Native Arts 2019 | Digital Edition by Bella Media Group

native arts

2019

Pablita Velarde (1918-2006) Helen Hardin (1943-1984) Margarete Bagshaw (1964-2015) Doylene Hardin Land

Tired of the same old gallery scene? Experience Art Differently!

Call for an appointment or for more information 505-988-2024 - www.GD3Dgallery.com

VISUAL VOICES C O N T E M P O R A R Y C H I C K A S AW A R T

CH ICKASAWART I STS .CO M

Grant provided by the Chickasaw Nation

29TH ANNUAL

SANTA FE WINE & CHILE FIESTA

SEPTEMBER 22 - 29, 2019

GRAND TASTING Saturday, September 28th at the Santa Fe Opera $175 Early Bird Special $195 After August 31st

FEATURED EVENTS September 22 - 29, 2019 Reserve Tasting & Auction Auction Luncheon with Tablas Creek Rosé All Day Guest Chef Walkaround Champagne Nicolas Feuillatte Brunch Guest Chef Luncheons & Demos Daily Wine Seminars Nightly Wine Dinners SFW&C Film Fiesta Gruet Golf Classic SFW&C Gran Fondo

THERE’S A GOLD RUSH IN SANTA FE FOR THE BEST WINES OF THE WEEK AT THE SFW&C FIESTA RESERVE TASTING & SILENT AUCTION

The top reserve wine from each of the 100 participating wineries is poured with delectable tastes from 10 Santa Fe restaurants. A silent auction of 75 rare wine lots benefits SFW&C education programs. The Gold Pass (limited to only 150 guests) gets you in a half-hour early. Wines so good you will want to start tasting earlier. Gold Pass 3:30 pm to 6:30 pm $150 | Reserve Pass 4:00 pm to 6:30 pm $110 Friday September, 27th | The Santa Fe Community Convention Center

THE SANTA FE WINE & CHILE FIESTA WINEMAKER DINNER SERIES 100 World-Class Wineries partnering with 75 great Santa Fe Restaurants Every night for Winemaker Dinners (Schedule on Website)

SANTAFEWINEANDCHILE.ORG FOR WINEMAKER DINNER SCHEDULE

SANTAFEWINEANDCHILE.ORG 505-438-8060

“Wildlife Royalty” • 48" x 48" • Acrylic

1936 -2018

“NIETO: CELEBRATING A MASTER” • Friday, August 16, 2019 • 5 to 7pm

VENTANA FINE ART 400 Canyon Road

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Santa Fe, NM 87501

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505-983-8815

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800-746-8815

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www.ventanafineart.com

native arts magazine

publisher’s note

It’s a funny world. In much of the media, we are entertained by otherworldly places and occurrences that are pure fantasy and make believe. Fantasy can be a beautiful thing, as it takes us out of our everyday world and puts us in a new reality. Native American art is in some ways the complete opposite of fantasy, but it also lures us into other worlds—those of the diverse Native American cultures. The difference is about authenticity. Many of today’s Native American artists utilize ancient techniques, traditional materials from the earth, and design principles that have been passed down through the generations. Their work couldn’t be more authentic. The authentic quality doesn’t end with the physical attributes of the art, but continues as the symbols, characters, and subject matter speak to the earth, the animals, and the spiritual world. They are reminders of the respect that Native American cultures have for the environment surrounding us all. It’s a way of looking at life and nature that is truly genuine—and would serve other cultures as well. While fantasy can be beautiful and carefree, the world we live in is very real and full of challenges that we all must face. When I appreciate Native American art, I feel more in touch with the world. I am in awe of how incredible techniques have crossed the generations and still speak of deeper meaning and authentic approaches to life. I also feel inspired by the current-day Native artists who are developing new styles and techniques for personal discovery, to reflect on history, and to comment on pressing contemporary social issues. This enriches us all.

BRUCE ADAMS

Publisher

contents

8 Publisher's Note 16 Up Front

We Are the Seeds and the Free Indian Market show Native arts and crafts

18 Museum Spotlight

Below: Polychrome bowl by Maria and Julian Martinez (San Ildefonso), ca. 1915, shown at the Museum of Indian Arts and Culture. Gift of Mrs. John DeHuff, courtesy of John and Linda Comstock and the Abigail Van Vleck Charitable Trust.

Exhibits of historic and contemporary Native art at the nation’s museums

30 Gallery Portfolio Santa Fe galleries that carry the finest Native art

36 Art Profiles Meet a young woman working at the Smithsonian, a descendant of Maria Martinez, a fifth-generation Indian trader, and four Native jewelers to watch terrance clifford

44 Exhibits Native art and artists showing in the city’s galleries [NMHM/DCA] No. 066674.)

Photograph by t. Harmon Parkhurst

max mcdonald

46 History The first exhibit of Native painting in Santa Fe

46 8

Gabriella Marks

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48 Santa Fe Indian Market The 98th annual market brings artists and collectors together again

santa fean

native arts 2019

“Morning Prayer”, 1987 Bronze Edition of 5, 107” x 44” x 38” Allan Houser Sculpture Gardens At Haozous Place 20 Miles South of Santa Fe Call for schedules and appointments (505)471-1528 houser@allanhouser.com

The Allan Houser Gallery 125 Lincoln Avenue, Suite 112 Santa Fe, NM, 87501 Phone (505)982-4705 www.allanhouser.com

www.facebook.com /allanhousergallery.com

FALL ED ITIO N

SEPTEMBER 20–22, 2019 S I LVER STREET STU D IOS 2000 Edwards Street, Houston, TX 77007 50 premier exhibitors from across the U.S., Canada, Europe and South America offering fine antique furniture, silver, paintings, bronzes, porcelain, estate jewelry, pottery, rare books, lighting, prints, vintage clothing and accessories, representing all design movements of the 17th, 18th, 19th centuries — and introducing 20th century modern.

H O U RS Friday & Saturday 11–6 | Sunday 11–5

ART OF THE WEST September 7, 2019 | Dallas | Live & Online

native arts magazine

PUBLISHER

bruce adams

MANAGING EDITOR

Glenna Goodacre (b.1939) Crossing The Prairie, 2001 68.00” high | bronze | edition of 11 2002 winner of the James Earl Fraser Sculpture Award at the Prix de West Exhibition in Oklahoma City, Oklahoma Estimate: $30,000-$50,000

EDITOR

amy gross

lisa j. van sickle

ASSISTANT EDITOR

sarah eddy

ART/PRODUCTION DIRECTOR DESIGNERS

View | Track | Bid HA.com/5462

sonja berthrong, valérie herndon

ASSOCIATE PUBLISHER

Inquiries: 877-HERITAGE (437-4824) Alissa Ford | ext. 1926 | AlissaF@HA.com

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WRITERS

david wilkinson

ana pacheco, a. n. pitman,

janet steinberg, efraín villa A PUBLICATION OF BELLA MEDIA, LLC FOR ADVERTISING INFORMATION

Pacheco Park, 1512 Pacheco St, Ste D-105 Santa Fe, NM 87505 Telephone 505-983-1444 info@santafean.com

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Attention to Every Detail

Copyright 2019. Reproduction in whole or in part without permission is prohibited. Published by Bella Media, LLC, Pacheco Park, 1512 Pacheco St, Ste D-105 Santa Fe, NM 87505. Periodicals postage paid at Santa Fe, NM, and additional mailing offices. Postmaster: Send address changes to Santa Fean P.O. Box 16946, North Hollywood, CA 91615-6946.

ON THE COVER Rebecca Lucario, polychrome jar with four directions and geometric design, pigment on clay, 6" high, 7 1/4" diameter Read more about Lucario on page 30. Courtesy Andrea Fisher Fine Pottery

Landscape Architecture, Contracting

Share your vision with us

505.982.4005

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Maintenance

AUG 14 - 18

The Hilton of Santa Fe Canyon Ballroom 100 Sandoval Street Santa Fe, NM, 87501

SUNWEST SILVER CO INC



Sunwest on the Plaza 56-58 Lincoln Ave. Santa Fe, NM 87501 ( 5 05) 982-02 2 7  sales@ su nwe s ts ilve r. co m  su nwest silve r. co m

STRENGTH,

LEGACY & SPIRIT

We Are the Seeds

Directors Tailinh Agoyo (Narragansett/ Blackfeet) and Paula Mirabal (Taos Pueblo) are bringing We Are the Seeds Santa Fe to the Railyard once again, Thursday and Friday, August 15–16. The event is anchored by a market where Native artists will show and sell their work. Silversmith Marco Arviso (Diné), potter Gwen Setella (Hopi), and painter Brent Greenwood (Chickasaw/Ponca) will be joined by more than 70 other artists from a variety of regions. Dawn Spears (Narragansett/Choctaw) will run a workshop on making cornhusk dolls. A group of Apache, Pueblo, Coast Salish, and Diné elders who weave baskets will be working in a common area while discussing their own traditions event

max mcdonald

Juanita Christine stretches while waiting to have her hair and makeup done before modeling David Naranjo’s design at the Seeds fashion show.

