Native Arts Presents Indian Market Magazine 2016 | Digital Edition

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Need-to-Know Native American Painters, Sculptors, Weavers, Beaders, Performing Artists, and More

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Jesse MONONGYA NAVAJO/HOPI Jeweler

Native American Indian Top Jewelry Designer

JOIN US:

SWAIA I ndian Market Au gust 20 - 21, 201 6 BOOTH #603 PLZ

Jesse Monongya Studios je sse mo n o n gy a st u dios .com mo n o n gye @ cox .net 480-991-2598

Photography: Rebecca Lowndes

Arland Ben | Vincent Navajo

& Marvina Zuni

Dishta | White Buffalo Comanche

Al Joe

Photography: Rebecca Lowndes

Navajo

Joseph Coriz Santo Domingo

2016 Indian Market Show Artist Reception Friday, August 19 4:00 - 7:30 pm

Charles Pabst “Alpine Winter” 48x72”, Oil

Celebrate Indian Market Days with 10 of our finest artists - present in house.

Pablo Antonio Milan

Malcolm Furlow

Messiah

Giclee sizes 24x24"- 48x48"available

102 E Water St, Santa Fe, NM 505-983-1050 • TheSignatureGaller y.com

Scottsdale Santa Fe Laguna Beach

Featuring the work of:

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

Original paintings, reproductions, bronzes, jewelry, books

Helen Hardin “Night Ogre” acrylic painting 1981 23” X 21”

Pablita Velarde “Yei” earth pigment painting 11.5” X 7.5”

Margarete Bagshaw “Positively Thinking” cast bronze with patina - 24” X 30”

Margarete Bagshaw “Water Signs” cast bronze with patina - 24” X 24”

201 Galisteo St. Santa Fe, NM 87501 - 505-988-2024 - www.goldendawngallery.com

D a n i e l Wo r c e s t e r American Indian Bladesmith

Top to Bottom: Desert Moon, Viper & Freedom’s Edge, 2016

found materials • old billiard balls • ironwood dominoes • discarded steel Indian Market Booth 329 FR-N • 580-504-8602 • dw3359@cableone.net

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Auction | August 12 & 13th | sAntA Fe

Clark Hulings Old Town oil on canvas 28 by 42 inches $70,000 - $90,000

690 lots being offered in this two day auction. Notable offerings include works by: Sheldon Parsons, Ben Turner, Emil Bisttram, Robert Daughters, Leon Gaspard, Victor Higgins, Albert Schmidt, John Young-Hunter, Malcolm Furlow, John Nieto & William Lumpkins.

There will also be a significant offering of Native American art.

Bidding will take place live, over the phone and online. visit our weBsite for more information and registration.

345 camino del monte sol, santa fe, nm 87501

ALTERMANN.COM

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(855) 945-0448

Dan Bodelson Indian Market 12 x 9 Oil

Mick Doellinger Tail Wind Ed. 30 Bronze

El Centro 102 E. Water Street Santa Fe, New Mexico 87501 505.988.2727 info@joewadefineart.com www.joewadefineart.com

Poteet Victory

Indian Market Weekend • Friday, August 19, 2016 • 5 to 7pm

“Sunlit Trio” 36"x 36" Oil on Canvas

M cLarry M o d e r n www.mclarrymodern.com

225 Canyon Road • Santa Fe, New Mexico • 505.983.8589

ChuCk Sabatino

Feathers & Weathervanes • Friday, August 5, 2016 • 5 to 7pm

“Lakota Sioux Headdress” 80"x 34" oil

“Acoma Storage Jar” 16”x 16” oil

“1890 Acoma Polychrome” 16”x 16” oil

“Tunyo Jar San Ildefonso” 16”x 16” oil

“1885 Acoma Polychrome” 16”x 16” oil

M CLarry f i n e a r t www.mclarryfineart.com

225 Canyon Road • Santa Fe, New Mexico • 505.988.1161

20th Anniversary Show

LA FONDA HOTEL IN THE BOARD ROOM August 15th - August 21st

10:00 TO 5:00 p.m.

Special Showing Thursday August 18th

4:00 TO 7:00 p.m

FAUSTGALLERY.COM | 480.200.4290 | bill@faustgallery.com

THURS, AUG 18 | 2:30 PM

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Show Scottish Rite Temple Santa Fe August 20 — 21, 2016 theKeshiFoundation.org

Presenting: Kateri Quandelacy Sanchez left Stewart Quandelac Quandelacyy right Quandelacy Family Necklace top Gomeo Bobelu Octavius & Irma Seowtewa Eddington Hannaweeke Brion Hattie Marnella Kucate Carlos Laate Filmer Lalio Jaycee Nahohai Les Namingha Claudia Peina Anderson Peynetsa Sandra Quandelacy Hudson Sandy Jeff Shetima Gabe Sice Dan Simplicio Jennie Vicenti Kevin Chapman and more...

www.MountainTrailsFineArt.com 200 Old Santa Fe Trail Santa Fe, NM 87501

Main: (505) 983-7027 MountainTrailsFineArt@yahoo.com

Join Us For Our Annual Indian Market Reception Friday, August 19th, 4-7pm

New Works By Native Artists: Brandon Bailey • Alvin Marshall • John Potter • Zoe Urness • Oreland C. Joe

2016 SHOW DATES FRIDAY - SUNDAY AUGUST 12 - 14 | 11AM - 5PM

2016 OPENING NIGHT GALA THURSDAY, AUGUST 11 | 6PM - 9PM BENEFITING

The city’s different summer show. The new, the old, the unique, the unexpected - more than 70 prestigious exhibitors will showcase an impressive variety of Objects Of Art for sale.

2016 SHOW DATES WEDNESDAY - FRIDAY AUGUST 17 - 19 | 11AM - 5PM

2016 OPENING NIGHT GALA TUESDAY, AUGUST 16 | 6PM - 9PM BENEFITING

VIEW & PURCHASE BASKETRY, JEWELRY, TEXTILES, BEADWORK, POTTERY, KACHINAS, SCULPTURES & MORE, FROM OVER 65 RENOWNED EXHIBITORS.

S H O W S H E L D AT | E L M U S E O, I N T H E R A I LYA R D, S A N TA F E , N M | 5 0 5 6 6 0 4 7 0 1 2 S P E C I A L E X H I B I T S R U N N I N G C O N C U R R E N T LY W I T H B O T H S H O W S :

W OV E N I N B E AU TY - 1 0 0 Y E A R S O F N AVA J O M A ST E R W E AV E R S F R O M T H E TOA D L E N A / T W O GREY HILLS REGION & ON THE FRONTIER - THE ART OF JOSE BEDIA

ObjectsOfArtShows.com

Discover ACOMA SKY CITY

Guided tours, dances, feast days, local potters, Gaits’i Gift Shop, and Yaaka Café

www.acomaskycity.org • (800) 747-0181 • 15 minutes south of I-40 Exit 102 • Pueblo of Acoma, NM

NATIVE AMERICAN COLLECTIONS UNIQUE & CONTEMPORARY

JILL GILLER | DENVER, COLORADO | 303.321.1071 | JillsPots@aol.com

www.NativePots.com

FOLLOW US ON FACEBOOK!

facebook.com/nativepots

2016 2016 2016 2016 2016

WeWe invited We invited We invited Weinvited our invited our best our best our our best potters potters best best potters potters to potters to surprise surprise to to surprise tosurprise us surprise us us usus with with with anan with exceptional with an exceptional an exceptional anexceptional exceptional piece. piece. piece. piece. piece.

August August August August 18 August 18 - 21 18 - 21 18 - 18 21 - 21 - 21 Opening Opening Opening Opening reception: Opening reception: reception: reception: reception: Thursday, Thursday, Thursday, Thursday, Thursday, August August August 18 August th August 18, th 4:30 18 , 4:30 th18 ,pm.

18 4:30 thpm. th , 4:30 , 4:30 pm.pm. pm.

Red Red carpet Red carpet Red Red carpet celebration carpet celebration carpet celebration celebration celebration begins begins begins promptly begins promptly begins promptly promptly promptly at at 4:45.

4:45. at 4:45. atat4:45.

4:45.

Giant Giant Giant Giant Giant Miniature Miniature Miniature Miniature Miniature Show Show Show Show Show Over Over Over 150 Over 150 Over tiny 150 tiny 150 pottery 150 tiny pottery tiny tiny pottery pottery gems pottery gems gems from gems from gems from the from the from McHorse the McHorse the the McHorse McHorse McHorse collection. collection. collection. collection. collection.

August August August August 12 August 12 - 31 12 - 31 12 -12 31 - 31 - 31 Reception: Reception: Reception: Reception: Reception: Wednesday, Wednesday, Wednesday, Wednesday, Wednesday, August August August 17 August August 17 th, th 2:00 17 , 2:00 th 17,17 -2:00 th 7:00 -th , 2:00 7:00 , 2:00 -pm.

7:00 -pm.

7:00 - 7:00 pm.pm. pm.

Nampeyo Nampeyo Nampeyo Nampeyo Nampeyo ofofof Hano of Hano ofHano Hano Hano Show Show Show Show Show A stunning A stunning A stunning AAstunning stunning selection selection selection selection selection byby the by the master by the by master the the master master Hopi master Hopi Hopi potter.

Hopi potter.

Hopi potter. potter. potter.

August August August August 19 August 19 - 23 19 - 23 19 -19 23 - 23 - 23 Opening Opening Opening Opening reception: Opening reception: reception: reception: reception: Friday, Friday, Friday, August Friday, August Friday, August 19 August August 19 th, th 10 19 , 10 th am.

19,19 am.

10 thth , 10 am. , 10am. am.

Diego Diego Diego Diego Diego Valles Valles Valles Valles Valles Show Show Show Show Show &&Demo &Demo &&Demo Demo Demo The The premier The premier The The premier premier Mata premier Mata Mata Ortiz Mata Ortiz Mata Ortiz innovator.

Ortiz innovator.

Ortiz innovator. innovator. innovator.

August August August August 19 August 19 - 23 19 - 23 19 -19 23 - 23 - 23 Opening Opening Opening Opening reception: Opening reception: reception: reception: reception: Friday, Friday, Friday, August Friday, August Friday, August 19 August August 19 th, th 10 19 , 10 th am.

19,19 am.

10 thth , 10 am. , 10am. am. th and th th Saturday, and th Saturday, th and and Saturday, Saturday, Saturday, August August August 20 August August 20 th. th 20 . th 20.20 thth . .

Demonstration: Demonstration: Demonstration: Demonstration: Demonstration: Friday, Friday, Friday, August Friday, August Friday, August 19 August August 19 19and 19 19

100 100 West 100 West 100 West 100 San San West West Francisco San Francisco San San Francisco Francisco Francisco St.St. Santa Santa St. St. Santa Fe, St.Santa Fe, Santa NM Fe, NM 87501 Fe, NM Fe, 87501 NM 87501 NM505.986.1234 87501 87501 505.986.1234 505.986.1234 505.986.1234 505.986.1234 www.andreafisherpottery.com www.andreafisherpottery.com www.andreafisherpottery.com www.andreafisherpottery.com www.andreafisherpottery.com

Fingerwoven Textiles Tyra Shackleford

A ncie nt Techni q u es ,

Mod e r n Wearabl e A r t a nd Accessor i es

Indian Market Booth 916 SHE IFAM Booth 566

Facebook.com/TyraShacklefordArtist Tyrjsha@yahoo.com

Lloyd Kiva New native

genius

Fashion trend-setter.

Designer. Artist.

Educator.

Join us as we celebrate the life and legacy of Lloyd Kiva New. IAIA MUSEUM OF CONTEMPORARY NATIVE ARTS Lloyd Kiva New: Art, Design, and Influence january

22

through september

11, 2016

MUSEUM OF INDIAN ARTS AND CULTURE A New Century: The Life and Legacy of Cherokee Artist and Educator Lloyd Kiva New february

14

through december

30, 2016

20

through october

10, 2016

www.nmculture.org/lkn

De •

Ne

of Cultu r

Affairs •

may

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al

Finding a Contemporary Voice: The Legacy of Lloyd Kiva New and IAIA

p a rt m e

NEW MEXICO MUSEUM OF ART

w Mexico

DA N N A M I N G H A

PASSAGE #43 Archival Print on Paper

ARLO NAMINGHA

SIPAPU Indiana Limestone and Jelutong 17.5” x 17.25” x 5” Arlo Namingha © 2016

Edition of 30

20.5” x 38”

Dan Namingha © 2016

MICHAEL NAMINGHA

GC2 Digital C-Print Face Mounted to Plexiglas Edition of 2 41” x 29” approx. Michael Namingha © 2016

Ar tist Reception: 5-7:30pm • Friday, August 19, 2016 125 Lincoln Avenue • Suite 116 • Santa Fe, NM 87501 • Monday–Saturday, 10am–5pm 505-988-5091 • fax 505-988-1650 • nimanfineart@namingha.com • namingha.com

native arts magazine

contents 37 Welcome

Southwestern Association for Indian Arts

35 Up Front

Indian Pueblo Cultural Center’s We Are of This Place; Native Cinema Showcase; interviews with Sterlin Harjo, Amber Midthunder, and Zahn McClarnon Left: Bryant Mavasta Honyouti (Hopi), 2015 Best of Class, woodcarving.

Photo by Daniel Nadelbach

43 Museum Spotlight

New and ongoing Native American arts and history exhibits at the top regional and national museums

56 Features

Revitalizing an ancient pueblo; authenticity in the cultural district; remembering Jeri Ah-be-hill

62 Artists and Shows

Master jewelers, weavers, and beadworkers; art of the Pacific Northwest; collaborations in clay

30

“Coyote Profile” • 16" x 20" • Acrylic

“Pinto” • 24" x 30" • Acrylic

JOHN NIETO NEW WORLD TREASURY • One Man Show • Friday, August 19, 2016 • 5 to 7pm

VENTANA FINE ART 400 Canyon Road

•

Santa Fe, NM 87501

•

505-983-8815

•

800-746-8815

•

www.ventanafineart.com

MODERN CLASSICS ARTWORK, SCULPTURE, AND TEXTILES BY AMERICAN INDIAN ARTISTS. BOOKS AVAILABLE AT BOOKS & MORE. MEMBERS ENJOY A 10% OFF DISCOUNT. 2301 N. CENTRAL AVE. PHOENIX, AZ ■ 602.252.8344 ■ HEARDSHOPS.COM

2016 swaia BOARD OF DIRECTORS

Elizabeth M. Pettus Chair

Roger Bryn Fragua (Jemez Pueblo) Vice-Chair

Dominique Toya (Jemez Pueblo) Secretary

Lloyd K. “Skip” Sayre Treasurer

Mark Bahti Lisa Chavez (San Felipe Pueblo) Susan Folwell (Santa Clara Pueblo) Andrea Hanley (Navajo) Elizabeth M. Kirk (Isleta Pueblo/Navajo) Andrew Masiel (Pechanga Band) Traci Rabbit (Cherokee Nation of Oklahoma) Thomas Teegarden

STAFF

Dallin Maybee (Northern Arapaho/Seneca) Chief Operating Officer

John D. Jones Chief Development Officer

Henry Brown Wolf III (Kewa/Lakota) Artist Services Manager

Amanda Crocker PR & Marketing Director

Tammie R. Touchine (Navajo) Volunteer & Membership Coordinator

Yvonne Gillespie Finance Administration

Eva Del Río (Mexican/Tarahumara) Administrative Support

Nancy Wolfe Administrative Support

Daniel Remmenga (Ponca Tribe of Nebraska) Logistics Coordinator

Jhane Myers (Comanche/Blackfeet) Class X Program Manager

Amber-Dawn Bear Robe (Siksika), Judy Bell, Cat Charney, and Logan Bluejacket (Eastern Shawnee) INDIAN MARKET ZONE MANAGERS

Phillip Bread (Comanche/Kiowa) and Laura Sippel SUMMER INTERNS

FREE ADMISSION AT OUR FAMILY FRIENDLY

SUMMER EVENT FO R E VE R YO N E !

EQUESTRIAN COMPETITION

& FINE ART EXPERIENCE

native arts magazine

PUBLISHER

bruce adams

ASSOCIATE PUBLISHER

EDITOR

b.y. cooper

anne maclachlan

EDITORIAL ASSISTANTS

amanda jackson , stephanie love lisa j. van sickle EDITORIAL INTERN

2016 SANTA FE SUMMER & FALL FUN SERIES 27 Jul– 14 Aug & 24 Aug– 25 Sept

elizabeth sanchez DESIGNERS

valérie herndon, allie salazar ASSOCIATE PUBLISHER, SALES MANAGER

david wilkinson SALES EXecutive

karim jundi WRITERS

ashley m. biggers, joseph case chelsea herr, neebinnaukzhik southall whitney spivey, jason strykowski barbara tyner, emily van cleve PHOTOGRAPHY

teri greeves, kitty leaken 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, fax 505-983-1555 info@santafean.com santafean.com Copyright 2016. Reproduction in whole or in part without permission is prohibited. Published by Bella Media, LLC, Pacheco Park, 1512 Pacheco St, Ste D-105

F E AT U R I N G LIVE

FINE ART

FARM FRESH

100’S OF

EQUESTRIAN

MUSIC SHOW FOOD HORSES ATHLETES

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

FOR FULL SCHEDULE OF EVENTS AND VIP SALES: WWW.HIPICOSANTAFE.COM 34

Indian Market Magazine

swaia.org

Shelle Neese Pictures

The Heart of the Dragonfly Cross Collection,18-kt yellow gold dragonfly cross multistrand necklace and earrings by worldrenowned Indigenous lapidary artist Jesse Monongya.

Read more on page 62.

