferation of Native writing came with the turn of the 21st century and focused more on the personal. During the third wave, the so-called Contemporary era, writers including Brandon Hobson (Cherokee) and Stephen Graham Jones (Blackfeet) confronted externally dictated parameters of Indianness, reclaimed and rewrote the Indigenous narrative, and generated important discourse about “rez” life through the deconstruction of the objectifiedromanticized intertwinement of class, gender and sexuality, and tribal identity. Natalie Diaz (Mojave), Cherie Dimaline (Métis), Melissa Febos (Wampanoag), Terese Marie Mailhot

Deborah Jackson Taffa’s (Yuma/Laguna Pueblo) debut memoir, Whiskey Tender (Harper), was released in 2024 to much critical acclaim. The New York Times named it one of its “New Books to Read,” while Elle magazine, Esquire, and Oprah Daily each called it one of the best nonfiction books of the year. Later in 2024 it was a finalist for the National Book Award for Nonfiction.

The book charts a decade and a half of Taffa’s life from childhood into young adulthood. Her complex, mixed-race, mixed-tribal coming-ofage journey unfolds over a tightly woven 304page memoir. “Whiskey Tender is a map of how I survived as an American citizen and as a tribal citizen, at odds with each other,” says Taffa. “I wrote it . . . to figure out how to live in the world.”

Figuring out how to live in the world has shaped much of Taffa’s work, and her skill for navigating the undercurrents of both the known and the yet-to-be-known is evident. Winding the reader through her formative years with remembrances that, by way of the deeply personal, become unavoidably political, she knows precisely when to upshift and when to coast on a good tailwind.

This has been a recipe for success in the Western sense of the word, though Taffa doesn’t think of herself as “having arrived or succeeded.” She says, “That’s the death of your career, so it’s important to take everything with a grain of salt and look at things with a measured perspective.” The scariest part of the book’s success, says the author, “was visiting the [Laguna] pueblo. If my aunties had said that the elders were upset [about anything in it], I would have been inconsolable.”

In Whiskey Tender, Taffa honors her Indigenous ancestors and tribal elders while also being true to her own experience; the support of her tribal community served as a

(Nlaka’pamux), Eden Robinson (Haisla/Heiltsuk), Layli Long Soldier (Oglala Lakota), and Tanya Tagaq (Inuk) did the same with the female point of reference at center story.

Along with writers like Billy-Ray Belcourt (Driftpile Cree Nation), Tommy Orange (Cheyenne and Arapaho Tribes of Oklahoma), Jake Seeks (Diné), and David Heska Wanbli Weiden (Sicangu Lakota), emerging voices of the fourth, current wave have been anchored by many literary women, including Kali FajardoAnstine (Colorado Chicana/Pueblo), Rebecca Roanhorse (Ohkay Owingeh), and Elissa Washuta (Cowlitz), as well as the two authors featured below.

Photo by Kitty Leaken

North Star when she ventured into unfamiliar terrain, or when there was uncertainty about what can or should be inked into the story of the Indigenous experience.

“My grandmothers and great-grandmothers are gone, and history has buried their stories,” says Taffa. “Culturally, we’re living in a time period where people are afraid of the broadening of American history. We’re living in a time of the silencing of marginalized people, so we have to make sure our truths are recorded.”

Taffa’s book has also brought forth opportunities for healing: “It’s wonderful that people are sharing [in] my memories,” says Taffa, who found “the youngest preschool years the hardest to write about” when shaping her memoir. “It’s so hard to write about childhood trauma,” she continues, “but intergenerational healing radiates through the generations and every generation benefits from it; my earliest childhood feels very resolved.”

Taffa’s father, who is 83, accompanied her to a book signing following the release of Whiskey Tender. Quietly proud of his daughter’s accomplishment, “He was able to come to the resolution that he was a good father, and that’s one of the greatest gifts I could have given him. It’s hard to raise a kid when you’re living in a country that’s trying to destroy you.”

Taffa is writing a second memoir using content that didn’t make it into the first — about 70,000 words comprising essays about the author’s 30s and 40s, “written in no temporal order.” A small press offered to publish them, but Taffa notes, “I didn’t want to break them up and have them published one by one.”

Expanding the parameters of Native American literature and breaking the templates that have stereotyped it through each of its eras also continues through Taffa’s work as director of the MFA in Creative Writing program at the Institute of American Indian Arts (IAIA) in Santa Fe. “The next generation [of Native writers] has had more international lives and there are more intersectional identities,” she notes. “Some students come from the East Coast and have never been to Indian Country or set foot on a reservation. But we can’t begrudge that; it pushes us ahead in terms of [what] Indian life is. Every generation has a responsibility to push the ball forward.”

Taffa, who grew up in Yuma, Arizona, and Farmington, New Mexico, holds an MFA in nonfiction writing from the University of Iowa and is an editor emeritus at River Styx magazine. Her writing can also be found at Boston Review, HuffPost, Los Angeles Review of Books, and The Rumpus

DARCIE LITTLE BADGER

Darcie Little Badger (Lipan Apache), a master of the realm of speculative fiction, which includes science fiction, is one of the most creative voices in Native American literature today.

Little Badger’s work, including her gripping 2020 debut novel, Elatsoe (published by Levine Querido), observes the literary constructs of speculative fiction while drawing from ancient Indigenous knowledge, cosmologies, and ways of being in the world. With both familiar and less-used literary structures, she builds layers of narrative to convey the many aspects of her characters’ lives and relationships.

Little Badger credits her parents with sparking her interest in speculative fiction by “reading her books and sharing traditional stories, the kind that are passed down from person to person,” generation to generation. “My father (Irish American) and mother (Lipan Apache) got me hooked on storytelling at an early age,” she recalls, “so before I knew how to write, around age 2 or 3, I’d pretend to make books by scribbling on pieces of construction paper.”

When Little Badger was a child, her mother often visited the McAllen (Texas) Public Library, where she learned English and started reading classic science fiction. “She’s an original Trekkie, my mother,” Little Badger explains. “It’s through her that I learned to appreciate that genre very early on.”

“As a kid, I read almost every book in the science fiction/fantasy/horror section of the public library,” Little Badger recalls. “In particular, series like Animorphs, Goosebumps, and Redwall were favorites, and I’d wait impatiently for new issues to drop. My early ‘novels’ (aka my scribblings in Lisa Frank notebooks), were episodic genre fic [fan fiction], much like the series I read. As I got older, maybe 12 or 13, I discovered the realms of Dragonlance and Discworld and started expanding my fiction in both length and imagination.

“When I started writing seriously in college, I wanted to tell stories about people like me — young adults who’d been raised in my culture, whose actions and worldview are informed by the Indigenous knowledge they learned from family. It’s the most natural thing to write what you know, so I leaned into that.”

Ancestry and tribal history are also important themes in Little Badger’s work, as are the struggles for cultural identity, social justice, and political autonomy within the dominant society. “My family and I belong to a border tribe with a very painful history in Texas and northern Mexico,” she says. “For example, when my great-great-grandmother was born,

the United States and Mexico [had] launched joint military campaigns against us. We have no reservation, and for a time, it was illegal for any Native person, including the Lipan Apache, to be in Texas outside of a reservation. So we, like many Indigenous peoples, have this legacy of dispossession and survival that continues to the present day. We are still fighting for our sacred land, ancestral remains, and recognition.”

With characters imbued with ancient knowledge and hope for the future, Little Badger’s writing at times waxes lyrical, but neither its power nor the power of the beings who inhabit her worlds are subdued by that gentleness.

“My characters have this history, so they also have a profound understanding that the world is unjust and dangerous,” Little Bear says. “But hope for a future, for home, for family, is paramount because without hope there is no fight. And without the fight to survive, there’s nothingness. [Our] ancestors endured great hardships to pass down ceremonies, language,

and the knowledge to harvest endemic foods. I put these characters in fantasy worlds and lean on my own experience to fuse the two.”

Little Badger’s work often references the mysterious, mythical, and magical, and confronts subjects that are guarded in Native American culture — ghosts, monsters, the supernatural, and death. When navigating sensitive issues for which tribal and cultural protocols must be observed, she follows a matriarchal guide: “In this respect, my North Star is definitely my mother. If in doubt, I’ll consult with her.”

