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Indian Market SWAIA Official Guide 2012

Indian Market SWAIA Official Guide 2012

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IndIan

2012 The SanTa Fe new Mexican • wwwSanTaFenewMexican.coM
market
2012 artists
Directory
& Booth
locator map
sWaia
official guiDe
Melanie Yazzie | aniMal encounters
YazzieÕs bronze Órez DogsÒ, as well as her paintings and prints reflect a quiet wisdom, compassion and vision with a deep appreciation for the
landscape and culture in which she was raised on the DinŽ (navajo) nation. Watch an interview with Melanie Yazzie at glenngreengalleries.com
selected collectons: Corcoran Museum, Washington, D.C., Museum of Art at the Rhode Island School of Design, Providence, RI, National Museum
of the American Indian, Smithsonian, Washington, D.C., Denver Art Museum, Denver, CO, Museum of Fine Arts, Santa Fe, NM, Milwaukee Art
Museum, Milwaukee, WI, Australian National Gallery, Canberra, Australia, Estonian Musuem of Art, Tallinn, Estonia.
ÓFred W. Begaye Gives Tours of His HomelandÒ bronze ed. 15
ÓMarvin Tso Likes Green Chile CheeseburgersÒ bronze ed. 15
ÓLevi Blacksheep Dreams of FlyingÒ bronze ed. 15
santa Fe-tesuque: Gallery & Sculpture Garden (Five miles north of the Santa Fe Plaza)
136 Tesuque Village Road Santa Fe, New Mexico 87506 505.820.0008
scottsdale: The Phoenician Resort 6000 E Camelback Road Scottsdale, AZ 85251
Take an online art tour: glenngreengalleries.com
ÓHorse in AlaskaÒ 40.5 x 53" Monotype ©2011
+ sculpture GarDen
On the Plaza, Santa Fe
Packard’s Artist Reception
Thursday, August 16, 5 to 9 PM
Indian Market Hours
Friday, August 17, 10:30 AM to 6 PM
Saturday, August 18, 7:30 AM to 6 PM
Sunday, August 19, 9 AM to 6 PM
Scott Diffrient
modern artifacts
505.983.9241 or 800.648.7358
www.shoppackards.com
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Tuesday, August 14, 2012
2:00pm, Open Seating, Zia Room
Martha Struever Lecture:
Master Jewelers of the Southwest
Show-and-Tell: Pieces by 24
hard-to-get American Indian jewelers
from the 30s, 40s, and 50s.
Wednesday, August 15, 2012
2:00 5:00pm, DeVargas Room
Richard & Jared Chavez Opening
Richard, recognized master of stone
inlay jewelry, displays his newest work
as Jared unveils strikingly original
Puebloan jewelry with Asian overtones.
Thursday, August 16, 2012
4:00 8:00pm, DeVargas Room
Important Estate Collection
of American Indian Pottery
Major Exhibition of American
Indian Jewelry
An Hour with McKee Platero
Friday, August 17, 2012
2:00pm, DeVargas Room
A Loloma Discovery
An important private collection
of Loloma jewelry comes to light.
2012 SANTA FE INDIAN MARKET EVENTS
all shows continue Saturday, August 18
and Sunday, August 19, 11:00am-5:00pm at the
Eldorado (DeVargas Room).
Join Marti at the Eldorado.
ma rt h a h o p k i n s s t r u e v e r
(505) 983-9515 online Gallery: www.marthastruever.com
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August Eldorado
at the
MS.05.12 Full Show Ad #1.indd 1 7/1/12 8:47:43 PM
225 Canyon Road: 505.986.9833
Santa Fe, NM 87501 ManitouGalleries.com
M A N I T O U G A L L E R I E S
@ 225 Canyon Road
CLOCKWISE FROM TOP LEFT: Billy Schenck, Color Me Gone, oil, 28 x 32; Our gallery at 225
Canyon; Billy Schenck, Off Into the Night, oil, 30 x 32, William Suys, Morning Calf, oil, 48 x 36;
Gail Gash Taylor, All the Pretty Horses, oil, 36 x 108
New works by Billy Schenck
opening Friday, August 17th
5-7 p.m. at our 225 Canyon
Road location.
Visit ManitouGalleries.com
to view works by all gallery artists.
