INTEGRITY

by Paul

Henrickson, Ph.D.

tm.

2013

Somehow, or other, after I had completed the first draft of this document and started to add what appears below the first part disappeared from my computer. It did not appear in my back up for the testing indicated the back up was disconnected. It wasnt disconnected, for the plug was still in its socket and it took some effort to extract it and when I did there was the sound one gets when something is disconnected or connected. So, I suspect there may be spirits operating somewhere in this system which, not so by the way, seems consistent with some of the issues explored in this document. That is the question as to whether spirits govern phenomena. Such interest is not novel in Indian lore., nor, for that matter in other cultures at other times and it might also be claimed that, considering the increasing number of rumors about this or about that flying hither and thither, that our contemporary lives, being lived internationally, increases geometrically the potential for misunderstanding. This might make it appear that we, too, are influenced by spirits. So, it should not be interpreted a social put-down when some reports we get of Indians attributing spirits to phenomena seem to have no other acceptable explanation readily available. In this regard I believe it justifiable to claim that the European and Anglo-American and other places influenced by them (not to ignore the factor of a return influence) mind-set dogmatically dependent upon statistical functions has, on occasion, become blind to other realty sets such has been suggested even as long ago as a half-century that I.Q. measurements above 120 do not contribute to independent estimates of creative thinking. So, I ask, of what value was Einsteins extra 80 I.Q. points? We might conclude that they have been of inestimable value as a PR device and a fictionalized role model. The later published finding that the I.Q averages obtained by Eastern E uropean Khazar Jews is one and a half standard deviation above the obtained averages from other ethnic groups certainly seems supported by the historical fact it took an unusual amount of insight for the Khazar tribal groups to see the advantages in becoming (in the ninth century)arbitrational Jews in the face of the mutually antagonistic Islamic and Christian belief systems. In sum, then, avoid the dogmatic and be instrumental in creating a settlement (or not) to your advantage. In this particular instance however, the issue with the Pueblo Indian is with, we have been told, their reluctance to invade anothers space., (what goes on on the other side of the mountain is of no concern to you)or interfere in his concerns (do not judge another until you have walked in his moccasins) which I have for some time wondered whether their graphic representations on a flat surface of things and of events which exist in a three-dimensional space which, by and large, seem to shun a three dimensional reality may be an extension of that principle. In short, it is permissible to alter the appearance of things on the surface you work on, but you never violate the integrity of the surface you work on because it hosts what you do. I personally have a great deal of difficulty with this explanation for, if the principle is to respect that nature of things then since all things have basic natures which should be respected the principle should apply to the things drawn as well as the surface being drawn upon.

In consequence very little of three-dimensionality or of spatial perspective is indicated in either their two-dimensional graphic work of their sculpture with the exception of

two notable exceptions Grey Cohoe and Michael Naranjo

Grey Cohoe

In the Shiprock Gallery website the following statement appeared@Grey Cohoe (Navajo) was born in Tocito, New Mexico in 1944. His career as an artist was highlighted by his
work as a professor at the Institute of American Indian Art in Santa Fe, but cut short by his death at the age of 47. In reference to his work "Yei Bi Chei," he is quoted as saying, "I can't say I'm glad to have had to live through all that [acculturation] to be where I am today. [White] People know Indians as people who have lost their culture in most cases. Some walk around like urban drunks, dyeing their hair yellow to get away from their background. In my work, I'm saying 'Ha. I'm making it'. . . in my work, I'm offering people a party they're never going to forget."