Courtersy of Fiona Rayher and Damien Gillis

up front

news and happenings

Native Cinema Showcase

Native Cinema Showcase, August 16–21, free, New Mexico History Museum, 113 Lincoln, nmai.si.edu/ncs

Joe Wilson

Above: Caleb Behn, a young Dene lawyer and the subject of the documentary Fractured Land, engages gas and oil companies in a struggle to defend the Indigenous lands and people of Northern Canada.

Above: Rod Rondeaux (left) in the title role of Mekko, approaches fellow “street chief” Allen (played by Tre Harjo) in filmmaker Sterlin Harjo’s dark tale of life on the streets. The film weaves ancient tales into the modern struggles of homeless Natives in Tulsa, Oklahoma.

Courtesy Toronto international film festival

The finest in contemporary fiction and nonfiction Native American films are part of Indian Market’s Native Cinema Showcase, a sixday event presented by SWAIA and the Smithsonian National Museum of the American Indian. The New Mexico History Museum is the venue for the screening of most of the festival’s full-length films and shorts created by professional and emerging filmmakers from throughout North America, Australia, and New Zealand.

Native Cinema Showcase opens on August 16 with the documentary What Was Ours (2015) by award-winning independent filmmaker and director Mat Hames. It tells the story of Shoshone and Arapaho tribal members of the Wind River Reservation who work to bring home objects lost to their communities.

Hames is also the director for the feature film Le Dep (2015) that’s presented on August 17. In French with English subtitles, this film for mature audiences focuses on the robbery of a remote convenience store where welfare money is stored for distribution to community members.

Films and videos by young and emerging filmmakers are featured during the August 17 Future Voices program, which is produced by Future Voices of New Mexico. This local organization works with high schools and underrepresented communities to encourage students to tell stories through film and photography.

Director Sterlin Harjo (Seminole/Creek) is expected to be at the screening of his 2015 film Mekko, the story of a Creek man who finds himself on the streets of Tulsa after 19 years in prison.

Award-winning narrative, documentary, animation, and experimental films and music videos that competed in Indian Market’s Classification X category are screened on August 19. “In the six years since Class X was added as a juried category to Indian Market, SWAIA has seen a substantial increase in the quantity and quality of submissions,” says Jhane Myers (Comanche/Blackfeet), SWAIA’s Class X Film Manager.

The afternoon program on August 20 features everything from the oneminute shorts Indian and the Tourist (2015) and First Contact (2015) to the 14-minute short Ma (2015). The evening’s full-length film, Born to Dance (2015), will be screened at the Santa Fe Railyard Park. Directed by Tammy Davis, it tells the story of Tu, a young man from Auckland, who wants to become a professional hip-hop dancer. “This Saturday night outdoor screening is a ‘bring a picnic and a blanket’ event that’s great for the entire family,” says Myers.

Native Cinema Showcase wraps up back at the New Mexico History Museum on August 21 with screenings of the dramas The Saver (2015) and Fire Song (2015).—Emily Van Cleve FILM

Above: Actors Andrew Martin (Mohawk) and Harley Legarde (Ojibwe) in a still from the film Fire Song, a look at the challenges of living as a two-spirit among some First Nations cultures in Canada. santa fean

native arts 2016

35

up front

news and happenings

Indian Pueblo Cultural Center We Are of This Place

To celebrate its 40th anniversary and recent museum Exhibit renovation, the Indian Pueblo Cultural Center in Albuquerque has installed a permanent exhibit titled We Are of This Place: The Pueblo Story. This extensive display presents visitors with an unparalleled look into the history and continuing traditions of New Mexico’s 19 Pueblos. Not only does the exhibit’s narrative encompass the complex histories of the Pueblos, but it also reminds visitors that these communities endure, and will continue to survive and flourish in their traditional homelands.

Collaboratively founded and run by all 19 Pueblos, the Cultural Center has provided an integral space for these communities to express their own stories in their own ways since 1976. We Are of This Place continues this multivocal practice and highlights the significance of physical place for Puebloan peoples. The exhibit emphasizes the vital connection between the Pueblos and the land on which they live, and the curators let their audience know that these communities continue to prosper in tradition, heritage, and culture at their places of origin. Visitors can expect to encounter a wide array of cultural items like finely detailed moccasins and intricately carved stone fetishes, narrative text that describes some of the Pueblos’ traditions and their relations with the federal government, and interactive elements, such as video presentations and a hands-on learning center called Grandma’s Kitchen, specifically for children.

Perhaps the most captivating portion of We Are of This Place is the section devoted to specific values such as knowledge, respect, growth, and life, which presents viewers with photographs and textual vignettes that address historic and contemporary issues in Pueblo communities. The significance of this section cannot be overlooked; while the texts associated with each value explain hardships or obstacles that the Pueblos have overcome, the displays also emphasize how these communities have adapted to survive while still maintaining a strong cultural heritage and valuing their unique traditions. In this sense, this portion of the exhibit exemplifies the Cultural Center’s overall goal for We Are of This Place. The Pueblos, like many other indigenous communities in the Americas, are still present and thriving despite generations of adversity and oppression. Not only were they born from this place, but they still inhabit this place, and will continue to call this place home.—Chelsea Herr (Choctaw Nation of Oklahoma)

Courtesy IPCC

Visitors can create their own seasonal scenes with magnetic animals, plants, and people on one of four colorful magnetic walls. Shown here is a close-up of a wolf magnet.

Courtesy IPCC

In the “Elders & Children” section of the exhibition, Jackson Suazo (Laguna/Santa Ana/Acoma/Taos Pueblo) compares his hands to the tile handprints on the Joe Sando mural wall.

Left: Children can build their own Pueblo village scene with these soft foam building blocks.

|

welcome from swaia

|

Greetings!

As anyone who has been to the Santa Fe Indian Market knows, this event is a huge logistical undertaking. The SWAIA staff and board work year-round to get ready: managing artist services from the application process to final booth placements; seeking out volunteers and members; doing development and fundraising, PR & marketing, and myriad other tasks. In the months leading up to Market, zone managers, volunteers, and interns join the team and things really get intense. It’s a blur of maps, constantly shifting schedules and layouts, film screenings, interviews, signage, porta-potties, ad designs, bulk mailings, permitting, phone calls, menu planning, donation receiving, brainstorming, thinking, and rethinking every aspect of every part of Market . . . and many miles of pipe-and-drape.

Once it’s all laid out and everything is in place, that’s when Market takes on a life of its own. It’s as though we raise a child and then watch it go out in the world on its own every third week of August.

It morphs into its own being, with an identity, an energy, and a life of its own. Artists with their grandchildren in their booths with them, visitors from all over the globe, volunteers of all ages, art lovers, culture-seekers, fashion models, musicians, and dancers breathe life into every plastic tent and foam core sign. For those involved in putting it together, the beauty and uniqueness of this “child” never ceases to amaze and inspire.

To those of you coming in from all over the country and the world to celebrate the diversity and unequaled beauty of Native art and culture, we thank you. We appreciate that you value SWAIA’s mission and what we are aiming to accomplish, we admire that you have great taste in art and travel destinations, and we are grateful for your support. Please enjoy this, the 95th annual Santa Fe Indian Market!

If you are not a member of SWAIA already, we encourage you to become one today, to help ensure its continuation for another 95 years.

See you on the Plaza!

Below: The Red Turtle Dance Group performs at Pojoaque Pueblo. The IPCC’s summer dance schedule, which begins in June, includes dances on Fridays as well as their regular Saturday and Sunday performances.

Dallin Maybee (Northern Arapaho/Seneca) Chief Operating Officer

John D. Jones Chief Development Officer Courtesy IPCC

TCourtesy IPCC

Sincerely,

PS. It’s a digital world! We hope you will help us spread the word about Indian Market through social media. If you post from Market, please include the hashtags #santafeindianmarket #nativeartinspired and #swaiatribe. Thank you and have fun! santa fean

native arts 2016

37

Sterlin Harjo filmmaker spotlights Native American culture

by Whitney Spivey

For some, breakfast is the most important meal of the day. For Sterlin Harjo, “breakfast is also the most poetic of meals—I get inspired by eggs.” Harjo is also inspired by music, art, literature, and comedy—the same fields in which the 36-year-old member of the Seminole Nation is becoming increasingly well known.

“I’m a filmmaker,” he says. “I make art, I create things, I try to play guitar; sometimes I make people laugh.”

Harjo’s feature films include dramas Four Sheets to the Wind (2007) and Barking Water (2009), which debuted at the Sundance Film Festival. Thriller Mekko opened at the Los Angeles Film Festival in 2015. All three films are set in Harjo’s native Oklahoma and feature Native American characters.

This May Be the Last Time (2014), Harjo’s first feature documentary, tells the story of his grandfather, who 38

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disappeared in 1962 in central Oklahoma. The film also explores the relationship of Creek Nation hymns to Scottish folk, gospel, and rock music.

Currently, Harjo is working on a fourth feature film with his Native American sketch comedy troupe, the 1491s. “It’s an insane comedy about a tribal election,” he explains. “We are going to crowd-fund it and make it—hopefully this year. It will probably change the world.” Harjo founded the 1491s (a reference to the last year before the arrival of Christopher Columbus in America) seven years ago after reconnecting with graphic artist/photographer Ryan Red Corn (Osage Nation) and visual artist Bobby Wilson (SissetonWahpeton Dakota). “The world needed Native humor, so the universe conspired to bring us together on the tough streets of Santa Fe,” he says. “We all three ended

Ryan Red Corn

Filmmaker Sterlin Harjo (Seminole/Muscogee), one of 27 recipients of the George Kaiser Family Foundation 2016 Tulsa Artist Fellowship, is the writer, director, and producer of the award-winning independent film Mekko.

Filmmaker Sterlin Harjo has made dramatic films, a thriller, and a documentary; he is currently at work on a comedy feature with his wickedly funny troupe the 1491s, seen below. Back row, L–R: Bobby Wilson, Migizi Pensoneau, Dallas Goldtooth, Ryan Red Corn.

Front, in hat: Sterlin Harjo.

Sterlin Harjo’s Mekko

up in bed together; Bobby was in the middle.”

The 1491s, which also includes writer-artist Dallas Goldtooth and Migizi Pensoneau, were featured on The Daily Show in 2014, where they participated in a panel discussion about the controversial name of the Washington football team’s notorious moniker. The group’s YouTube videos, which depict contemporary Native life in America (including the stereotypes and racism) have gone viral. In the nearly four-minute clip “I’m an Indian Too,” Red Corn depicts a hipster Indian in a headdress dancing his way around the Santa Fe Plaza during Indian Market. The video has nearly 400,000 plays.

“Santa Fe Indian Market is the first place I ever saw an Indian man playing flute in full buckskin for a bunch of old white ladies,” Harjo remembers. “He had a basket out for tips. I thought to myself right then, ‘I like this town.’” Although Harjo does not live in Santa Fe, he visits the City Different often. “If I was based in Santa Fe, I’d probably wear more turquoise and I’d eat too much green chile,” he says, noting that he loves the food—specifically the green chile—at The Pantry so much that he shot part of a music video there. The video, appropriately, is titled “Santa Fe.” Find it on YouTube or Vimeo.

street dreams—and nightmares

by Anne Maclachlan

courtesy sterlin harjo

Shane Brown

sterlinharjo.com

Above: Rod Rondeaux (Crow Nation), left, plays the title character in Mekko, Sterlin Harjo’s portrayal of Tulsa’s homeless “street chiefs.” Sarah Podemski (Saulteaux) is Tafv, one of Mekko’s few friends outside his circle of fellow street dwellers.

Shane Brown

The 1491s can generally be found poking fun at everything and everyone—including each other.

Sterlin Harjo is known for producing gritty, modern narrative films. With Mekko (pronounced “Mee-ko”), he hits the streets of Tulsa for an intensely emotional story about life among the local homeless Native population. Starring Rod Rondeaux (powerfully understated in the title role), Mekko tells the story of a man recently released from prison and trying to find his feet in the world again.

When Mekko is approached by someone—or something, perhaps—in the form of Bill (played by Zahn McClarnon; see page 40), a whole new nightmare begins for him.

Apart from the main cast, many of the supporting roles are played by homeless Tulsa Natives. “I knew I didn’t want a cast of actors trying to be homeless,” says Harjo. “And I didn’t want it to be exploitative.”

Thus, an extra layer of realism is infused into the film with the casting of customers from the Iron Gate soup kitchen. Sadly, since its debut, Mekko’s crew has been shaken by the deaths of several supporting cast members. “It’s a hard life,” Harjo says simply.

When he first arrived in Tulsa, the ever-observant Harjo was intrigued by what he saw as a community of homeless Native people on the city streets, looking out for one another, laughing, and essentially forming an extended family. That sense of belonging and familial bonds appealed to him, and once he began to explore this world, he knew it had to become his next film project.

He seems to have nailed it. Mekko is garnering widespread acclaim. It will also be screened at the 2016 Native Cinema Showcase at the New Mexico History Museum.

Mekko, New Mexico History Museum, 113 Lincoln, see nmhistorymuseum.org for date and time santa fean

native arts 2016

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Zahn McClarnon electric mystery

by Anne Maclachlan

Marisa quinn

Chris Large/FX

Zahn McClarnon played Hanzee Dent, one of his best known and most villainous characters, on the second season of FX TV’s Fargo.

from the writers he highly praises, but it’s there, whether he is portraying a serial killer like Dent (who murders in the way ordinary people turn pages in a book) or a dedicated angry-hornet cop like Mathias, who is passionately protective of what he calls “my Rez.” In real life, McClarnon is a respected A-level racquetball player who trains regularly, and who staunchly supports his friends and colleagues in their various endeavors.

Alluding to a difficult past, McClarnon says he will draw on that to give his more dangerous characters some depth, explaining, “I’m able to tap into that darker side pretty easily, I think.” He also, somehow, imparts a sort of offscreen presence to these characters—even when they’re not seen, they are decidedly up to something. (“Good, then I’m doing my job,” McClarnon smiles.) Hanzee Dent, for example, is that scary spider in the living room; bad enough when it’s lurking in the corner where you can see it, but even worse when you don’t know where it just disappeared. Longmire’s “Team Mathias” fans enjoy speculating on his character’s personal life, and on what’s behind the friction between the tribal cop and Standing Bear. In filmmaker Sterlin Harjo’s Mekko (see page 39), as the hair-raising street demon Bill—well, we probably don’t really want to know what’s fermenting offscreen there.

Do these characters follow him home? McClarnon says he can generally leave them at work, but clearly he finds Mekko’s Bill disturbing. He hesitates a beat or two. “There were some moments where I felt a little uncomfortable,” he says slowly. “Probably mainly with the brutality of what Bill did to the other characters. That brutality … But no, I’m able to shake that off pretty easily … It’s just acting.” And that, he continues, is the joy of it all.

Watching Zahn McClarnon, whether he’s onscreen or sipping coffee across from you in Santa Fe, is simply electrifying. He’s like a quietly powerful generator, made of barely contained energy.

Zahn McClarnon McClarnon has been working steadily as (Hunkpapa Lakota / Irish), an actor for a couple of decades. In Santa is currently filming the role of Toshaway in the Fe this spring to continue playing the role AMC drama The Son. of Cheyenne Tribal Police Chief Mathias in Netflix’s fifth season of Longmire (which wrapped in June and premieres in September), McClarnon, with a half-smile, reveals only one word about the show’s direction: “Loyalty.” He does promise a little more about the antagonistic relationship between his character and that of Henry Standing Bear, played by Lou Diamond Phillips. Apart from that, he is as silent as his famously villainous character Hanzee Dent on the FX series Fargo.

There’s a common theme among all of McClarnon’s characters: commitment. It’s difficult to say whether that comes from McClarnon himself or 40

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Chuck Foxen

McClarnon won the 2015 American Indian Movie Award for best supporting actor in the role of Bill in Sterlin Harjo’s Mekko (see page 39).

Below: Zahn McClarnon, left, portrays Cheyenne Tribal Police Chief Mathias opposite Robert Taylor in the title role of the Netflix drama Longmire.

ursula coyote/netflix

Paintings by Students of the Santa Fe Indian School

“It’s all about the process,” McClarnon says of honing his craft through ongoing study, and of what he pours into his roles. He compares it to “going to a gym and staying healthy,” and explains that acting classes also allow him to explore opportunities he isn’t being seen for at the moment. He’s not, for example, being cast in comedic roles, though anyone who’s seen his work knows that his wry humor and deadpan delivery hit the mark every time. This summer’s role as the Comanche war chief Toshaway in the AMC period drama The Son (with Pierce Brosnan in the title role) marks his entry into a patriarchal role, which McClarnon says he’s looking forward to exploring—and for which he learned some of the Comanche language.

Returning to the subject of Longmire, McClarnon beams and enthusiastically praises his colleagues, the Santa Fe crew, and the support from fans, saying, “I hope it goes on forever!” He speaks warmly of his social ties here—some of which go back to early childhood when his family lived briefly in New Mexico before moving to St. Mary’s, Montana—and muses about making a future in the City Different. He grew up on green chile, which he loves.

“Green chile on everything!” he grins, remembering his father’s heat-filled recipes. “We used to call it St. Mary’s dynamite.” Apart from visiting local friends, hitting the ski slopes, and training on the racquetball court, McClarnon also hangs out around town, perusing bookstore shelves or relaxing on the Plaza (“for hours sometimes”), going over his lines and listening to street musicians.

From time to time toward the end of the conversation, Zahn McClarnon’s eyes narrow or stare deeply as he contemplates the answer to a question, and the shadow of Hanzee Dent looms on the wall behind him. He seems to be having a little fun with that, actually. About to leave, he pauses, tosses a wicked grin over his shoulder, and asks, “Before I go, is there anything you want to ask me that you were afraid to before?”