I NDI AN MAR KE T GR OUP S HOW
CLOCKWISE FROM TOP LEFT: William Haskell, Valley of
Shadows, drybrush, 22 x 15; Kim Wiggins, Old Canyon
Road at Dawn, 30 x 40, Star York, Cat Call, bronze, 27
x 67 x 30; Liz Wolf, Dreams in Flight, bronze, 38 x 37 x 27;
Ethelinda, Luna Rosa, oil, 52 x 72; B.C. Nowlin, Pride, oil,
30 x 40;
Preview: 8/16, 5-7:30
Opening: 8/17, 5-7:30
8/18 & 8/19: 8 - 6
Artist demos
throughout the
weekend
@ 123 West Palace Avenue
123 West Palace Avenue: 505.986.0440
Buying or
Selling
Indian Art?
Know the
Law!
Under the Indian Arts and Crafts Act, Native American art and
craftwork must be marketed truthfully regarding the Native American
heritage and Tribal affliation of the producer.
Take Home a Treasure from Indian Country-Buy works
produced by members of federally recognized Tribes.
For a free brochure on the Act,
including how to fle a complaint, please contact:
U.S. Department of the Interior
Indian Arts and Crafts Board
Toll Free: 1-888-ART-FAKE or 1-888-278-3253
Email: iacb@ios.doi.gov • Web: www.iacb.doi.gov
For additional information, please visit the Indian Arts and
Crafts Board’s booth at the 2012 Santa Fe Indian Market.

TC Cannon, Caddo/Kiowa, The Collector, 1971
On the Plaza, Santa Fe
Packard’s Artist Reception
Thursday, August 16, 5 to 9 PM
Indian Market Hours
Friday, August 17, 10:30 AM to 6 PM
Saturday, August 18, 7:30 AM to 6 PM
Sunday, August 19, 9 AM to 6 PM
www.shoppackards.com
505.983.9241 or 800.648.7358
Navajo Weaving circa 1940’s
Palhik Mana Hopi Katsina
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In association with
Steve Getzwiller
WHERE
THE FOREST
MEETS
THE SEA
Sealaska Heritage Institute
PERFORMANCES & ART:
SEALASKA PAVILION
Cathedral Park, across from IAIA Museum
Don’t miss performances by
the renowned Git Hoan Dancers,
performing on the Sealaska stage!
We Are the tlIngIt, hAIdA & tsIMshIAn from
southeast Alaska. Our people were legendary traders
who traveled great distances to share their stories and
trade with other cultures. In this way, our artists could
share their unique work and in return fnd inspiration.
today, our artists still refect our proud heritage in all
they create. this weekend, we honor our ancestors’
traditions by traveling from our homeland in Alaska to
new Mexico to share our story and art with you.
Please stop by to share in our journey.
c h i a r o s c u r o
439 Camino del Monte Sol, Santa Fe, New Mexico 505.982.3367
www.GebertArtAZ.com
August 10 - September 15, 2012
439 Camino Del Monte Sol
Fritz Scholder
1937 - 2005
Paintings, Drawings, Prints, Sculpture
c h i a r o s c u r o
702
1/2
& 708 Canyon Road, at Gypsy Alley Santa Fe, New Mexico 505.992.0711
www.CHIAROSCUROSANTAFE.com
August 10 - September 8, 2012
Opening Reception, Friday August 17, 5-7 pm
Emmi Whitehorse
Rose B. Simpson
IM 2012 v2 7/5/12 12:19 PM Page 1
Packard’s Artist Reception
Thursday, August 16, 5 to 9 PM
Indian Market Hours
Friday, August 17, 10:30 AM to 6 PM
Saturday, August 18, 7:30 AM to 6 PM
Sunday, August 19, 9 AM to 6 PM
505.983.9241 or 800.648.7358
www.shoppackards.com On the Plaza, Santa Fe
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WHEN SANTA FE I S CLOSI NG, WE’ RE STI LL GOI NG.

1,200 slot machines, 18 gaming tables, poker room

Thrilling nightlife, bars, lounges

27-hole golf course

Seven restaurants, from ne dining to casual

Full service spa and salon

A world-class, museum quality collection of Native American artwork

Easy access to hiking, rafting and other outdoor adventures
BUFFALOTHUNDERRESORT.com

505.455.5555
2012 I NDI AN MARKET 17
2012 I NDI AN MARKET 19
20 2012 I NDI AN MARKET
Cover photo
Kitty LeaKen
Jody naranJofiring pots
Cover design
deborah ViLLa
owner
robinMartin
publisher
ginny sohn
editor
rob dean
Editorial
Creative direCtor deborah ViLLa
986-3027, dViLLa@sfnewMexican.coM
Magazine editor pat west-barKer
Magazine designers Linda Johnson,
whitney stewart
Copy editors sandy neLson,
peg goLdstein, ashLey biggers
advertising
advertising direCtor taMara hand
986-3007
art departMent
Manager scott fowLer
daLe deforest, eLspeth hiLbert
advertising layout ricK artiaga
advertising sales
Kaycee cantor, 995-3844
MiKe fLores, 995-3840
Margaret henKeLs, 995-3820
beLinda hoschar, 995-3844
cristina iVerson, 995-3830
stephanie green, 995-3820
art truJiLLo, 995-3820
nationals aCCount Manager
rob newLin, 505-995-3841
nationaLs@sfnewMexican.coM
systeMs
teChnology direCtor MichaeL
caMpbeLL
produCtion
operations direCtor aL waLdron
assistant produCtiondireCtor tiMcraMer
prepress Manager dangoMez
press Manager Larry Quintana
paCkaging Manager brianschuLtz
distribution
CirCulationManager MichaeL reichard
distributionCoordinator casey brewer
web
digital developMent geoff graMMer
www.santafenewMexican.coM
address
offiCe: 202 e. Marcy st.