I should call the readers attention to what, for some, may appear to be an insensitive error in representation in the hands of the Cohoe painting of a Pueblo Mother and Child although, after much study I am not certain that I have identified the child. The hands in both the painting and the petroglyph (just above) also found in the Santa Fe area are disproportionately large in relation to the head. The word for this sort of graphic distortion is haptic from the Greek referring to the action of grasping. It is important for us as students, scholars and analysts to know the reasons for what might appear aberrant but is merely descriptive. Rather than to suppose this to be ineptness on the part of the artist it seems more logical to suppose he chose to emphasize the hands as an important element in the subject of the work. In the case of the Cohoe the hands become vital in securing a hold on the child resting in the lap. In the case of the petroglyph the hand becomes an important expressive element mirroring the excitement the figure may feel in observing the stags penetration of the doe. Additionally, the petroglyph pictures an erect human penis which , in proportion to the torso, makes it the largest I have ever seen...anywhere. We are, therefore, invited to see these distortions as purposeful exaggerations in illustrating a point. We have little justification in seeing them as technical faults

Michael Naranjo is a blind Santa Clara Puebloan whose work raises other very interesting questions (discussed in some detail below) regarding the minds control over sensual data

A similar matter arose when, in Africa a European showed a native a drawing of a man standing in the foreground and in the distance he showed an elephant. The African said that the drawing was wrong because Elephants are larger than men. The African, I would judge, was unable to incorporate the rules of visual perspective or unwilling to abandon the facts as he knew them, that is, elephants are larger than men. It, apparently, had not occurred to either the European or the African that if logic of size is to rule then the difference between the size of the paper and the three-dimensional world is significant but it was ignored. At the very least what these anecdotes suggest is that in graphic representation the mind-set one adopts is critical in determining the appearance of and how one understands the final product. From that one might assume as well, that any subsequent judgment of the work can not legitimately be made from any mind-set other than that of the artist. We conclude, therefore, that the artist is the only final legitimate judge.

Having already accepted the fact that public expressions of modesty do not seem to be one of the more obvious characteristics of artists one is left with the enigmatic and very problematic matter of where one finds , or recognizes that, a valid judgment of aesthetic value has been found. However the correlation between what one says about ones work and what that work really is is a slippery and uncertain one. This was the situation I suddenly found myself faced with in 1951 while teaching at The Hill and Canyon School of the Arts at 1005 Canyon Road, Santa Fe when a fellow, only a few years older than myself, an Apache-Navaho a very quiet fellow who rarely, if ever, spoke, he certai nly did not express observations or opinions submitted his work for my comment. I was dumfounded. I didnt know where to begi n. So, I didnt begin at all except to tell him that out of some respect for the tradition he came out of I had no right to impose mine on him. If he could tell me what he thought he wanted to learn I might help, but he would have to make that move. So, now, I commence a reconstruction of this document that may turn out better than the first. The title Integrity was selected to focus the readers attention on the reasons why American-Indian art, even after so many generations of contact with their conquerors retains many of the characteristics the conquering art critics an social commentators labelled naive, primitive, or elementary. Basically, what I refer to is the respect Indian art seems to have for the flat surface. This interpretation is rooted in the story an alcoholic San Ildefonso pueblo Indian explained to me was the trauma he experienced when forced by the U.S. Government to join the fighting forces half way around the world to kill people he had never known existed when, as a child, the dominant behavioural learning was that what happens on the other side of the mountain was none of your affair. Following the reasoning that the essential characteristics of a thing should not be violated, it is not a dramatic step to understand that the flatness of the surface upon which one places an image should not be violated. That is, while you may use its flat nature as a surface that will carry your message as one might use a donkey to c arry ones goods it is inappropriate for the flat nature of the surface to be made to look

what it is not as is done in the work below by David Nordahl

David Nordahl

What we see, or believe we see, is not really there. It is an illusion, a magical appearance, perceived, in a great part by the accepted mind set that what we see (we think we see) is, in fact, the result of a conventional agreement which we accept as possible that an Indian on a white horse with a crowd behind can exist on a 10x20 panel, ( or whatever the actual dimensions).

It is in this light that Mme de Stael was absolutely correct when she observed that those people who accepted the point of view that the subject matter of the work was what was important were missing the point.

After all whatever the subject matter which may or may not be flattering to a selection of observers and which may be an important matter sociologically is incidental to how the work was made. how in whatever way the effect was achieved. In short, the confrontation is, once again, reduced to creative intuition on the one hand and practical application on the other.