Much of Little Badger’s work also deals with other serious themes such as mental health, injustice, and survival. For instance, in Sheine Lende: A Prequel to Elatsoe, the main character travels to the underworld. “I wanted her there because it’s a metaphor for inner conflict, one that lots of Indigenous people experience in the face of erasure,” says Little Badger. “It is much like our traditional stories of those who visit and return from the land of the dead.”

Once a creative thought takes hold, says Little Badger, “it evolves along the way. When I go on walks or listen to music or go for a drive, I’m often thinking about the story; those introspective moments provide a lot of inspiration. But I’m a pretty chaotic writer and usually don’t outline my work. I get an idea, sit down, and see where it takes me.”

Based in Southern California, Little Badger holds a doctorate in oceanography from Texas A&M University and a Bachelor of Arts in Geosciences from Princeton University. She received a Newbery Medal and a Nebula Award for her young adult novel, A Snake Falls to Earth (Levine Querido), which was longlisted for the 2021 National Book Award for Young People’s Literature.

RoseMary Diaz (Santa Clara Pueblo) is a freelance writer who lives in Santa Fe. She studied literature and its respective arts at the Institute of American Indian Arts, Naropa University, and the University of California, Santa Cruz.

By Daniel Gibson

A BEVY OF BRACELETS AND BOLOS:

Clever, beautiful, stunning, subtle, outrageous, and sublime. These artists deliver the goods.

Courtesy photos

the sheer number of artists, jewelers easily top the ranks, followed by two-dimensional artists and potters. Everywhere you turn, you see display cases and tables of the jewelers’ alluring work, with bolo ties and bracelets being some of the most show-stopping and desirable pieces.

Bolo ties have long been the preferred neckwear of men in the Southwest, and they have been New Mexico’s official state tie since 2007. Bracelets and cuffs that come in a dazzling variety of materials and forms are popular statement pieces, worn by both men and women.

As you stroll the hundreds of artist booths, be sure to pay attention to the fabulous array of bracelets and bolo ties that grace Indian Market, as exemplified by the select artists below.

Jacob Livingston

Wes Willie

Ric Charlie

Althea Cajero

Keri Ataumbi

crafted from precious metals, gemstones, bronze, and carved stone. Blending cultural storytelling with masterful craftsmanship, his work honors the enduring legacy and resilience of Native peoples.

Althea Cajero

In March 2025, Johnson’s sculpture Continuum received first place, Best in Class, and the Innovation Award at the Heard Museum Guild Indian Fair & Market. The piece also won top honors at the 2024 Santa Fe Indian Market and the Mvskoke Art Market. His earlier bronze works Genesis and Journey earned first place and the Mvskoke Heritage Award at the Mvskoke Art Market in 2023. Feather Dance, a large-scale installation at Council Oak Comprehensive Healthcare in Tulsa, Oklahoma, celebrates Muscogee unity and healing.

His jewelry, including bracelets and bolos, has appeared at high-profile events including the Grammys and Critics Choice Awards, and has been worn by notable figures such as the late Supreme Court Justice Sandra Day O’Connor and Justice Sonia Sotomayor.

Acoma pueblos) developed an appreciation for art while growing up, as both her parents were jewelers. In 2005, Althea married Joe Cajero Jr. (see page 102), a Jemez Pueblo bronze and clay sculptor, and being in his creative space inspired her to think about her own artistic capabilities. That year, she took a jewelry class and became a full-time artist. Fascinated by the beautiful texture of cuttlefish bone, she integrates cuttlefishbone castings that create distinctive textural patterns with hand fabrication of metal settings accented with turquoise, jasper, agate, coral, shells, and pearls.

Althea has been juried into the annual Santa Fe Indian Market every year for the last 18 years, and in March 2025 she and her work were featured on the PBS series America Made with Love.

Julius Keyonnie (Diné) began designing contemporary jewelry in 1990. Before this, he designed custom engraved trophy belt buckles, a tribute to his deep associations with the livestock industry and rodeo. After achieving his goal of becoming one of the finest trophy-buckle makers, he decided to switch to contemporary jewelry. His reputation for being extremely hardworking is well known among artists and collectors.

He uses many techniques in his art, including overlay, inlay, engraving, fabrication, lapidary, and, most recently, diamond setting. The combination of these techniques, materials, and designs has elevated his work to the highest level of Diné art, all of which stems from his strong belief in his culture. As a young boy, Keyonnie was taught to respect the Diné culture, and this philosophy shows in his work. “It will last from generation to generation, as we walk in beauty,” he says.

Liz Wallace Washoe/Navajo) has been fascinated by jewelry and gemstones for as long as she can recall. “While I grew up around jewelry making, no one really taught me how to work with silver,” she relates. “However, I did make beaded jewelry growing up and sold it at school, and when I was 19 I took a class.”

Since then she’s taken diverse classes including blacksmithing, writing, acting, and filmmaking. While her style is grounded in classic Navajo jewelry, she notes, “I’m also inspired by Art Nouveau, Japanese metalwork, and whatever else strikes my fancy. Most of my pieces are nature themed, and I’m known for my various interpretations of butterflies.”

Wallace was born in Sacramento and raised in Auburn, California, went to high school in Taos, and now lives in Santa Fe. Her work can be seen on numerous social media platforms, including hundreds of videos about her process on the Patreon platform.

in an unusual array of tints from pale green to blues, purples, rusts, and reds, frequently adorned with semi-precious stones.

His designs defy convention yet remain deeply rooted in Navajo cosmology, reinterpreting its symbols for a global audience. Charlie doesn’t just make jewelry; he creates objects of power — modern-day talismans that carry myth, presence, and force. His art exists at the edge of tradition and innovation, where the sacred is made visible and the ancient is made new.

Keri Ataumbi (Kiowa) was born and raised on the Wind River Reservation in Wyoming. She paints and sculpts, but is known primarily as a jeweler. Her early years were filled with Shoshone, Arapaho, and Kiowa aesthetics. First attending boarding school in Massachusetts, she then attended the notable Rhode Island School of Design, moved to Santa Fe in 1990 to study at the Institute of American Indian Arts, and later earned a BFA in painting with a minor in art history at the College of Santa Fe. Today, her studio is located in the Cerrillos Hills area outside Santa Fe, but she travels several times a year to Oklahoma and Wyoming to participate in tribal ceremonies.

Ataumbi releases a few collections each year, with most works being one of a kind. Her pieces are in many museum collections and have been worn on the red carpet at the Emmys, Grammys, and Oscars. In 2024, she collaborated with Uruguayan American designer Gabriela Hurst to create actress Lily Gladstone’s look for the Met Gala.

Jacob Livingston (Navajo/Zuni) is a third-generation silversmith. He began studying under his father, well-known silversmith Jake Livingston, when he was 9 years old. He finds inspiration in both his Navajo and Zuni cultures while incorporating designs and techniques that are all his own.

Livingston has also been trained in metal fabrication, receiving certifications with high honors from Tulsa Welding School and San Juan Community College. “This type of training has allowed me to create my own style of metal fabrication, including heavy stamp work,” he explains in his artist statement. “I continue to blend my ideas with my techniques to innovate within my medium.”

Livingston has won several first-place ribbons in prestigious art shows around the country, including the Santa Fe Indian Market and the Heard Museum Guild Indian Fair & Market.

Pat Pruitt (Laguna Pueblo/Chiricahua Apache/ European) is known for his contemporary, cuttingedge work that uses innovative materials, design, and fabrication techniques. He learned jewelry making by studying with Laguna jewelers Greg Lewis and Charlie Bird, who gave him a solid foundation in traditional materials like silver and copper as well as traditional techniques such as repoussé. In college, Pruitt studied mechanical engineering and worked as a machinist, which led him to open Custom Steel Body Jewelry for the body piercing industry. With his knowledge of machining technology and his love of working in stainless steel, he developed his distinctive style of jewelry that challenges notions about Native American jewelry.

In 2017, Pruitt won Best of Show at Santa Fe Indian Market, and he is now pursuing a Bachelor of Fine Arts in Studio Arts at the Institute of American Indian Arts in Santa Fe. He has served on the Laguna Pueblo Tribal Council for a total of 10 years.