hours: 8 a.M.-5 p.M. Monday-friday
advertising inforMation: 505-986-3082
delivery: 505-986-3010, 800-873-3372
for copies of this Magazine, caLL 428-7645
or eMaiL caseyb@sfnewMexican.coM.
22 2012 i ndi an MarKet
SWaia
24Welcome to the 91st Indian Market
26Where to park
28 ‘The great community family reunion’
30SWAIAofficial schedule of events
32 Art and awe at the SWAIAauction gala
33 Thirteen Native jewelers give back —again
34Newspace to teach, celebrate young artists
YEar oF tHE PUEBlo PottEr
40Potter powwow: Sustaining a traditional art
42 Honors, blessings followpotter Jody Naranjo
MarKEt artiSt ProFilES
48 Midcareer mavericks explore newmediums
52 Newfinds on old roads: Nocona Burgess
54Painter Ryan Lee Smith redefines Native art
56Tradition links generations of artists
58 Five easy pieces, five talented artists
WiNNiNG iSN’t EVErYtHiNG, BUt …
63 Raising the bar: Best of Show2011
64Career-boosting wins: Best of Classification 2011
IndIan
photos fromtop: kItty leaken, kItty leaken, jane phIllIps
2012 I ndI an market 23
71 2011 Innovation Award winner breaks the code
72 2012 SWAIAFellowship winners
CULTURE
100Market moments: It’s not just about the art
102 Beyond buckskin and fringe: 2011 Clothing Contest
104Art and music fuel Adrian Wall’s dual passions
106Generation X: Filminspires a newgeneration
110Native wordsmiths ink the indigenous experience
112 Fresh off the press: Reviews of four newbooks
11491 years and counting: Ahistory of Indian Market
116Native American cuisine links past and present
AROUND TOWN
118 Bagshaw’s matriarchal line ‘breaks all the rules’
120Newmuseumhonors Native women artists
122 Much to do at local museums, galleries, pueblos
WHO’S HERE IN 2012
1302012 Indian Market artist directory by medium
140Howto find everyone: Booth locator map
142 2012 Indian Market artist list by name
2012 ARTISTS
DIRECTORy
& BOOTH
LOCATOR mAp
2012 ARTISTS
DIRECTORy
& BOOTH
LOCATOR mAp
market
photos fromtop: courtesy, kitty leaken, jane phillips
24 2012 i ndi an market
Welcome to the 2012 Santa Fe Indian Market Week.
There is much in store for you this week in Santa Fe. Tour galleries, dine with
friends, visit museums and enjoy spectacular summer weather —all a crescendo
for the reason you are here: Saturday and Sunday’s 91st Santa Fe Indian Market.
Indian Market comprises 14 square city blocks; 1,025 artists representing 160
tribes, nations and pueblos; the most discerning collectors and art appreciators;
and the paramount and most innovative Native art.
Santa Fe Indian Market is the grand family reunion. Whether we’re artist or collector, Native or non-
Native, connoisseur or beginner, it’s all here for us each August. Certainly there are other venues
where you can purchase and learn about Native art —but nowhere else is the congregation so strong
and focused. Perhaps it is the creative energy of so many artists gathered together or the singularity
of purpose of 100,000 people intent about and interested in art forms ancient and new.
Indian Market is our wellspring; we return each year because it is the place to see friends and
family, the place where we purchased our first piece of Native-made art or met a Native artist for
the first time. Indian Market exhibitors bring newwork and save their best ideas and materials for
August as well. The diversity of art forms and styles invites you to learn and look and to spend a few
dollars or more for the true first American art.