This may be one reason why some prefer art for the sake of art and decry the involvement of patrons who may find it difficult to resist attempting to influence the creator.

While I maintain that the Indian self-imposed constraint to respect the nature of the surface upon which he works by not violating the two-dimensional surface by making it appear it was not there.

F.Lee White

f.Lee White Custors last Stand

which clearly demonstrated in this work by F.Lee White .

Painting by Harrison Begay (b.1914) Begay returned to the Navajo reservation in 1947, and has made his living as a painter ever since. Begay has continued to paint in the Dorothy Dunn "Studio style" throughout his long career he was still painting in 2004, at age 90. I am unable to comment on what Dorothy Dunn may have thought of her teaching methods or philosophy but 7 years after Begay returned to the reservation I was teaching at a very small art school in Santa Fe called The Hill and Canyon School of the Arts. One of my students there was a Navajo who was adept at this Dunn Style. Earlier on, as a preadolescent, I had become familiar with the style for it was included in the samples provided with commercially produce wooden trays for home decoration and arts and crafts experiences. However, it was not until very recently had it been possible for me to attach a name to the style. I still do not know whether these examples share the same originating source or not, but I suspect they do. In so far as my Navajo student is concerned I was sufficiently perplexed as to how to proceed with him as his teacher without doing him injury by abruptly disengaging him from this flat style and forcing him, as the authority of a teacher can do, to behave in a manner different from what seemed, at the moment at least, normal. In short, it is an offense to disrespect the message because the language differs. I told him this and since, like many Indians, he remained silent and did not respond I have little idea of how he interpreted my concern. Had I understood that what appeared to me to be a normal Indian style of perception was one that had been imposed by Dorothy Dunn I may have preceded differently? While some commentators credit Fritz Schuler with having broken away from the, by now, accepted American Indian style after about a half century of its imposition I have serious questions as to whether, or not, the problem has yet been correctly described.

If all that we think we know today rests on what seems to be Dorothy Dunns, possibly inadequate understanding, then subseque nt conclusions regarding American Indian creative thought are inappropriate.
What one can say is that given Dunns pervasive influence and her reputation as a style implanter Oscar Howe has advanced the Indian graphic perception in a manner consistent with that style and has, consequently, moved graphic expression from the narrative to the

aesthetic non-objective.

Oscar Howe

When, at one time, his work had been rejected from an exhibition on the grounds it was inconsistent with Indian style he wrote: "Are we to be held back forever with one phase of Indian painting that is the most common way? Are we to be herded like a bunch of sheep, with no right for individualism, dictated to as the Indian has always been, put on reservations and treated like a child and only the White Man know what is best for him... but one could easily turn to become a social protest painter. I only hope the Art World will not be one more contributor to holding us in chains."

This anecdote makes a sad commentary on the processes of judgment to say nothing of th e politics of annually selecting the states most creative individuals as though the Governor, any Governor, knew anything about what he did.. This part of our societys proclaimed interest in its creative minorities is subterfuge. It is fraud. The public accepts it, proclaims it and does not see the ridiculousness in as accepting as genuine a self-proclaimed legendary Santa Fe (NM) artist sneaking into other artists closets and stealing their costumes Ah well, it se ems to be a part of the comedy.

There is another quality seemingly characteristic of Indian work which can be described as a gentle, humor describing their position in a multi-ethnic environment I see no maliciousness in it at all.

There is an aesthetic adventure taking place between what is physically on the canvas and its physiological correspondence in the observer and it is in this regard that the subject matter is irrelevant. By way of

clarification , let us look at a Jackson Pollock

It is here that the observers attention should be fixed on what is happening on the canvas. And, it should now

become apparent that the words realism and abstractionism have exchanged their respective meanings and that the Pollock is now real and the Nordahl the result of abstraction. And what, one might ask has been extracted? The answer is the physical appearance. All else is invention. Many years ago I tried that thought on a group of undergraduates and was met with highly focused and intense resistance which helped to illustrate the claim that conventional belief systems are very powerful magnates.