Wes Willie (Navajo) still lives on the ranch where he grew up near Sweetwater, Arizona. He started making jewelry around 1995 as a hobby. In the summer of 1997, he turned his hobby into his career when his job as a pipe welder with Texaco ended.

“I started making some gold pieces and got accepted into the 1997 Santa Fe Indian Market,” he recalls. “The summer before, I did a gallery show in Gallup where a reporter for Southwest Art magazine was present. I told her I was doing pieces based on stories my grandmother used to tell us about creation and how this related to sand paintings I did to support myself through junior high and high school. The magazine article made a huge impact on my introduction to the Santa Fe show. People wanted to know who I was and loved what I was doing with my inlaid pieces. It’s been quite a trip into the art world where I’ve met many wonderful people. I am very thankful!”

“I learned this art 30 years ago from my late husband, Michael A. Dukepoo,” she explains, “who was a third-generation jeweler. Michael showed me the basic techniques, from cutting, forming, and soldering silver to cutting and placing stones in each piece of jewelry.”

Throughout the years she participated in art shows and won awards, which has made her “feel blessed that I am creating beautiful pieces of jewelry that people will appreciate for generations. Passing on my experience to my children, Anthony, Cloevitia, and William, makes my heart swell with happiness knowing our legacy will carry on through them.”

hollow-form construction. He is the first and only four-time Artist of the Year selected by the Indian Arts and Crafts Association.

His work is found in public and private collections around the world and has been featured in numerous publications and books. His extensive knowledge prompted the British Museum to invite him as a keynote speaker for the International Turquoise Conference in 2009, and in 2023 he was awarded the Maxwell/Hanrahan Award in Craft.

Born into a ranching family in New Mexico, he was instilled with a strong work ethic and appreciation for the culture and traditions of his forbearers. Approaching 30 years under his hefty belt buckle working as an innovative jeweler, he shows no signs of slowing down. He is currently a Mellon Foundation Fellow at Diné College, where he is making a series of documentary videos.

editor of many Santa Fe Indian Market magazines and has quite a collection of bolos and bracelets to show for it! He was the editor of Native Peoples magazine for 12 years.

By Daniel Gibson

GROUNDS SACRED

The Muscogee Creek are reclaiming their ancestors’ bodies as part of a nationwide battle over human remains, ceremonial objects, and sacred grounds

The Muscogee Creek are reclaiming their ancestors’ bodies as part of a nationwide battle over human remains, ceremonial objects, and sacred grounds

“This is a spiritual fight, and we carry it not just for ourselves, but for the ancestors and generations not yet born. So, they will know that when the time came, we stood up for what is most sacred to the Muscogee (Creek) people.”

So explains George Thompson, mekko (chief) of the Hickory Ground tribal town of the Muscogee Nation. Hickory Ground is one of 44 Muscogee tribal towns that were reestablished in Oklahoma after the forced relocation of the tribe from Alabama as part of the larger tragic series of removals of Indigenous people throughout the Southeast in the mid-1800s known as the Trail of Tears.

The fight Thompson alludes to is the longstanding effort by the Muscogee to right an old wrong — the desecration of their Hickory Ground (Oce Vpofv) tribal town in Alabama, the homeland from which they were forcibly removed. On land where the last capital of the National Council of the Creek Nation once was located, an 85,000-square-foot casino and 20-story hotel now stand, operated by the Poarch Band of Creek Indians. Ideally, the Muscogee Creek Nation wants the remains of ancestors that were removed during construction of the casino returned to their tribe and for the site to be restored to its original state. This battle is part of a nationwide struggle for Native peoples to reclaim ancestral human remains and material goods of a spiritual nature and to protect sacred grounds.

Muscogee Nation Principal Chief David Hill adds, “We’re standing up because this case sets a precedent. If developers, governments, or even other tribes can destroy a ceremonial site this important, with no accountability, then sacred places across this country are at risk. From burial mounds to prayer grounds, from the Black Hills to Oak Flat — these places are all vulnerable. So, we’re fighting not just for ourselves, but for every Native community that still carries their ceremonies, who still lays their loved ones to rest according to traditional ways, and who expects the law to recognize that those practices deserve protection. At the end of the day, this case asks a simple question: Will the United States honor its promises to tribes, or will it look the other way when our most sacred places are destroyed?”

Roots of the Conflict

In the Creek War of 1813–14, a few individual Muscogee Creeks voluntarily split from the main tribe to align with U.S. Army forces led by Andrew Jackson in his assaults on the so-called Red Sticks or Baton

Rouges — the Creeks who were fighting European American settler occupation of Creek homelands in Alabama. (Later, as president, Jackson orchestrated the passage of the Removal Act and the Trail of Tears campaigns that resulted in the relocation of tens of thousands of Natives from the southeastern U.S. to Oklahoma.) The handful of Creek families that left the main tribe dissolved any political or social ties to it and assisted Jackson in the killing and removal of other Creeks in Alabama. In exchange, they were granted American and Alabama citizenship and given land in southern Alabama. Over the next century, they reorganized as a corporation called the Poarch Creek Indians.

Part of the lands taken from the Creek Nation was the site of the original Hickory Ground tribal town, located in northeastern Alabama on the banks of the Coosa River near present day Wetumpka. It was their final capital as opposing forces closed in. Following their removal to Oklahoma, this land fell into private hands. In 1980, the Poarch Band received a cultural preservation grant from the federal government to acquire Hickory Ground. In their application, they stressed the importance of the site as the burial grounds of Creek ancestors and vowed to protect it in perpetuity. With the grant in hand, they purchased part of Hickory Ground and were given another portion, gaining control of the site.

In 1984, the federal government granted the Poarch Band federal recognition as a tribe. When a restrictive use deed clause expired after 20 years, Poarch leadership directed bulldozers to rumble in and a hotel and casino owned by the Poarch Band was built on the sacred land. Also under the direction of the Poarch Band’s leadership, at least 57 human remains were dug up, placed in cardboard boxes and garbage bags, and sent to storage at Auburn University, where some may still sit today.

Poarch Band Rebuttal

The Poarch Band states that all the remains they had have been reburied on the site, which the Muskogee contest. An Associated Press story published in September 2024 noted, “Members of the Poarch Band dispute the Muscogee accusations, saying they too have ancestral ties to Hickory Ground and that their work protected key parts of the historic site such as the ceremonial ground found during the university’s archeological study.” The article goes on to state that Stephanie A. Bryan, tribal chair and CEO of the Poarch Band, said the appeal is “an attack on our sovereignty,” and that one tribal nation is trying to tell another what to do on its land.

A story in Indian Country Today on September 23, 2024, reported, “Robert McGhee, Poarch Creek Indian tribal vice chair and chief government relations and public affairs officer, said in an ICT and Tulsa World interview that the Hickory Ground site had already experienced ‘significant commercial development’ before the tribe conducted its own excavation on it.”

From left: Muscogee Creek Nation Principal Chief David Hill and Second Chief Del Beaver.

The Battle Continues

The Muscogee Nation has been fighting for justice for Hickory Ground for 25 years, and currently has an active legal case filed against the U.S. government, various Poarch Band tribal officials, and Auburn University. They are not seeking monetary damages; rather, they seek the return of the human remains and funerary objects for reburial and reassurance that further site destruction will not occur.

“We have a sacred obligation to protect our ancestors. If we turn away, if we let Poarch’s desecration stand without protest, then we lose something of ourselves,” says Mekko Thompson. “We lose honor and become fully assimilated like Poarch. And we risk teaching our children that it’s acceptable to trade our spirituality and our identity for money. A court victory would restore a sense of moral balance. It is to say that our ancestors are not forgotten, that our ceremonies and our values still matter, that the Muscogee people are still here, and we still walk with the teachings handed down to us.”

Part of a Larger Battle

The battle over Hickory Ground is part of a larger struggle occurring nationwide, and even globally, regarding the protection of burial grounds, sacred sites, and ceremonial objects. In 2024, the Native American Graves and Repatriation Act (NAGPRA) was overhauled and updated. Originally passed in 1990, it places safeguards against unauthorized removal of Native human remains and burial objects on federal and tribal lands, and also calls on museums to return such materials to the most appropriate tribal entity or lineal descendant. However, while some museums have complied, thousands of human remains still sit in storage at notable institutions. And it is being played out right in Santa Fe and New Mexico as a whole.