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Right: Honey, an R&B singer and Fancy Dancer, performs at We Are the Seeds. Below: Jewelry by JJ Otero (Navajo/ Hopi) is for sale at the We Are the Seeds market.

max mcdonald

news and happenings

We Are the Seeds, August 15–16, 10 am–6 pm, suggested donation $10, Santa Fe Railyard Park, 740 Cerrillos, wearetheseeds.org

Free Indian Market event Gregory and Angie Schaaf consider the Free Indian Market, held at the Scottish Rite Center, a “safety net” to provide a soft landing for Native American artists who are no longer invited to show at Indian Market or who no longer care to show there. When SWAIA changed how artists were juried into Indian Market for 2018, including discontinuing tenure, a number of elders who had shown at the market for decades were no longer eligible to participate. Besides feeling strongly that these artists’ work needs to be seen, the Schaafs also realized that many of the people affected rely on August sales to support themselves and their families. Last year’s first Free Indian Market showcased 70 artists, and this year the Schaafs are expecting over 210. Exhibitors include descendants of Maria Martinez (San Ildefonso Pueblo), Lucy Lewis (Acoma Pueblo), and Margaret Tafoya (Santa Clara Pueblo), the matriarchs of pottery at their respective Pueblos. Mike Bird-Romero (Ohkay Owingeh/Taos Pueblo), named a Living Treasure by the Museum Members of the Crespin family of Indian Arts and Culture in 2007, will (Santo Domingo) show work at show his jewelry, and Iva Honyestewa, the Free Indian Market. a Hopi basket weaver and recipient of a fellowship at the School for Advanced Research, will also be there. Others have won Best of Show, Best of Class, and Best of Division at past Indian Markets. Ninety percent of the market’s exhibitors are from the Southwest.

Free Indian Market, August 17–18, 8 am–5 pm, free, Scottish Rite Center, 463 Paseo de Peralta, facebook.com/freeindianmarketshow/

courtesy crespin family

up front

and techniques. Roberto Jackson (Gila River) will have a photography studio set up to make portraits of all the artists, performers, and other participants at We Are the Seeds. A performance stage gives dancers, musicians, speakers, and the annual fashion show a venue. Late in the afternoon of the 15th, Seeds hosts an evening of dinner— Indian tacos and Pueblo stew—and social dances from various tribal traditions. Sherenté Harris (Narragansett), who identifies as Two-Spirit and has won awards for both Eastern War and Fancy Shawl dancing, will lead. Tickets are $15.—LVS

Andrea Fisher

Fine Pottery

Rachel Sahmie

Jean Sahmie - A Special Exhibit

Franklin Peters

Richard Zane Smith

The Best of the Best

Friday Aug 9 -Sunday Aug 18 Opening Reception Friday Aug 9, Noon-5

Thursday Aug 15 -Sunday Aug 18 Opening Reception Thursday Aug 15, 5-7PM Demonstration Friday Aug 16, 10-3PM

Thursday Aug 15 -Sunday Aug 18 Opening Reception Thursday Aug 15, 10-3PM

Friday Aug 16 -Sunday Aug 18 Parade of the Artists - The Red Carpet Event! Friday Aug 16, 5PM Sharp

100 W San Francisco St, Santa Fe, NM 87501 (505) 986-1234 www.andreafisherpottery.com

Museum Spotlight

by A. N. Pitman

Autry Museum of the American West David Bradley and Harry Fonseca

Above: Border Lands, a mixed media work by David Bradley.

TWO MAJOR EXHIBITIONS by contemporary Native American masters enliven the walls of the Autry Museum of the American West, on view until January 5, 2020. Indian Country: The Art of David Bradley celebrates three decades of artwork by David Bradley (Minnesota Chippewa). His painting, sculpture, and mixed media work draw from a variety of influences, including Santa Fe–style painting from the 1930s and ’40s, Renaissance art, pop culture, advertising, and film. Bradley’s work, at once historical and contemporary, Above: David Bradley’s wide-ranging influences, from Renaissance art serious and fun, confronts questions of to pop culture, are seen in To Sleep, Perchance to Dream. identity, self-determination, self-representation, and tradition in Indian art. This retrospective exhibition, with more than 30 works divided into four sections, is filled with both humor and criticism that Native and non-Native people alike can appreciate. Bradley notes that his art “portrays human conditions and personal relationships that would be too controversial in another form.” He also says, “My art suggests and comments on situations, but doesn’t resolve them.” Originally curated by Valerie Verzuh at the Museum of Indian Arts & Culture, the exhibit currently hangs in the Norman F. Sprague, Jr., Gallery at the Autry. In its debut solo exhibition since the Autry acquired the estate of Harry Fonseca (Nisenan Maidu, Hawaiian, Portuguese)(1946–2006), Coyote Leaves The Res: The Art of Harry Fonseca highlights the artist’s depictions of the recurring figure of Coyote, a trickster capable of moving undetected between different worlds. Grouped into four sections, more than 60 paintings, sketches, and lithographs examine Coyote’s role as an avatar for the artist and a metaphor for exploring his creative, artistic, and ethnic identity within the context of the contemporary world. The Autry’s president and CEO, W. Richard West, Jr. (Southern Cheyenne) states, “Fonseca’s great contribution was in bumping up against and crossing confines that were never previously engaged. His work spoke both internally, to Native Americans, as well as externally, with those outside the ‘res,’ and nimbly traversed artistic and cultural boundaries with ideas about Indianness.” These two exhibitions address very different lived experiences, yet both bring humor, critique, and needed perspective to the current contemporary Native American art discourse. Autry Museum of the American West, theautry.org Left: Harry Fonseca’s posthumous exhibit at the Autry Museum focuses on his depictions of Coyote, a prevalent figure in Native American mythology. Far left: An untitled painting in watercolor and ink on paper by Harry Fonseca.

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SCOTT ROGERS

SUE KRZYSTON

EDWARD ALDRICH

S A R A H S I L TA L A

BILL GALLEN

KEN ROWE

VALA OLA

MARILYN YATES

LINCOLN FOX

I N D I A N M A R K E T O P E N I N G R E C E P T I O N F R I DAY, AU G U S T 1 6 , 5 : 0 0 P M - 7 : 3 0 P M Artists Scott Rogers, Ken Rowe, Vala Ola, & Sue Krzyston in Gallery All Weekend 4 2 1 C A N YO N R OA D, S A N T A F E , N M 8 7 5 0 1

505.988.3444

S AG E C R E E KG A L L E RY. C O M

Museum Spotlight

by A. N. Pitman

Eiteljorg Museum celebrating 30 years of art and exhibitions AS THE EITELJORG MUSEUM, located in downtown Indianapolis, Indiana, celebrates its 30th year as a cultural institution, a smattering of fantastic exhibitions piques the interest of locals and visitors alike. Until August 5, the special exhibition A Sense of Beauty: Showcasing the Power and Beauty in Native Art wows viewers with innovative installations of contemporary and traditional Native art. These artworks, collected over the past 30 years, have seldom or have never been on display. Emphasizing the aesthetic beauty of the object and how the pieces engage the senses, visitors can expect to see baskets, pottery, textiles, glass, and jewelry, all donated to the Eiteljorg by the artists, art collectors, and patrons. Perhaps one of the most intriguing new exhibitions, currently on loan from the Smithsonian Institution’s National Museum of the American Indian, features black and white photographs by Horace Poolaw (Kiowa)(1906– 1984) depicting mid-20th-century Southern Plains life. The exhibition, 20

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Above: Jerry Poolaw (Kiowa), on leave from duty in the Navy. Anadarko, Oklahoma, ca. 1944. Left: Juanita Daugomah Ahtone (Kiowa), Evalou Ware Russell (center), Kiowa Tribal Princess, and Augustine Campbell Barsh (Kiowa) in the American Indian Exposition parade. Anadarko, Oklahoma, 1941.

entitled For a Love of His People: The Photography of Horace Poolaw, highlights 75 never-before-seen photographs taken by Poolaw. Though Poolaw’s main subjects were friends and family, he also photographed two major Native American–operated inter-tribal events—the American Indian Exposition (or Indian Fair) and the Craterville Indian Fair. His images, created during the 1920s through the 1970s, also include weddings, parades, gatherings, and military recruits in their uniforms. Poolaw makes no attempt to play into the nostalgia of memorializing the forgotten past of the “American Indian,” instead preferring to include the landscape and surroundings in his images to provide a more realistic and natural depiction of his peoples. Co-curated by Tom Jones (Ho-Chuck) and Nancy Marie Mithlo (Chiricahua Apache) the exhibition is included in the museum admission, and is on view in the Hurt and Harvey galleries until April 5, 2020. One of The Eiteljorg’s most highly anticipated events, the annual Quest for the West® Art Show & Sale, opens to the public September 8. The event, now in its 14th year, offers visitors a chance to see paintings and sculpture from over 50 of the most prominent Western artists working today. The exhibition remains on display until October 6. Eiteljorg Museum, eiteljorg.com

Museum Spotlight

craig smith, heard museum

by A. N. Pitman

Color Riot! How Color Changed Navajo Textiles displays more than 80 Navajo textiles from the last quarter of the 19th century.