We celebrate individual achievement but, significantly, Indian Market reflects Native culture by
emphasizing the health and well being of all. Afewyears ago I asked some booth sitters —people
who were camping overnight at an artist’s booth to purchase fromher in the morning —why they
didn’t just buy froma gallery or call the artist on the phone. It wouldn’t be the same, they said.
Indian Market is about the opportunity to buy directly fromthe artist and they wouldn’t have it any
other way!
It might appear that Indian Market “just happens.” Market is in full bloomeach August; during
the other days of the year our staff and board as well as the artists plant and nurture the seeds you
harvest during market week. Staff members work all year encouraging and assisting artists with
applications, jurying artists, evaluating the previous year’s returning artists to ensure top-quality
artwork, and raising the money to build the next Indian Market. The Southwestern Association for
Indian Arts, the nonprofit organization that produces Indian Market, does not intervene in sales
and takes no percentage of sales. Artists do pay booth fees, but this amounts to a little less than one-
third of the cost of creating Indian Market.
The Official SWAIAIndian Market Guide in your hand is a wonderful example of the partnerships
that help create Indian Market. For many years, The Santa Fe NewMexican has been a trusted
partner, frompublishing winners’ names and booth locations to telling an insider’s story of artists
and their work. The National Museumof the American Indian is our programming partner for the
filmfestival that begins August 13, as well as the State of the Arts Symposiumon Friday, August
17. Santa Fe University of Art and Design is another vigorous partner for the filmfestival, as well
as a sponsor of Classification X, Indian Market’s Moving Images awards category. La Fonda on the
Plaza hosts our annual Gala Auction and Dinner, and Collected Works Bookstore is our host venue
for panel discussions, book signings and other educational offerings. Sealaska returns to Santa Fe
presenting cultures and arts fromsoutheastern Alaska. Other vital support this year comes from
Indian Market’s official hotel, Hotel Santa Fe; Santa Fe Signs and Images; SantaFe.com; Heritage
Hotels; Native Peoples magazine; Native Jackets; and Conoco Phillips.
We are grateful to our title sponsor Buffalo Thunder Resort and Casino. The vision of Pojoaque
Pueblo Gov. George Rivera is everywhere evident in the beautiful resort and the art collections
that fill every available space. Aspecial thanks, too, to Carolyn and Bill Pollock of Carolyn Pollock
Sterling Jewelry for their encouragement and support.
To our wonderful volunteer corps we express our heartfelt appreciation. To the hundreds of
artists who are the centerpiece of Indian Market, we extend our gratitude and admiration for all
that they do. Last —but certainly not least —SWAIAthanks the many wonderful members and
friends who make Indian Market possible: Without your support and attendance there would be no
Indian Market.
On behalf of the board and staff of SWAIA, we thank you for attending and being part of the 2012
Indian Market.
Bruce Bernstein, Ph.D.
Executive Director
Stockton Colt, Chairman
Stephen Wall (White Earth Chippewa), Vice Chairman
Dr. Jenny Auger Maw, Secretary
Elizabeth Pettus, Treasurer
Bidtah N. Becker (Diné)
Nocona J. Burgess (Comanche)
Jed Foutz
Roger Fragua (Jemez Pueblo)
Stephanie Pho-Poe Kiger (Santa Clara Pueblo)
Jenny Kimball
Charles King
L. Stephine Poston (Sandia Pueblo)
Pat Pruitt (Laguna Pueblo)
Tailinh Agoyo (Narragansett/Blackfeet), Director of PR &Marketing
James Arquero (Cochití Pueblo), Zone Manager
Bruce Bernstein, Ph.D., Executive Director
Henry Brown Wolf (Kewa/Cheyenne River Sioux), Zone Manager
Candy Carlson, Volunteer Coordinator
Hana Crawford, Programming Manager &SWAIAReporter
Allen Duran (Tesuque Pueblo), Indian Market Manager’s Assistant
Mary Erpelding, CPA, Finance
Mary Grayson (Cherokee), Zone Manager
Denise Keron, Development &Membership Director
Sharon Lopez, Office Manager
Jhane Myers-NoiseCat (Comanche/Blackfeet), FilmProject Manager
Paula Rivera (Taos Pueblo), Artist Services/Indian Market Manager
Neebinnaukzhik Southall (Anishinabe), Summer PR Intern
Whitney Stewart, Graphic Design
John Torres-Nez, Ph.D. (Diné), Deputy Director
Ellen Watkins, Summer PR Intern
Marina Ybarra, Development &Membership Assistant
SWAIA BOARD
SWAIA StAff
2012 I NDI AN MARKET 25
26 2012 i ndi an market
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H
2012 I NDI AN MARKET 27
28 2012 i ndi an market
‘The greaT communiTy f
photos by Kitty LeaKen courtesy
2012 I ndI an market 29
y family reunion’
Indian Market
welcomes old and newart
forms, artists, visitors
It can be hard to remember that Indian Market
has more to offer visitors than the best annual Native art sale in
the United States —perhaps the world —when more than 1,000
artists fill more than 600 booths in the 14 city blocks surrounding
the Santa Fe Plaza with a wide, wild and colorful array of jewelry,
pottery, paintings, photography, bead and quillwork, basketry,
textiles, carvings and sculpture, among other diverse art forms.