Nordahl, whom I would judge to be an inveterately confirmed romantic. While his technical abilities are securely in place and his historical information about his subject several notches above the average it cannot also be said that he his strong on offering the viewer imaginatively creative insights related to the art of painting.

The etching to the left and the painting to the right (above) both by Gerald Cassidy (one of the founders of the Taos School of died at the age of 55 in 1934. Nordahl who was born in 1941 started painting Apaches in 1978 about two generations after Cassidy died and the only shift in emphasis between them seems to be between the curious scientific observer and the indulgent romantic. They are both technically competent. Certainly, one of the things this tells us is that traditions often span several generations and many run concurrently and each one has its own faction.
(New Mexico)

painting)

In the meantime the subject of both their (Cassidy and Nordahl) work, the Indians themselves, at least those discussed here, seem to have used their characteristic humor to comment, ever so subtly, on the Western artists (the creative western artist that is,) passion for discovering the new. As one reviews the images by Indians in this small collection one can quite easily identify aspects of their work which reference developments in the work of many prominent western and European artists from today and from the last century. These references in the work of Amero-European artists are just that, references rather than influences. If we take, for example the original German rabbit by Durer which in the hands of an Amero-Indian now

speaks French with a Matisse accent.

Rabbit by Albrect Durer

Portrait by Henri Matisse

Consistent with other aspects of traditional Indian character, most specifically their particular sense of humor but also, as well, their respect for the beingness of other existences. One incident I remember vividly was when upon seeing the brother to the Governor of the Pojoaque Pueblo (New Mexico) I asked if his brother were around, meaning nearby and available. The first response was no followed immediately with a yes and a gesture of explanation that the Governor was rotund.

. The painting to the left by T.C. Cannon illustrates graphically the gentle humor that is used to describe the intercultural relationship between the native pueblo people and the and the rather patronizing , giant red-haired people who arrive unsuccessfully camouflaged as Indian by donning turquoise and silver ornaments and clothing somewhat reminiscent of native attire. I chose the photograph on the right because it seems almost a parody of the painting. It shows myself and Caroline Tarawangama standing beside a conceptual piece designed by Doris Cross.
Tht

This form of playing with meaning can also be seen in the photo of Bob Haozous (below) which plays with the traditional meaning of a circle placed behind a persons head. Is it a wire construction, a mechanically produced image, or a halo? drawn? imagined? there, in fact or fancy? Again, borderlines and definitions are unclear and we find ourselves asking at what point did Alice actually merge with the looking glass?

Bob Haozous
As one might detect from the figure drawing to the right which is a very competently and precisely drawn image, very clear in its references to both physical and social realities Haozous is, at the very least, a highly competent draughtsman possessing a keen insight into the ways a body expresses character. A similar playfulness was a part of Michael Naranhos social behaviour when, in response to his request I visited him at hom e in Santa Clara Pueblo. He greeted me with startlingly blue eyes. I knew, of course, that he had been blinded as a consequence of the Vietnam conflict but decided it might be disappointing to him had I not mentioned them for, in so far as I know, blue eyes only occasionally occurred in the Mandan Indian group probably as a result of their contact with Vikings rather early on. Michael went on to tell me that when, on occasion, he felt patriotic he used the set with images of the American flag. (Later, I wondered, whether, as a sign of national disaster he ever inserted them up-side-down.)That event was intended as an ice-breaker and it worked. It also underscores Indian humor.

Metal design by Haozous Gothic stained glass window The layouts of these compositions are so similar that it is difficult to imagine that Haozous did not have the Gothic window in mind. So did Rouault we are told, but in his case it would seem Rouaults use more an inheritance than a borrowing and, additionall y, it might even be seen as a commentary.