Thanks, Zahn, I’m fine. I’ll just stay put for a moment until I can breathe again.

Pair of Zuni Shalako by Romando Vigil (1902-1978) Tse Ye Mu - Falling Cloud Medium: casein; Image Size: 19” x 12-1/2”

Opening Reception Monday August 8th 5 to 7 pm Exhibit continues through September 17th 221 Canyon Road, Santa Fe

505.955.0550 www.adobegallery.com

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Amber Midthunder feet on the ground and rising fast

by Anne Maclachlan

Suzanne Prescott

Though she’s been in the film industry for most of her life—her first speaking role was opposite Alan Arkin in the film Sunshine Cleaning Company when she was 8 years old—this summer looks as if it will mark Amber Midthunder’s cinematic breakout year.

Midthunder, an enrolled tribal member of the Ft. Peck Sioux Reservation, has been cast as the mysterious Kerry in the upcoming FX TVAbove: Actress and filmmaker Amber Midthunder Marvel series Legion, starring plays Kerry on the Marvel-FX TV series Legion.

Downton Abbey’s Dan Stevens.

With a script by Fargo’s Noah Hawley (“He’s a genius. He’s so open to letting the art happen,” says Midthunder.) and including a number of Fargo’s former castmembers, Legion—and Kerry—are already attracting a great deal of critical interest. Also this summer, Midthunder plays Natalie Martinez in the Jeff Bridges / Ben Foster / Chris Pine / Gil Birmingham film Hell or High Water (formerly titled Comancheria), which earned acclaim at the Cannes Film Festival earlier this year and is out this summer in the States. “It’s truly an amazing gift to live in that space with them, even if it was just for a day [of filming],” she says of the principals and the director, David Mackenzie.

Her parents, Angelique and David Midthunder, are both in the business, and she says watching them when she was small lit the initial spark. Her parents supported her but never pushed. “I remember when I was little, and my dad would get auditions, and I would sit and learn his lines,” she recalls. “I didn’t really understand what it was. I just wanted to do it.”

As to honing the craft, Midthunder feels that each actor should use a unique approach. “It’s so individual, so personal, that you just have to figure it out for yourself,” she advises. In her own case, she prefers coaching to classes and workshops, but adds, “The times I have felt myself grow the most were in the presence of other actors, in a working environment.” Regarding specific influences, she speaks highly of her coach, Laura Cunningham, and of her own mother, Angelique, through whom she learned the casting process. “I feel that’s where I really learned the magic,” Midthunder explains, “in the casting office, where a person comes in, in front of a wall and two people, and they sort of have this whole other world happening.”

Clearly at home in front of the camera, Midthunder was in her midteens when she codirected two films with Hannah Macpherson, which she thoroughly enjoyed doing. “I was very young,” she says, adding that she appreciated having a codirector who could oversee the process.

The films, #nightslikethese and #hashtag, both caught national attention, and are terrifying reflections on the desensitization of teens who live

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Continued on page 77

Edward S. Curtis, Apache Reaper, 1906, platinum print, 6 x 8"

Booth Museum Left: Edward S. Curtis, Qahatika Girl, pigment print, 46 x 34"

COURTESY BOOTH MUSEUM

Edward S. Curtis, Dusty Dress, ca. 1910, photogravure, 15 x 12"

By Her Hand Edward S. Curtis, Woman and Child–Nunivak, 1928, pigment print, 20 x 16"

celebrating Native American women

by Ash le y M. Big ge rs Edward S. Curtis, Zuni Ornaments, ca. 1903, photogravure, 7 x 5"

Left: Edward S. Curtis, Papago Girl, ca. 1907, photogravure, 15 x 12"

Beaded doll, Sioux, ca. 1880, private collection, 11 x 6 x 2"

Edward S. Curtis, Blanket Weaver, 1904, pigment print, 34 x 46"

Blanket Weaver. The Basket Maker. Taos Water Girls. These iconic and lesser-known Edward S. Curtis images grace the walls of the Booth Western Art Museum. Fittingly known for its Western art collection, the museum has drawn upon the holdings of area collectors for

By Her Hand: Native American Women, Their Art, and The Photographs of Edward S. Curtis, a traveling photography exhibition that pairs Curtis’s images with Native American artwork and objects from local museums. Because collectors are contributing the objects, visitors have a rare opportunity to view these examples of pottery, clothing, dolls, and other art.

“Many people will be surprised to know how deep the collections are,” says Seth Hopkins, executive director of the Booth Museum. The collectors have contributed objects such as a bird effigy pot by the Piman People, Sioux children’s moccasins along with a doll bedecked in white beads, and a polychrome jar and canteen from San Ildefonso and Cochiti Pueblos respectively.

Although not the exact objects seen in the Curtis images, the items reflect the general style of the objects depicted in intimate portraits like Mohave Potter, in which a woman works pottery in her lap, or Painting a Hat—Nakoaktok, in which a woman paints a straw hat with the British Columbia tribe’s designs. The exhibition demonstrates “the importance of women in society,” Hopkins says. “They cared about children and family, as well as about beauty and the quality of well-made things.”

The museum has designed the exhibit to be immersive. To pair with The Weaver, a wide shot depicting a woman seated before a loom with the arch of a branch in the background, the museum has re-created a vertical loom.

The image, enlarged on a scrim behind it, creates an appealing vignette.

The museum has also built out a workshop environment and a trading post scene to give a sense of the creative process.

Of course, Curtis, the ethnologist and photographer who captured more than 2,000 images of the American West and Native American peoples, is an engaging draw as well. “The magic of his images within Western art is that it is one of the more emotionally driven and thought-provoking bodies of work. When you pair it with objects, it’s stunning visually, aesthetically, and emotionally,” Hopkins observes.

During the show’s opening, visitors may join a gallery walk with Eric and Lynda Sermon, who have been collectors for the past 40 years and were guest curators for the object portion of the exhibition, followed by a panel discussion featuring the curator of photography at Atlanta’s High Museum, Brett Abbott, who will speak about Curtis’s career and work.

By Her Hand: Native American Women, Their Art, and the Photographs of Edward S. Curtis, August 13–November 20, opening gallery walk August 20, 4:30–5:30 pm, reception 5:30–7 pm, panel presentation 7 pm, Booth Western Art Museum, 501 Museum Drive, Cartersville, Georgia, 770-387-1300, boothmuseum.org Left: Woven basket, Chemehuevi, ca. 1910, private collection, 8 x 8 x 8"

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Autry Museum of the American West

celebrating the West in art and tales new and ongoing exhibits

by Emi ly Va n Cle ve

Storyteller doll, Seferina Ortiz, Cochiti Pueblo, ca.

1990s, 8 x 6 x 8”. Gift of Terry and Ben Hayes.

Left: Polychrome storage jar, Tesuque Pueblo, ca. 1870– 1880, 18 x 20 x 20”.

Anonymous gift.

Legendary recording artist and movie star Gene Autry (1907–1998) cofounded the Autry Museum of the American West in Los Angeles in 1988 as a place to host exhibits that interpret the heritage of the West and show its influence worldwide.

Originally called the Autry Museum of Western Heritage, the museum changed its name to the Autry National Center of the American West when it merged with the Southwest Museum of the American Indian in Los Angeles and Colorado’s Women of the West Museum more than a decade ago. In the fall of 2015, in advance of the October 2016 unveiling of close to 20,000 square feet of renovated visitor spaces, the museum changed its name again to the Autry Museum of the American West to reflect its mission to present the diverse stories of the West.

The art, history, and culture of the American West are explored through the more than 500,000-piece collection of film memorabilia, historic firearms, paintings, and Native American art and artifacts displayed at the museum’s two Los Angeles facilities.

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The Griffith Park building hosts the majority of the museum’s exhibitions. New Acquisitions Featuring the Kaufman Collection, inspired by a gift of 49 paintings and sculptures, is a two-year exhibit that opened in the summer of 2015. It includes bronzes by Frederic Remington and Allan Houser, paintings by Rick Bartow and Eanger Irving (E. I.) Couse, lithographs by Fritz Scholder, and watercolors by David Einstein.

Several ongoing exhibits showcase both the refined and rough sides of the American West. Organized around the three themes of “Religion and Ritual,” “Land and Landscape,” and “Migration and Movement,” the exhibit Art of the West displays historic works by Thomas Moran and Frederic Remington alongside pieces by Georgia O’Keeffe, Virgil Ortiz, Luis Tapia, and David Levinthal. Western Frontiers: Stories of Fact and Fiction focuses on the role of guns in the West. On display are Colt and Winchester firearms owned by Teddy Roosevelt, Annie Oakley’s gold-plated handguns with pearl grips, and a Remington revolver once owned by General George Meade, the Union Army’s commander at Gettysburg.

The museum’s second facility, the Historic Southwest Museum Mount Washington Campus, was founded as the Southwest Museum of the American Indian in 1907 by Charles F. Lummis, who was the first city editor for the Los Angeles Times as well as a photographer, amateur anthropologist, and Southwest historian. It also houses the Southwest Museum for the American Indian collection, which contains Left: Polychrome bowl, Nampeyo or Annie Nampeyo (Hopi), ca. 1901, 3 x 10”

thousands of Native American items from prehistoric through contemporary times.

“This collection is huge and on a level similar to the one at the National Museum of the American Indian at the Smithsonian,” says chief curator Amy Scott. “Some of the oldest materials we have were found during archaeological excavations in the early part of the 20th century. We have a wide range of materials from a 1900 Hopi seed jar to an ancient Hohokam charm or fetish. We have quite a lot of ceramics from the Southwest.”

Featuring more than 100 pieces of rare ceramics, the ongoing exhibit Four Centuries of Pueblo Pottery traces the Pueblo pottery tradition from the 16th century to the present. It includes pieces by Maria and Julian Martinez, Tonita Peña Roybal and Juan Cruz Roybal from San Ildefonso Pueblo, Nampeyo (Hopi), and Gladys Paquin (Laguna Pueblo), among others. Also on display at the Mount Washington Campus are selected Native American ceramics and artifacts from the museum’s collection.

The Autry Museum of the American West presents a

Above: Pot, Grace Medicine Flower (Santa Clara Pueblo) and Camilio Tafoya (Santa Clara Pueblo), ca. 1980, 6 x 12”. Gift of Erica de F. Neville.

wide range of events and festivals throughout the year. Native Voices is an annual in-house production of new work by contemporary Native playwrights presented at the Griffith Park facility every June. “These theatrical presentations get new people into the museum and help fulfill our desire to showcase contemporary Native culture,” says Scott.

Although not nearly as large as SWAIA’s Indian Market, the Autry’s American Indian Arts Marketplace is an annual November weekend of art, performances, children’s activities, talks and demonstrations, and plays by members of Native Voices that takes place in the Griffith Park facility.

It features work by 200 Native American sculptors, potters, weavers, jewelers, and mixed-media artists representing more than 40 tribes.

The Autry in Griffith Park, 4700 Western Heritage Way, Los Angeles, Tuesday–Friday, 10 am–4 pm, Saturday–Sunday 10 am–5 pm, $10, students and seniors $6, children 3–12 $4, theautry.org The Autry’s Historic Southwest Museum Mount Washington Campus, 234 Museum Drive, Los Angeles, Saturday 10 am–4 pm, free, theautry.org

Heard Museum

Lapis lazuli bracelet, Charles Loloma (Hopi), 2 3/8 x 3 1/4 x 1"

Hopi katsinas donated by former Arizona senator Barry Goldwater and the Fred Harvey Fine Arts Collection.

exhibits and festivals in Phoenix

by Emi ly Va n Cle ve

Above: Detail of the 30-foot art fence Indigenous Evolution, by Rosemary Lonewolf (Santa Clara Tewa) and Tony Jojola (Isleta).

Craig Smith/Heard Museum

Below: Daisy Taugelchee (Navajo), Two Grey Hills textile, 1954, 72 x 50"

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Known for its extensive collection of artworks and cultural objects from the Southwest and its contemporary Native fine art from throughout North America, the Heard Museum in Phoenix is on the must-see list for Native American art collectors and enthusiasts.

Dwight and Maie Heard founded the museum in 1929 to host community lectures, talks, and workshops and to display work from the couple’s modest but growing art collection. Today, it houses more than 40,000 objects. A museum that’s constantly growing and changing, the Heard is going through a substantial renovation project to combine several gallery spaces into one very large space capable of hosting major traveling exhibits. The new space will open in January 2017.

HOME: Native People in the Southwest is the museum’s anchor exhibit. “The Heard’s collection of Hopi katsina dolls is represented in this exhibit by more than 500 carvings to present basic information about the Hopi ceremonial cycle and to show the evolution of carving styles,” says the director of curation and education, Ann Marshall.

“It’s composed in large part by the collections of Senator Barry Goldwater and the Fred Harvey Fine Arts Collection.”

Navajo textiles represented in the HOME exhibit include a Daisy Taugelchee (ca.

1909–1990) Two Grey Hills tapestry woven in 1954. “It set the standards of excellence for Navajo textiles in general and the specific Two Grey Hills style,” Marshall says. The Heard Museum’s collection also contains many pieces by Hopi jeweler Charles Loloma (1921–1991). “We have a 1975 bracelet that shows his innovative use of materials, including gold and lapis lazuli,” says Marshall. “The sculptural outline of the stones is reminiscent of the mesa top near Loloma’s home.”

On display at the museum through September 5 is the exhibit Spirit Lines: Helen Hardin Etchings, which includes all 23 first editions of the Santa Clara Pueblo artist’s collection of copper plate etchings completed between 1980 and 1984, the year of Hardin’s untimely death. Closing on September 28, Personal Journeys: American Indian Landscapes explores the relationship that Native Americans have with their land and how this relationship has been expressed through art. Paintings by Tony Abeyta (Navajo) and Norman Akers (Osage) are in the show.

The Heard Museum hosts five ongoing exhibits that explore different aspects of Native American and Southwestern life and culture.

Over the Edge: Fred Harvey at the Grand Canyon and in the Great Southwest features pamphlets, advertisements, postcards, and other promotional materials produced by the Fred Harvey Company and the Santa Fe Railway. Remembering Our Indian School Days: The Boarding School Experience uses the first-person recollections, memorabilia, photos, oral histories, writings, and art of four generations of school alumni to look at common experiences shared at Native American boarding schools.

Around the World: The Heard Museum Collection showcases Native American pieces and items by Indigenous artists worldwide from Dwight and Maie Heard’s personal collection as well as objects and artworks donated by artists and collectors. Sculptures by Native American artists including Allan Houser (Chiricahua Apache), Michael Naranjo (Santa Clara Pueblo), and John Hoover (Aleut) are showcased in The Third Dimension: Sculptural Stories in Stone and Bronze and in the outdoor American Indian Veterans National Memorial exhibit.

The Heard holds five major festivals annually, beginning in midFebruary with the World Championship Hoop Dance Contest. More than 70 Native hoop dancers from throughout the U.S. and Canada travel to Phoenix to compete for cash prizes.

The early March Heard Museum Guild Indian Fair & Market is the Heard’s version of SWAIA’s Indian Market. The work of more than 600 Native artists is on display during a weekend of festivities that includes music and dance performances as well as cooking and art demonstrations. A Gathering of Carvers: Katsina Doll Marketplace is “the largest gathering of Hopi carvers in the country,” says Mark Scarp, communications manager at the Heard. “This one-day event in early April showcases the art of katsina doll carving.”

El Mercado de Las Artes, which takes place in mid-November, features strolling mariachis and artwork by Hispanic artists from Arizona and New Mexico. The final festival of the year is Holiday at the Heard, a weeklong celebration between Christmas and New Year’s with Native dancing, music performances, and artist demonstrations that Scarp calls “a truly family-friendly event.”

The Heard Museum, 2301 N Central, Phoenix, heard.org

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IAIA Museum of Contemporary Native Arts

Jason S. Ordaz, Courtesy IAIA MoCNA

Lloyd Kiva New was first known as a fashion designer. Later, he realized that education was his calling.

fashion: forward new exhibitions

Jason S. Ordaz, Courtesy IAIA MoCNA

by Emi ly Va n Cle ve

Jason S. Ordaz, Courtesy IAIA MoCNA

Above: The exhibit is designed around a replica of Kiva Studio, New’s 1950s showroom in Scottsdale.

Left: Teacher, designer, veteran of World War II, and champion of contemporary art, New left a lasting influence on IAIA.

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The name says it all: Institute of American Indian Arts Museum of Contemporary Native Arts (MoCNA). Visitors won’t find historical pieces at this downtown Santa Fe museum; IAIA MoCNA is a repository of almost 7,500 contemporary Native works. More than 75 percent of the collection is composed of two- and three-dimensional pieces created since 1962 by IAIA students, alumni, faculty, staff, and board members.

IAIA MoCNA was established in 1972. In the early years, exhibits were held at the Santa Fe Indian School campus. It wasn’t until 1992 that the museum officially opened in its current location, an old federal building that was restored on the exterior and completely remodeled inside. An additional remodeling project took place in 2004 so the space could better accommodate the museum’s exhibitions and educational programs.

The mission of IAIA MoCNA is to advance contemporary Native art through exhibitions, collections, public programs, and scholarships. This goal is accomplished through adult, student, and family-friendly programs and a wide range of exhibitions that showcase the diverse arts practiced by contemporary Native artists.

On exhibit through the end of the year is Forward: Eliza Naranjo Morse, a 38-footlong mural which expresses Morse’s thoughts about how we eventually become ancestors to a new generation. The mural contains drawings, clay, and recycled materials, including objects from a landfill. A member of Santa Clara Pueblo who lives in Española, Morse studied figure drawing at Parsons School of Design and figure drawing and painting at the Institute for American Indian Arts.