Heard Museum historic textiles and contemporary beadwork

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Basin regions during the late 19th century. Grand Procession is on view until April 17, 2020. The museum also offers several ongoing exhibitions. A Land North: Works from the Heard Museum Collection shows over 100 years of objects, made from 1900 on by Indigenous Alaskan and Canadian First Nations artists. Creating Casting: Bronzes from the Heard Collection displays work from several sculptors including Tammy Garcia (Santa Clara Pueblo), Arlo Namingha (Tewa/Hopi), Allan Houser (Chiricahua Apache), and John Hoover (Unangan). The Third Dimension: Sculptural Stories in Stone and Bronze highlights three-dimensional fine art from the 20th and 21st centuries. Perhaps most important, Away from Home: American Indian Boarding School Stories takes a critical and in-depth look at this often-ignored facet of American history. Heard Museum, heard.org

craig smith, heard museum

LOCATED A STONE’S THROW away, in Phoenix, Arizona, The Heard Museum curates important exhibitions of traditional and contemporary Native American art. Two current exhibits—Color Riot! How Color Changed Navajo Textiles and Grand Procession: Contemporary Plains Indian Dolls from the Charles and Valerie Diker Collection—highlight the Heard Museum’s commitment to the advancement of American Indian art. Through September 2, Color Riot! displays more than 80 Navajo textiles from the last quarter of the 19th century. A series of events and ideas shaped the Navajo people between 1863 and 1868, including their imprisonment in the Bosque Redondo and eventual return to their homeland. The exhibition examines how a combination of this history, exposure to the examples and design system of Hispanic textiles, freedom from market constraints, and the availability of new-to-them materials like aniline dyes and Germantown yarns created the impetus for experimentation and expression for the Navajo working with new colors and design. Grand Procession is a celebration of 23 exquisite, contemporary Native-made dolls, also known as soft sculptures, from five immensely talented artists—Jamie Okuma (Luiseño and ShoshoneBannock), Rhonda Holy Bear (Cheyenne River Sioux and Lakota), and three generations of the Growing Thunder family: Joyce Growing Thunder, Juanita Growing Thunder Fogarty, and Jessa Rae Growing Thunder (Assiniboine and Sioux). Around the exhibition space, historic photographs of Indigenous peoples offer a glimpse back in time and, when paired with the dolls, provide a figurative reference to the Indigenous peoples of the Great Plains and Great

Above: Contemporary Native-made dolls from five talented artists show in an exhibition titled Grand Procession.

DA N N A M I N G H A

KATSINA MESA Acrylic on Canvas

20” X 72”

Reception with Dan, Arlo & Michael Namingha • Friday, August 16, 2019 • 5–7:30pm

125 Lincoln Avenue • Suite 116 • Santa Fe, NM 87501 Monday–Saturday, 10am–5pm 505-988-5091 • nimanfineart@namingha.com • namingha.com •

Museum Spotlight

by A. N. Pitman

Wheelwright Museum of the American Indian

addison doty

current and upcoming exhibitions

addison doty

Above: Genesis, 2017, a ceramic, steel, and leather sculpture by Rose B. Simpson, whose work often reflects on her recent journey into motherhood. The sculpture, which is 32" high, is from the collection of the artist.

Above: Old Man Looking Backward, a monotype by Bob Haozous and part of an exhibition of the same name. Done in 2017, it is from the artist’s collection. 24

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PERHAPS BEST KNOWN FOR its Jim and Lauris Phillips Center for the Study of Southwestern Jewelry, the Wheelwright also holds the distinction of being the oldest nonprofit, independent museum in New Mexico. Founded in 1937, the museum boasts one of Santa Fe’s oldest continuously operated galleries of Native American art—the Case Trading Post, established in 1975. Two current exhibits on view until October 6 offer two very different takes on contemporary Native art. LIT: The Work of Rose B. Simpson is the first major solo exhibition for this mixed-media artist. Simpson’s sculptures are self-reflective in nature, offering self-portraits at various stages of the artist’s life, including her recent journey into motherhood. Her artworks are typically monumental figures or life-sized clay and mixed media sculptures, some showing her interest in post-apocalyptic themes. The daughter of famous sculptor Roxanne Swentzell (Santa Clara Pueblo) and metal artist Patrick Simpson, Simpson combines the traditional medium of clay with welded steel and leather to create a fascinating marriage of materials and subject. LIT includes a documentary series of photographs of Simpson working in her studio, as well as an illustrated catalog with essays from Native American scholars. Bob Haozous (Warm Springs Chiricahua Apache) is known for his monumental sculpture, as well as his work in other media. His current exhibition, Old Man Looking Backward: Bob Haozous, dives into monoprints, illustrations, and human-sized steel cutouts from his private collection. Through these works, Haozous rethinks concepts of Native identity, cultural appropriation, and the responsibility of artists to address uncomfortable truths about contemporary life. By reworking many of the pieces and adding hand-lettered text, Haozous critiques contemporary American values, advocates for a nature-oriented definition of Indigenous identity, and voices concerns about Native American art in a marketplace. Old Man Looking Backward encourages dialogue and addresses the questions of “the profound problems [and] the complex people we are today. Why shouldn’t an honest self-portrait be the foundation of contemporary Indian art?” Opening in November, Humor and Satire in Native American Arts, curated by Andrew W. Mellon Fellow Denise Neil-Binion (Cherokee/ Delaware), examines paintings, drawings, sculpture, and other items from Native artists in which they have parodied, appropriated, or poked fun at non-Native individuals, non-Native historical figures, and both Native and non-Native culture. By putting a humorous spin on current challenges faced by Native peoples and communities, the exhibition aims to elicit laughter and healing through visual expression. Wheelwright Museum of the American Indian, wheelwright.org

Museum Spotlight

by A. N. Pitman

Museum of Indian Arts and Culture

museum of indian arts and culture

terrance clifford

historic and contemporary pottery exhibitions

A polychrome bowl from San Ildefonso made between 1905–1910.

AT THE MUSEUM OF INDIAN ARTS and CULTURE, two pottery exhibitions endeavor to show the breath and depth of the historic and contemporary pottery held in the museum’s collection. Opening August 11 and on view until August 31, 2020, San Ildefonso Pottery: 1600–1930 highlights the true artistry of the pottery created at San Ildefonso Pueblo. For the makers of these works of art, creating pottery is a weighty task. By combining two sacred substances—water and earth—a new life is formed and a visual prayer is brought into existence. The exhibit, curated by Bruce Bernstein, Erik Fender, Russell Sanchez, and in partnership with contemporary potters and community members, employs new methodologies to help visitors appreciate the context and meaning behind San Ildefonso art, culture, and history. San Ildefonso Pottery features pieces from several important collections, many of which have not been previously exhibited. The exhibit also helps tell the story of the museum’s

Above: A ceramic bowl by Diego Romero shows how the artist mixes traditional and non-traditional design elements into his work.

founding and the symbiotic relationship that existed between the early museum and the men and women of the Pueblo. Diego Romero vs. The End of Art, opening October 6 and on view through April 5, 2020, offers a dynamic exploration of the Cochiti Pueblo artist’s lifelong journey as depicted through his artworks. The exhibition’s narrative follows a biographical and cultural history in conflict with the “End of Art,” a shadowy figure of unknown intentions. Family members of the artist act as allies in the story, attempting to help overcome the End of Art. The exhibition, one of the largest assemblages of Romero’s ceramic works and less frequently seen multi-media drawings, engages younger and non-traditional audiences by combining traditional information with elements of a graphic novel. Romero and his brother, painter Mateo Romero, are the museum’s 2019 Living Treasures. Their joint exhibit, The Brothers Chongo: A Tragic Comedy in Two Parts, is up until October 31. Museum of Indian Arts and Culture, miaclab.org native arts 2019

Museum Spotlight

Left: Dustin Mater (Chickasaw), Cosmic Warrior II, mixed media, acrylic on molded plastic, rabbit fur, deer antler, blackslip oyster shell, canvas, 17 x 12 x 12" Loan courtesy of the artist.

by A. N. Pitman

IAIA Museum of Contemporary Native Arts three exhibitions challenge viewers THIS FALL, THE IAIA Museum of Contemporary Native Arts (MoCNA) presents three exhibitions designed to promote critical thinking on contemporary Native art. Each with an opening reception slated for August 16 from 5–7 pm, the exhibits tackle subject matter important to Santa Fe and to an international audience. With significant local importance, Reconciliation showcases work from artists in response to the elimination of La Entrada, a pageant re-enacting a disputed version of the Spanish return to Santa Fe in 1692 after the 1680 Pueblo Revolt, during the city’s annual Fiestas. The works on display come from both Pueblo and Hispano artists, presented in six distinct installations with a healing garden.

With the recognition of the power of art to open a dialogue, the collaborative work of these artists is rooted in wiya eh kodi ani—Tewa for “putting things right again”—and offers to serve as an expression of post-Entrada creativity in Santa Fe and the surrounding communities. Curated by MoCNA’s chief curator, Manuela Well-Off-Man, MoCNA’s curator of collections Tatiana Lomahaftewa-Singer (Hopi/Choctaw), and former state historian and one of the individuals involved in the years-long process to end La Entrada, Dr. Estevan Rael-Gálvez, this exhibition is an important step in moving forward. Reconciliation is on view until January 19, 2020. Visual Voices: Contemporary Chickasaw Art turns an eye to experimental work from 15 emerging and established Chickasaw artists. An emphasis on individuality and diversity of media, style, and process, Visual Voices uses the strong sense of Chickasaw identity to weave connecting threads. The themes of this exhibit run far and wide—from environmental concerns, humans’ relationship with the land and nature, to tribal and personal histories, community life, and the importance of women in Chickasaw culture and society. More than 65 artworks examine the delicate balance between tribal identity and the individual’s cultural roots. Visual Voices is also on view until January 19, 2020. On an international scale, Sámi Intervention/Dáidda Gážada employs video and installation art to create a narrative of visual sovereignty and cultural and intellectual connections with the Indigenous peoples from parts of Norway, Sweden, and Northern Finland, also known as the Sámi. This exhibition, with its title loosely translated as “to make questions with art as a medium,” explores the complex realities of Sámi/American Indian/First Nations identity, the changing terms of Sámi art and political agency, and alternative futurities. Sámi Intervention/Dáidda Gážada brings to Santa Fe the work of three Sámi artists Carola Grahn (Sámi/Sweden), Joar Nango (Sámi/Northern Norway), and Elle-Máijá Tailfeathers (Blackfoot, Kainai First Nation [Blood Reserve]/ Sámi/Northern Norway) in collaboration with local Diné artist Autumn Chacon. The exhibit remains on view until February 16, 2020. IAIA Museum of Contemporary Native Arts, iaia.edu/mocna Left: Bill Hensley (Chickasaw), Young Chickasaw Man, acrylic on canvas, 60 x 48" Loan courtesy of Capital Assets, Inc. Right: Kristen Dorsey (Chickasaw), What Fuels Leadership? Series of two gorgets, fine silver, copper, black rhodium plate, solar panel, leather, plastic, LED lights, batteries, 18" cord, 6 x 3 1/2 x 1" Loan courtesy of the artist.