“The Museum of Indian Arts and Culture [MIAC] is the repository for all archeological resources in New Mexico,” notes the museum’s Executive Director Danyelle Means, “going back more than a century to the Laboratory of Anthropology and the early years of the School of American Research [today the School of Advanced Research], and we have a significant amount of material to return — ancestors and their belongings.”

The 2024 update of NAGPRA set a firm deadline of 2029 for all human remains to be returned, so its adoption has lit a fire under museums nationwide. The process has, in fact, become the number one issue on Means’ already full plate. There are serious

We have a sacred obligation to protect our ancestors.”

challenges involved in returning remains. In many cases, the places where the graves were found are no longer tribal lands, so MIAC must consult with all possible tribal groups to arrange for their return and reburial.

To aid in this process, the New Mexico Department of Cultural Affairs, which includes MIAC, received a special appropriation of $2.5 million in the 2025 New Mexico legislative session, and Means says they hope to receive an equal sum in 2026.

“The onus is on the museum to make sure we are returning everything required,” Means explains. “It is not the responsibility of tribes. Museums must be accountable. Museums have had a lot of time to get this right, and they largely haven’t. This is on us, as it should be for holding some of these materials for nearly a century.”

The revised NAGPRA regulations also place new emphasis on returning ceremonial objects to tribes and for museums to consult with tribes about display of objects that might be considered sacred and unfit for public display. While Means notes that MIAC has “been really good” with such consultations, using its Indian Advisory Panel to weigh in on questions of appropriate use, she acknowledges many museums have not. She is encouraged by the fact that many more Natives are now in the museum field as curators and administrators, which is helping drive the process and improve accountability and responsiveness.

There is, however, also good news engendered by this difficult task, says Means. She explains that the process has led to improved communication and trust, and she hopes that some material goods might end up in a shared relationship, with objects loaned periodically to tribes for ceremonial purposes. She says, “These are living objects and part of living communities and should be in their hands!”

She also notes that while actively searching for and removing burial remains is no longer practiced on public lands, during construction projects and federal, state, and local highway improvements, human remains are sometimes found, and those come under MIAC’s purview. “When we do these excavations, we are disturbing the journey of these ancestors, and we want to ensure

the reinterment is done as quickly and carefully as we can,” Means explains.

Means is the niece of the late, great Oglala Lakota (Sioux) activist and actor Russell Means. When his niece decided to make museum work her career, Russell was opposed on the grounds that museums are, in his words, “an extractive industry.” He also objected to repatriation. “He said, ‘We don’t have words for that. We don’t have ceremonies.’ I said, ‘We have always invented new words and new ways to move through this world. We need to continue to evolve or we are stuck in some pre-contact void.’ He came to accept my decision.”

This brings us back to Hickory Ground and the legal battle of the Muscogee Nation. Notes Principal Chief David Hill, “This case matters not just to us, but

to every tribal nation in this country — because at its heart, it’s about whether Native peoples have the right to protect what is sacred. If a tribe’s burial grounds and ceremonial sites can be dug up, paved over, and turned into profit, without consequences, then what protection do any of us truly have?”

Mekko Thompson concludes: “The remains of multiple generations are part of the spiritual fabric that binds us together. Their wellbeing is tied to our own. When they rest in peace, our people can walk in peace. When they are disturbed, that unrest ripples through our communities, our ceremonies, and even our health. That’s why we fight — to protect the ways of our people, all of the things I described are gifts to our people from the creator . . . language, culture, ceremony, life, and death.”

Mekko George Thompson of Hickory Ground, Oklahoma, has been a determined advocate for the Muscogee Creek’s original Hickory Ground and the proper handling of the human remains found therein.

Hunting down artists whose work honors animals of every stripe: our fourlegged, furred, feathered, and finned friends

WILD THINGS

Red Tail Hawk: Communion of Spirit (2024), bronze, Joe Cajero Jr.

THINGS

a mother bear provides her cubs and apply a similar care to our own families, biological and chosen. The unabashed joy of a “rez” dog playing in the yard with her canine companion can inspire us to give ourselves permission to enjoy life. Wild animals, family pets, and therapy and service animals can heal us and support

Given these considerations, it is no surprise that contemporary Indigenous artists create deeply meaningful work depicting animals, all the more important today as wildlife comes under increasing threats to its very existence. As you walk around the Santa Fe Indian Market, keep an eye peeled for the many examples of “wild things.” To help guide you, here are profiles of a handful of the skilled artists you can meet at Indian Market who draw from their rich cultural heritages and personal experiences to

Neebinnaukzhik Southall (Chippewas of Rama First Nation)

Joe Cajero Jr.

(Jemez Pueblo) is known for his clay and bronze sculptures and plaques depicting animals, people, and spiritual concepts. He lives with his wife, accomplished jeweler Althea Cajero (Santo Domingo and Acoma Pueblos; see page 90), in Placitas, New Mexico, where they create their work surrounded by a beautiful, expansive landscape.

“Wildlife is woven into our religious ceremonies.”

— Joe Cajero Jr.

After Cajero graduated from the Institute of American Indian Arts, where he studied two-dimensional art and pottery, his mother mentored him in Pueblo clay work, leading him to focus on sculpture. He delved into the collaborative process of creating bronzes through the mentorship of Oreland Joe (Diné/Ute). “That’s what really opened up the door for the rest of my career and doing wildlife realism, human anatomy realism, and contemporary spiritual pieces,” reveals Cajero.

Growing up in Pueblo ceremonial life gave him a deep appreciation for animals. “Wildlife is woven into our religious ceremonies,” he asserts. He creates realistic and stylized sculptures of bison, bobcats, elk, antelope, deer, fish, and other creatures. By using simplified, angular shapes for his stylized pieces, he communicates the strength of the animal. Petroglyph icons on an elk’s body represent particular concepts: “The circle, segmented, represents spirit guidance, the intuition, and the consciousness that guides animals.”

Cajero continues, “A particular consciousness guides elk, so there’s a hoof print, and then the eternality of life as it progresses forever and ever.” The elk father, mother, and child are represented through a sun, moon, and star. Cajero grew up hunting and fishing with his father, and an arrowhead represents a hunter and the Pueblo people and Jemez clans more broadly. “These clans in my village hold ceremonies and prayers for everything harvested in winter [to be] replaced with newborn in the spring.”

As a teenager, Cajero made his first sculpture — a bear storyteller — at his mother’s shop in Old Town Albuquerque. He was squabbling with his younger sister when his mother handed him a ball of clay. He made a bear with cubs, which sold

immediately. “And so that’s where I fell in love with clay and working with animals,” he shares.

As an adult, Cajero studied Christianity, Buddhism, and Hinduism, which combine with his Pueblo worldview. Cajero found “concepts that are not much different from what we believe in the Native American philosophies or way of life, of recognizing animals, and [believing] that they have just as much right to breathe as we do.”

His bronze cross called Natural Divinity includes wave, dragonfly, butterfly, star, and stair step designs. Femininity and masculinity are presented as equals through his personal symbology of butterflies and dragonflies. A small pink flower placed at the intersection draws from a moment when Cajero nearly thoughtlessly crushed a tiny, perfect flower during a time he felt alone, which prompted him to see the divine in everything. His care for the natural world extends to a consideration for everything that enters his life. Joe and Althea regularly greet their home and studio, expressing gratitude for the space provided.

Journey, a small, swirling bronze with a vibrant patina, encapsulates the caterpillar’s transformation into a butterfly. “The design represents the life of a caterpillar, and that it’s a steep upward climb at times, and that it has to endure sharp, thorny environments,” explains Cajero. A stair step design “represents the spirit or God’s energy as it transforms this little caterpillar into a butterfly, and the colors represent the water energy and the foliage, and gold the intuition and instincts of this little creature to make this journey.”

Top Left: Blessings of Spring (2013), bronze plaque

A bronze plaque, Blessings of Spring, depicts a quail family with other creatures surrounding a blooming plant, honoring the “natural intelligence” of a flower. Cajero admires the protective instincts of the father quail. “The father sticks around and protects the chicks. We’ve seen that out here, outside of our home . . . the jays are not nice to chicks,” he shares, relating the chicks’ endangerment. “They were attacking the little quail, and that father was mad. He was fluffing himself up and chasing those blue birds away.” The work includes symbols of Father Sun and Mother Moon, a ceremonial stick with prayer feathers and colors representing the four directions, a stair step design, and a circle representing Cajero’s guiding spirit/guardian angel.