Although the heart of market —nowin its 91st year —always
has been (and always will be) the opportunity to buy authentic,
handcrafted work directly fromcarefully vetted Native artists
representing more than 150 tribes, nations and pueblos, those two
days are nowpreceded by a weeklong schedule of activities that
have nothing to do with art sales.
“We’ve taken the idea of Indian Market weekend and expanded
it to Indian Market week,” said Bruce Bernstein, executive director
of the Southwestern Association for Indian Arts (SWAIA), the
organization that produces Indian Market and its associated
programs and projects. “We want people to come, immerse
themselves, and learn more about Native culture so that when it
comes to purchasing or collecting, they have more information.”
The weeklong festival schedule also allows SWAIAto embrace
more diverse art forms and to reach out to a wider range of visitors
than in the past. “The last five years have been about trying to
match Indian Market more to who Native people are today,”
Bernstein said. “So the idea of expanding art categories —and
getting rid of some of the multitude of [Indian Market] rules about
art making —has to do with reflecting that there is more available
to people than ever before.”
One of the more visible additions to Indian Market is the
expansion of the Native Cinema Showcase —a collaborative
effort of SWAIAand the Smithsonian Institution’s National
Museumof the American Indian —into a weeklong filmand
video festival (fromAugust 13-19 this year). SWAIA’s inclusion
of moving images as Classification Xthree years ago made film
an official market art category, with awards in five subcategories,
and it acknowledges that filmis “an expanding universe filled
with potential,” Bernstein said. It also brings an event that long
had been on the outskirts of market “into the middle of market,
alongside the baskets and jewelry.”
StephenWall (White EarthChippewa) —anartist, chairman
of Indigenous Liberal Studies at the Institute of AmericanIndian
Arts andvice chairmanof the SWAIAboardof directors —noted
that there was some resistance to including filmas anart category
whenthe boardfirst startedtalking about it. But film, he said, is an
important, if different, outlet for younger Native artists. “Andmaybe
it isn’t all that different,” Wall said. “We’re usedto seeing paintings,
andsomebody starts telling the story of their painting, andthat
painting is like a snapshot of that story, one theme out of that whole
story. I canmake a sculpture andtell howthat sculpture came about,
the whole back story onthat, but that’s still a freeze frame capturing
a part of that story, whereas the filmitself is the whole story.”
Film, Wall predicted, “is going to become more and more
important in tribal communities. You can take pretty decent video
on iPhones, you can take decent video on iPads, you can download
editing devices and put together a pretty decent film—and then
what do you do with it? Having Classification Xprovides a venue
to begin to sort through and identify those young emerging artists
who have a vision and a story to tell.”
The larger emphasis onfilmis just one of the ways IndianMarket
nowincorporates more events that bring out what Bernsteincalls
the narrative aspects of Native art. People may not realize it, he said,
but “artwork is about narrative. Anartist is telling yousomething
about his or her life. Filmis aneasy way to see that, [but] pottery is
along the continuumas well. What we want to do is get people more
intune withthat narrative, hear more fromartists about what their
narratives may or may not meanto them.”
Events that tell the stories behind the art —in addition to the
conversations that artists have always had with people who come
to their booths —include readings and book signings, music and
dance performances. Sealaska, a big hit in 2011, returns to the
market stage with Native dancers and cultural performers from
southeast Alaska. Newthis year is the Buffalo Thunder Stage on
the Plaza, featuring traditional Pueblo songs and dances.
Diversity, longevity and relationships are other words that
Bernstein said can help visitors understand the true mission and
meaning of Indian Market.
“The beauty of market,” Bernsteinsaid, “is its diversity. Inthe
middle of market you’ve got people who are absolutely community-
boundinterms of where they do their artwork, keeping those
culture-specific art forms very muchalive. Andthenonthe other
endof the spectrum, maybe inthe boothright next to that person,
is somebody who has gone off to art school andis doing something
that appears at first blushto have nothing to do withtheir own
community.” Diversity is what fuels market’s growth—not inthe
number of artists includedinthe showbut inthe number of new
types of art includedunder the IndianMarket umbrella.