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T.C. Cannon: At the Edge of America Q+A with curator Karen Kramer

by A. N. Pitman

courtesy of Archives of the Institute of american indian arts

Museum Spotlight

THE NATIONAL MUSEUM OF THE AMERICAN INDIAN—New York, part of the Smithsonian Institution, presents one of the most important and impressive T.C. Cannon (Kiowa/Caddo) (1946–1978) exhibitions to date. Exhibition curator Karen Kramer, with the Peabody Essex Museum in Salem, Massachusetts, organized T.C. Cannon: At The Edge of America with support from Joyce Cannon Yi, The Lynch Foundation, and Ellen and Steve Hoffman. Kramer chatted with Native Arts about At The Edge of America and shed light on some special touches in this exhibition, on view through September 16. Native Arts: Please tell us a little about how T.C. Cannon: At the Edge of America came about. Why did you decide to sort the works by subject matter rather than chronologically? Karen Kramer: In the process of researching Cannon and his creative output over time, it became clear how inextricably bound his painting practice was to his poetry and music. It also became evident that ideas and themes ran through his work not chronologically, but consistently. His worldview can’t be neatly separated into chronological compartments. And so, curating the exhibition in this way was a logical and natural decision for me. NA: How many works are in the exhibition? Does a particular time frame or theme have a dominant presence in the exhibition? Above: T.C. Cannon (1946–1978, Caddo/Kiowa), Mama and Papa Have the Going Home Shiprock Blues, 1966. Acrylic and oil on canvas. Institute of American Indian Arts, Museum of Contemporary Native Arts, Santa Fe, New Mexico. © 2019 Estate of T.C. Cannon. Photo by Addison Doty. Above, right: T.C. Cannon, ca. 1965. 28

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KK: There are nearly 80 works on view at the Smithsonian’s National Museum of the American Indian— New York. There are about 25 large paintings (including a 20-foot mural), works on paper, poetry, and

Above: T.C. Cannon (1946–1978, Caddo/Kiowa), New Mexico Genre, 1966. Mixed media on canvas. Institute of American Indian Arts, Museum of Contemporary Native Arts, Santa Fe, New Mexico. © 2019 Estate of T.C. Cannon. Photo by Addison Doty. Left: T.C. Cannon (1946–1978, Caddo/Kiowa), Two Guns Arikara, 1974–77. Acrylic and oil on canvas. Anne Aberbach and Family, Paradise Valley, Arizona. © 2019 Estate of T.C. Cannon. Photo by Thosh Collins.

songs. The exhibition also includes letters home from Vietnam, some personal photographs, and rarely heard recordings of T.C. playing guitar and singing. It was a monumental task to secure each and every work in the exhibition, which would not have been possible first and foremost without the collaboration and support of Joyce Cannon Yi, the executor of T.C. Cannon’s estate. Since so much of Cannon’s work resides in private collections, and his work in museum collections is often on view, securing each and every loan mattered. NA: Is there anything that particularly surprised you while you were curating this exhibition? KK: It was surprising to not find a single painting that directly referenced his Vietnam experiences. Certainly, there are allusions to his experiences and this was embedded in all that he produced, and there are direct visual references and descriptions in his works on paper, sketches, and poetry, but nothing overt in his canvases that I was able to find yet. NA: Do you have a favorite painting in the exhibition? What about his work in another medium? KK: I fell in love with so much of his work—it’s a tough question to answer. But I will say that I see something new, and fall in love even harder, every time I’m with his 1966 painting

Mama and Papa Have the Going Home Shiprock Blues. I liken this painting to [Bob] Dylan going electric at Newport in 1965. And, I will never tire of looking at Two Guns Arikara, Cloud Madonna, Pueblo Woman Dancer, or All the Tired Horses in the Sun. See? It’s hard to call out just one favorite. As for his work in another medium, there’s an untitled ink drawing in the Peabody Essex Museum (PEM) collection from 1972. It’s a self-portrait and Cannon is leaning on a heart, and inside the heart is a poem of sorts that he wrote about how some people never find their own hearts. It gets me every time. He signed it “Standing Sun” which is how his Kiowa name loosely translates into English. That itself is a rare signature I haven’t seen on other works. It’s a very special piece. NA: Is there anything else about the exhibition or T.C. Cannon you’d like our readers to know? KK: So many people contributed to making this exhibition, including many rising stars from our Native American Fellowship program at PEM, as well as many Native artists, scholars, poets, and musicians, who all helped me harness Cannon’s vision and voice. This project would not have been what it is without them. National Museum of the American Indian—New York, americanindian.si.edu santa fean

native arts 2019

gallery portfolio

Steve Elmore Indian Art Hopi Baskets

Primarily carrying antiques, Steve Elmore Indian Art has a large inventory of pieces from the Pueblos along the Rio Grande in New Mexico and from the Hopi reservation in Arizona. Pottery, weavings, silversmithing, and paintings fill the gallery. Owner Steve Elmore also represents some contemporary potters, particularly the descendants of famed Hopi potter Nampeyo. A native New Mexican, Elmore developed a fascination with Southwestern art and artifacts while living in New York and finding Pueblo pottery and Navajo weavings in secondhand stores. The gallery has a nice selection of Hopi basketry, historic and contemporary. These baskets are used by the Hopi in daily life, in ceremonies, and they also serve as a form of currency. Most of Elmore’s inventory of Hopi baskets were made in the first half of the 20th century. Additionally, Elmore shows his own work at the gallery: abstracted, symbolic landscapes executed in oil.—Lisa J. Van Sickle elmoreindianart.com

Right: Unknown Hopi artist, plaque depicting Shalako Mana (corn grinding girl) ca. 1920, wicker, 13 x 12"

Andrea Fisher Fine Pottery Rebecca Lucario

Acoma pottery is unmistakable due to its elegant shape, thin walls, and intricately painted surfaces. Pottery by Rebecca Lucario (Acoma Pueblo) stands out in any setting. The pottery itself is beautifully crafted, and the geometric designs she paints on it freehand, using a traditional yucca brush, are stunning. Lucario began making pottery in 1965 while still a teenager. Her work will be featured in Andrea Fisher Fine Pottery’s Best of the Best show during Indian Market weekend. Andrea Fisher Fine Pottery opened in 1993, carrying only handmade and hand-painted Native American ceramics from the Southwestern United States, the village of Mata Ortiz in Chihuahua, Mexico, and a very few other places. The gallery carries work made from the 1880s to the current day.—LVS Best of the Best and Parade of Artists, August 16–18, parade begins at 5 pm August 16, andreafisherpottery.com Above: Rebecca Lucario, ceramic plate, pigment on clay, 12” diameter

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AGUILAR

Felipita and Asunción Santo Domingo Pueblo circa 1905-1914

Opening Reception Thursday, August 8th 5 to 7 pm

A must-see for collectors of Native American art 221 Canyon Road Santa Fe 505.955.0550

Building Quality Collections for 41 Years

Blue Rain Gallery Chris Pappan

Founded in 1993, Blue Rain Gallery carries contemporary art by Native American and other regional artists. Paintings, sculpture, ceramics, glass, and jewelry can all be found at the Railyard-area gallery, as can works on paper by artists including Chris Pappan. Pappan is a graduate of the Institute of American Indian Arts and lives in Chicago. He is of Osage, Kaw, Cheyenne River Sioux, and mixed European heritage. At Blue Rain he is showing a series of ledger drawings, bringing the 19th-century art form into the 21st. Pappan uses his razor-sharp drawing skills to comment on perceptions and misperceptions surrounding Native peoples. He describes his style as “Native American Lowbrow.”—LVS blueraingallery.com

Left: Chris Pappan, Definition 1, mixed media on 1925 Evanston municipal ledger, 23 x 18"

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native arts 2019

Palace Jewelers at Manitou Galleries

gallery portfolio

Wes Willie

Palace Jewelers is tucked inside Manitou Galleries’ Downtown location. It carries the work of metalsmiths working in both gold and silver, some Native American and some not. The jewelry department is proud to be under Native American management. Wes Willie (Navajo) is one of the jewelers who shows at Palace Jewelers. He works in both silver and gold set with stone. Willie grew up on a ranch on the Navajo Nation and worked as a welder before turning to jewelry. He has won repeated awards at Santa Fe Indian Market and his work can be found adorning collectors across the world. Willie studied with Jesse Monongya, and he likes to give back by teaching others.—LVS

Right: Wes Willie, Chinese turquoise bracelet

manitougalleries.com

Adobe Gallery

While Alexander E. Anthony, Jr., was working as a nuclear engineer in the United States Air Force he developed an interest in Pueblo pottery. In 1978 he started Adobe Gallery, originally in Albuquerque. He opened a Santa Fe branch in 1999, and by 2001 had consolidated operations at the foot of Canyon Road. Considered an expert, Anthony has been tapped to judge pottery at the Santa Fe Indian Market, the New Mexico State Fair, and the Gallup Inter-Tribal Indian Ceremonial. He is also a consultant for Antiques Roadshow. The gallery continues to focus on historic Pueblo pottery, and also carries contemporary pottery, early Pueblo and Diné paintings, textiles, and katsinas. Alexander co-owns Avanyu Publishing, a company that has issued 18 books on Southwestern subjects.—LVS adobegallery.com