I am relatively unfamiliar with the history of what is called these days conceptual art, but I do recall the nature of my original confusion with the term and wondered , then, whether previous art movements lacked a concept...I rather doubted it. Nevertheless, as a consequence, I felt our vocabulary was being misused, that is, not to clarify, but to mislead. I vaguely wondered whether there might not have been some political agenda in all this, but settled for being amused at whatever point others might care to make. I am not at all sure that was a correct or moral decision. In an instructive conversation with an Indian from san Ildefonso wherein he explains to me why he had become an alcoholic it was, in his view as a result of the trauma of being forced to leave his pueblo and his conventional respect for the liberty of others to go many thousands of miles away to kill people he hadnt even known. In general, what happened on the other side of the mountain was of no concern to him. Having this thought in mind I wondered whether it had had any influence on the Indian rejection of the opportunity to alter the integrity of the space upon which they work, the skin, canvas or paper, in short, to make its 2-dimensional flatness disappear as the 19th century European such as Bierstadt loved doing. It might be said that the Indians respect for the qualities of the materials he uses does not allow his ego to offend them. If I have referenced this subject before it is because it continues to annoy. This attitude of respect for the nature of other life expressions is seen throughout the Indian zeitgeist My main justification for this document is that it investigates what might be called the American Indian strong respect for the integrity of the flat plain and how he, additionally, shows this respect and, often, quite consistently gently flavours it with his sense of humor; There have been other instances of the dominance of the flat plain throughout history and in differing locations, but I think it may be instructive to attempt to discover whether its practice is rooted in

incompetence, as, I believe, in the instance of Grandma Moses or

Grandma Moses...please note

the glimmer of mischief there. Some years back there was an anecdote about Grandma where she solved a logistical problem rather unexpectedly. Some one had admired a work but found the price too high by a factor of 2. So, grandma cut the original in half.

or a divinely inspired respect for the inexplicable. It appears certain that the exploration of space in the 19th century was accompanied by other equally impressive developments steam power, metallurgy, flight, and other expressions of inventive ingenuity giving man power over his physical environment. and has been seen by some as mans challenge to God, on a less exalted level, even after generations of contesting debate, the conflicts over evolutionary development and dogmatic instruction are still with us. It is almost equally certain that this power has assumed an antagonistic position in regard to spiritual matters which was so strongly expressed by the San Ildefonso Indian uprooted from New Mexico to kill people he had never known in southeast Asia. This sort of psychic trauma may be responsible for very serious manifestations of inadequate social behaviour. Now, having made the observation that the form art takes may be the clue to how the mind , the affective psyche functions. The early psychologist Jean Piaget noticed this relationship when closely observing the play of children in the sand box and noted, as well, their verbalizations . The childs play was not a pastime or a distraction it wa s a therapeutic experience which began with a description of the problem and a list of characters involved. What appears to be the Amer-Indian reluctance to penetrate a flat surface quite in contrast to Lewis Carrolls fascination with what dimension is on the other side of a mirror Cats, on the other hand seem satisfied with their investigations that a mirror is a phenomenon that possesses a deceptive appearance and that what it reflects is not believable. They all seem to look behind the mirror to check their perceptions out. The cat was

practical, Carroll imaginative But what the cat discovers man is unable to accept for, for him, there must be some significance in that flat surface that supports his images and , perhaps, to penetrate that surface, may mean the end of innocence and play. If this analysis has merit it would then seem that the Amer-Indian was content to play on the surface but the European-American just had to see how far hi curiosity might take him. In some instances quite remarkably far indeed.

Ivan Lorraine Albright

Andrew Wyeth

Albert Bierstadt

By way of contrast we have Albert Bierstadt who seeks a palpable infinity. Oddly, the work of Albert Pinkham Ryder which does emphasize the shapes of things rather than their forms he retains sufficient clues to their three-dimensional existence to heighten the excitement of the ambiguity between dimensions.

Albert Pinkham Ryder

Albert Pinkham Ryder who, having been, perhaps, to the edge of space politely retreats to the safety of the launching pad and then we are taken to this work, (I think by Dennis
Culver)

for being the least graphically adventurous. If there is anything going on on the surface of this flat surface by way of aesthetic manipulation it is purely by unintentional

error. The artist has less to offer the viewer than a newspaper photographer. problem.