Indian Market also has longevity, Bernstein said, “that is unlike
anything else, except Native cultures themselves.” Some families
have been involved with market for six or seven generations now,
and many of the same Native communities that participated in the
first market in 1922 are still involved. Individual artists showfor
five, 10, even 30 years. “So what you see in longevity,” Bernstein
said, “is an artist’s work over a long period of time. Unlike a
publication or exhibition or gallery show, where you have a very
thin slice of time, you really get a sense of an artist and his or her
understanding of the world.”
Longevity also means that even as market stretches to include
newart forms, newtribes and newprograms to appeal to more
diverse audiences and artists, it continues to honor its own
history. SWAIA’s focus on Pueblo pottery and the establishment
of a Potters Educational Fund this year are part of that honoring,
Bernstein said. “Pottery is what Indian Market was created
around. We don’t want to get way out in front of ourselves in terms
of just going with the low-hanging fruit. We have to take a lesson
fromwhat has kept Native communities strong in NewMexico.”
Perhaps most importantly, though, Indian Market is about
relationships. “Relationships include the artist to his or her work,
the artist to his or her community and family and the relationship
of artists and their collectors and appreciators,” Bernstein said.
“Market is indeed the wellspring, the origin place for Native art;
it’s the first place where many people perhaps bought their first
piece of Native art, and even if they’re not buying anymore, they
come to renewthose relationships.
“This the annual gathering, [the time to renew] those
relationships where you maybe see someone once a year. It’s the
grand community family reunion.”
HigHligHts
August 13
7 p.m. Native Cinema Showcase opening
night presented by Sundance Institute.
Free. New Mexico History Museum,
113 Lincoln Ave. (505-476-5200)
August 16-18
7:30 p.m. Thursday
5:30 p.m. Friday
1 p.m. Saturday
Native Cinema Showcase: Classification X
Winners
Awards for Narrative Short, Documentary
Short, Animation Short, Experimental Short
and — for the first time — Feature Film.
Each of the three screenings is followed by
a Q&A with the Classification X winners
moderated by Jhane Myers NoiseCat,
SWAIA film coordinator. Free. New Mexico
History Museum, 113 Lincoln Ave.
For information, call (505) 476-5200.
FridAy, August 17
11:30 a.m.- 2 p.m. Best of Show
Ceremony and Luncheon
Ticketed event. Santa Fe Community
Convention Center, 201 W. Marcy St.
For tickets, call (505) 983-5220.
3 p.m. Third Annual SWAIA: State of
Native Arts Symposium
Free. New Mexico History Museum
113 Lincoln Ave. (505-476-5200)
5:30-7:30 p.m. Sneak Preview
of Award-Winning Art
7:30-9:30 p.m. General Preview
of Award-Winning Art
Ticketed events.
Santa Fe Community Convention Center,
201 W. Marcy St. For ticket information,
call (505) 983-5220.
sAturdAy, August 18
7 a.m.-5 p.m. 91st Santa Fe Indian
Market
Free. Santa Fe Plaza.
Noon-1 p.m. Houser, Povi’ka, and
Fellowship Awards Presentation
Free. Santa Fe Plaza Stage
5-9:30 p.m. Santa Fe Indian Market Live
Auction Gala at La Fonda on the Plaza.
Ticketed event. For more information
or to order tickets, call (505) 983-5220.
sundAy, August 19
8 a.m.-5 p.m. Santa Fe Indian Market
continues.
9 a.m.-Noon Native American Clothing
Contest, Free. Santa Fe Plaza
By Patricia West-Barker
30 2012 i ndi an market
Monday-Sunday
auguSt 13-19
The 12thAnnual Native Cinema
Showcase
Free admission. SWAIAand the
Smithsonian Institution’s National
Museumof the American Indian present
a seven-day celebration of films and
videos by and about indigenous peoples in
connection with Santa Fe Indian Market.
All films will be shown at the NewMexico
History Museum; all films subject to
change. For complete schedule, see pages
107-108 or log onto www.swaia.org.
tueSday
auguSt 14
8:30–10 a.m. SWAIAandMIAC
Present Breakfast withthe Curators:
IndianMarket Highlights withBruce
Bernstein, Executive Director of
Santa Fe IndianMarket.
Museumof Indian Arts and Culture,
710 Camino Lejo, http://www.miaclab.
org/. Tickets —$35/ $30 for Foundation
members, museumadmission included —
available through the museumshop:
(505) 982-5057. For more information,
call (505) 476-1247 or (505) 476-1271.