Above: Unknown Acoma Pueblo artist, ceramic, 10" tall, 12" diameter

form & concept Ryan Singer

Form & concept shares its Railyard District quarters with its sister gallery, Zane Bennett Contemporary Art. While Zane Bennett carries big-ticket items by well-known artists, form & concept is devoted to exploring the lines between art, craft, and design. They carry the work of emerging artists as well as the more established, and the gallery doesn’t shy away from showing work in uncommon media. A recent show featured pieces made from castoff clothing and pull-tabs from aluminum cans. Ryan Singer (Diné) is a painter who uses images from his Native culture in unexpected ways. He cites punk music and underground art as influences; robots, Star Wars characters, and a Blake’s Lotaburger sign form a 21st century juxtaposition with traditional Navajo grannies, hogans, and the iconic landscape of Monument Valley.—LVS formandconcept.center Left: Ryan Singer, Binary Worlds 2, acrylic on canvas, 30 x 40" 32

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Allan Houser Gallery Allan Houser

Allan Houser (Chiricahua Apache)(1914–1994) was one of the most well-known Native American artists of the 20th century. Born in Oklahoma, he left his home state in 1934 to study painting and drawing at the Santa Fe Indian School. He exhibited at the 1939 New York World’s Fair and in 1940 began to explore sculpture through wood carvings, later expanding to work with bronze, stone, and marble. In 1992, he became the first Native American awarded the National Medal of Arts. Houser’s work can be found in collections across the country, including in the Smithsonian Museum of American Art and the National Museum of the American Indian. Allan Houser Gallery represents his work exclusively, presenting small and moderate scale artworks in bronze and stone sculpture, charcoal and pastel drawings, and tempera and acrylic paintings.—Sarah Eddy allanhouser.com

Above: Allan Houser, Dialogue II, bronze, 24 x 9 x 5"

gallery portfolio

Keshi: The Zuni Connection Keli’i Eli

Right: Keli’i Eli (Zuni Pueblo), Eagle, bumblebee jasper, 3 x 4 x 1 1/2"

Zuni Pueblo is on the western edge of New Mexico, and it is estimated that as much as 80 percent of the Pueblo’s adults make and sell art. Zuni jewelry is intricately inlaid with stone or done in the petit point style, with tiny, regularly cut stones set in delicate silver. Zuni pottery is elaborately painted and often features animal imagery. Keshi carries a huge array of Zuni fetishes: small stone carvings of animals and, occasionally, people. Whether the animal is local, such as a rattlesnake or bobcat, exotic, like an elephant, or from myth—a griffin—the stylized carvings carry meanings associated with the animal’s attributes. Robin Dunlap founded Keshi in 1981 and her daughter, Bronwyn Fox, currently runs it. They lived at Zuni, where Dunlap taught school, and maintain strong ties to the Pueblo and its artisans.—LVS keshi.com

King Galleries

Maria Martinez, Pueblo deer plate, ceramic, 11" diameter

Maria Martinez

King Galleries represents the Pueblo pottery of many of today’s leading potters, innovative forms and designs often mingling with traditional making and firing techniques. Along with the contemporary work is some that is older, including the pottery of Maria Martinez (San Ildefonso Pueblo)(1887–1980). A legend among Native potters, Martinez developed a highly influential style of black-on-black pottery. Having learned millennia-old ceramic techniques at a young age, Martinez’s skill at creating thin, perfectly symmetrical vessels was noted in her Pueblo. With her husband, in the 1910s she pioneered the style of matte-black design over polished black pottery that launched her to international recognition. Her work can now be found in various permanent museum collections around the world.—SE kinggalleries.com

True West

Navajo Weavings

Located less than a block north of the Plaza, True West is about to celebrate five years in business. Fetishes, jewelry, paintings, weavings, baskets—they carry it all. Much of the inventory is made by Native American artisans. True West’s owners, previously associated with Packard’s on the Plaza, endeavor to combine a warm and friendly atmosphere with solid knowledge of their wares. They carry the work of dozens of Navajo weavers. Most work in the classic styles—pictorial, Ganado, Teec Nos Pos, or Burntwater—while some take a more contemporary approach to design and use of color. True West also stocks some vintage Navajo weavings and pieces by Zapotec weavers, Indigenous people native to the Oaxacan highlands of Southern Mexico.—LVS truewestgallery.com Left: True West carries the work of dozens of Navajo weavers who work in both classic and contemporary styles.

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Left: Mary Tafoya, People of the World, 18" panel necklace with hand-rolled beads, conus shell, corie shell, gaspeite, alabaster, Kingman and Nevada turquoise, apple coral, serpentine, malachite, pipestone, anulite, sandstone, bone, black jet backing, sterling silver clasp, each mosaic panel 2 1/2 x 1 1/8"

Plata de Santa Fe Mary Tafoya

Plata de Santa Fe relocated earlier this summer from San Mateo to Guadalupe street. Owner Peggy Gnapp, who brings extensive experience to the business, carries jewelry by Native American, Mexican, and other artisans, as well as leather pieces, folk art, and clothing. All the jewelry is handmade, and pieces are one-of-a-kind, selected for their individuality and quality. Jewelry by Mary Tafoya (Santo Domingo Pueblo) is available at Plata de Santa Fe. Tafoya works in the mosaic style typical of Santo Domingo, where the stones are usually not set in silver. Her designs are bold, with strong geometric shapes and brightly colored stones against a black jet backing. She will use the natural shape of a sliced shell to form an eye-catching pattern, then carefully cut stones to fit around it. Tafoya’s work is traditional in methods and materials yet still stunningly contemporary.—LVS platadesantafejewelry.com Below: Raven Halfmoon, First Encounter, stoneware and glaze, 16 x 14 x 24"

GalleryFRITZ

Raven Halfmoon

Deborah Fritz opened her third gallery in June of 2018, adding a Railyard sibling to her two Canyon Road establishments. GalleryFRITZ is the most contemporary of the three, and it draws from a rotating group of curators to keep the experience fresh. Some of the artists come from Fritz’s other galleries; others only show at this location. Raven Halfmoon (Caddo Nation) brings dual bachelor’s degrees in ceramics/painting and cultural anthropology to her work. While creating her ceramic busts and other pieces she turns an unflinching gaze on her heritage as a woman, a Native American, and a citizen of the United States in the 21st century.—LVS

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Tazbah Gaussoin preservation of heritage by Ana Pacheco

Toba Tucker

Left: Gaussoin’s grandparents, Carl Tsosie, Sr., of the Navajo Nation and Lydia Duran Tsosie of Picuris Pueblo, ca. 1997.

Tazbah Gaussoin (Picuris Pueblo/Diné), who turned 27 on June 6, attended her first Indian Market when she was just two months old. Her father, Jerry, and older brothers took turns caring for her while her mother, silversmith Connie Tsosie Gaussoin (Picuris Pueblo/Diné), spoke with patrons. That was the beginning of Gaussoin’s experience in the world of Native American arts. Today, Gaussoin works as a museum specialist at the Smithsonian’s National Museum of the American Indian. Her duties include working with approximately 800,000 objects from the 36

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Indigenous peoples of the Western Hemisphere, with origins spanning from Greenland all the way down to South America. She recently worked on an exhibition, opening this fall at the Poeh Cultural Center in Pojoaque, that will feature 100 ceramic pots, returned to the Tewa-speaking Pueblos from the Smithsonian. “It’s been an amazing learning experience,” Gaussoin says of her two-year term at the Smithsonian. “I love listening to the history of the people who stop in to tell us about their different objects in our collection. All of these groups have suffered some form of hardship. Many of them

Below: Tazbah Gaussoin modeling a design that she and her brothers created.

were forcibly removed from their native lands. I’m so fortunate that my family has continued to live on the land of our ancestors.” Gaussoin grew up in Santa Fe, cognizant of her mother’s Navajo and Picuris heritage from an early age. “My parents made sure that I was in touch with my Native roots,” she says. “I began dancing at the Picuris Pueblo feast day when I was three and I had my coming of age ceremony, Kinaaldá, on the Navajo Reservation when I was 12.” Gaussoin received her bachelor’s degree in museum studies from the Institute of American Indian Arts in 2016. Her mother and three brothers are jewelers who also work in the mediums of fashion, sculpture, and textiles. Like the rest of her family, she has shown her work at major arts shows and has taken leadership roles in preserving and promoting her Native heritage. One brother, Wayne Nez, is an assistant curator at the Indian Pueblo Cultural Center in Albuquerque while another brother, David, works for the New Mexico Health Equity Partnership. Her eldest brother, Jerry Jr., is an artist and a colonel in the United States Army. When Gaussoin’s stint at the Smithsonian ends, she plans to pursue a career in collections management and continue her work in the preservation of the heritage of Indigenous people.

Below: Gaussoin in 2010, wearing a traditional Navajo rug dress made by her Diné family. The rug in the background was made by Gaussoin.

courtesy Tazbah Gaussoin

Left: Gaussoin with her parents, Connie and Jerry Gaussoin, and her brother David at her IAIA graduation.

courtesy Tazbah Gaussoin courtesy Tazbah Gaussoin

Courtesy Tazbah Gaussoin.

Left: Tazbah Gaussoin cleans polychrome Tewa pottery at the Smithsonian’s National Museum of the American Indian for an upcoming exhibit at the Poeh Cultural Center.

Left: Gaussoin as a young girl with her mother, Connie Tsosie Gaussoin, at Picuris Pueblo’s San Lorenzo feast day.