Also on view through the end of the year is Lloyd Kiva New: Art, which features close to 30 paintings completed between 1938 and 1995. New (1916–2002), who was a cofounder and instructor at IAIA, is best known for fashion items, such as handbags and dresses, rather than his two-dimensional works. The paintings on exhibit are from his personal collection and include landscapes, geometric abstractions, and realistic depictions of life in watercolor and oil. “Some of the pieces have never been shown before,” says the museum’s membership and program manager Andrea Hanley (Navajo), who also works as a curator. “There are even some of New’s sketchbooks on display.”

The mission of IAIA MoCNA is to advance contemporary Native art through exhibitions, collections, public programs, and scholarships.

Hanley is the curator for Akunnittinni: A Kinngait Family Portrait—Pitseolak Ashoona/ Napachie Pootoogook/Annie Pootoogook, which closed earlier in the summer and reopens from August 19 through December 31. The artworks of grandmother Pitseolak Ashoona (1904–1983), mother Napachie Pootoogook (1938– 2002), and daughter Annie Pootoogook (b. 1969) provide a personal and cultural history of Inuit women. The prints and drawings on view include pop culture references and depictions of family and village life in the remote Arctic community of Kinngait on Dorset Island. “This show is a beautiful conversation between three generations of female Inuit artists,” Hanley explains. “The region is known internationally for its artwork, and these three women are among the most well-regarded artists in this region.”

Rick Bartow: Things You Know But Cannot Explain—A Retrospective Exhibition, which runs from August 19 through December 31, was put together by the Jordan Schnitzer Museum of Art at the University of Oregon many months ago. To the shock of the Native American community, Bartow (Wiyot tribe) died on April 2.

“It was really a blow to us,” says Hanley. “He was an amazing and thoughtful artist and a sweetheart of a person.”

The show features more than 120 paintings, drawings, sculptures, and prints created by Bartow during the past 40 years. Born in Oregon as a member of the Wiyot tribe of Northern California, Bartow graduated from Western Oregon University with a degree in secondary arts education in 1969, and served in the Vietnam War from 1969 to 1971. His work—which focuses on relationships and how the worlds of nature, humans, and spirit not only connect, but also influence and balance one another—is in the permanent collections of more than 60 public institutions in the country, including the Yale University Art Gallery, the Brooklyn Museum in New York, and the Peabody Essex Museum in Massachusetts.

Select pieces from IAIA MoCNA’s permanent collection are on display through July 31, 2017, in the exhibit Visions and Visionaries.

IAIA MoCNA is also a great place to see what’s important to the next generation of artists through periodic exhibitions of work by IAIA students.

IAIA MoCNA, 108 Cathedral Place, iaia.edu

Museum of Indian Arts and Culture/Laboratory of Anthropology

preserving cultural history

by Em i ly Va n Cle ve

The goal of the Museum of Indian Arts & Culture (MIAC)/ Laboratory of Anthropology, one of four museums in the Museum of New Mexico system, is to inspire appreciation for the arts, languages, and cultures of the Southwest through sharing the stories of the people who have lived here and continue to call the region home.

Anthropologist and archaeologist Edgar Lee Hewett founded the Museum of New Mexico in 1909 as a place to preserve Native American materials. Eighteen years later, John D. Rockefeller founded the Laboratory of Anthropology in Santa Fe as a center to study the Southwest’s Indigenous cultures. In 1947 the two institutions merged.

Here, Now and Always is MIAC’s premier permanent exhibit. It was developed in 1997 by a curatorial team composed of Native people and museum professionals. Featuring the voices of 50 Native Americans, the exhibit has first-person accounts of Indigenous life in the Southwest and displays close to 1,300 objects related to these stories.

“Culture power is the unique power bestowed upon objects by a culture’s stories, traditions, and emotions.”—Valerie Verzuh, curator The museum also hosts a wide variety of changing exhibits, including some that focus on the life and work of an individual artist or visionary.

Landscape of an Artist: Living Treasure Dan Namingha, which is on display through September 11, celebrates the Santa Fe–based Hopi/Tewa painter and sculptor whose work is inspired by sacred aspects of his culture. The accomplishments of Lloyd Kiva New (1916–2002) are exhibited in The Life and Art of Innovative Native American Artist and Designer Lloyd Kiva New. Told through personal recollections, photos, archival documents, and fashionable clothing created by New (Cherokee), the exhibit examines the life of this pioneer in the worlds of fashion, entrepreneurship, and Native art instruction. It closes at the end of the year.

The story of the Southwest as communicated through the aerial photographs of Charles and Anne Lindbergh and Adriel Heisey is the subject of Oblique Views: Archaeology, Photography, and Time, which runs through May 2017. Heisey, whose aerial photos of the Sonoran Desert and the Colorado Plateau have been featured in National Geographic, flew at low altitudes and slow speeds to photograph some of the same Southwestern archeological sites photographed by Charles and Anne Lindbergh in 1929, including Santa Fe, Santa Clara Pueblo, Pecos Ruin, Chaco Canyon, and Canyon de Chelly. The Heisey photographs, taken in 2008–2009, are displayed alongside those taken by the Lindberghs almost 80 years prior.

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Dan Namingha, Solstice #20, acrylic on canvas, 72 x 72"

Curator Valerie Verzuh is thrilled that her exhibit Into the Future: Culture Power in Native American Art opened at the museum in mid-July and runs through October 2017. It features close to 100 objects, including clothing, jewelry, pottery, weaving, photography, and video, by more than 50 artists represented in the museum’s collections as well as works borrowed from collectors and artists.

“Culture power is the unique power bestowed upon objects by a culture’s stories, traditions, and emotions,” says Verzuh. “The show is also about the power of imagery, reinterpreting popular Western imagery and issues of identity, culture, and history. Part of the collection is made up of comic book imagery. Native artists have used Sponge Bob Square Pants, Pac-Man, and Curious George in work done in the style of Marvel Comics. For some of these artists, the comic book aesthetic perfectly expresses their message.”

Among those with works in the show are Teri Greeves (Kiowa-Comanche), Virgil Ortiz (Cochiti), Cara Romero (Chemehuevi), Ricardo Caté (Santo Domingo), and Jody Folwell (Santa Clara).

Pottery collectors and enthusiasts will be pleased to know that the exhibit Diego Romero vs. the End of Art is scheduled to open next February and close at the end of 2017. For many decades Romero (Cochiti) has been creating autobiographical pieces that address everything from his personal life and relationships to his Pueblo ancestry.

Exhibitions are one way through which MIAC fulfills its mission and serves the community. The museum also offers public lectures, field trips, and educational programs. The popular “Breakfast with the Curators” program provides an opportunity to meet curators and learn about Native American artists and arts through talks, exhibition tours, and behind-the-scenes visits with scholars and artists.

The museum’s website (indianartsandculture.org) contains the latest information on Indian Market events and programs.

Museum of Indian Arts and Culture/Laboratory of Anthropology, 710 Camino Lejo, summer hours 10 am–5 pm, $6 for New Mexico residents, $9 for nonresidents, indianartsandculture.org

Eiteljorg Museum

Unknown Blood artist, man’s vest, ca. 1905, leather, buckskin, glass beads. Bequest of Kenneth S. “Bud” and Nancy Adams.

the Adams Collection

by Ash le y M. Big ge rs

Eiteljorg Museum of American Indians and Western Art is adding to its 5,000-strong permanent collection of Native Art objects with a gift from Kenneth “Bud” Adams. The Indianapolis museum will debut some 50 pieces from the collection in this fall’s Titan of the West: The Adams Collection of Western and Native American Art (November 12, 2016–February 19, 2017).

Born in Oklahoma, and an enrolled member of the Cherokee Nation, Adams attended Culver Military Academy in Indiana, eventually graduating from the University of Kansas. He served in the Navy before founding ADA Oil Co. in 1946, the forerunner of Adams Resources and Energy, now listed on the New York Stock Exchange.

The longtime Houston, Texas, resident purchased the Houston Oilers football team, which later became the Tennessee Titans. Throughout their lives, Adams and his wife, Nancy, amassed a historic collection of Western paintings and Native American art and artifacts. Upon his death in 2013, Adams willed the multimillion-dollar collection of more than 200 pieces to the Eiteljorg, making it one of the most important gifts in the museum’s 27-year history. This exhibit is the first time the public will have the opportunity to see these significant pieces.

Courtesy Eiteljorg

The exhibition follows themes important to Adams: nation, family and community, and his own individuality.

Right: Unknown Plains artists, moccasins, late 19th to early 20th centuries, leather, buckskin, glass beads.

Bequest of Kenneth S. “Bud” and Nancy Adams.

Courtesy Eiteljorg

Courtesy Eiteljorg

Left: Cradleboard, early 20th century, wood, hide, glass beads, metal, stroud, leather, sinew, linen thread. Bequest of Kenneth S. “Bud” and Nancy Adams.

The Adams collection is encyclopedic, and includes pieces from Plains and Southwest tribes. Adams was also “incredibly supportive of Cherokee working artists,” says Dr. Scott M. Shoemaker, Thomas G. and Susan C. Hoback Curator of Native American Art, History, and Culture at Eiteljorg. As Adams became a successful businessman, he maintained a strong sense of identity with and responsibility toward the Cherokee Nation.

The exhibition follows themes important to Adams, centered on nation, family and community, and his own individuality. There are several incredible examples of Crow horse regalia, including a red, blue, green, and pink beaded martingale dating to 1895, which Adams may have found attractive thanks to his time at the Culver Military Academy when he rode with the Black Horse Troop. The collection also includes several examples of children’s clothing and objects, such as a Sioux girl’s dress dating to the 19th century, and a Crow cradleboard from the 20th century.

The collection also includes Western art (another Eiteljorg specialty). “Though the collection as both Western art and Native art may seem contradictory, Bud Adams himself and his family histories tie it all together,” Shoemaker observes. “His Cherokee and non-Native ancestors all played integral roles in the early history of Indian Territory (Oklahoma) and by extension, the broader West. While the vast majority of the Native objects in the collection date to the late 19th to early 20th centuries and represent a tangling of the exhibit themes, ultimately they speak to the resiliency of Native peoples during an era of incredible oppression aimed at eradicating all vestiges of Native cultures and languages.”

After the exhibition, the pieces will remain in the museum’s troves, which include works by T. C. Cannon, Allan Houser, and Kay WalkingStick, earning its contemporary Native art collection a reputation as being among the world’s best. The museum is also notably the host of the Quest for the West Art Show and Sale, held annually in September.

Titan of the West: The Adams Collection of Western and Native American Art, November 12, 2016–February 19, 2017, opening reception November 11, 500 W Washington, Indianapolis, Indiana, eiteljorg.org santa fean native arts 2016

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Addison Doty

Wheelwright Museum of the American Indian

Addison Doty

Above: Eveli Sabatie, bracelet, Orchards of Love, ca. 1975. Fabricated silver with fossilized ivory, red jasper, chrysoprase, and turquoise, 3 x 3".

Private collection. Below: Mabel Burnside’s Hands, 1938. Photograph by John Adair, John Adair Collection, Wheelwright Museum of the American Indian.

Eveli Sabatie, The Significance, ca. 1980. Tufa cast and fabricated silver and gold book with turquoise, lapis lazuli, fossilized ivory, wood, coral, and other stones, 4" high. Private collection.

the work of skilled hands

Addison Doty

by Emi ly Va n Cle ve

Above: Leonard Martza (Zuni), bolo depicting Big Horn Sheep Katsina, ca.

1960. Silver, turquoise, abalone and other shell, jet. Gift of Martha J. Banks.

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The Wheelwright Museum of the American Indian in Santa Fe is known for exhibiting Native American materials that other museums rarely display, including Santo Domingo Thunderbird jewelry, items from the curio trade, Cochiti figurines, the pottery of Zia Pueblo, and Navajo spoons.

The museum’s history began in 1937 when former Bostonian Mary Cabot Wheelwright, who had a lifelong interest in Native American religions and art, worked in collaboration with Navajo singer and medicine man Hastiin Klah to establish both a repository for Navajo sound recordings, manuscripts, paintings, and sandpainting tapestries and a place for the public to experience the beauty of the Navajo religion. Wheelwright and Klah hired architect William Penhallow Henderson to design a building in the shape of a hooghan, a traditional Navajo home and the setting for Navajo ceremonies.

Although the museum is no longer actively involved in the study of the Navajo religion, it houses materials that document Navajo art and culture from 1850 to the present.

Native American jewelry represents a significant portion of the Wheelwright’s collection. The yearold Jim and Lauris Phillips Center for the Study of Southwestern Jewelry, named for the avid collectors of Southwestern jewelry, documents the origins of Native American jewelry making and displays dozens of pieces created during the past century. It’s the Wheelwright’s first major expansion in its 79-year history.

swaia.org

“The Wheelwright Museum’s new Center for the Study of Southwestern Jewelry resulted from discussions as early as 1990 and the acquisition of the papers of jewelry scholar John Adair in 1995,” explains the Wheelwright’s director, Jonathan Batkin. “Thanks to the generosity of hundreds of people nationwide, particularly the support of dozens of collectors, the museum built the world’s most comprehensive collection of Navajo and Pueblo jewelry and a new wing to house it. We are proud to have succeeded in this goal and to be able to offer highlights of the collection to the public.”

Displayed in 2,000 square feet of exhibition space are silver pieces from the late 19th century through contemporary times. There are cases devoted to bracelets, concho belts, horse bridles, and spurs.

Others display the work of a single tribe, such as Santo Domingo Thunderbird jewelry and Zuni inlay and fetish carvings.

A squash blossom necklace made by Slender Maker of Silver—the first known Navajo silversmith—is prominently featured, as are works by noted Native silversmiths Charles Loloma (Hopi), Preston Monongye (Hopi), Gail Bird (Santo Domingo/Laguna Pueblo) and Yazzie Johnson (Navajo), Liz Wallace (Navajo/Washoe/Maidu), Joe and Terry Reano (Santo Domingo), and Edith Tsabetsaye (Zuni).

Two new shows, including one featuring contemporary jewelry, opened in the museum in the middle of June. Eveli: Energy and Significance highlights

Addison doty

the work of Eveli Sabatie, a nonNative artist who worked in Charles Loloma’s studio from the late 1960s through the early 1970s. Born in eastern Algeria and raised in Morocco, Sabatie was influenced by Loloma’s use of shells and stones. In turn, Loloma was inspired

by Sabatie’s interest in Moroccan mosaics. Sabatie was one of only two jewelers (the other is Verma Nequatewa) whom Loloma recognized as protégées.

After leaving Loloma’s studio in 1972, Sabatie moved to Santa Fe and created her own lavish designs, which incorporate carved bone, fossil ivory, and colored stones.

Mid-19th-century to contemporary basketry, micaceous pottery, and beadwork by members of the Jicarilla Apache Nation in New Mexico are part of the exhibit Jicarilla: Home Near the Heart of the World, a collaboration between the Jicarilla Apache Nation and the Center of Southwest Studies at Ft. Lewis College in Durango.

The show features more than 80 objects, including baskets and beadwork created between 1920 and 1960 that are from the collection of Hortence Goodman, who owned Goodman’s Department Store in Pagosa Springs, Colorado, and sometimes traded baskets for blankets and other supplies.

The exhibition also includes baskets from the Wheelwright’s Joan Anderman and Byron Harvey III collections, baskets from the Center of Southwest Studies, pottery from the Museum of Indian Arts and Culture, and an early parfleche and headdress from the Taylor Museum of the Colorado Springs Fine Arts Center. Works by more than a dozen contemporary Jicarilla Apache Nation artists also are on display.

Addison Doty

Wheelwright Museum of the American Indian, 704 Camino Lejo, daily 10 am–5 pm, $5, wheelwright.org

Left: Jicarilla Apache hamper. Joan Taylor Anderman Collection, Wheelwright Museum of the American Indian.

Courtesy Llyod H. New Papers, IAIA Archives, Santa Fe, New Mexico

Nathan Jackson (Tlingit), untitled, ink and dyes on silk. 45 x 122"

Left: Jicarilla Apache beaded bag, ca. 1850.

Collection of the Colorado Springs Fine Arts Center.

the year of Lloyd Kiva New continues

by Ash le y M. Big g e r s

Above: Lloyd Kiva New (Cherokee), in front of Kiva Craft Center, Scottsdale, Arizona, ca. 1956

James McGrath, Charles and Otellie Loloma, and Ralph Pardington.

These artists and teachers were among the first generation of instructors at the Institute of American Indian Arts—and iconic artist Fritz Scholder has immortalized them in a yearbook-snapshot-turned-group-portrait that welcomes visitors to Finding a Contemporary Voice: The Legacy of Lloyd Kiva New and IAIA. The show, which opened May 20, is the third exhibition in the museum system celebrating the 100th birthday of IAIA’s first art director, Lloyd Kiva New (Cherokee).

The New Mexico Museum of Art’s contribution explores New’s legacy and that of IAIA through 35 artworks by the instructors and students from its 1962 inception to today. The school’s founding in the midst of the Civil Rights movement, along with a trend toward personal narrative in the art world, primed the pump for artist and designer New’s influence at IAIA. “His generation and the one before were too influenced by selling to nonIndigenous art markets,” says Curator Carmen Vendelin. “He wanted them not to think first ‘who’s going to buy this?’ and ‘how am I going to make it repetitiously?’ He wanted pure creative expression.”

Along with the other faculty members, such as Allan Houser, New exposed students to the traditional art of their tribes, other Native peoples, and contemporary styles, from pop art to abstract expressionism. They created fertile creative grounds that transformed students into noteworthy artists, such as Kevin Red Star, whose painting Running Rabbit appears in the show, and T. C. Cannon, whose lithography is also on exhibit. The show also hangs the work of modern-day artists such as painter/printmaker Linda Lomahaftewa, who was an IAIA student and is now on the teaching faculty; photographer and faculty member Will Wilson; and alumnus Diego Romero, who is equally influenced by Mimbres pottery and comic book art.