And this is an observation which introduces a

That problem has something to do with not only the intensity of ones interest in reality but what other factors may be introduced into that interest. In most cases, it seems to me, that added factor will more adequately reference the psychological concerns or interests of the individual artist while the degree of expertness in representing reality may be more related to the academic training involved and/or the recognition on the part of the individual that a developed realism was required for the other creative interests to be properly presented. Phantasms may have their domain somewhere in that narrow, or expansively wide, space where definitions, as we think we know them, abide. On the surface, the painting above is excessively mundane and a vehicle for undiluted boredom. However one might, on the other hand, romanticise about being on the road and fantasize about what might be just around the bend, or an exercise in visualizing the results of road engineering. This seems never to be a problem with the American Indian.

DAN NAMINGHA

cf

Sam Scott (below)

Sam Scott There may be a revealing anecdote regarding Sam Scott, John Konopak who functioned as the Arts Editor at The Santa Fe Reporter during the 2 and years I wrote criticisms for the same newspaper. I was to have an exhibition of my work and could not write the review of my own work so John called Sam and asked him to write the review and, apparently , added he should be highly critical. Sam refused and called me to explain why. A librarian at the state library wrote the review which I have discussed in some detail in a document entitled In Broad Daylight Sam Scott was being highly ethical , while John Konopak was not, in refusing and in carefully, and personally, informing me of his actions. Scott and I knew each other, but not well. It may be a bit of an elaboration and probably unacceptable to some psychologists but Scotts behaviour in this regard, may be an extension of what my research in the area of psychology cf. The Perceptive and Silenced Minorities has also revealed and that is that the creative mind eschews the lie.

It might be said that when Dan Namingha choses to picture landscapes that he follows in the tradition of the cubsists. I see this, however as a very superficial resemblance, an accidental similarity. One of the supposedly distinguishing characteritics of a cubist was that he analyzed whatever the subject befor him might be in terms of its componant geometry In an Arizonan landscape the gemetry is a given. Very little anaysis is required, It cannot resonably be denied that Namingha, along with others, is fascinated by it but being bewitched by novelty is not the same thing as seeking to uncover a structural pattern.

EARL BISS Earl Biss whose work whose work I had originally found very enigmatic and still do despite the possibilty I may have learned something more about it. While the work of most Native American artists appears bold, forward and demanding of our attention as do their costuming and tourqoise and silver jewelry in the arena of message or meaning there seems only a wispered insinuation, With Biss, the works themselves do not speak loudly, but whisper their presence, as for example the wooded scene (below, on the left),

where there seems to be the faint presence of something half observed among the trees.. a little suggestive of Apollo and Daphne, a subject which in the hands of an expert technician

like Bernini becomes explicit..

There is an unresolved conflict here between the Indian satisfaction with a reality no further distant than an eyes reach and the European ideal, as shown in Bierstadt, of a measurable spatial distance with every mile clearly marked It were, as though, Bliss felt cautious about an over reach and turned a spatial reality into a fantasy.

Albert Bierstadt

the spirit of the buffalo is focused here with very few of its physical characteristics detailed...the buffaloness is there.

Dancers Henri Matisse While the composition of the Matisse work (to the left)may have inluenced Biss in his work (to the right) it is impossible for me to imagine Matisse indulging in the subject as has Biss.The usual Indian subtlety is absent but still fails to approach

thelevel of a Paul Cadmus which is explicit as an illustration but lacks the aesthetic organization provided by Bliss.

T.C.CANNON

T.C. Cannon I am not sure that this work which has been attributed t

I t This work atttributed to Dorothy Brett (the real-life character upon whom Hemmingway is said to have based his representation of Lady Brett Ashley in The Sun Also Rises) is suffiently similar, but more reserved (as sometimes is characeristic of the English) to the Cannon style as to point to a purposeful influence and, as such, illustrates B retts own humor. She would have enjoyed the comparison.

I have which is, for me, a memorable anecdote about both her reserve and her humor. I was visiting her in Taos when she was in her nineties in her kitchen She still retained that English rose complexion and while her voice was a bit uncertain and rather noticeable shaky her observation was right on.