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four contemporary Native jewelers women to watch by Janet Steinberg

Must-sees at this year’s Santa Fe Indian Market are jewelry pieces by four award-winning contemporary jewelry designers, each recognized by the Southwestern Association for Indian Arts for visionary artistry and expertise. All four happen to be women. Each of these designers use sterling silver, 14- and 18-kt gold, and precious and semiprecious stones combined with techniques such as tufa and cuttlefish casting, lapidary, inlay work, stamping, and other methods to execute their traditional and contemporary designs. Sarah Aragon (Diné) lives and works on the same land her grandparents picked out two generations ago. Surrounded by the waterfall, landscape, and treasured memories of her silversmith father and uncles, Aragon’s work is inspired by her husband and her three-year-old son, as well as her ancestors and her family’s Arabian horses. “I see things out there in my surroundings, and those things go into my work,” the jeweler says. “I start with something small and it becomes something beautiful, something unique and unexpected that changes as it grows into itself, as it moves and works itself through itself. I just have to allow the work to move on its own.” Among her many awards and accolades, Aragon was recognized by the Red Earth museum in Oklahoma with a first-place award for a sterling silver headstall she created for one of her horses in 2016. That same year she won a secondplace award for a silver and semiprecious stone clutch in the clothing and personal accessories division by the Autry Indian Below: Sarah Aragon’s unusual silver clutch, set with semiprecious stones, was an award-winner in a show at the Autry Museum of the American West in 2016.

Above: A cuff bracelet by Fortune Huntinghorse is made with Morenci turquoise, diamonds, and rubies set in 14-kt gold.

Arts Marketplace in California. Her work has earned awards yearly at the Heard Museum in Arizona. A member of the Wichita tribe, Fortune Huntinghorse now lives just north of the southern United States border in Marana, Arizona. Her work—traditional and contemporary jewelry pieces, belt buckles, hatbands, and more—comes from “designs that dance in [her] head.” She begins a piece by “doodling” the design on paper to see if she can make it work before forming the piece in sterling silver, 14-kt, and/or 18-kt gold. Huntinghorse sets the silver or gold with semi-precious and precious stones including high-grade natural turquoise, lapis, diamonds, spiny oyster, Mediterranean coral, black jade, sapphires, and rubies. She cuts and polishes many of her own stones. Huntinghorse is passionate about the small creatures and birds of the Sonoran Desert. She couples that passion in her jewelry with inspiration from the work of other renowned Southwest artists, including her late brother-in-law Herbert Taylor (Navajo). Huntinghorse’s work has been honored with multiple awards between 2015 and 2019: from the Autry Indian Arts Marketplace (second place), the Red Earth Festival (first, second, and third places), the Eiteljorg Museum (second place), and the Santa Fe Indian Market (second place and honorable mention). Jennifer Medina (Santo Domingo Pueblo) first began designing jewelry under the tutelage of her acclaimed designer mother, Rose Medina. After studying with the highly regarded Navajo sculptural jeweler Fritz Casuse at Poeh Arts Center in Pojoaque, Medina won an honorable mention award from the Heard Museum in 2015 and a first-place award from the Heard in 2017. Medina also earned a second-place award from the Heard in 2018.

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Nampeyo Family Retrospective Celebrating 130 years of the Sikyatki Revival Movement

Above: Robin Waynee combined gold and oxidized silver in this bracelet, then set it with Tahitian pearls, diamonds, and colored stones.

“The Navajo people are known for their mastery in silversmithing. Pueblo people are known for pottery, weaving, and embroidery,” Medina says. “I feel very much validated when I positively compete with Navajo artists and designers.” One such validation came from winning firstplace, best of division, and honorable mention awards at the Santa Fe Indian Market in 2017 and 2018. As a traditional Pueblo designer, Medina’s ideas come from “anywhere . . . the clouds in the sky, my mother’s designs, other artists’ work who are at the top of their game.” Robin Waynee, a member of the Saginaw Chippewa tribe, found her calling as a jewelry designer after working in multiple art disciplines during the mid-1990s, when she moved from Michigan to Santa Fe. Her contemporary designs are inspired by architecture, nature, and the unique stones she chooses. Completely gem-oriented, Waynee’s work isn’t confined to a single genre or style. Her unusual cuts of stone and use of other stones for accents—diamonds, sapphires, garnets—are her signature. She is also known for her unique anodized finishes. Waynee, now an internationally acclaimed jewelry designer, first won awards for her work at Santa Fe Indian Market from 2007–2009. She won first place in silver in the international Saul Bell Design Awards in 2010 and then took home the grand prize for gold jewelry in 2011 and 2012, an unprecedented achievement. Waynee also won a NICHE Award in 2014.

Nampeyo, c. 1905

Daisy Hooee, c. 1935

Sarah Aragon, booth LINW 712; Fortune Huntinghorse, booth 648 PLZ; Jennifer Medina, booth 513 SF; Robin Waynee, booth 250 PAL-N

Dextra Namingha, c. 1975

Left: A sterling silver overlay cuff bracelet by Jennifer Medina. She won multiple awards at Indian Market in 2017 and 2018 for her silversmithing.

Opening on Friday, August 9th | 5-7 pm with Rachel Sahmie

Steve Elmore Indian Art

elmoreindianart.com | 505-995-9677 | 839 Paseo de Peralta, Ste M

art

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Barbara Gonzales roots of tradition

Courtesy Barbara Gonzales

by Ana Pacheco

Above: A photo of the Martinez family at San Ildelfonso Pueblo in the 1970s. Bottom row left to right, Clara Montoya and Maria Martinez; second row Santana Roybal Martinez and Adam Martinez; third row Anita Martinez and Barbara Gonzales; Cavan Gonzales, top center.

Ana Pacheco

Below: Polychrome revival ware by Cavan Gonzales.

Left: A clay-wash acrylic miniature painting of a skunk by Barbara Gonzales, inspired by her great-uncle, the artist Awa Tsireh.

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Barbara Gonzales (San Ildefonso), also called Tahn-Moo-Whé, has fond memories of living with her great-grandmother Povika at San Ildefonso Pueblo. “I lived with her until I was in the fourth grade in a simple house with no running water, gas, or electricity,” she recalls. “Every day I would bring water up to the house from two wells in a small bucket. People were always stopping by to meet her—they were important-looking, from the East, dressed in nice clothes. No matter what she was doing she’d stop and visit with them.” Now in her 70s, Gonzales reflects back on those formative years, which were profoundly influenced by her great-grandmother, world-renowned potter Maria Martinez, whose Tewa name was Povika. Martinez introduced Gonzales, her first great-granddaughter, to clay when she was just five years old. Before long she began making pottery. “I didn’t have any formal instruction, I would just watch my great-grandmother and I learned from her,” Gonzales says. “As time went on, I got better and began selling my work. I used the money I earned from my pottery to pay tuition at St. Catherine’s Indian School in Santa Fe.” Gonzales is the fourth of six generations that continue the traditions of the Maria and Julian Martinez family legacy. Her family has operated the Sunbeam Gallery at San Ildefonso Pueblo since the 1970s. It was originally located on the Pueblo’s plaza, in the one-room house of her grandparents, Adam (Martinez’s eldest son) and Santana Roybal. Today, the gallery is adjacent to Gonzales’s home. Gonzales will forgo tradition this year and not participate in the annual Indian Market sponsored by SWAIA. Instead, her work will be featured that same weekend, August 17–18, at the Scottish Rite Center. This will be the second year that Gonzales and more than a hundred other descendants of the original Indian Market artists will be selling their work in a different setting. “SWAIA has become unfocused,” Gonzales explains. “It used to be a market for Southwest Indian artists. Now they’ve opened it up to other regions and the market has become diluted. These new groups are trying to recapture their roots, whereas the Indigenous people of this area have inborn artistic talent through bloodlines—their art has not assimilated through schooling. It is this type of art that a great many people have come to appreciate.” The Sunbeam Gallery, sunbeamsanildefonso.com

Synergy: A Collaboration in Glass Blue Rain Gallery 544 S Guadalupe blueraingallery.com August 16–31 Reception August 16, 5–8 pm Harlan Reano (Santo Domingo) usually collaborates with Lisa Holt (Cochiti Pueblo), his wife, on the ceramic pieces they are known for. Preston Singletary Preston Singletary and Harlan Reano, Earth Fire, (Tlingit) is a glassworker with blown and sand carved glass, 9 x 10 x 13" a history of working with other Native artists to translate their work into his medium. Singletary and Reano worked together in 2015 on a group of figures, and they came together again this year to explore glass versions of the ceramic vessels Reano and Holt make. “Collaborations are something I like to do because I learn how other people interpret their culture, and I learn new forms,” says Singletary of these partnerships.—LVS Below: Frank Buffalo Hyde, EPOCHS—1979, acrylic on canvas, 48 x 48"

EPOCHS galleryFRITZ 540 S Guadalupe galleryfritz.com August 30–September 22 Reception August 30, 5–7 pm Frank Buffalo Hyde (Onondaga/Nez Perce) detoured through the worlds of rock ‘n’ roll and writing before settling into a career as a painter. He was raised on the Onondaga reservation, just south of Syracuse, New York, and came to Santa Fe to attend the Institute of American Indian Arts and the Santa Fe Art Institute. “You can’t create for this long and not have an idea where your work is going,” says Buffalo Hyde, having put in 25 years with a paintbrush. “I finally feel like I’m fitting into my own shoes.” His humorous yet hard-hitting paintings show that he is very much a 21st-century American with a pop culture sensibility, unafraid to express exasperation with continued cultural appropriation and stereotyping of Indigenous cultures.—LVS