Cajero’s favorite bird, the hummingbird, is a key character in his recent novel, Towa’s Journey: Finding Our Path, about the adventures of a 10-year-old boy named Towa at Mesa Verde. “And it’s also the story of his people, who are becoming a new kind of people — the Cliff-dwelling People, who are eventually going to become a new kind of people called the Pueblo People of the Rio Grande,” he explains. Hummingbird shares wisdom with Towa, ensuring his people’s survival as they emerge into a new environment.

Cajero maintains an immense capacity for beauty. “I think that one of the keys in life is how can you acknowledge and expand your perspectives in life and appreciations. When you do that, it’s fed even more,” shares Cajero. “Like Spirit is saying, ‘Oh, if you’re respecting life this way, then here’s more. Here’s more.’”

Top: The Brown & Rainbow Trout (2012), bronze plaque

Below: Emerging from Spirit (2005), bronze

Marwin Begaye

A printmaker and painter, Marwin Begaye’s (Diné) work is richly layered with references to his culture. An associate professor of painting and printmaking at the University of Oklahoma’s School of Visual Arts, he expresses a perpetual curiosity and love for study, technique, process, and problem-solving in his artmaking. His work encompasses paintings, screen prints, lithographs, mixed-media works, and meticulously carved woodblock prints, driven by a “love for line.”

Begaye predominantly portrays birds. He experiences bird-related synchronicities in which people will mention a particular bird and he will then see that bird. He researches them, learns their calls and migration patterns, and investigates if they appear in Navajo stories. “And then I’ll just totally fall in love with that bird because of its characteristics and how they show up in the stories,” he says. He first started depicting birds because he “felt like the birds were a representation of earth and sky,” coming to an understanding that birds are deeply integrated in Diné culture and identity, linked to songs and cosmology. “The birds tell us when to plant and when ceremonies start and when things are supposed to happen for different protocols,” Begaye explains.

His birds are found in the West, the Southern Plains, New Mexico, and beyond. Even a loon makes an appearance, more often

“We migrated through different worlds, and then each of those worlds had color...”

— Marwin Begaye

Troy Sice and Raymond Tsalate

seen in northern tribal art. Noting the connections of the Diné to Athabaskan bands in Canada, he explains that the Diné have stories about loons. “We migrated through different worlds, and then each of those worlds had color — there’s white, there’s yellow, there’s black, and blue. In the blue world where we emerged, it was the great [blue] heron and the loon who were the first to greet, and so, in connection to that story, I printed those birds all in blue.”

Layered, interlocking, intricate patterns in some of his larger woodblock prints, like California Condor, relate to cultural stories, reflecting how Navajo beliefs persist as a foundation in contemporary life. “Traditional patterns of geometric shapes you see in Navajo rugs and textiles reference [such things as] clouds and deities,” he notes. “We had a lot of weavers in our family, and a lot of jewelers, and that’s where my interest in pattern comes from.” As a child, he was markedly curious, perpetually asking his weaver grandmother questions about the meaning of designs. “Even now, when I’m at Indian Market, I’ll just be standing there and I’ll see something, and I’ll just go track down that person and be like, ‘What does that design mean?’”

Begaye has 15 abstract symbolic works as well as iconic depictions of significant animals on view in Visualizing K’é: New Works by Marwin Begaye at the Wheelwright Museum of the American Indian in Santa Fe through March 28, 2026. With permission from the Navajo Nation’s Medicine Men Association, Begaye listened to the museum’s recordings of medicine men, distilling his insights into art, honoring the depth of meaning carried by K’é, which translates roughly as kinship, and the Diné people’s relationship to land and sky.

Zuni Pueblo fetish carvers and partners Troy Sice (Zuni) and Raymond Tsalate (Zuni) create charming, often humorous and always inventive, tabletop fetishes, spirited sculptures, and jewelry at their home in Grants, New Mexico. They use high-quality natural materials such as turquoise, antler, coral, and shell polished to a sheen. Sice has been creating for 25-plus years and Tsalate for about 16 years, beginning his artistic journey assisting Sice. “He used to do a little inlay for me here and there when I would work on my stuff,” Sice shares. Sice suggested that Tsalate try making his own pieces, and from there, Tsalate’s work took off. Continued on next page

Opposite page, upper left: Egret’s Protection (2024), woodblock print on dyed paper with acrylic ink (photo by Reid Walker). Right : California Condor (2019), woodblock print. Both by Marwin Begaye (Diné).

Below: A prickly porcupine fetish and an affectionate bear by Troy Sice (Zuni).

Their Zuni culture is the foundation of their carvings. “The mountain lions, bears, badgers, wolves, moles or shrews, and eagles are the primary animals that we like to create,” asserts Sice. These are the six directional animals in Zuni Pueblo’s migration and emergence story, who led to the formation of Zuni’s medicine groups. Sice further explains: “There were ferocious animals on this planet, and in order for the people to emerge from Mother Earth, Sun Father created two sons, Morning Star and Evening Star. They’re the Twin Warriors for the Sun, and those were the two who came upon Mother Earth and struck the ferocious animals down, but saved their hearts, and that’s what became the true fetishes for Zuni. And it’s those six animals that were spared. Those are the stories that we use and we bring forward into the future with our work.”

However, they are careful to not depict any sensitive information. “Every time that we want to create something new and we feel that it might cross that boundary to the religious side, I always go home and ask my mother and my stepfather. I tell them my idea, or Ray will tell his mother and father his idea, and they’ll let us know if it’s okay to do or not okay to do.”

Their carvings include traditionalstyle Zuni fetishes as well as sculptures

diverging from the older conventions. Using the example of a bear, Sice explains that traditional fetish carvings would depict an animal standing on all four legs, often “having some kind of a bundle or feathers on them.” He continues, “But I also creates bears that are standing on two legs, which makes them nontraditional, and I also make new dancing bears — bears that can stand on either back foot.”

In addition to the directional animals, the couple creates turtles, rabbits, parrots, foxes, squirrels, horses, porcupines, and more. One of Sice’s sculptures is strikingly playful, with a dragonfly resting on a frog’s tongue — they are friends. Due to their business name, Dragonfly’s Trail, Sice and Tsalate have been creating dragonfly necklaces for their clientele. They’ve also recently received requests for domestic animals. “So we’re making little whimsical cats and dogs in our style,” Sice says. He recently made a series of owls, including great horned owls, snowy owls, screech owls, and barred owls.

“The ideas that we have come constantly; it doesn’t matter where we’re at,” states Sice. “We’re at dinner. We’re with friends. We’re at Indian Market. Anywhere and anytime, we’re always thinking about new stuff and new ideas.”

“The ideas that we have come constantly; it doesn’t matter where we’re at.”

— Troy Sice

Opposite top to bottom: A killer whale bolo by David Wallace (Chugach Alutiiq); a pendant of a loon by Dawn Wallace; and a ribbon seal pin by Dawn Wallace. Materials used include sterling silver and 14k gold, and inlays include fossilized walrus tusk, abalone (whale bolo), and lapis (loon pendant).

Upper left: Warrior Spirit fetish-topped pot by Sice (Zuni) and Tsalate (Zuni).

Above: Owl pendant by Dawn Wallace (Chugach Alutiiq).

Dawn Wallace Kulberg and David Wallace

Siblings Dawn Wallace Kulberg and David Wallace (Chugach Alutiiq) have been jewelry makers since they were children, taught by their parents Denise Wallace (Chugach Alutiiq) and the late Samuel Wallace, and participants in Indian Market since they were teens. “We were homeschooled and we would go to work and do our schooling in their gallery in Santa Fe every day,” says Dawn. The siblings maintain a close working relationship as adults, living just five minutes away from each other with their families on the Island of Hawai’i.

Their interests in jewelry making diverged, and they regularly lean on each other’s strengths to execute their respective designs. Dawn focuses on metalsmithing and scrimshaw, at times lending her steady hand to David’s work. David specializes in lapidary. “I love the stone carving, and that’s what my dad loved,” says David. He often inlays jewelry for himself, but also for his sister and their mother — like their father did for their mother. The siblings maintain a respectful collaborative boundary and do not dictate each others’ designs. “I’m there to help, but I’m not there to talk about how I think the vision should look, because it’s his vision,” emphasizes Dawn.