4:30 p.m. SWAIAandCollectedWorks
Bookstore Present AConversation
withBruce Bernstein, Ph.D.,
Executive Director, SWAIA
Collected Works Bookstore, 202 Galisteo
St. (505-988-4226) Free admission.
Bruce Bernstein discusses the history
of the Santa Fe Indian Market in his
newbook, The Santa Fe Indian Market:
AHistory of Native Arts and the
Marketplace. Book signing to follow.
WedneSday
auguSt 15
4:30 p.m. SWAIAandCollectedWorks
Bookstore Present Contemporary
Native AmericanArtists
Collected Works Bookstore 202 Galisteo
St. (505-988-4226) Free admission.
Author Suzanne Deats and photographer
Kitty Leakendiscuss their recent release,
Contemporary Native AmericanArtists.
They will be joined by 14 artists featured in
the book for a signing and Q&A.
thurSday-Saturday
auguSt 16-18
Native Cinema Showcase:
ClassificationXWinners
NewMexico History Museum,
113 Lincoln Ave. (505-476-5200)
Free admission.
7:30 p.m. Thursday
5:30 p.m. Friday
1 p.m. Saturday
This special programfeatures the
SWAIAIndian Market moving image
“Classification X” winners. This category
is the 10th and one of the more recent
classifications to be added for judging.
Awards for Narrative Short, Documentary
Short, Animation Short, Experimental
Short and —for the first time —Feature
Filmrecognize an artist’s dedication
and skill in working with newmedia and
innovative art forms while retaining
a commitment to traditional creation
and technique. Three screenings will be
presented, each followed by a Q&Awith
the Classification Xwinners, moderated
by Jhane Myers NoiseCat (Comanche/
Blackfeet), SWAIAfilmcoordinator.
thurSday
auguSt 16
4:30 p.m. SWAIAandCollectedWorks
Bookstore Present Inner Vision: The
Sculpture of Michael Naranjo
Collected Works Bookstore, 202 Galisteo
St. (505-988-4226) Free admission. As
part of the SWAIANative Literary Arts
Reading Series, this special evening
features sculptor Michael Naranjo (Santa
Clara Pueblo) with his newbook, Inner
Vision: The Sculpture of Michael Naranjo.
Q&Awith the author will follow.
Friday
auguSt 17
11:30 a.m.- 2 p.m. Best of Show
Ceremony andLuncheon
Santa Fe Convention Center,
201 W. Marcy St. Ticketed event.
This exclusive event is central to the
identity of the Santa Fe Indian Market, as
it notes the acknowledgments of Native
artists who often work for years to create
the stunning artwork entered for judging
and a chance to be named Best of Show.
For tickets, call (505) 983-5220.
3 p.m. ThirdAnnual SWAIA: State of
Native Arts Symposium
NewMexico History Museum. 113 Lincoln
Ave. (505-476-5200) Free admission.
Apanel discussionabout quality inNative
Americanart and IndianMarket. What
is it? Howdo we knowwhenwe see it?
Museumdirectors fromthe Autry National
Center of the AmericanWest, Eiteljorg
Museumof AmericanIndians and Western
Art, Heard Museumand the National
Museumof the AmericanIndianengage in
a roundtable discussionabout the current
and future directionof Native arts.
Previewof Award-Winning Art
5:30-7:30 p.m. SneakPreview
7:30-9:30 p.m. General Preview
Santa Fe Convention Center,
201 W. Marcy St. Ticketed event.
SWAIA’s Artist Awards Sneak Preview
SWAIAOffIcIAl Schedule Of eventS
courtesy
sealaska Pavilion
Kitty LeaKen
Kitty LeaKen
Baby Persephone Maybee in Best of showoutfit with her parents, naomi and Dallin Maybee,
2011 sWaiaindian Market native american clothing contest
2012 I ndI an market 31
gives SWAIAmembers the early
opportunity to see the best of Indian
Market art after the Best of ShowAwards
ceremony. The General Previewthat
follows opens the doors to the public for
a glimpse at the award-winning artwork.
For tickets call (505) 983-5220.
Saturday
auguSt 18
7 a.m.-5 p.m. Santa Fe IndianMarket
Santa Fe Plaza. Free admission.
The 91st Annual Indian Market —the
world’s most prestigious Native American
arts show—opens with more than 1,100
artists, food and demonstration booths,
entertainment and more.
Noon-1 p.m. Houser, Povi’ka, and
FellowshipAwards Presentation
Santa Fe Plaza Stage, Downtown Santa Fe.
Free admission.