“That flexibility of blending the old and the new is a continuing thread through time,” says Vendelin. “IAIA students have the confidence to look at all sources for inspiration and to create something that is personal.”

Finding a Contemporary Voice: The Legacy of Lloyd Kiva New and IAIA, New Mexico Museum of Art, May 20–October 10, 2016, public opening May 20, 5:30–7:30 pm, 107 W Palace, nmartmuseum.org santa fean

native arts 2016

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Poeh Museum and Cultural Center

portraits and pottery summer events and exhibitions in Pojoaque

Courtesy Poeh Cultural Center

The Poeh Museum and Cultural Center at the Pueblo of Pojoaque is featuring two exhibits for Indian Market. The first pays tribute to the tradition of Pueblo governors at Pojoaque; the second celebrates Pojoaque’s legacy of pottery. Both open to the public on Thursday, August 18.

Entitled Pueblo of Pojoaque Past Governors, the historical survey of Pojoaque leadership features Thelma Talachy, polychrome pot, 7 x 8" portraits of governors since the 1930s. A timeline of events explains the achievements of governors since the 17th century and how each has contributed to economic development and governance of the tribe. Also on display will be a ceremonial cane recently given to the Pueblo from Spain.

Coming Home features 40 to 50 pieces of Pueblo ceramics. “It’ll be a preview and highlights of styles from different eras of Pueblo pottery,” 54

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by Ja s on Str ykowski

says the executive director of the Poeh Museum and Cultural Center, Karl Duncan. Some of the pots date back to the early 1800s and exemplify utilitarian vessels, while others in the collection are contemporary. Included are pieces on loan from the Buffalo Thunder Resort and Casino.

The pottery display also serves as a preview of a permanent exhibit that will open at Poeh later this year, when the museum welcomes back a selection of pottery from the Smithsonian. These pots were mostly collected during the 19th century and their return will be worthy of a “huge celebration,” says Bruce Bernstein, Tribal Historic Preservation Officer at Pojoaque.

On opening night, August 18, Pueblo dancers perform at the Museum and Cultural Center. The following Saturday evening, the Cultural Center is hosting a Native fashion show at the Buffalo Thunder Resort and Casino’s Shadeh Nightclub, where Native DJs provide dance party music.

Exhibit openings and performances at Poeh Museum and Cultural Center, August 18, 4–7 pm, free, 78 Cities of Gold Road, poehcenter.org Native Fashion Show and Dance Party, August 20, 9 pm, 20 Buffalo Thunder Trl, buffalothunderresort.com

Above: Ohkay Owingeh, 1912, Aepoge (Racetrack Plaza).

Owe’neh Bupingeh preserving “the place of the strong people”

Courtesy of Ohkay Owingeh Housing Authority

by Ashley M. Biggers

In 2005, when Tomasita Duran and Jamie Blosser were strolling through Owe’neh Bupingeh, the Pueblo core of Ohkay Owingeh, they encountered deteriorating stucco shells and adobe walls. Duran, the executive director of the Ohkay Owingeh Housing Authority and Blosser, a Rose Fellow and associate at Atkin Olshin Schade Architects, also saw that the buildings needed restoration. Only 12 homes were occupied at the time, in the place where, in 1598, Don Juan de Oñate first encamped in what is now New Mexico. As the homes were abandoned, the Pueblo’s daily culture began fading away from its 700-year-old village, which was the site of the Pueblo’s spiritual and cultural observances. Blosser and Duran resolved to renovate the homes, not only protecting the physical structures on the National Register of Historic Places but also sustaining the Pueblo’s way of life.

Today, Duran laughs at how easily they set this goal, and consequently, all that it’s taken to finish 34 of 60 homes. “Some told me I was dreaming, that it would never happen,” she says. Now, however, the Pueblo is fundraising for the final phases of the renovations using an innovative tax credit program with the New Mexico Mortgage Finance Authority. Attesting to the project’s groundbreaking path, this September Owe’neh Bupingeh is being featured in the third edition of By The People: Designing a Better America, an exhibit at Cooper Hewitt, Smithsonian Design Museum in New York.

The new blueprints began with a 100-year-old map showing the patchwork of homes at Owe’neh Bupingeh. Some were gone entirely, though they may someday be rebuilt.

Others stood in disrepair, the ownership unknown or unclear. At Ohkay Owingeh, 56

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Above: The Derrick Phillips (left) and Desiree Martinez homes were rehabilitated and customized to meet each family’s needs. Bupingeh (Southern Plaza), 2014.

Jennika Martinez’s home after rehabilitation. Aepoge (Racetrack Plaza), 2013.

homes can be inherited by room—with the living room belonging to a daughter, and the bathroom belonging to an uncle, for example. To fulfill the requirements of its United States Housing and Urban Development funding, each family had to negotiate a single owner who would use the home as a primary residence.

Next, architects designed homes to balance the careful preservation of the Pueblo’s character with maintaining comfort for contemporary families.

Updated adjustments to the homes made some traditional preservationists balk, but there was more to protect there than the buildings; there was a living culture to serve, too. Historic elements were safeguarded when possible, but rooms were added or expanded to accommodate children, and modern kitchens and bathrooms were completed. In some cases, this meant adding a second story.

A cultural advisory team oversaw every step, including collecting artifacts and supervising remains unearthed during the building process. The Pueblo also launched an oral history project to capture elders’ memories, which seemed to gain breath as the Pueblo returned even more to the way they remembered it.

Specialists taught workshops in the ancient craft of maintaining adobe so new generations could sustain the village as their elders once had.

Now, daily life thrives at Owe’neh Bupingeh.

Children play tag in the sacred heart of the Pueblo; families and neighbors gather for adobe plaster mudding days. Ohkay Owingeh, the “place of the strong people,” is strong once again.

Above: A wall and parapet are built up using new and salvaged materials

by Avanu General Contracting workers atop the Jeffrey Aguino, Sr., and Lorraine Aguino home, Bupingeh (Southern Plaza), 2012.

Jeri Ah-be-hill Jeri Ah-be-hill in an undated photo.

a lasting influence

Right: Ah-be-hill at Indian Market.

Courtesy of Teri Greeves

Left: Ah-be-hill at Arrowsmith’s, 1993, where she had space to show and sell her wares.

SWAIA/Santa Fe Indian Market

John Running

by Neebinnaukzhik Southall (Chippewas of Rama First Nation)

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Below: Daughter Keri Ataumbi, a jeweler, displaying earrings.

Courtesy of Teri Greeves

When Jeri Ah-be-hill (Kiowa-Comanche, 1934– 2015) passed away last March, the Native art world lost an irreplaceable icon. Unapologetically proud of being Native, this petite lady radiated a commanding presence, which she clearly passed on to her talented, successful daughters, beadworker Teri Greeves and jeweler Keri Ataumbi. “I saw her move among all different types of people, and she could hold her own anywhere,” asserts Greeves. Ah-be-hill energetically attended many events and gatherings, where she befriended people of all ages. “She was a social person,” says Greeves, “and being around people gave her life.”

Throughout her life, Ah-be-hill not only advocated for her own culture, but promoted the artwork of countless other Native peoples. She had an incredibly good eye for talent and detail, taking note of now-famous artists early in their careers. “I saw her champion so many people,” says Greeves.

For 25 years, she ran the Fort Washakie Trading Company on the Wind River Reservation in Wyoming, providing a venue for Native artists to sell their work. She was involved with Santa Fe organizations such as the Indigenous Language Institute, the Institute of American Indian Arts (IAIA), the Museum of Indian Arts and Culture, the School for Advanced Research, the Wheelwright Museum of the American Indian, and of course, the SWAIA Santa

Above: Ah-be-hill at the trading post, 1980s.

Courtesy of Teri Greeves

Courtesy of Teri Greeves

Lower right: 1994, conferring with Rex Arrowsmith, longtime master of ceremonies at the Native American Clothing Contest.

Fe Indian Market, where she was the chair of the Native American Clothing Contest for 17 years. As emcee, she entertained the audience with her lively sense of humor and taught them a great deal about the diverse cultures represented on stage.

Ah-be-hill demonstrated her love of Native cultures every day through her distinctive dress.

“She paid homage to those who came before, and she recognized those today by wearing what our Indian people make today,” emphasizes Greeves.

She always made an impression with her wrapped braids, beautiful cloth Kiowa T-dresses she sewed herself, paired with moccasins or stylish flats, and all manner of accessories and cutting-edge jewelry

by Native artists. “Mom never left the house without earrings, I’ll tell you that, no matter what was going on,” Greeves laughs. “Yard work and cutting wood definitely required earrings.” Ah-behill was emblematic of smart, Native sophistication, serving as a muse and inspiration to many.

To carry on her legacy and support Kiowa students, Ah-be-hill’s daughters have established the Jeri Ah-be-hill Scholarship at the Institute of American Indian Arts, to be distributed once the fund reaches endowment status. For more information and to donate, call IAIA’s Advancement Office at 505-424-5730.

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Below: Helen Hardin (Santa Clara), Winter Awakening of the O-Khoo-Wak, acrylic on board, 15 x 30"

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collecting 101 becoming a connoisseur

by Emily Van Cleve

With so many beautiful items on display, Indian Market can be daunting for the veteran collector and almost overwhelming for the novice.

Prepare yourself for purchasing decisions by reading magazines, books, and show catalogs and by visiting galleries and museums before heading to market, says J. W. Wiggins, a retired chemistry professor from the University of Arkansas at Little Rock, who started collecting Native American pieces in 1974. “Look and then look some more,” he adds. “You can learn a lot by simply looking at work.”

Wiggins, who has donated more than 2,400 pieces of Native American art to the university’s Sequoyah National Research Center, began collecting work by members of the Cherokee, Choctaw, Chickasaw, and Muscogee Creek nations and the Seminole tribe before expanding his collection to include Native American works from the Northwest and Southwest. He is interested in everything from baskets and textiles to jewelry and paintings. “Don’t worry if you make a mistake and find a year later that you don’t really like what you purchased,” he says. “Your tastes will change.

Collecting is a learning experience. Trust yourself. As you continue collecting, you’ll become more knowledgeable.”

Retired Arizona attorney James T. Bialac, whose collection of more than 4,000 Native American items has been donated to the Fred Jones Jr. Museum of Art at the University of Oklahoma, recommends that beginning collectors attend the Friday night Indian Market Preview. “You get to see quality work,” he explains. “That helps you appreciate the work and what goes into making it as well as understand why prices are what they are.

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Above: Benjamin Harjo, Jr. (Seminole/Shawnee), The Dance of Reunion, gouache on paper, 12 x 17"

These Native American artists put a lot of love and heart into their work.”

Buy what you love, Bialac says, and don’t think about your purchase as a investment. “Like the stock market, art values go up and down,” he continues. “Get work for yourself, your family, and your friends. And if you are walking around Indian Market and see something that you really like and can afford, don’t decide to go back later to buy it. That’s happened to me once or twice, and when I got back to the booth, the artist had sold the piece.”

Passion for art has always motivated Los Angeles attorney Gary Ruttenberg and his wife Brenda, who have been Native American art enthusiasts since the mid-1970s. “We collect vertically,” says Gary Ruttenberg, referring to collecting multiple works by a single artist.

“We fall into things. We don’t always look for specific things.

Sometimes we’ve bought things we never imagined we would buy.” He suggests that novice collectors review SWAIA’s judging standards for each classification before going to Indian Market because they help collectors understand the work better. He also recommends looking at a variety of items at Indian Market, not just what you think you might like. “You may want a rug, but don’t pass up looking at baskets,” he says.

“Be open-minded.”

It’s all about quality and not quantity, adds Ruttenberg, who has accumulated more than 1,000 pieces of Native American art in the past four decades. “I recommend buying the highest level of quality you can afford.”

Cannupa Hanska Luger (Mandan/Hidatsa/Arikara/

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Santa Fe Cultural District proposal to establish arts authenticity Last December, Santa Fe Mayor Javier Gonzales announced a landmark proposal that would establish a cultural district within the city limits and require vendors selling items there to prove their tribal affiliation through enrollment with a state or federally recognized tribe or nation.

If enacted, the Mayor’s proposed law would bolster local enforcement of the Indian Arts and Crafts Act, a federal regulation first passed with the creation of Javier M. Gonzales the Indian Arts and Crafts Board in 1935, then revised Mayor, City of Santa Fe in 1990. Under the federal law, it is illegal for any non-Native individual or company to represent their goods for sale as Native American; such claims could result in a $250,000 fine and a five-year prison sentence per offense. Mayor Gonzales’s proposal is the first to take initiative at the local level, coming a few months after the federal and state governments led numerous raids on New Mexico vendors who were allegedly selling counterfeit goods labeled as Native-made. Three suspects were arrested in Albuquerque, Santa Fe, and Gallup; all have been charged with conspiracy to violate the Indian Arts and Crafts Act by selling Filipinomade items as American Indian items.

According to a 2014 study conducted by the University of New Mexico, between 40 and 90 percent of the Native art market in the state may be counterfeit. At a national level, the Act is meant to prosecute those who sell

by Chelsea Herr (Choctaw Nation of Oklahoma)

such false wares, but implementation is often difficult and expensive for local authorities. The cultural district’s identification requirements would be implemented through city ordinances and business licenses, not necessarily through law enforcement agencies, since the cost to train officers and apply new policies is quite high. Mayor Gonzales hopes that requiring vendors to disclose how items qualify as Native-made will result in more cooperation between federal and local authorities.

Mayor Gonzales considers the proposed ordinance to be a means of protecting the welfare and integrity of Indigenous artists and craftspeople, and maintaining the city’s reputation as a destination for highquality, Native-made goods. However, many of the issues that could arise with the district’s identification requirements are unresolved under the Act. One of the primary concerns with the Act that would have ramifications under the Mayor’s proposed cultural district is that of defining who is or is not “Indian.” The Act contends that for individuals to sell goods as Native-made, they must be enrolled in a recognized tribe or nation, or be certified by a recognized tribe or nation as an authorized artisan. However, many tribes do not have state or federal recognition but still function as autonomous political and cultural entities. For those recognized by the United States government, there are disparities between requirements for enrollment, which are usually based on blood quantum. While some tribes or nations might require enrolled members to prove a particular percentage, such as one half, others require only proof of lineage and have Continued on page 77 santa fean

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Sonwai (Hopi), 18-kt gold bracelet with salmon coral, Mediterranean coral, Lone Mountain turquoise, lapis lazuli, fossilized ivory, ebony, and sugilite, 2 ¼ x 6"

Kee Yazzie (Navajo), silver bracelet with Bisbee turquoise, 1 3/8 x 5 ¾"

SWAIA

Kee Yazzie

Kee Yazzie

David Orr Photography

Isaac Dial

Kee Yazzie (Navajo), Chaco bracelet with Bisbee turquoise, 1 3/8 x 5 7/8"

Isaac Dial (Navajo / Lumbee), 18-kt gold bracelet with Lone Mountain turquoise, 2 ½ x 5 ¾"

Jesse Monongya (Navajo/Hopi), lapis lazuli, gaspeite, Sleeping Beauty turquoise, opal, Mediterranean coral, and dolomite.

Bear bolo: 14-kt gold, 3 x 3 ½" Ring: 18-kt gold, 5/8 x 5/8"

master jewelers stories in metal and stone Mastering the art of jewelry making takes considerable patience as well as countless hours of studying and practicing the various processes involved in working with a wide range of stones and metals.

Hopi jeweler Verma Nequatewa, who uses the artistic name Sonwai, (the feminine form of the Hopi word “beauty”) to refer to her own vision of beauty, honed her skills under the tutelage of her famous uncle Charles Loloma (1921–1991). She worked side by side with Loloma from the mid1960s until close to the time of his death. “My uncle would always explain what he was doing and why he was doing it, which really helped me learn about what colors work well with each other and how much spacing to put between stones,” says Nequatewa, who lives and works on Third Mesa on the Hopi Reservation. “I see my jewelry as more feminine than my uncle’s work. While it used to be dainty, now I create bigger and bolder pieces.”

Isaac Dial (Navajo/Lumbee) learned the basics of forming metal when he lived in North Carolina with his father, Grant Dial (Lumbee), who has been a silversmith for more than four decades. For 17 years Dial cleaned and polished his father’s jewelry. It wasn’t until after his 25th birthday that he made his first piece by himself. “Sometimes stones dictate a design, and sometimes I see a pattern in my head,” says Dial about the genesis of his work. “I’m very influenced by nature and architecture.” Dial, who calls Utah home, is passionate about using turquoise, coral, sugilite, and lapis in his contemporary pieces. He often incorporates traditional symbols in them and uses traditional silversmithing techniques. Lately, he’s also been attracted to Brazilian agate, ironwood, and ebony.

Formations within spectacular canyons near Ganado, Arizona, and ancient petroglyphs inspire the work of Kee Yazzie (Navajo), who grew 62

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by Emily Van Cleve

up on Navajo Nation land and now lives in Winslow. Metalwork became part of his life in the 1990s when a friend offered him a silversmithing job. Primarily self-taught, Yazzie immediately felt right at home working with metals and stones. Overlaying, the process of applying one layer of metal over another, is his signature technique. A single bracelet may have as many as 100 symbols on it. Yazzie’s favorite stones are turquoise and coral. “I go with what’s in my head and design spontaneously,” he says.

“One of the bracelets I might make for Indian Market this year is a scenic bracelet of Monument Valley.”