Dawn visualizes her jewelry as small

paintings, creating “little portraits” of Alaskan wildlife like seals, ravens, foxes, puffins, polar bears, and elk. Her jewelry is often inspired by family visits to Alaska and the animals she sees. She will scrimshaw crisp patterns and details into her jewelry, which features scenic mini-landscapes and designs incorporated into the background or body of an animal — an elk’s body may include a forest, for example. Dawn will occasionally depict animals from her Hawai’i home, like sea turtles or, recently, hawks. “There’s been these two hawks flying around my house over the last couple weeks, and they’re really beautiful, just enjoying the winds,” she explains.

With polished materials taking center stage in his work, David depicts a range of animals including salmon, insects, walrus, and owls, but most notably he creates dinosaurs, from pterodactyls to sauropods. “Of course, since I was young, I always liked dinosaurs. And we’ve worked with dinosaur bone a lot. So, I always had a fascination,” he explains.

They incorporate walrus and mastodon tusks into their jewelry, preferring fossilized walrus ivory for its varied tans, browns, and grays, and patterns produced by minerals. (While Alaska Natives are federally permitted to sell work made from walrus ivory, buyers should be aware that some states ban all ivory.) David cuts the tusks and organizes the pieces by color. “But occasionally, we run into pieces that are just very detailed, and that will be saved specifically for, let’s say, a fox, or an animal like a caribou, where we want the [look of] hair. We want that fossilized ivory to represent the animal itself,” he shares.

Dawn chimes in, “Whenever he makes them, it makes me think of our dad, because he was a rockhound. He spent so much time in the Southwest looking for petrified dinosaur bone and other stones. We grew up with him bringing that home, and I feel like David totally got that. When we come back to Santa Fe — he’s out looking for fossils.”

At Indian Market, David and mother Denise will share a booth, while Dawn and her 17-yearold son, Ethan — showing his own work — will share another booth. Thus, the family tradition is carried forward in the hands of

Neebinnaukzhik Southall (Chippewas of Rama First Nation) is a graphic designer, writer, artist, and photographer based in Santa Fe, New Mexico, specializing in covering and promoting Native cultures, arts, and design. Find her online at neebin.com.

EVENT LISTINGS AROUND TOWN

MUSEUM EXHIBITIONS &

EVENTS

Institute for American Indian Arts Museum of Contemporary Native Arts 108 Cathedral Place iaia.edu/mocna

Always and Forever: Douglas Miles & Apache Skateboard Through February 8, 2026

Always and Forever features Douglas Miles’ (White Mountain Apache/San Carlos Apache/ Akimel O’odham) artist-in-residence 2025 body of work, which draws connections between skateboarding and the Apache warrior tradition.

Breaking Ground: Art & Activism in Indigenous Taiwan Friday, August 15 – Sunday, January 4, 2026

Breaking Ground: Art & Activism in Indigenous Taiwan showcases contemporary Indigenous Taiwanese artists whose works confront colonization’s impact through themes of identity, land, and resistance, echoing Indigenous struggles worldwide.

Maggie Thompson: Interactions Through January 4, 2026

Interactions presents Maggie Thompson’s (Fond du Lac Ojibwe) innovative textile-based works, weaving Ojibwe traditions with contemporary experience to explore identity, resilience, and the transformative power of collaborative storytelling.

The Stories We Carry

Through March 21, 2028

The Stories We Carry features contemporary jewelry created by more than 100 Native artists across decades. This exhibit is stewarded as part of the MoCNA permanent collection.

Our Stories

Through December 19, 2026

Our Stories is a companion to The Stories We Carry exhibition, located adjacent to the Kieve Family Gallery.

Museum of Indian Arts & Culture

710 Camino Lejo museumfoundation.org

Engaging the Future: The Goodman Fellowship Artists

Through September 2, 2025

Engaging the Future underscores the importance of support for emerging Native talent by featuring the work of 19 artists who have benefited from the MIAC Goodman Aspiring Artist Fellowship, an initiative dedicated to empowering Native artists.

Here, Now and Always

Through July 2, 2028

This ongoing exhibit features more than 600 objects from the museum’s collection that express fundamental truths about the quintessence of Native communities in the Southwest. The exhibit is exemplified by a quote from late Zuni scholar and former MIAC Curator of Ethnology Edmund J. Ladd: “I am here. I am here, now. I have been here, always.”

Here, Now and Always: Native Narrative

Speaker Series

August 9, 1 – 3 p.m.

Learn about Pueblo history and Oga P’ogeh, White Shell Water Place — present-day Santa Fe — from Gil Vigil, former governor of Tesuque Pueblo.

Makowa: The Worlds Above Us

Through August 17, 2026

Makowa juxtaposes artistic renderings of celestial events with cutting-edge telescopic imaging. The exhibit also draws from stories about how stars came to be where they are and how stars help people know where they are. Night photography, pottery, textiles, interviews, and maps are among the exhibit components. A small planetarium allows visitors to immerse themselves in a changing sky, and interviews highlight the first Indigenous astronaut, John Harrington (Chickasaw), along with Native astrophysicists, skywatchers, and artists.

Please confirm event times before attending.

Printing the Pueblo World: Juan Pino of Tay TsuÂ’geh Oweenge

Through August 17, 2025

Pino’s prints depict intimate moments of Pueblo life, including scenes of Tesuque Pueblo’s church, agricultural work, family life, and ceremonial dances. His work stands out for its authenticity, capturing the people and rituals of the community in ways that were rare for Native artists in the 1920s. These images are especially significant as they offer an unfiltered, yet respectful, portrayal of Pueblo culture at a time when such depictions were often marginalized or commercialized.

The Buchsbaum Gallery of Southwestern Pottery

Through March 4, 2026

The Buchsbaum Gallery of Southwestern Pottery exhibits nearly 300 vessels created by outstanding ceramic artists of the pueblos of New Mexico and Arizona, from the inception of pottery making in the Southwest up to the present. The gallery features a selection of pieces that represent the development of a community tradition. In addition, an exhibit titled Traditions Today highlights the evolving contemporary traditions of the ancient art of pottery making. (Read more about contemporary potters on page 32.)

New Mexico History Museum

113 Lincoln Ave. nmhistorymuseum.org

Admission is free on Saturday and Sunday, August 16 – 17

The Photography of Milton Snow and the Legacies of Livestock Reduction: CommunityBased Exhibition Praxis at the Navajo Nation Museum

Saturday, August 16, 1 – 2 p.m.

Free admission

Visit the New Mexico History Museum for a talk about a new exhibit at the Navajo Nation Museum in Window Rock, Arizona, titled Nihinaaldlooshii doo nídínééshgóó k’ee’ąą yilzhish dooleeł / Our Livestock Will Never

Diminish: The Photography of Milton Snow and the Legacies of Livestock Reduction, which explores the intersecting histories of U.S. Indian Commissioner John Collier’s livestock reduction programs and the photography of Milton Snow. Addressing themes of community and kinship, nation and democracy, gender and patriarchy, and refusal and resistance, this exhibition features more than 60 photographs alongside interpretative text shaped by Diné artists, scholars, and community members. The exhibition was curated by Dr. Jennifer Nez Denetdale (Diné), Clarenda Begay (Diné), and project manager Lillia McEnaney, who will be present to discuss this important exhibition.

The Girl in the Middle: Book Discussion and Signing with Martha A. Sandweiss

Saturday, August 16, 3 – 4 p.m.

Free admission

In searching for the story of the figure at the center of an 1868 photograph, Martha A. Sandweiss traced the lives of the people present at Fort Laramie — the photographer, U.S. generals, the Lakota people, and Sophie Mousseau — whose lives were entangled in struggles over the future of the American West after the Civil War. Sandweiss will discuss this turbulent history in conversation with Hannah Abelbeck, curator of photographs and archival collections at the New Mexico History Museum.

Honoring Tradition and Innovation: Santa Fe’s Annual Indian Market and Art Competition

Sunday, August 17, 1 – 2 p.m.