I was sitting in a rather rickety woodenchair and in the middle of answering a question when her pet dachsund which had been restig in the corner, slowly rose on its short legs, cast me a glance, a pentrating glance, out of a very greying face and started its torturous trip to the bowl of water at the foot of my chair.

I caught my breath in the full expectation that the animal would not make the four feet he needed to cover in order to reach the bowl. I fully expectd it to collapse and possibly to die on the spot. Brett brought me back to the present with the description of the dogs effort by stating in her shaky voice Hes very aggressive.

I was sitting in a rather rickety woodenchair and in the middle of answering a question when her pet dachsund which had been restig in the corner, slowly rose on its short legs, cast me a glance, a pentrating glance, out of a very greying face and started its torturous trip to the bowl of water at the foot of my chair.

I caught my breath in the full expectation that the animal would not make the four feet he needed to cover in order to reach the bowl. I fully expectd it to collapse and possibly to die on the spot. Beett brought me back to the present with the description of the dogs effort by stating in her shaky voice Hes very aggressive.

In this work Brett may subtly have adapted the Amero-Indian fascination with patterning to be more accomodating to English reserve.

ed ti Dorothy Brett

EEe

R.C. GORMAN R>c>EEeR.C.GORMARN

po

At his point I should like to reintroduce a topic which, even today, may main unresolved. It is lifted from a document I wrote some years back on the work of Frits Sholder and recalls an experience of 1951.

tr Fritz

Sholder

ai Thiss

compare to Francis Bacon

This w

MICHAEL NARANJO

ALTHOUGH Naranjo had had sight for about two decades before the Vietnam incident it is, I believe, doubtful that the three-dimensional visual results he achieves in his work could have been the result only, or even mainly, of remembered experiences. Even in sighted sculptors it is a focused and highly developed and analytically honed perception that can achieve the image of a fully developed three dimensional integrated movement which characterizes most of Michaels work. There are few sculptors, sighted or not, Indian or not. who have achieved anything close to this. Most sculptured pieces, by many sculptor follow the organizational pattern laid down by the Egyptian which is a rather rigidly frontal organization where there are four major views taken into consideration, the front, the back and the two sides and rarely are they ever encouraged to integrate except, as, occasionally in the work of Bernini, Carpeau and with a stretch of the principle Rodin and stretching even further with Vigeland. In the work of Michelangelo this quality of perception is relatively neglected.

Bernini

Carpeau

Rodin

Moore

Vigeland

With this observation in mind one might consider the possibility that having been deprived of sight Michael Naranjo, needing a sensual contact with the world, evolutionarily developed aspects of other senses in compensation. If this is an acceptable alternative explaining what is undoubtedly, a very unique talent even in a sighted artist

The work of Houser impressive as it sometimes is,(once again very subtly), the Egyptian frontal rule is modestly altered. Occasionally, in the work of the English sculptor Henry Moore there are dramatic exceptions but one cannot help but ask are these exceptions possible mainly because the works are more non-objective ? Or possibly the constraint imposed upon the artist inherited from the Greek classical period inhibits if not forbids expressive experimentation It is, of course, apparent that not all sculptors have accepted such limitations, but from among those who may have done so one needs to know why

ALLAN HOUSER

chircahua Apache/Navaho

HouserGerald Cassidy

Kevin Red Star

Kevin Red Star

Francis Bacon

Grey Cohoe

gewy cohoe

HARRY FONSECA

It is almost as though for Fonseca a subject matter has little import and what little content there might be needs to be masked either with extravagant, decorative patterning or humans trasformed into per forming coyotes. Coyote by the way, in some circles, is a term denoting a person of mixed blood. There are times when the graphic evidences I see being developed that I might detect a coalescence between the patterning inherent in the Native American work and the evidence of a move from content picturing to painterly event creation on the part of non-Indian artists into a new kind of quasi decorative development with people, Indian and non-Indian alike,as the subject matter of gentle ridicule, perhaps a mite less acidic, than the visual commentaries of Hogarth.