Weavers from Two Grey Hills had a profound affect on Jesse Monongya (Navajo/Hopi) while he was growing up. “I learned the perfection of the craft from watching the weavers and their pursuit of balance and technical perfection,” says Monongya, who found himself fascinated by the intricacies of weaving but more interested in creating necklaces, bracelets, rings, and pendants. The bear, a symbol of strength and power, is prominently featured in Monongya’s jewelry. “I was a young boy when my Navajo grandfather and I encountered a bear in the mountains,” he recalls. “My grandfather talked to the bear in Navajo, asking for our safe passage. The bear retreated into the woods. It was a powerful experience for me.” The contemporary side of Monongya’s work is on display in necklaces with tiny 18-karat gold high-heeled shoes dangling from them. “When I was a kid, Navajo girls were wearing moccasins when they left home to go to boarding school and high heels when they came home at the end of the school year,” he explains. “My work is a reflection of all my life experiences.”

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IM: Edge contemporary style

by Ashley M. Biggers

Rodney Coriz

Market Booth 804, Marcy Street 2016 Santa Fe Indian Market (505) 465-5556

Randy Barton (Navajo), Cedar Springs 1280, latex, acrylic, and aerosol paints on masonite panel, 14 x 22 x 2"

Ronald Chee (Navajo), Border Patrol, mixed media monotype on handmade leaf paper, 22 x 30"

Santa Fe Indian Market’s contemporary component is set to take over the Santa Fe Community Convention Center for the second year at double the size of its debut show. IM: Edge will again provide an outlet for Native artists working in nontraditional materials and techniques—this time featuring some 35 to 40 artists. Half the gallery space will be devoted to digital and light installations, including the tepees on which digital images are projected, done by SWAIA Chief Operating Officer Dallin Maybee (Northern Arapaho/Seneca), and the glasswork of Ira Lujan. The other half of the gallery will feature mediums such as printmaking, photography, and steel sculpture. The abstract painting of Ryan Lee Smith will also be featured there.

“Indian Market has a reputation for only being for traditional art; it’s a not-so-subtle secret that we have contemporary artists,” says Maybee. “We’re a living, breathing, evolving culture. We’re producing traditional mediums with a contemporary narrative. I see it in my work, my neighbor’s work, my family’s work.”

IM: Edge broadens the scope of the market, spotlighting the work of artists who may not otherwise participate.

Although the selection process for the show was still under way at press time, many artists from last year ’s premiere are expected to return this year. Take Jacob Meders (Mechoopda Indian Tribe), of Phoenix, Arizona, who is best known for printmaking. His black-and-white collotype depictions of Black Elk and hummingbird letterpresses are primarily shown in galleries; Maybee says this is the only art market in which Meders participates. First year favorite Randy Barton’s (Navajo) abstract paintings explore Navajo creation stories and healing ceremonies. SWAIA previously selected Barton for a fellowship to create a guest room for Nativo Lodge in Albuquerque, and more than 75 of his paintings hang in Eldorado Hotel & Spa. There are also a handful of artists who have a presence at the main market and who see value in exhibiting in a space devoted exclusively to boundary pushing work. Ronald Chee (Diné), for example, keeps his booth and also contributed a couple of colorful paintings to last year ’s show. His images often feature Yeii (Navajo spirits). IM: Edge highlights a mix of established artists, like Chee, as well as emerging talents.

“We’re producers of the most prestigious Native art show in the country. If you make good art, you should be at the show.

We’re not changing the footprint of Indian Market. We’re just becoming more inclusive of contemporary art. There’s a place and a market for [contemporary art], and our Native artists should be part of it,” Maybee says.

IM: Edge opens with a private preview reception on Thursday, August 18, from 6:30 to 10 pm, followed by the official Indian Market Kick-Off Party, and will be open throughout market weekend.

IM: Edge, Santa Fe Community Convention Center, August 19, 5:30–9 pm , and August 20–21, 9 am –5 pm , swaia.org

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Santa Fe homecoming

Experience

P. karshis, 2015

Indian Market’s camaraderie

by Joseph Case

Above: Ehren Kee Natay (Kewa / Navajo) with a 2015 Indian Market shopper.

Below: Jody Naranjo (Tewa) welcoming visitors to her booth last summer. rima krisst

It’s half past six on a cool August morning when the sun begins to spill over the mountain and onto the Plaza. “To me, getting to the floor on Saturday morning is the most exciting part of Market,” says John Berkenfield, a volunteer and collector going into his 35th year with Indian Market, describing the morning’s energy and camaraderie as “fantastic.” The positive vibes and anticipation are infectious.

Scott Hale, an Indian Market judge and art appraiser specializing in Native art, recalls childhood memories of visiting the Market as “better than Christmas morning.” Looking forward to this year’s Indian Market, Hale’s best memories over the years come down to one thing: “the relationships that are built.”

As artists’ booths come alive with art and the buzz of old friends reuniting, people reconnect and share experiences. “Market is a personal thing,” explains Berkenfield, “with lots of affection between visitors and artists.” The community aspect of the Market plays a significant role in its tradition and allure. Berkenfield points out that when you’re buying something here, you’re buying an artwork that contains the personalities of the artists as well as the history and traditions of their culture. “Take the katsina doll, a part of a dance for the Hopi people,” says Berkenfield. “You have to learn about the dance and find out about what it is representing.”

Dominique Toya, a fifth-generation potter from Jemez Pueblo known for her micaceous swirl pots, underscores the Market’s artist-visitor connection. “I most look forward to seeing old friends—volunteers, shoppers, visitors—and making new ones,” Toya explains, adding that “educating shoppers about a piece” is another thing she loves. “Each artwork has a different story, and hearing those stories gives you more of an appreciation of the art.” Toya’s combination of traditional techniques and modern style netted her the Best of Classification award for pottery at the 2009 Market.

“Sharing a piece of art is sharing a piece of yourself,” explains Traci Rabbit, a Cherokee artist from Oklahoma, “so taking the time to visit with a shopper about it is something I do not take for granted.” Rabbit, who captures the strength and spirit of Native American women in her paintings, started showing her work at Indian Market over 30 years ago. She also appreciates the Market’s environment saying it is “like a homecoming, seeing friends you sometimes only see once a year.”

Dominique Toya (Jemez), native Jemez clay with micaceous slip, 5 x 5 x 5"

Annual Indian Market Weekend Show, August 20–21, Saturday 7 am–5 pm, Sunday 8 am–5 pm

Right: Traci Rabbit (Cherokee), I Feel His Presence, acrylic on canvas, 30 x 15"

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Michele Tapia-Browning

Collaboration between Ashley Browning (Pojoaque and Santa Clara) and Michele Tapia-Browning (Santa Clara): wood game pieces for NDN-OPOLY, 2015, 1" high

emerging artists talented contemporaries to consider

by Ashley M. Biggers

Ashley Lynn Browning (Pojoaque and Santa Clara Pueblos), Pojoaque This genre-bending artist blends photography, graphic design, and 3-D modeling. “I rely on my cultural heritage of being Pueblo but living in a modern society,” she says. She’s partnered with her mother, a Santa Claran potter, to create a Native version of Monopoly, NDN-opoly, in which the houses are tepees and all pieces on the board are pulled from places important to Browning’s culture. She’s also created an iPhone on which all the apps are destinations significant in Native American history. Browning comes to this year’s Market fresh off her first solo show, Perspective/Perception at the Poeh Museum and Cultural Center.

Wakeah Jhane (Comanche/Blackfeet/Kiowa), Santa Fe Drawn to ledger art from an early age, Jhane observes in 66

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her artist statement, “I chose ledger as my main expressive art form because it has a strong historical and cultural presence.” Using antique paper from 1805–1903, always from Oklahoma and Montana, Jhane paints watercolor images depicting indigenous mothers and families. “A lot of times, people only look at the bad Ashley Browning, NDN iPhone, 2015. aspects [of Native culture].

This piece won the Best of Division F Hardly any light is shone on award for computer-generated graphics. our parenting and healthy family systems,” she says. It’s a fitting choice for the nurseand midwife-in-training. wakeahjhane.com Rykelle Kemp (Navajo/ Choctaw/Euchee-Creek), Phoenix, Arizona Kemp credits her father, noted contemporary artist Randy Kemp, with her early path into art and printmaking. Although her father remains a large influence, the young artist is trying to find her individual place in the art world. “I’m trying to make it my own, using more modern lines, kind of architecturally, and combining pop art with Native American imagery,” she says. In her print for

Ashley lynn Browning

Heidi K. Brandow (Hawaiian/Navajo), Santa Fe Growing up in Hawaii, Brandow saw Japanese pop art everywhere. As she came into her own as an artist, the influences emerged in her now signature monsters. “Although it can seemingly be more whimsical and fun… a lot of themes with the new patterns are a little more thoughtful,” she says of the paintings she’ll show at Indian Market. The diverse, museumcollected artist fluidly navigates from painting and printmaking to photography and social engagement projects. “At the root of it all is that it’s informed by self-identity and cultural identity,” she says. Indigenous influences manifest as pattern and repetition in her work—whether visually or through the connections she draws between cultures. heidikbrandow.com

Ashley Lynn Browning

Visiting longtime favorites at Indian Market is always a treat, but so too is discovering new talent and meeting a few fresh faces. These emerging artists’ gifts are soon to earn them places among the top market artists. Here’s who to watch for at the 2016 Market.

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Above: Ashley Browning and Michele Tapia-Browning, NDN-opoly game board, 2015, 20 x 20"

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Indian Market, she’s incorporating skull designs in the style of Día de los Muertos, despite the fact that death is often a taboo subject in her Diné heritage. “I think we should move forward and celebrate our life and ancestry,” she says. This year, for the first time, Kemp will also show her silversmithing, which incorporates art deco and tribal designs. rykellekemp.wix.com/rykelle Aaron Kiyaani (Navajo), Shiprock, New Mexico, and Durango, Colorado Painting and charcoal work has always come naturally to the naturally talented Kiyaani, who has focused not only on a mastery of technique, but also on a style he can call his own. Using a photorealistic style with a moody atmosphere that borders on gothic, Kiyaani captures portraits of his family members as well as figures from Diné teachings and ceremonial beliefs, such as Anilt’ánii At’ééd (Corn Beetle Girl). During this, his second market appearance, he plans to display “images never seen before in the Native art world. It’s my opportunity to take up most of what people will be reminded of when they think of this year’s event. When they think of this year’s market, I want my art piece to fill up most of that memory,” he says. kiyaanifineart.com

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art

Eddy Shorty

PROFILE

High Altitude, soapstone, 7 x 2 x 5"

Navajo sculptor bringing stone to life

by Emily Va n Cle ve

When sculptor Eddy Shorty was growing up in a remote area of the Navajo Reservation west of Chaco Canyon, toys were not easy to come by, so he carved his own out of sandstone. Shorty, who studied two-dimensional and three-dimensional arts at the Institute of American Indian Arts in the late 1980s, credits his childhood experiences and inspiration from his father, David Shorty Sr., as motivating his decision to pursue a career in art.

“When I began my first piece [at IAIA] I was so excited to see the stone develop in my hands as I had seen it in my mind,” he recalls. “Working with stone felt so natural to me.” Shorty creates figurative and wildlife sculptures out of Utah sandstone, New Mexico travertine, limestone, and several types of marble.

“Sometimes when I look at a stone, a figure or an animal emerges, but more often I do several drawings and from there decide what to carve,” he explains. “Lately I’ve been really interested in Native American figures.” His work will comprise half of the two-man show Other Times and Places, which opens at Gallery 901 on August 19, and also features new work from painter Dean Mabe.

One of the show’s highlights is Shorty’s large bronze, Bear Dancer. Its creation represents a merging of the old and the new. “I’m tapping into the study of anatomy that I did at IAIA and adding more detail to my bronze work,” he explains. “I’ve also been using sketches of models I drew at IAIA for reference. Bronze is a relatively new medium for me. I’ve been into it for the past year. What it allows me to do is feel more freedom of movement and think more about the extension and retraction of muscles.”

Shorty’s work can also be found at Santa Fe Indian Market, where he has had a booth since 1995.

Other Times and Places, through September 9, reception August 19, 5–7 pm , Gallery 901, 708 Canyon, gallery901.org

Carol Emarthle-Douglas Southwestern Association for Indian Arts

2015 Best of Show winner

by Emily Va n Cle ve

Carol Emarthle-Douglas

Carol Emarthle-Douglas (Seminole/Northern Arapaho) delighted to learn over the phone that she had won Best of was Classification for her traditional and contemporary–styled basketry entry Cultural Burdens at last year’s Indian Market. Then, at a live ceremony, hearing her name announced as Best of Show winner was almost beyond belief. “I was so surprised and excited,” she says of the honor.

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Emarthle-Douglas has won a number awards at Indian Market since she began exhibiting in 2000, but receiving Best of Show gave her a special boost. “It definitely provided me with energy and inspiration,” she says. “Since winning last year, I’ve been invited to be a guest speaker at shows and gotten commissions.”

Emarthle-Douglas has to be careful when accepting commissions because her large baskets can take anywhere from four to six months to complete. Cultural Burdens (shown at left) was particularly laborintensive. It features 22 miniature baskets in 11 different Native American basket-making styles. “I tried to stay as close as I could to using materials appropriate to each style,” she explains.

Since Emarthle-Douglas didn’t come from a family of artists, she had to learn basic techniques on her own. She started her journey by taking a class close to her home in the Seattle area. Through the years she has studied a large variety of basket-making techniques by herself and through attending conferences around the country.

At this year’s Indian Market, Emarthle-Douglas plans to exhibit large and medium-size baskets as well as baskets designed as wearable art.

Carol Emarthle-Douglas (Seminole/Northern Arapaho), Cultural Burdens, coiled basket with mixed media, 8 x 15" Indian Market Magazine

swaia.org

Nando Slivers

the art of family: generations of Growing Thunders

Right: Ramey L. Escarcega and her medicine-horse bonnet, brain-tanned moose hide, size 15 seed beads, brass sequins, brass buttons, wool, silk ribbon, lace, calico, ribbon, on a wood stand with velvet, brass tacks, and red paint, 7 x 10 x 8".

buckskin, wire armature, 22" tall.

Nando Slivers

interned at NMAI, and she is now pursuing a doctorate in Native American Studies at the University of California, Davis.

At Indian Market, in addition

by Neebinnaukzhik Southall to showing as an artist, she has (Chippewas of Rama First Nation) frequently been seen as a competitor in the Native American Clothing Contest. Juanita’s 13-year-old daughter, Camyrn Growing Thunder Ahhaitty, is also carrying on the family tradition. At Indian Market in Hailing from the Fort Peck Assiniboine (Nakoda) and Sioux 2014, she won a ribbon for a beaded bag, and last year she won Best of (Dakota) Tribes of Montana, the Growing Thunder family represents Classification in the Youth classification and the Santa Fe New Mexican multigenerational excellence in Plains Indian art.

Youth Award for her multimedia piece, a parfleche handbag, depicting Assiniboine and Sioux beadworker and quillworker Joyce Growing Chief Siŋté Glešká (Spotted Tail).

Thunder Fogarty is legendary for her traditionally-based work. Taught by her Darryl Growing Thunder, Joyce’s son, is known for his ledger art grandmothers, she comes from a long line of talented women, serving as an celebrating the richness and history of his people’s cultures. He is self inspiration to her own children and grandchildren. She has created hundreds taught, inspired by the work of Plains ledger artists before him. He credits of masterpieces over the years, including elaborately detailed horse masks, his family’s dedication to art, including father Jim Fogarty’s paintings, as war shirts, cradleboards, dresses, moccasins, pipe bags, knife cases, dolls, and part of his own creative formation. His angular figures, often outlined in medallions. She has shown at institutions such as the Metropolitan Museum gold, are abstracted so that just the essential information is communicated. of Art, the National Museum of the American Indian (NMAI), the Joslyn Specific cultural elements are clearly identifiable, whether Assiniboine Art Museum, the musée du quai Branly, the Nelson-Atkins Museum of Art, beadwork patterns, ribbon work, dentalium shells on a dress, blanket the Denver Art Museum, the Autry Museum of the American West, and the strips, or bells on a dancer’s ankles. His Fenimore Art Museum. As an Indian Market participant for over 30 years, she border designs reference motifs found has won Best of Show an unprecedented three times, and has been the recipient on parfleches. Darryl’s work appears in of the SWAIA Lifetime Achievement Award, among other honors.

Unbound: Narrative Art of the Plains, which Joyce has passed down her artistic excellence to her daughter Juanita, a opened this March at NMAI. Chicken regular collaborator. Together they sew, bead, and quill from early in the Dancer, Grand Entry, Horse Raid Muslin, morning until late at night. Like her mother, Juanita Women Traditional Dancers, and Victory creates a range of meticulous, culturally relevant work, Dance are included in the show, as well such as her intricately decorated bags or her ornate as a collaboration with his sister Juanita, dolls of Plains people, wearing clothes fully decorated Doll with Honor Dress, featuring his painted with tiny quills and size 22 seed beads. Juanita has designs. His work has won awards, won many awards at Indian Market. A Plateau-style including the J. Seth Standards Award at Above: Joyce Growing Thunder Fogarty, male doll, a collaborative piece with her mother Indian Market in 2009.