Free admission

Visit the museum for a presentation by and discussion with Cathy Notarnicola, curator at the New Mexico History Museum, and Elisa Phelps, head of Curatorial Affairs at the Museum of Indian Arts and Culture/Laboratory of Anthropology. They’ll discuss how the Santa Fe Indian Market evolved to become the world’s largest and most prestigious market as well as other Native American art markets collectors can explore.

Grounded in Clay: The Spirit of Pueblo Pottery

Screening and Panel Discussion

Sunday, August 17, 3 – 4 p.m.

Free admission

Watch a short documentary about the significance and living tradition of Pueblo pottery and then hear from the organizers of the groundbreaking traveling exhibition Grounded in Clay. Panelists will share their thoughts, reflections, and experiences in choosing a community-focused approach and working with 60 community curators to create and travel the exhibition.

Wheelwright Museum of the American Indian 704 Camino Lejo wheelwright.org

Memo to the Mother: Bob Haozous’ Messages to Mother Earth Through January 10, 2026

In celebration of Haozous’ 2025 retrospective at the Heard Museum in Phoenix, Memo to the Mother brings together sculptures, monoprints, and wearable sculptures that represent Haozous’ decades-long thinking about the environment.

Visualizing K’é: New Works by Marwin Begaye Through March 28, 2026

Visualizing K’é presents 15 drawings and prints by master printmaker and professor Marwin Begaye. After connecting with historic voice recordings from the Wheelwright Museum’s permanent collection, Begaye created a series of abstract works in 2024–2025 that visualize the Diné philosophy and practice of maintaining kinship (k’é). Begaye’s work draws on Diné aesthetics, reflecting on questions of identity, storytelling, and language to explore how ancestral knowledge can be encoded in different cultural forms over time. The exhibition will include a dynamic program series in summer and fall 2025, including an artist talk, exhibition tour, and printmaking workshop by Begaye. (Read more about Begaye on page 90.)

Pottery by the late Tony Da (San Ildefonso Pueblo) is included in the film Grounded in Clay . Image courtesy the New Mexico History Museum.

OTHER EVENTS

Free Indian Market

Federal Park, 106 S. Federal Place

Saturday – Sunday, August 16 – 17 8 a.m. – 5 p.m. freeindianmarket.org

The seventh annual Free Indian Market features more than 500 Native artists from more than 50 nations. Shop for pottery, jewelry, paintings, sculptures, textiles, baskets, beadwork, carvings, fashions, photography, graphic arts, and music instruments. Public concerts and performances will be held each day.

IAIA Benefit & Auction

August 13, 5 – 9:30 p.m.

La Fonda on the Plaza Advance ticket purchase required iaia.edu

The evening will begin with a rooftop reception and silent online auction, followed by dinner, entertainment, a paddle raise, and a live auction (including remote bidding) of exclusive artwork by renowned IAIA alumni and supporters. The silent online auction will be live from July 17 to August 13.

IndigenousWays Festival

August 15, 5 – 10 p.m.

Santa Fe Railyard Water Tower indigenousways.org

The IndigenousWays Festival is a vibrant celebration of Native culture, music, art, and community, featuring an extraordinary lineup of musicians, performers, storytellers, artisans, and food vendors. Headlined by Grammy Award-winning artists including flutist Robert Mirabal (Taos Pueblo), hip-hop artist G Precious (Ohkay Owingeh Pueblo), and traditional singer-songwriter Radmilla Cody (Navajo), this free, family-friendly concert offers a powerful

fusion of ancestral sounds and contemporary expression. Check their website for more immersive events to be held September 27 – 28.

New Mexico Summer Scene Concert: Levi Platero with Cary Morin

August 12, 6 p.m.

Santa Fe Plaza lensic360.org/event/448664/levi-plateroLevi Platero is a Diné blues artist from To’hajilee, New Mexico, renowned for his intuitive guitar playing that soulfully encapsulates a lifetime of experience as he blends Texas blues, vintage rock, and modern guitar heroics. Having previously toured with his family band, The Plateros, and as a member of the band Indigenous, this Native American Music Award-winning musician now delivers captivating live shows as a solo artist, ranging from intricate guitar acrobatics to profound emotional expressiveness.

Pathways Indigenous Arts Festival

August 15 – 17

Hilton Santa Fe Buffalo Thunder

20 Buffalo Thunder Trail, Pojoaque Free admission and parking poehcenter.org/pathways

Enjoy an Indigenous art market, meet creative entrepreneurs, take in films and live performances, marvel at Native fashion, and sample fare from a variety of food trucks.

Pueblo Revolt

Santa Fe Playhouse

142 E. De Vargas St.

August 14 – 31 santafeplayhouse.org

Written by Dillon Christopher Chitto (Mississippi Choctaw/Laguna/Isleta), this new work presents a dramatic look at the 1680 Pueblo Revolt through the story of two brothers caught

in the uncertainty of colonial New Mexico. Directed by Tara Moses (Seminole Nation), Pueblo Revolt brings Indigenous voices to the foreground of this historic Santa Fe theater’s 2025 season. This historical drama set in New Mexico reflects the growing prominence of Native American playwrights in national theater conversations.

Santa Fe Chamber Music Festival

Indian Market Concert

August 15, 6 – 7 p.m.

St. Francis Auditorium

New Mexico Museum of Art

107 W. Palace Ave.

santafechambermusic.org/concert/indianmarket-concert

Enjoy a free Indian Market concert featuring Roberto Capocchi performing solo guitar works by Falla, Villa-Lobos, Leo Brouwer, and Marc Neikrug.

Jewelry by Jennifer Curtis at Manitou Galleries.

An artist at the Wheelwright Artists Market. Courtesy photo.

Santa Fe Indian Market Show & Sale

Wednesday, August 13 – Sunday, August 17 9 a.m. – 5 p.m.

Special opening: Thursday, August 14, 5 – 7 p.m.

Rosewood Inn of the Anasazi Library 113 Washington Ave.

Waddell Gallery is offering the late Andrea Rumley’s major collection of Native American jewelry. There are more than 170 pieces in the collection by artists Charles Loloma, Lee Yazzie, Jesse Monongya, Larry Golsh, James Little, Harvey Begay, Darryl Dean Begay, Vernon Haskie, Raymond Yazzie, Larry Vasquez, Don Supplee, Jared Chavez, Dina Huntinghorse, Herbert Taylor, Kenneth Begay, and more. The gallery says, “This is the best inventory of Native American jewelry we have ever featured at any of our shows.”

Wheelwright Museum of the American Indian Annual Benefit Sale and Artists Market

Benefit sale: Thursday – Friday, August 14 – 15, 8 a.m. – 4 p.m.

Artists Market: Friday, August 15, 8 a.m. –4 p.m.; Saturday, August 16, 10 a.m. – 2 p.m. Free admission wheelwright.org

The annual benefit sale is the museum’s largest fundraiser, with all proceeds directly supporting program and exhibition needs. Find jewelry, pottery, textiles, baskets, paintings, and more. The Artists Market is an opportunity to purchase from and visit with established and emerging Native artists.

Whitehawk Antique Indian & Ethnographic Art Show

Santa Fe Community Convention Center

201 W. Marcy St. whitehawkshows.com

Friday, August 8, 6 – 9 p.m.: Preview opening benefiting SWAIA | $125

Saturday – Sunday, August 9 – 10, 10 a.m. –5 p.m.; Monday, August 11, 10 a.m. – 3 p.m. $18 per day or $25 for all three days. Monday is free for New Mexico residents with ID.

Whitehawk Antique Indian & Ethnographic Art Show has been a Santa Fe tradition for more than 45 years. The show brings together more than 95 of the world’s most knowledgeable Native art experts, and visitors will encounter thousands of select historical art objects from Indigenous cultures across the globe. Special exhibitions are Spirit Beings in Wood: The Vibrant Tradition of Hopi Katsina Carvings, 1880 to Present and The Living Tradition of Chimayó Weaving

AT THE GALLERIES

Blue Rain Gallery

544 S. Guadalupe St. blueraingallery.com

Indian Market Group Show

Artist reception: Thursday, August 14, 5 – 8 p.m.

Preston Singletary: Banana Republic of Raven Artist reception: Friday, August 15, 5 – 8 p.m. Through August 30

This is the third installment of the Raven series by artist Preston Singletary (Tlingit) and author Garth Stein. In this latest chapter of their bold and imaginative collaboration, Singletary and Stein deliver another mythic tale from the irreverent mind of Raven — a trickster, truthseeker, and eternal optimist in a world gone sideways.