Below: Franklin Peters, parrot water jar, ceramic and pigment, 10" high, 11 3/4" diameter

exhibits

Verma Nequatewa and Ken Williams, Jr. Shiprock Santa Fe 53 Old Santa Fe Trl shiprocksantafe.com Reception August 15, 2–4 pm Fifty years ago, Verma Nequatewa (Hopi) began her jewelry career as an apprentice, setting stones for her uncle. It’s a time-honored way to learn a skill. Nequatewa’s uncle happened to be the late Charles Loloma (Hopi), the most highly regarded Native jeweler of his generation. She spent almost 20 years working with him, and his influence is seen in her work, which she signs Sonwai. She works in silver and 18-kt gold, set with an array of stones, wood, and fossilized bone. Ken Williams, Jr., (Arapaho/Seneca) is a beadworker. Still in his 30s, his work has been accepted into museum collections and he shows at major Indian art exhibitions. Nequatewa and Williams have collaborated on pieces for this show, and each will show their own work as well.—LVS

Left: Ken Williams, Jr., Squirrely, Squirrely, beaded necklace

Franklin Peters: New Works Richard Zane Smith: New Works Andrea Fisher Fine Pottery 100 W San Francisco andreafisherpottery.com August 15–18 Reception August 15, 10 am–3 pm for Peters Reception August 15, 5–7 pm for Smith Andrea Fisher Fine Pottery celebrates two potters on Thursday of Indian Market week. Franklin Peters (Acoma Pueblo) is descended from a long line of potters. He works in the polychrome tradition, red and black against a white background. In 2011 Peters received a fellowship to study historic Acoma pottery at the School for Advanced Research. The Pueblo’s traditional designs strongly inform Peters’s work. Richard Zane Smith is descended from the Wyandot Nation of Kansas, a group that is not currently federally recognized. His pottery draws from many traditions while remaining completely original. Smith’s pieces are heavily textured and colored, following geometric patterns.—LVS santa fean

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Right: Jed Foutz, owner of Shiprock Santa Fe, is the fifth generation of a family involved in dealing Native art.

Gabriella marks

P RO F I L E

Jed Foutz five generations, 150 years

TK word word word word word word word word word word word word word word word Above: Shiprock Santa Fe’s rug room is a true feast for the eyes. The gallery overlooks the Plaza.

Right: In this undated photo a customer purchases groceries at the trading post. Traders brought groceries, shoes, and tools into the Navajo Nation and traded supplies for wool, livestock, silver jewelry, and weaving. 42

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courtesy shiprock santa fe

Wendy Mceahern

by Efraín Villa

“There is no line between fine art pieces and works created for utilitarian functions,” says Jed Foutz, owner of Shiprock Santa Fe, a gallery on the Santa Fe Plaza. “I just see beauty, and if beauty is functional, even better.” As a fifth-generation art dealer whose family has been uniting Southwestern artists and collectors since the 1860s, Foutz was initiated in the craft of art trading on the Navajo Nation at the tender age of six. “I count it as one of the finer blessings in my life that I grew up where I did, doing what I did,” says Foutz. “I had constant exposure to beauty and wonderful people and cultures.” Reflecting on his family’s heritage, Foutz remarks that art traders have historically been much more than businessmen, often acting as cultural mediators within the communities where they live and work. “In my family’s case, we were a kind of safe ground for the community,” recalls Foutz. “We had no clan affiliations, we had no direct win-or-lose issues, so community members could bring us their problems and we were this neutral go-between for different people.” The internet intrinsically changed the way art is marketed, but Foutz sees this development as generally good for the arts community. “Now, Native American artists are blessed to have access directly to their clients and a need for representation is nowhere near what it was 10 years ago,” says Foutz. At one point, Foutz owned three trading posts. As he adapted his sales model to focus on his own gallery, he divested from the wholesale business to avoid competing with the galleries he had been supplying.

exhibits

wendy mceahern

Jean Sahmie, red canteen 8 3/4" high, tan cylinder 11 1/2" high, red cylinder 16" high

Above: An assortment of concha belts representing the First, Second, and Third Phase styles. Concha belts were first made in the late 1860s, about the time Jed Foutz’s ancestors moved to the Navajo Nation. Below: Norbert Peshlakai has been creating silver pots and jewelry since the 1970s. Shiprock Santa Fe carries his work.

Although embracing change comes naturally to Foutz, he admits moving to Santa Fe was not without challenges. “I mourn the loss of hundreds of interactions with artists and families, but I am very blessed to be doing what I’m doing,” says Foutz. “Coming to Santa Fe was a response to changes that were inevitable and I’m grateful. Santa Fe has been great to us. But my heart, the center of my life, and the contact with my place and community is irreplaceable and, yes, something to be mourned.” Recently, Shiprock Santa Fe launched a new exhibition entitled Plains & Plateau Beadwork. The collection features 19th- and 20thcentury ethnographic pieces as well as items made for sale. “We don’t usually do a lot with Plains artwork,” says Foutz, “but this group is so beautiful that it was one of those things we felt very fortunate to represent.”

Jean Sahmie Andrea Fisher Fine Pottery 100 W San Francisco andreafisherpottery.com August 9–18 Reception August 9, 12–5 pm The gallery bills this exhibit as, “A tribute to a long and productive career.” Jean Sahmie (Hopi/Tewa) has made pottery since 1972, when she was in her mid-20s. She is a great-great granddaughter of Nampeyo (1859–1942), the matriarch of Hopi pottery. Sahmie works in the style developed by Nampeyo, inspired by 15th-century Sikyátki pottery found at Hopi during Nampeyo’s lifetime. Like her predecessors, Sahmie uses local clay and paints her pottery with natural pigments. The shape of her pots and the designs she paints on them have a rare sense of balance and elegance.—LVS

Shiprock Santa Fe, shiprocksantafe.com santa fean

native arts 2019

exhibits

Phillip Vigil Shiprock Santa Fe 53 Old Santa Fe Trl shiprocksantafe.com Reception August 14 Fourth generation artist Phillip Vigil (Jemez Pueblo/Jicarilla Apache) fell in love with art at a young age, when he discovered that the paintings on the walls were done by his grandfather. Vigil now creates in a variety of media, from photography to charcoal to paint. A blend of inspirations fuels the artist, from 20th-century modernists to admired contemporaries, Above: Phillip Vigil, untitled, oil pastel and ink on paper, but his work remains highly 16 x 12" idiosyncratic. His personalitypacked mixed-media paintings often juxtapose confetti colors and frenetic movements with black and white figures. This show premieres new works on canvas. Vigil is represented by Shiprock Santa Fe and Four Winds Gallery in Pittsburgh, Pennsylvania.—SE

Glen Nipshank Robert Nichols Gallery 419 Canyon robertnicholsgallery.com Reception August 15 and 16, 5–7 pm For Indian Market weekend, Robert Nichols Gallery exhibits pottery by Glen Nipshank (Bigstone Cree Nation). Nipshank grew up in isolated lakeside communities in Alberta, Canada, and he still finds inspiration in the water, woods, and animals of his childhood home. The potter uses white clay, sometimes adding mica and using a colored slip, to reflect his love of nature with alluring organic forms. “There is no perfect world, but I want to make perfectly nice art so people see it and change their outlook,” Nipshank says. “I create playful imagery and form.” Nipshank studied art in Vancouver and Minnesota before moving to Santa Fe in 1990 and graduating from the Institute of American Indian Arts in 1994.—SE

Left: Glen Nipshank, Cosmic Jar with Brown Sand, ceramic, 11" high, 7" diameter

Nampeyo, two vases, ceramic, 24" and 18" high

Art at San Ildefonso Adobe Gallery 221 Canyon adobegallery.com Reception August 12

Nampeyo Family Retrospective: 1885–2019 Steve Elmore Fine Art 839 Paseo de Peralta elmoreindianart.com August 9–October 1 Reception August 9, 5–7 pm Nampeyo (Hopi-Tewa) (1859–1942) was a celebrated potter who used ancient firing techniques and who revived “Old Hopi” designs found on 15th-century pottery shards. This exhibition features ceramics by Nampeyo and many of her descendants, including her daughters, Nellie Douma Nampeyo, Annie Healing Nampeyo, and Fannie Nampeyo, and her granddaughters, Rachel Namingha Nampeyo, Daisy Hooee Nampeyo, and Juanita Healing. Contemporary members of the Nampeyo family, including three daughters of Priscilla Namingha Nampeyo (1924–2008), Nampeyo’s greatgranddaughter, will be present with their work. The show includes pottery spanning over 130 years, from 1885–2019, showcasing the powerful and long-lasting influence of the renowned artist’s Sikyátki revival art movement.—SE 44

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Below: José Disiderio Roybal, Oquwa— Rain God, colored ink on paper, 13 x 22"

This exhibition focuses on the historic pottery of San Ildefonso Pueblo, also including early painting and some specially selected contemporary pottery. Among the work, some of which is by artists unknown, is pottery by Tony Da (1940–2008) and painting by José Disiderio Roybal (1922-1978). Da, the grandson of renowned potters Julian and Maria Martinez, was famous for his highly intricate animal designs. A motorcycle accident in the 1980s caused brain damage, cutting his artistic life tragically short. Roybal was particularly known for his finely outlined, jovial depictions of Tewa clowns, also called Koshare or Koosa. He used water-based paints, sometimes incorporated abstract designs, and had a strong attention to color and detail.—SE

Left: Kevin Red Star, Young Parade Pony and Crow Indian Girl, acrylic on canvas, 60 x 48"

The Native American Group Show Sorrel Sky Gallery 125 W Palace sorrelsky.com August 15–31 Reception August 15, 5–7:30 pm During the 98th Annual Santa Fe Indian Market, Sorrel Sky Gallery hosts an exhibition featuring the work of several of the gallery’s represented Native American artists. Kevin Red Star (Crow Nation) was one of the first group of students to attend the Institute of American Indian Arts in Santa Fe in the 1960s. He continues to create paintings that celebrate and reflect on his Native American heritage, giving great attention to color, composition, and historical detail. Other participating artists include Ben Nighthorse (Northern Cheyenne), Ray Tracey (Navajo), and Cody Sanderson (Navajo). In a studio area, some of the artists present painting and sculpting demonstrations for the public to enjoy during the reception.—SE