Assiniboine horse mask, size 13 vinJoyce and daughter Jessa Rae, won First Place, Ramey L. Escarcega, daughter of tage seed beads, brass bells, pheasBest of Classification, and Best of Division at ant feathers, otter fur, silk ribbon, Thomas and Esther Escarcega and a brain-tanned buckskin, 26 x 31" Indian Market in 2014. Her art has shown Growing Thunder through her marriage in many exhibitions, including Floral Journey: to Darryl, is deeply invested in cultural Native North American Beadwork at the Autry, preservation. She is also Dakota from Fort and several at NMAI, such as Identity by Peck, as well as Diné. Her bold, beautiful Design, A Song for the Horse Nation, Grand beadwork, a form she learned from her Procession: Dolls from the Charles and Valerie Diker mother, adorns all manner of objects, such Collection, and currently, Unbound: Narrative Art cradleboards, medallions, bonnets, doctor’s of the Plains. satchels, bags, moccasins, and more. She Juanita’s oldest daughter Jessa Rae follows has collaborated with Darryl on several in her family’s footsteps and has been beading pieces, and some of her beadwork figures since she was a little girl. A number of her are evocative of ledger art. She also sews Detail of the beaded own pieces are pictorial in design. She has glove on the doll at left. star quilts, which are culturally significant worked with her mother and grandmother among Northern Plains people as a way to on many projects, including several shown in honor individuals. In addition to being an award-winning major exhibitions. Outside of art, her projects artist, she serves her community as the director of the Above: Plateau floral doll, collaboration involve advocacy for Native peoples. As the Fort Peck Tribes Language and Culture Department, and between three generations of the 2012 Miss Indian World, she served as a Growing Thunder family: Joyce, has her eyes set on building an immersion school for the Juanita, and Jessa Rae. Sizes 22 and voice for Native communities, and in 2014, youth. She has completed her first year towards a doctorate 24 micro antique seed beads, wool, she traveled to Ecuador as part of a cultural in education at the University of Montana. porcupine claws, brass tomahawk, exchange program for the U.S. State silk ribbon, minature brass armbands, Continued on page 77 Department. As an undergrad, she brain-tanned buckskin, smoked santa fean

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Samantha Jacobs and Grant Jonathan Samantha Jacobs

a contemporary take on raised beadwork

by Emily Van Cleve

Samantha Jacobs (Turtle Clan, Seneca from the Cattaraugus Indian Reservation), caterpillar bag, wool, peltex, calico, glass and shell beads, satin ribbon, nymo beading thread, magnetic clasps, 9 x 9 x 1"

Kitty Leaken

Above: Samantha Jacobs, Jill’s Moccasins, commercially tanned leather, velvet, peltex, glass beads, satin ribbon, nymo beading thread, imitation sinew, 10 x 4 x 4"

Samantha Jacobs

Grant Jonathan, strawberry pincushion, silk velvet, silk satin, pellon interfacing, nylon thread, glass beads, antique whimsy beads, emery sand or sawdust, 6 x 2 x 2"

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Above: Grant Jonathan, six-owl checkbook, silk velvet, silk satin, satin bias, poster board, pellon interfacing, nylon thread, glass beads, antique whimsy beads, 7 x 4 x 1/2"

Jacobs, a current and founding member of the Native Roots Artists Guild, teaches a beading basics class and a Haudenosaunee-style beaded purse class at the Seneca Nation of Indians Language & Culture Department, located in her New York community south of Niagara Falls. In her work, she creates beaded purses, cross-body bags, moccasins, bracelets, and earrings Kitty Leaken

Beadwork artists Samantha Jacobs (Turtle Clan, Seneca from the Cattaraugus Indian Reservation) and Grant Jonathan (Tuscarora), members of the Haudenosaunee Confederacy, learned traditional beadwork from their mothers. Now artists themselves, they honor tradition while adding contemporary concepts to their own work.

Jacobs and Jonathan create both functional and decorative items using the raised beadwork technique, in which beaded elements are raised more than one layer of beads above the surface of the piece. For example, if a space can fit five beads, raised beadwork artists may put eight beads, so the beads stack above the chosen material’s surface. In a different raised beading technique, a line of beads is set over an existing line. This labor-intensive art form has been passed down to tribal members within the Haudenosaunee Confederacy from generation to generation, since the mid-1800s.

Kitty Leaken

Left: Grant Jonathan (Tuscarora), Remember Me picture frame, silk velvet, silk satin, cotton calico, satin bias, poster board, pellon interfacing, nylon thread, glass beads, antique whimsy beads, 18 x 13 x 1/2"

THE RAINBOW MAN SINCE 1945

GIBSON NEZ - DYAMMI LEVIS - JOLENE EUSTACE - STEVEN TIFFANY - JESSE ROBBINS - ERIC OTHOLE HARRY MORGAN - ANGIE OWEN - HERMAN VANDEVER - JENNIFER JESSE SMITH

JEWELRY - POTTERY - FOLK ART - PAINTING BY TOM RUSSELL ORIGINAL PHOTOGRAPHY BY EDWARD S.CURTIS 505.982.8706 www.rainbowman.com 107 E.PALACE AVE. SANTA FE, NM 87501

Rena de Santa Fe

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out of materials including leather, wool, velvet, glass beads, and satin ribbons. Patterns are modeled after traditional designs she’s viewed in museums along the East Coast. She often beads caterpillars and butterflies, representing transition and change. Flowers are a recurring theme in her work. “The number of petals in each flower have meaning,” explains Jacobs, who looks forward to her first year with her own booth at Indian Market. “A five-petal flower refers to the five original nations in the Haudenosaunee Confederacy. Some elements signify creation stories. Corn, squash and beans are our life sustainers.”

Jonathan was raised on the Tuscarora Reservation near Niagara Falls, and currently works as an attorney in the Indian Program at the U.S. Environmental Protection Agency in New York City. In his work, he particularly enjoys creating interpretations of historical Tuscarora souvenir art, commonly referred to as whimsies by the Europeans. “The souvenir art created by my ancestors combined traditional Native designs with popular Victorian-era fashions and was adorned with flowers, animals, dates, sentiments, or place names such as ‘From Niagara Falls,’” he says. These pieces include pincushions, wall hangings, and picture frames made out of silk velvet, silk satin, poster board, antique beads, glass beads, and other materials. Jonathan, now in his eighth year of showing work at Indian Market, enjoys beading owls, which signify wisdom in his culture and are viewed as messengers, as well as a variety of other birds and squirrels. “My beaded strawberries are my best sellers,” he says.

Although their forms and techniques are traditional, Jacobs and Jonathan find ways to create contemporary-looking pieces through the use of vibrant colors not utilized by their ancestors. Jonathan works primarily with clear glass beads but does something unusual with many of them. “I put nail polish of all colors, like purple, green, blue, red, and yellow, inside clear glass beads,” he says.

“In traditional work, beads are usually clear.

But I love strong colors, especially bright red.

I use colored beads as embellishment.” Jacobs also is drawn to more colorful beads than those used by her predecessors. “I go to local bead and gem shows to look for interesting beads,” she says.

Jonathan and Jacobs welcome questions about their work and are happy to explain its cultural significance.

Only in Santa Fe - Only from the Artist

• Original paintings • signed prints • limited edition figurines

Studio hours by appointment only

(505) 466-4665 www.renadesantafe.com

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Navajo weavers—the men breaking the pattern Gerard Begay with chief’s blanket, New Zealand wool dyed by the artist, 48 x 36".

by Emily Van Cleve

In traditional Navajo society, the women weave. The reason that Indian Market artist Marlowe Katoney started weaving in 2010, after painting for more than 20 years, is that his maternal grandmother convinced him to learn the art form.

“Both of my grandmothers wove and so did my great- and great-great-grandmothers, but none of the family members in my parents’ generation became weavers,” explains Katoney, who lives in Winslow, Arizona. “My grandma hoped someone in the family would continue the tradition, and she asked me to do it. It was an unintentional detour for me.”

Katoney was hesitant to try weaving. He had watched his grandmother weave during childhood and knew it would take years to cultivate the skill. “I’m not the best technically and sometimes I make mistakes in my work,” he says, “but for me it adds a kind of beauty.”

Although his grandmother’s weavings are no longer part of the family’s collection—all of them were sold years ago—Katoney still remembers her work and is inspired by it. He creates traditional pieces such as Eye Dazzlers, which are elaborate weavings using bright commercial dyes or yarns that were first made by Navajo weavers in the late 19th century, but he’s also drawn to expressing contemporary impressions of the human condition.

“I want my work to be used, not hung on a wall Steve Long

or put on the floor,” says Gerard Begay. “I call it wearable art. . . . I see my work as having a

Tom Alexander

Navajo weaver and Indian Market artist Gerard Begay watched his grandmother Betty Begay weave when he was a small boy growing up in the Navajo community of Indian Wells, Arizona. After his grandmother stopped weaving due to health issues, he observed Lucy Lee, whom he refers to as his “clan grandmother,” at the loom. Like Katoney, Begay grew up knowing that boys didn’t weave and instead pursued other interests. For a period of time in his 20s he designed jewelry that replicated older jewelry styles, and when Gerard Begay, Maricopa Community College offered a free weaving class, he Navajo ceremonial registered for it. In 2013, when he was 34 years old, the passion kilt, wool mohair, he felt for weaving during childhood was rekindled.

Mercury dimes, cotton lining, “Lucy handed me two of her rugs before she died and told me 22 x 46" that if I ever became a weaver these rugs would be my guiding tools,” recalls Begay, who lives in Phoenix. “I’ve always felt I knew how to weave, just by watching my two grandmothers.”

After Begay announced to his parents that he was dedicating his life to weaving, his father revealed that he had been weaving in secret for many years and that his sister used to sell his work. “My mother was speechless at first,” he says. “Then she gave me all my grandma’s tools and told me to bring life back to them.”

Begay is also drawn to creating Eye Dazzler weavings, which his grandmother Betty enjoyed creating during her lifetime. Rather than focusing on weaving art objects, Begay prefers carrying on the Navajo tradition of making garments, including rug dresses, ponchos, and ceremonial kilts for men and women.

“I want my work to be used, not hung on a wall or put on the floor,” he explains. “I call it wearable art. I incorporate traditional geometric patterns, but the colors are my own. I see my work as having a contemporary twist on original Navajo designs.”

Marlowe Katoney, Garden—Tree of Life, wool, 90 x 30"

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Steve Long

contemporary twist on original Navajo designs.”

Below: Glenda McKay (Ingalik– Athabascan), Octopus Bag, red felt, sealskin, deerskin, size 4, 11, 15, 16, 18, 20, and 22 glass beads, handmade mammoth ivory beads, 24-kt gold bead, and walrus ivory, 42 x 10"

Below: Dale Marie Campbell (Tahltan–Tlingit), Ta-Ka-Ja Frogs–Keepers of the Earth, yellow cedar wood, abalone inlay, and ermine fur, 9 x 8 x 3"

Peter Boome (Upper Skagit), Persistence on Blue, serigraph, 11 x 15"

contemporary views from the Northwest Pacific Northwest Coast and Alaskan artists

by Chelsea Herr (Choctaw Nation of Oklahoma)

Every year, the Santa Fe Indian Art Market brings together an array of Indigenous artists, representing the multitude and variety of Native cultures that continue to thrive in the Americas. Highlighting this year’s diversity are three contemporary artists from the Pacific Northwest and Alaskan Coast.

Currently based in British Columbia, Dale Marie Campbell (Tahltan-Tlingit) works with a wide variety of materials that reflect her relationship with her heritage and community. In 1972, Campbell began her artistic career carving large totem poles. Since then, she has ventured into other forms of creative work, including button blankets, sandblasted glassworks, and silver and gold jewelry. Campbell views her work as a means of personal development and as an expression of her heritage. “For me, it is my way of feeling connected to the past, present, and future of my people,” Campbell says. She finds inspiration in the stories passed down in her community, which directly influence her creative process and output. “It is through these stories,” Campbell states, “that I am able to share the traditions of my people and give everyone a clearer understanding of my Nation.” In addition to her work as an artist, Campbell teaches at Northwest Community College in Prince Rupert, where she uses her experience to give back to Indigenous communities throughout Canada. She hopes that her work as an artist and teacher will positively influence Indigenous peoples by communicating the importance of diligence. “Never give up. There is always a way. This is an important part of my creative process,” says Campbell, “[to have] determination and perseverance to continue in my work.”

Peter Boome (Upper Skagit) works as an artist and teacher in Washington state. Boome’s artwork is informed by his upbringing, as well as his research into the history and significance of Coast Salish designs. Working in a range of media, including painting, carving, and glasswork, it is Boome’s hand-pulled serigraphs and two-dimensional designs that are among his best-known works. He views his art as a unique blend of traditional and contemporary styles and mediums. “I work within a specific design style using traditional design elements,” Boome states. “I do, however, use a contemporary color palette and create new, unique designs that tell the story I want to tell.” His work is

rooted in a deep tradition of storytelling—stories concerning family and community history, current events, spirituality, and the human condition.

“Many of my favorite or most popular designs deal with basic human issues such as parenthood, and different emotional states of being,” says Boome. “I try to make the work relatable.” With a master’s degree in environmental studies, Boome produces artwork that also addresses issues concerning the natural world. “As Indigenous peoples, we rely on our environment and are place-based,” he says. “In a world that seems transient and disposable, I try to remind people that we are all placebased depending on the scale with which we view the world.”

Glenda McKay (Ingalik-Athabascan), though now living in New Mexico, draws on her heritage and experiences in Alaska to create her art. Her work includes miniature dolls, handcarved ivory masks, sealskin baskets, and beaded bags, among other items. McKay’s inspiration Peter Boome stems from the natural materials in Alaska, in addition to her (Upper Skagit), Wolf Dancer rattle, upbringing. “I was taught at a very young age by my mother, red alder, cedar, grandmother, and aunts how to survive off the Pacific yew, abalone, land,” McKay says. Aside from teaching her bone, glass inlay, acrylic paint, and wool, skills for hunting and trapping animals for 16 x 4 x 4" food, McKay’s family also showed her how to brain-tan hides for clothing and artwork, and how to recognize various plants for their traditional uses. For McKay, this dependence on the land and its resources is vital to her work as an artist. “I try to make my items as traditional as possible,” states McKay, “in remembrance of my ancestors.” Her beaded pieces are also unique since they are her own designs, made from 100- to 200-year-old beads. This careful selection of materials and devotion to high-quality, handmade pieces means that McKay’s artwork is a full-time job. “It takes me months to complete a doll or beaded projects,” she says, “so I might only get one or two major projects finished per year.”

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Roger Perkins Native art in the digital age

by Jason Strykowski

All Shook Up, archival ink on canvas, acrylic, UV varnish, 50 x 32" Below: X-Indian, archival ink on canvas, acrylic, UV varnish, 36 x 48"

Mohawk potter and painter Roger Perkins brings together traditional and modern techniques to create works of art across different mediums. His pottery draws from ancient methods used by the Mohawk peoples. Perkins also uses round canvases to paint with acrylics. His graphic prints, however, take advantage of recent photo editing software to smash pop culture together with Native Americana in what he calls “Powwow Pop Art.” Raised on the Akwesasne Reservation near the border between New York State and Canada, Perkins started playing with Adobe Photoshop after college. He found that he enjoyed both the software itself and the challenge of seamlessly blending art and pictures from different time periods. “I’m taking old photographs from Edward Curtis and other photographers from the 1800s and early 1900s and adding a lot of different images, like a digital collage,” explains Perkins. “It’s a mixture of old and new. We’re using old images with cutting-edge photo technology and state-of-the-art printers with archival inks.”

Perkins finds that his Photoshop art can reach a wider audience than some of his more traditional work does. “Usually only Native people wanted my paintings, but this digital stuff appeals to everybody,” he says. Even so, Perkins still draws his inspiration from the past. “The culture is the foundation, and everything that I’m doing comes from that,” he says. “It’s like a tree; I’ve got different branches, and I’m branching out all over the place. It’s all about creativity. It’s all about culture. It’s all about teaching. It’s all about sharing, and enlightening people.”

As much as Perkins has adopted technology in his art, he has also made a considerable effort to embrace traditional Mohawk crafts. Perkins’s pottery re-creates a millennia-old method used by his Mohawk ancestors. “I’m the only Mohawk of 70,000 people who does this unique, traditional style of Mohawk pottery that died out in the 1660s,” explains Perkins. “I did all the research and all the studying, and I brought it all back in 1993 and 1994.” He went on teach this method of potmaking, and he is excited to be the first artist to bring that style of traditional Mohawk pottery to SWAIA. The future holds still more growth for Native artists who hope to take advantage of emerging applications and the ever-faster internet, according to Perkins. “I can see a lot of great political art being created with the technology that exists today,” he said.

“We can spread messages in the blink of an eye.”

Above: Apache Kid, archival ink on canvas, acrylic, UV varnish, 20 x 52" 74

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Wheelwright Museum

704 Camino Lejo, Santa Fe, NM 87505 • 505-982-4636 or 1-800-607-4636

OF THE AMERICAN INDIAN

41stAnnual Benefit Auction

W

Thursday, August 18 Silent Auction and Live Auction Preview 4:00 – 5:30 p.m.

Friday, August 19 Collectors’ Table 10:00 a.m.

Live Auction Preview 10:30 a.m. – 1:00 p.m.

Live Auction 1:00 – 4:00 p.m.

Offsite parking and free shuttle from St. John’s United Methodist Church at Old Pecos Trail and Cordova Road.

Funded in Part by a Gift from

For more information visit www.wheelwright.org/auction Left to right: bracelet by Moogie Smith (Navajo), pendant by Kee Yazzie, Jr. (Navajo), and bracelets by Anthony Lovato (Kewa Pueblo). Photo: Neebin Southall.

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PROFILE

Below: Kevin Red Star (Crow), Big Black Wolf, acrylic on canvas, 30 x 40"

Above: Kevin Red Star, Crow Dancers, acrylic on canvas, 60 x 48"

Sorrel Sky’s Indian Market events featuring Native and Western artists

by Emily Va n Cle ve

Indian Market is one of the busiest times of the year at Sorrel Sky Gallery. Owner Shanan Campbell Wells has invited her Native American artists to participate in a special group show, Native Art Now, which opens on August 18 and runs through the end of the month.