Cara Romero Photography Studio + Gallery 333 Montezuma Ave. #5 cararomero.com

New Mythos

August 14 – September 19, 2025

Visit with artists Dan Friday (Lummi), Ryan Singer (Diné), Jody Naranjo (Santa Clara Pueblo), Chris Pappan (Kaw Nation), Helen K. Tindel (Santa Clara Pueblo), Raven Skyriver (Tlingit), Hyrum Joe (Diné), Karen Clarkson (Choctaw), Spooner Marcus (Ohkay Owingeh Pueblo), Starr Hardridge (Muscogee Creek Nation), Ugly Pie (Diné), Thomas “Breeze” Marcus (O’odham/Ponca), Jesse Littlebird (Laguna/Kewa Pueblo), Ira Lujan (Taos/Ohkay Owingeh Pueblo), Lisa Holt (Cochiti Pueblo) & Harlan Reano (Kewa Pueblo), and Leah Garcia (Hopi/Tewa).

New Mythos brings together the work of Shelley Niro, Kent Monkman, Cara Romero, Jeremy Dennis, Leah Mata Fragua, Diego Romero, Bonny Melendez, and Robert King in a dynamic exhibition that threads together personal narrative, cultural memory, and material innovation. Through photography, ceramics, and mixed media, these eight artists present powerful reflections on Indigenous experience — individually grounded yet collectively resonant. The exhibition marks a significant convergence of Indigenous voices from across the Americas. New Mythos offers not just imagery, but a vivid, living archive of Indigenous presence, where ancestral memory and future vision are equally held.

Elmore Indian Art

839 Paseo de Peralta, Suite M elmoreindianart.com

Nyla Sahmie: The Last Nampeyo Reception: August 14, 4 – 7 p.m.

Elmore Galleries presents a new exhibition and sale highlighting the living legacy of Nampeyo (1859–1942), the matriarch of modern Pueblo pottery. Celebrating five generations of Indigenous artists inspired by Nampeyo, the collection highlights the work of Nampeyo’s descendants, Nyla Sahmie Nampeyo and Vernida Polacca Nampeyo, two master ceramicists and possibly the most talented traditional potters living in the Hopi community.

Acoma Series by Mateo Romero at Manitou Galleries.

Gerald Peters Contemporary 1011 Paseo de Peralta gpgallery.com

Native Sovereignty + Cultural Repair

Friday, August 15, 1 – 3 p.m.

Registration required at nativeartsandcultures.org/panel

Join the Native Arts + Cultures Foundation (NACF) for an open dialogue about how Indigenous artists globally have documented their existence and resiliency despite the climate of lost funding and censorship. Moderated by Andrea R. Hanley (Navajo Nation), NACF director of programming, featured artists Cara Romero (Chemehuevi) and Daisy Quezada Ureña (Mexican American) will speak alongside former chair of the National Endowment for the Humanities Dr. Shelly Lowe (Navajo) and Candice Hopkins (Carcross/Tagish First Nation), executive director and chief curator of the Forge Project.

Glenn Green Galleries & Sculpture Garden 136 Tesuque Village Rd. glenngreengalleries.com

Thursday, August 14, 2 – 5 p.m.

Glenn Green Galleries Indian Market Open House features new, large-scale paintings and a demonstration by internationally celebrated master printmaker and artist Melanie A. Yazzie (Diné). Yazzie’s recent works on paper and sculpture will be available for purchase.

The group exhibition will feature Melanie A. Yazzie (Diné), Allan Houser (Chiricahua Apache), Michael Kabotie (Hopi), and Brenda Kingery (Chickasaw), plus works by Dan Namingha (Tewa/Hopi), Dennis Numkena (Hopi), Rick Bartow (Mad River Band of Wiyot Indians), and Grey Cohoe (Diné).

Pop-ups

At the Meet the Hopi Foundation special presentation, you’ll be introduced to Hopi Foundation staff members and learn about their important community programs.

Writer Barbara Poley (Hopi/Laguna) will sign copies of her book Worlds Within Us: Wisdom and Resilience of Indigenous Women Elders. This book presents the voices of eight Native women elders, including Poley’s own story. Proceeds from book sales will benefit the Hopi Elders Fund.

Artist Monica Nuvamsa (Hopi-Tewa/Acoma/ Havasupai) will present a selection of handmade products, including puzzles, stickers, clothing, and accessories.

Friday – Sunday, August 15 – 17

9 a.m. – 5 p.m.

Enjoy exhibitions in the gallery and sculpture garden of sculpture, paintings, printmaking, and jewelry featuring the artwork of Melania A. Yazzie (Diné), Brenda Kingery (Chickasaw), Allan Houser (Chiricahua Apache), Michael Kabotie (Hopi), Dan Namingha (Tewa/Hopi), Rick Bartow (Mad River Band of Wiyot Indians), Charlie Willeto (Diné), Toni Peña (San Ildefonso Pueblo), and Dennis Numkena (Hopi). In addition, major granite sculptures by Khang Pham-New (Vietnamese/Canadian) will be on display in the sculpture garden.

Manitou Galleries

123 W. Palace Ave. manitougalleries.com

Indigenous Open House

Reception: Friday, August 15, 5 – 7 p.m.

August 15 – 26

Immerse yourself in Western art as Manitou Gallery honors the 103rd year of SWAIA’s Indian Market with a celebration of Indigenous creativity. Discover breathtaking works from renowned Native American artists and jewelers, including the evocative paintings of Nocona Burgess (Comanche) and Isaiah Stewart (Lakota/Mohawk), the extraordinary sculptures of Greyshoes (Ohkay Owingeh/White Mountain Apache), and exquisite jewelry from Don Supplee (Hopi), Jennifer Curtis (Diné), Arland Ben (Diné), and Wes Willie (Diné). This open house is a rare opportunity to experience and acquire some of the finest Native art brought together under one roof.

Mateo Romero — Places of Power

Reception: Thursday, August 14, 5 – 7 p.m.

August 14 – 26

Mateo Romero’s Places of Power highlights his extraordinary contribution as a contemporary Pueblo artist with a global impact. Born in Berkeley, California, and deeply connected to his Southern Keresan Cochiti roots, Romero’s work masterfully bridges urban and Pueblo cultural experiences. With an MFA in printmaking from the University of New Mexico and tutelage under celebrated artists like Ben Frank Moss, Romero has honed a distinct artistic voice that resonates internationally. His creations, infused with the essence of the Rio Grande Pueblo world, explore themes of identity, place, and resilience. Places of Power offers viewers a profound opportunity to engage with Mateo’s award-winning artistry and his vision of cultural storytelling that transcends borders.

Sorrel Sky Gallery 125 W. Palace Ave. sorrelsky.com

A Weave Through Time: The History of Navajo Weaving and the Navajo People Thursday, August 14, 3 – 4 p.m.

This talk will be presented by Navajo weaving expert Jackson Clark II.

Reception and Premiere of New Nighthorse Jewelry, The Legacy Continues Thursday, August 14, 5 – 7:30 p.m.

For more than eight decades, the name Nighthorse has been synonymous with exquisite craftsmanship and timeless beauty in the world of jewelry. Nighthorse jewelry represents a harmonious blend of tradition and innovation, bridging generations of artistry. At its heart is Ben Nighthorse (Northern Cheyenne), an awardwinning master jeweler whose passion for creating was lit when he was only 12 years old.

All Artist Group Show

Reception: Friday, August 15, 5 – 7:30 p.m.

All Day Gallery Indian Market Show, Artist Demonstrations, and Artists Meet & Greet

Saturday – Sunday, August 16 – 17

Meet artists Shane Hendren (Navajo), Jeremy Salazar (Navajo), Darryl Dean Begay (Navajo), Rebecca Begay (Navajo), Ben Nighthorse (Northern Cheyenne), and others throughout the day.

Early Navajo Traders and Their Influence on Navajo Weaving

Sunday, August 17, 1 – 2 p.m.

This talk will be presented by Navajo weaving expert Jackson Clark II.

Jewelry from the new Nighthorse collection at Sorrel Sky Gallery.