2019 Auction Lot: Flamingo Road by Bill Schenck

Cochiti Pueblo potter, unknown, dough bowl, clay and pigment, 12" deep, 17" diameter

Pueblo Storage Jars and Dough Bowls Adobe Gallery 221 Canyon adobegallery.com Reception August 5 This exhibition features storage jars and dough bowls from a number of different Southwestern pueblos. While the bowls and jars were made and used for practical, everyday purposes, their intricate designs display a deep reverence for balance, beauty, and symbolism. Easy to find at the show are pieces of pottery such as a Cochiti Pueblo bowl, decorated in a white slip with black decoration, from the 1920s, and a Zuni jar painted with a rain bird and attributed to potter Lawsaiyateseta Lonkeena (1881–1958) ca. 1910.—SE

2019 Auction Lot: Girl in Blue Dress by Gustavo Montoya

3705 N. Bishop Lane | Scottsdale, Arizona 85251 | 480-941-0900 LarsenGallery.com | LarsenArtAuction.com

Photograph by t. Harmon Parkhurst [NMHM/DCA] No. 066674.)

history

museum of northern arizona photo archives collection, Photograph by christy turner

The Genesis of the Santa Fe Indian Market by Ana Pacheco

Above: Otis Polelonema was born February 2, 1902, on the Hopi reservation at Shungopovi, Arizona. He returned to Shungopovi in 1925 and spent the rest of his life there. He is remembered as a painter, composer, and weaver. Above, top: Awa Tsireh (Alfonso Roybal) was born on February 1, 1898, at San Ildefonso Pueblo. He was a painter and metalsmith who worked in silver and copper.

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The first exhibition of Native American art in Santa Fe took place in 1919 at the Museum of New Mexico, then located at the Palace of the Governors. Dance and Ceremonial Drawings opened on March 29 of that year and featured the work of four students from the Santa Fe Indian School (SFIS). The show was organized by Elizabeth DeHuff, the wife of John David DeHuff, the superintendent of SFIS. From the very start, Native American artists found success exhibiting in Santa Fe—all four students from that first show went on to become prominent artists. The four pioneers were Otis Polelonema (Hopi) and Fred Kabotie (Hopi), both from Shungopovi, Arizona; Awa Tsireh (San Ildlefonso Pueblo); and Ma Pe Wi (Zia Pueblo). Otis Polelonema (1902–1981) returned to Arizona in 1925. While raising his family he continued to paint, became a weaver, and composed ceremonial dances from the ancient Hopi language of the Gray Flute Society. During his five decades as an artist, the Heard Museum featured 13 exhibits of his work. Polelonema died during the Solstice Ceremony at Shungopovi. Fred Kabotie (1900–1986) also returned to Shungopovi in 1930 and taught painting at the Hopi High school at Oraibi while raising his family. In addition to the 500 paintings he created during his lifetime, Kabotie helped create a style of jewelry unique to the Hopi people. It involved developing a new, dis-

Benefit Sale Supporting educational programs and future exhibit.

Photograph by t. Harmon Parkhurst [NMHM/DCA] No. 073995.)

Wednesday, August 14

Center for Southwest Research, University of New Mexico

Above: Ma Pe Wi (Velino Shije Herrera) was born on October 22, 1902, at Zia Pueblo. He was a rancher and cowboy as well as a painter, muralist, and art teacher.

3:00 PM - 6:00 PM Early Bird Sale | $25

Thursday, August 15 9:00 AM - 4:00 PM Benefit Sale | Free 10:00 AM - 12:00 PM Case Trading Post Artist Showcase

Friday, August 16 9:00 AM - 4:00 PM Benefit Sale | Free 9:00 AM - 12:00 PM Case Trading Post Artist Demonstrations

Left: Fred Kabotie was born on February 20, 1900, on the Hopi reservation at Shungopovi, Arizona. He was a painter, teacher, scholar, author, curator, and jeweler, one of the founders of the Hopi overlay technique in silver.

tinctive overlay technique and incorporating designs inspired by traditional pottery. His work was featured at the Museum of Modern Art in New York and he received a Guggenheim Fellowship in 1945, the first of many awards throughout his lifetime. Awa Tsireh (1898–1955), also known as Alfonso Roybal, was the brother-in-law of the worldrenowned potter, Maria Martinez. He was a self-taught painter and muralist who conveyed his native roots through symbolism and realism. Tsireh’s artwork is featured in many museums, including the Smithsonian American Art Museum. Ma Pe Wi, also known as Velino Shije Herrera (1902–1973), was from Zia Pueblo. His work was widely exhibited in the United States and Europe and included abstract work based on sacred Pueblo symbolism. That artistic choice, and the fact that he allowed the state of New Mexico to use his design of the Zia symbol for the state flag in 1925, led to his ostracism by Zia Pueblo. Every year since, Zia Pueblo has requested that they be compensated for the use of their Zia symbol and each year the New Mexico Legislature refuses the request. Three years later the Museum of New Mexico sponsored the first Southwest Indian Fair and Industrial Arts and Crafts Exhibition, the event that grew into Indian Market. What a difference a century makes—this year’s Indian Market will highlight the work of over 1,000 artists from 200 federally recognized tribes across the United States and Canada.

Wheelwright Museum 704 Camino Lejo, Santa Fe, NM wheelwright.org

santa fean

native arts 2019

Santa Fe Indian Market biggest and oldest by Lisa J. Van Sickle photographs by Gabriella Marks

Above, left: Traditional Native dancers perform on the Plaza both days until 4 pm during Indian Market. Above, right: Shondinii Walters (Diné) with one of her paintings. Left: Gia Abeyta (Ohkay Owingeh) participates in the Native American Clothing Contest. Below: Wanda Aragon (Pueblo of Acoma) follows Acoma traditions in gathering clay.

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Art fairs are plentiful in Santa Fe and many have been around for decades. Indian Market, presented by the Southwestern Association for Indian Arts (SWAIA), is still the largest and the longest-running. The main event, the market itself, is held August 17 and 18, with associated events beginning earlier in the week. The first Southwest Indian Fair and Industrial Arts and Crafts Exhibition was held in September of 1922, part of the Santa Fe Fiesta. Among the reasons for holding the Indian Fair, museum personnel hoped to give Native artists an impetus to get away from making tourist trinkets and souvenirs by providing a market for finer work. Each piece entered was judged, with cash prizes awarded. From then on, while there were variations in format, scope, and size, some version of a market was held except between 1932 and 1935. Even in those years competitions and prizes continued. Native Cinema Showcase (NCS) opens Tuesday evening. Produced with the National Museum of the American Indian, the festival screens movies made by Native filmmakers. This year’s lineup includes feature length and short films from the Americas, New Zealand, and the Scandinavian countries. SGaawaay K’uuna (Edge of the Knife) is the first film ever made completely in the Haida language—see it Friday evening. Set in the 19th century, it is based on a classic Haida tale. Most films are shown in the auditorium at the New Mexico History Museum. Saturday evening at 8 pm NCS hosts an outdoor film at Railyard Park. Bring lawn chairs or blankets for the family-friendly film Ralph Breaks the Internet. Head down to the Santa Fe Community Convention Center Thursday evening from 7–10 pm for the Indian Market Kick Off Party, a free event. There will be entertainment and a chance to see IM:EDGE, Indian Market’s contemporary show. The curated exhibit, which began in 2015, features the work of Native artists who are using media and techniques that don’t fit within the traditional criteria for inclusion in Indian Market. This year’s theme for IM: EDGE is “Honoring the Strength and Resilience of Native Women.” The show will be open through the weekend. Friday is full of events celebrating the winners of awards in the various types of work shown at the market. The display of pieces entered into competition and those awarded ribbons is a chance to see the best of the best, and there are always a number of pieces guaranteed to amaze you with their creativity and technical skill. Friday’s events are ticketed. Saturday, August 17, Indian Market opens at 7 am. It’s crowded at that hour as serious collectors line up to try to purchase award-winning pieces. More than 600 booths fill the Plaza and surrounding streets, sheltering almost 1,000 artists, each an enrolled member of a tribe recognized by the United States or Canadian government. Market continues until 5 pm Saturday and runs from 8 am–5 pm Sunday. Musicians and dancers perform on the Plaza until 4 pm both days. The Native American Rights Fund sponsors panel discussions on art and activism both afternoons at 1 pm. Sunday, from 9 am–noon, don’t miss the Native American Clothing Contest, always a favorite event. In recent years the Indian Market Haute Couture Fashion Show has also been added to the don’t-miss list. Native designers show their finest in contemporary fashion and accessories. This is a ticketed event. See SWAIA’s website for ticketing information for this and other events. Santa Fe Indian Market, swaia.org

S O N WA I & KEN WILLIAMS JR. Indian Market Celebration

August 15th 2pm – 4pm

An n u a l O p e n i ng August 10th, 5pm – 7pm

Blue Rain Galleryâ&#x20AC;&#x2122;s Annual Celebration of Native American Art During Native Art Week A U G U S T â&#x20AC;&#x201D;

G ROU P E X H I B ITION Artist Reception: Thursday August 15th from 5 â&#x20AC;&#x201C; 8 pm Hyrum Joe

Dan Friday

Jody Naranjo

Featuring artwork by Dan Friday, Jody Naranjo, Chris Pappan, Starr Hardridge, Thomas Breeze Marcus, Hyrum Joe, Lisa Holt and Harlan Reano, and Maria Samora.

544 South Guadalupe Street, Santa Fe, NM 87501 | 505.954.9902 | www.blueraingallery.com