“They’re creating new work especially for the show,” says Wells, who represents an award-winning group of visual artists and jewelers including Ben Nighthorse (Northern Cheyenne), Kevin Red Star (Crow), Ray Tracey (Navajo), Cody Sanderson (Navajo), and Victoria Adams (Southern Cheyenne). “Collectively these artists have received distinctions from the most prestigious institutions in America.”

Work by many of the gallery’s other artists goes on display August 19 in a show that features top Western artists such as Carrie Fell, Tom Palmore, and Star Liana York.

For the third Indian Market in a row, Wells has invited Navajo sculptor Pablita Abeyta to talk about her life and work during a reception and brunch on August 22. After completing her graduate degree at the University of New Mexico, Abeyta moved to Washington, DC, to lobby for the 76

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Navajo Nation. From 1986 to 1988 she worked as a legislative assistant to jeweler Ben Nighthorse (Campbell), who was a Colorado congressman from 1987 through 1993 and a senator from 1993 to 2005. In 1991 Abeyta became integrally involved with the founding of the Smithsonian’s National Museum of the American Indian, which opened in 2004.

Abeyta still lives in the nation’s capital and creates handcoiled clay figures of Native American women in traditional dresses. “I have a close affinity with Pablita,” says Wells. “Several years ago, right after Indian Market when she brought some new work to the gallery, I thought it would be fun to have a brunch for her and invite some friends. The event was so successful that I decided to continue doing it.” The reception and brunch are free and don’t require advance reservations.

Sorrel Sky Gallery’s Indian Market Events August 18: Native Art Now, reception 5–7:30 pm August 19: all gallery show, reception 5–7:30 pm August 22: reception and brunch for sculptor Pablita Abeyta, 9–10:30 am Sorrel Sky, 125 W Palace, sorrelsky.com

Midthunder, continued from page 42 their lives online, communicating electronically without making real-life connections.

While Midthunder was making the transition from high school to homeschooling, she recalls discussing this with Macpherson.

“That’s where the social world lives now,” observed the teenager. “What happens then? What does that do to your overall psyche when your interaction with living people is in this fake thing? You know, where you can delete things; but you can’t actually do that [in real life]?” This is still striking a deep note with Midthunder; and speaking with quiet passion about the number of hours people spend on violent video games, she continues, “People are giving their lives to this thing; and then you come out of it for however many hours in your real life, and you don’t know how to deal with life, I think, and it sort of wears on you mentally.”

Midthunder herself is clearly wellgrounded, with a real existence apart from the dream world of Hollywood. After spending her earliest years in Los Angeles, the family moved to New Mexico, “where I grew up out in the dirt, in the sticks, with big dogs and dirt bikes and horses, and where I just got to be a kid—a person. And,” she laughs, “I have really good parents. They don’t put up with a lot of crap. They would just say, ‘Nope, not going to deal with that.’

And they [still] really lead by example,” she continues. “They’re their own good, strong people; when you’re a kid, you see that, and then you say, ‘I want to be like that.’ And then you just sort of do. I’m very fortunate that way,” says Midthunder. “I’m really a very fortunate person.”

Cultural District, continued from page 61 no blood quantum restrictions. All of these issues with cultural and racial identification reveal fundamental inequalities regarding who is or is not allowed to market their goods as Native-made.

While Mayor Gonzales’s proposal does not directly address these problems, the establishment of a cultural district within Santa Fe could still prove beneficial. If its implementation does increase collaboration between local and federal agencies, then the city will likely witness a decline in the sale of counterfeit Native goods. The city council has not yet voted on the proposal, and continues to hear community comments during its regular sessions.

SPE C I A L A D V ERTISIN G SE C TION

native arts showcase magazine

Scarlett’s Antique Shop & Gallery Welcome to Scarlett’s—a favorite shopping haven of locals and visitors alike. We feature a beautiful array of authentic, high quality Native American jewelry by many award-winning artists. Whether you prefer the sleek contemporary look or traditional Classic Revival style, you are sure to find your treasure from the Land of Enchantment at Scarlett’s! At-door parking available.

225 Canyon Rd, 505-473-2861 ScarlettsGallery.com (for preview)

Joe Wade Fine Art Arlene LaDell Hayes, Black Mesa, mixed media, 20 x 10" Joe Wade Fine Art, Santa Fe’s premier art gallery since 1971, offers an extensive collection of emerging, established, and acclaimed artists’ work. The gallery, located one block south of the historic Santa Fe Plaza, in El Centro, showcases a varied selection of original paintings and bronze sculptures year-round. Open Monday– Saturday 10 am–5 pm and Sunday 10 am–4 pm.

102 E Water St, 505-988-2727 joewadefineart.com

Steve Elmore Indian Art Carrying the Water: Historic Pueblo Canteens, Opening Reception August 5th 5–7 pm Steve Elmore Indian Art is your destination for historic Pueblo pottery, Navajo textiles, vintage silver jewelry, Hopi baskets and Kachina dolls. Specializing in the work of Hopi pottery matriarch Nampeyo, the gallery is located in the heart of historic downtown Santa Fe. 839 Paseo De Peralta, 505-995-9677 elmoreindianart.com.

Growing Thunders, continued from page 69 Ramey and Darryl are raising three sons immersed in their heritage. Inyan Pejuta, 13 years old, belongs to Peji Waci Omniciye, a traditional Dakota Grass Dance Society. Wanbdi Tokaheya, 11 years old, is joining his parents at Indian Market for his second year as a youth participant—last year he won a first-place ribbon in his category in the Youth classification for his ledger art. Cetan Wakandiya, 10 years old, is the drum keeper for the Poplar Indian Days celebration. Together, the three boys have a drum group, the Tahca Sinte Ska (White Deer Tail) Singers. santa fean

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diversity in clay artists and tribes shaping their own ways

by Barbara Tyner

Indian Market functions as a showplace for clay artists—those eager to break new ground as well as more traditional potters. Some of Native America’s most innovative artists, from Cochiti to the Cherokee Nation and points between, will show at this year’s Market.

Nancy Youngblood (Santa Clara) Indian Market’s 2015 Best of Class winner for pottery, Nancy Youngblood is a prominent member of pottery’s royal family, the Tafoyas, at Santa Clara Pueblo (her grandmother was Margaret, her great-grandmother, Sara Fina), but her claim to fame is as an original. As last year’s winning piece—all thrashing storm and horsepower—indicates, Youngblood provides an element of surprise to the medium. “It’s important to carry on traditional designs, and I also think it’s important to expand the art and not just copy what our ancestors did,” she explains.

Youngblood was first accepted into Indian Market in 1974, a year after her high school graduation. By age 21 she was an established gallery artist, showing in Scottsdale and Santa Fe with Lee Cohen’s Gallery 10. “Some galleries try to keep you doing the same thing. Lee told us to be creative, to be brave. I think that made all the difference.” Indian Market has a motivating effect on her creativity. “It’s the most competitive show. That’s a way to keep fresh, as an artist. It encourages us to expand, do something different.” Whether she is refining age-old forms (the S-line melon bowl is her signature work), or coming up with her own contemporary shapes in less typically Tewa form, Youngblood continues to make her innovative mark.

Lisa Holt and Harlan Reano (Cochiti and Kewa) Husband-and-wife potters Lisa Holt (Cochiti) and Harlan Reano (Kewa) bring playfulness to their sculptural work that no one would call traditional, yet their works are somewhat historically based. Clay figurines have history in the Cochiti tradition, stifled under Spanish Catholic dominion, revived in the late 19th century (the tale is told that a circus train near Cochiti in the early railroad days influenced a new cast of characters). These early “freak show” pieces—two-headed opera singers, tattooed ladies—bear more than a passing resemblance to Holt and Reano’s inviting, inventive figures.

Their work began with Holt potting ollas and figures in the traditional manner taught by her grandmother, Seferina Ortiz, and Reano painting heavy black designs based in Kewa and Cochiti traditions. Today, they sculpt the natural clay they dig themselves, coiling and scraping just as potters have done for thousands of years. The figures are frolicsome, even a little punk.

The surface designs vary: some are modified traditional, some unmistakably contemporary, and even some graffiti based. Holt and Reano’s figures aren’t grotesque, like a few of the early circusinfluenced works, or totally out of this stratosphere, like some by Holt’s uncle, Virgil Ortiz.

Above: Garrett Maho (Hopi), Return of the Hopi Kachinas, hand-built and painted using traditional Hopi techniques, traditionally fired, 25 x 10"

Right: Lisa Holt (Cochiti) and Harlan Reano (Kewa), untitled, natural clay and pigments, 23 x 9 x 8"

Mary Janice Ortiz (Cochiti) Also from Cochiti and equally original, Mary Janice Ortiz continues the Pueblo’s nouveau figural tradition in her own way. Her forte: charming us. Sister of Virgil Ortiz and daughter of Seferina, Ortiz makes us smile in spite of ourselves at her delightful clay amusements.

Made of hand-dug and processed natural Cochiti clay and painted in natural pigments, Ortiz’s works are an evolution of the storyteller forms originated by Cochiti artist Helen Cordero in the 1960s. More whimsical than macabre, these sculptures offer a winning— and winking—sense of humor: a sexy high-heeled boot trimmed in a traditional pottery design; a fat little dachshund zipped into a pueblo blanket, snug as a hot dog in a bun; or Godzilla on a notorious and fabled tear through Indian Market. Freestanding, painted in matte black, rust, and orange on a natural cream clay surface, mostly unpolished, these original works are highly anticipated from a sculptor with a serious sense of play.

Garrett Maho (Hopi) Award-winning artist Garrett Maho’s newest pieces, large vessels made of hand-polished Hopi clay, merge traditional figures with contemporary design elements. In many of his works, a grounding art deco geometry meets lyrical Hopi figuration. But look closely: there 78

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Above: Karin Walkingstick (Cherokee), Bountiful Earth, red earthenware clay constructed with slab and coil method, slip painted and kiln fired, 11 x 10"

is also a bit of gentle playfulness in Maho’s paintbrush. His katsina and koyemshi clowns stick out their tongues, laugh, frown. He shows us the fun in the sacred, and reminds us that at Hopi, religious figures are part of the everyday.

Maho began creating works in 1996, learning to make traditional pottery from his grandmother, Marilyn Mahle, and his aunt, Gloria Mahle. He coils confident shapes: ovoid bowls, vases, the flying saucer Sikyatki-style shapes made famous

by Nampeyo, slip painted and burnished to a sun-washed glow. Cloud blooms from the traditional firing methods add mystery, history, and richness. Aside from traditional split yucca brush painting, Maho experiments with spatter techniques.

It seems contemporary, but Hopi ancestors used spatter techniques in ancient paintings on cave walls.

Karin Walkingstick (Cherokee) Karin Walkingstick’s pottery cites woodlands at dusk, sunshine, and butterflies.

Her corrugated pots look nothing like the corrugated works of Puebloan ancestors, and they shouldn’t—her accent is Southeastern, not Southwestern, as is her pottery.

Walkingstick is part of a revival of traditional Cherokee pottery, and as every artist must in a revived tradition, she is finding her own way. Innovation is a given. Cherokee pottery is not the family affair it often is among pueblo people of the Southwest. “We don’t have generations of families who were potters,” Walkingstick says. “After the Trail of Tears and relocation, we started over.” She is considered part of the third generation of new Cherokee potters, having learned from Jane Osti, who learned from Anna Sixkiller Mitchell. “But we’re not related.

We just enjoy the love of pottery.”

Walkingstick is a contemporary potter, unhindered by rules or expectations.

Even so, she often pays homage to traditional ware, smoking her kiln-fired pieces in a raku-like process to emulate the soft, used-in-a-fireplace look of heritage utilitarian pieces.

Tammy Garcia and Preston Singletary a d a n c e o f i n n ovat i o n a n d t r a d i t i o n Working clay or glass involves transformation—alchemic reactions to fire.

Magic. As always, Tammy Garcia and Preston Singletary, two of the brightest stars in contemporary Native art, bring magic this year.

Garcia has roots in Santa Clara Pueblo clay, but also works in glass and steel. Seattle-based Singletary works glass, translating stories from his traditional Tlingit culture into luminous visual poetry. Both artists defy conditioned expectations of Indigenous art. In their work, innovation and tradition dance together so seamlessly that definitions no longer matter.

Together, they have produced three shows of radiant magic in glass.

A groundbreaker, Singletary is the first Native artist to apply European art glass tradition to Native design production. Creating works of lyrical, light-filled beauty, he challenges the notion that Native artists are best when using traditional materials. “Glass has added a different dimension to Indigenous art,” he says.

Garcia draws inspiration from unexpected sources: Santa Clara culture, vintage European fashion magazines, and everyday experiences.

Though descended from Santa Clara pottery royalty (great-great-greatgrandmother Sara Fina Tafoya), she’s as likely to quote the Latin name for bee as the Tewa word for dragonfly.

Singletary’s Southwest collaborations began with Garcia. “Tammy’s work resonated with me immediately,” he says. “I knew her designs would look really good with my techniques.” His other partnerships include Jodi Naranjo (Santa Clara) and Harlan Reano (Kewa). “I consider myself a kind of ambassador of glass to other Indigenous communities. Collaborating, I

by B a r ba ra Ty ne r

learn about other cultures and their approach to traditional heritage art.”

In August, Singletary’s Blue Rain Gallery show will feature jewel-like glass figures translated directly—and abstractly—from story. They Tammy Garcia, Santa Fe Train, Santa Clara Pueblo clay vessel, 8 x 7 x 2" evoke the fire-warmed halls of the steaming Tlingit longhouse, the shadowy darkness brightened by flame, stories, and listeners whose eyes sparkle in the firelight like glass.

Garcia has a surprise this August: “I got a booth at Indian Market,” she says. It’s her first time showing in about 20 years. Her new works offer a Garcia twist: clay vessels sparkling like glass, and glass vessels in earth tones.

This year’s focus is bottles, offering delicious metaphor and a new, dark humor. Her wonky, distorted, Alice in Wonderland-ish work, Drink Me, is visual onomatopoeia: “It’s what the bottle would look like after you’ve drunk what’s inside,” she laughs. Her “Poison” bottles are another surprise, featuring clay studs and high-relief texture (“so you can tell they are poison in the dark”). They are quintessential Garcia, with a wink. “You have to have a sense of humor. It’s life. If you look at Pueblo pottery in a historical sense, the artists weren’t recording their history in books; they were recording it in pottery. This is my story.” santa fean

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Left: Chrstine Nofchissey McHorse, Nautilus 2006, micaceous clay, 19 x 11"

Patrick Dean Hubbell and Christine Nofchissey McHorse

Below: Portrait of Christine Nofchissey McHorse in her studio, ca. 2013.

Navajo artists at Peters Projects

Courtesy Andrea Ashkie

by Ja s on St r y kow s ki

The Peters Projects Gallery will welcome two solo exhibitions from Native artists for SWAIA Indian Market this year.

Patrick Dean Hubbell (Navajo) updates traditional Navajo sand painting while Christine Nofchissey McHorse (Navajo) adds her own flair to Pueblo-style pottery.

McHorse originally hails from Arizona and attended IAIA. She married a man from Taos Pueblo and learned traditional pottery skills from his grandmother. Branching out from what she had been taught, McHorse began blending the glittery, micaceous Taos pottery with modern shapes and a reductive firing technique to produce black, gently curving sculptures that retained the mica’s sparkle. Some of these pieces have then been cast in bronze. For her work, McHorse has won major awards at Indian Market for both pottery and sculpture. Peters Projects will host an unveiling of one of her bronzes and an exhibition of pottery.

Patrick Dean Hubbell was raised on the Navajo Reservation and educated at Arizona State University where he studied fine art.

His current work draws from his Navajo upbringing as well as his formal education. As he explains, the inspiration behind his art is “making a correlation between my own way of working and drawing on the traditional way of Navajo sand painting.”

To prepare for the exhibit, Hubbell traveled throughout the Navajo Nation gathering materials for the paintings, while his wife documented the process with photographs and video. The finished products will be oil on canvas. “It’s a different series of works that are actually rendered with earth pigments that are collected in different parts of the Navajo Nation,” says Hubbell. “I used them to make my own paint like the old European masters did.”

Double show: Earth: Untitled, Patrick Dean Hubbell and The Micaceous Ceramics of Christine Nofchissey McHorse Reception August 12, 5–7 pm Q&A with Patrick Dean Hubbell August 13, 11 am, Peters Projects, 1011 Paseo de Peralta, petersprojects.com Left: Christine Nofchissey McHorse, Vesuvius 2006, micaceous clay, 16 x 11"

Right: Patrick Dean Hubbell, It is Written in the Stars, acrylic on canvas, 48 x 48" 80

Indian Market Magazine

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Above: Partick Dean Hubbell, Her Invigorating Tendencies, oil on canvas, 62 x 66"

Addison Doty

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Blue Rain Gallery’s Annual Celebration of Contemporary Native American Art August 17 – 21, 2016

Wednesday, August 17th 5 — 8 PM, Artist

Reception

In our new Railyard Location Starr Hardridge, Del Curfman, Chris Pappan, Thomas Breeze Marcus, and Dan Friday

Thursday, August 18th 5 — 8 PM, Artist

Reception

In our new Railyard Location Jody Naranjo, Richard Zane Smith, Hyrum Joe, Les Namingha (pottery), Al Qoyawayma, Mateo Romero, Norma Howard, and Lisa Holt and Harlan Reano

Friday, August 19th 9 AM — NOON, Pottery

Collection Sale

In our Downtown Location An unveiling of some of the finest privately amassed Native pottery collections 5 — 8 PM, Artist

Reception

In our new Railyard Location Preston Singletary, Les Namingha (paintings), Cannupa Hanska Luger, Yatika Fields, Maria Samora, and Dawn Wallace

Preston Singletary The Sun Danced in the Sky Blown and sand-carved glass 27.75" h x 13" w x 4" d

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