The Houser Award is the highest honor
that SWAIAbestows upon a Native
artist. The annual award recognizes
the contributions by a distinguished
Native American artist to Native arts and
culture. This year the award celebrates
the enduring contributions of Pueblo
potters to the Native arts world and Santa
Fe Indian Market. The Povi’ka Award
will recognize the service, leadership and
support that SWAIAvolunteers provide to
the annual Santa Fe Indian Market. The
2012 SWAIADiscovery, Residency and
Youth Fellowship recipients will also be
honored.
1-4 p.m. Buffalo Thunder Stage at
Santa Fe Plaza Stage. Free admission.
Anewaddition to the 2012 Santa Fe
Indian Market, the Indian Market Stage
is a two-day showcase of Pueblo dances,
music and performance. Audiences will
experience rich Pueblo traditions and
cultures and further expand the deep
connections of Pueblo artists and Santa Fe
Indian Market. Alaska’s Git-Hoan Native
Dance Group also performs.
5-9:30 p.m. Santa Fe IndianMarket
Live AuctionGala at La Fonda onthe
Plaza. Ticketed event.
The Gala Dinner and Auction is the most
glamorous event during Indian Market
week. Guests enjoy a fabulous evening of
gourmet food and entertainment while
bidding on stunning Native art. The
auction features prized works fromNative
America’s most renowned artists and
attracts the most discerning patrons from
around the country. This is the largest
and most important fundraising event for
SWAIA. For more information or to order
tickets, call 505-983-5220.
Sunday
auguSt 19
8 a.m.-5 p.m. Santa Fe IndianMarket
continues.
Santa Fe Plaza. Free admission.
9 a.m.-Noon Native American
Clothing Contest
Santa Fe Plaza, Downtown Santa Fe.
Free admission.
Among the many cherished traditions at
the Santa Fe Indian Market, the Native
American Clothing Contest is one of the
most beloved and anticipated events.
For more than 20 years, the NACChas
been the most photographed event at
the Santa Fe Indian Market. The contest
includes categories for traditional and
contemporary Native American fashions,
features child and adult participants and
awards prizes in more than 20 categories.
1-4 p.m. Buffalothunder Stage at
SantaFe PlazaStage continues.
Sealaska Stage
Santa Fe Plaza, Downtown Santa Fe.
Free admission.
Sealaska Corporationand Sealaska
Heritage Institute feature southeast
Alaska Native artists and cultural
performances by David Boxley and the
Git-HoanNative Dance Group. Multiple
performances throughout the day.
SWAIAOffIcIAl Schedule Of eventS
Kitty LeaKen
ensure the success of santa fe IndIan market
for generatIons to come
Join the southwestern association for Indian arts
sIgn me uP! I want to support sWaIa’s year-round efforts to bring native arts to the world.
name
address
city/state/Zip
Phone(s)
email
my annual membership gift will be:
$50 $150 $275 $550 $1,500 $2,500 $5,000
Payment information:
check enclosed, payable to sWaIa
Please bill my credit card (circle one) VIsa mc ameX dIscoVer
signature (name as it appears on card)
return this form to:
sWaIa
P.o. Box 969
santa fe, nm 87504
sWaIa does not share membership/donor information with any other organization or
business.
membership gifts are tax deductible to the extent allowed by law.
for more information about the benefits of various levels of individual membership or
business partnerships, call denise keron, membership/development director,
at (505) 983-5220, ext. 223.
32 2012 i ndi an market
Indian Market visitors come
fromaround the world for
many reasons —to buy the best
Native art, meet Indian artists,
understand historic traditions, show
off their finery, people-watch, take photos,
hold annual reunions, or just soak up the color and
excitement of the internationally renowned event.
All this fun and activity comes together at Saturday’s SWAIA
Auction Gala and Dinner at the historic La Fonda on the Plaza.
Over the years, this festive evening has become a highlight of
the weekend for artists, collectors, and visitors both old and
new—a time for celebration, renewing old friendships, and
making newfriends.
Events to help SWAIAmeet Indian Market programexpenses
began in the 1950s with assorted raffles, dances, and auctions,
which evolved into sporadic galas in the 1980s and became
an annual event in 1999. But the concept really picked up
momentumin 2000, when artists began working together to
create large-scale collaborative artworks, making the live auction
a more significant piece of the organization’s annual fundraising.
The first collaborative donation, a concho belt organized by
1997 Best of Showartist Daniel “Sunshine” Reeves (Diné) in
2001, as “a way for artists to give back what Indian Market has
given themover the years,” was followed by such diverse works as
a fully functional hand-painted 1974 Triumph TR6 accessorized
by multiple artists; a sculpture symbolizing individual effort
and the community gathering together; detachable painted
panels for a Viking refrigerator; a ponderosa pine table and 10
chairs; a custom-built motorcycle; a silver box; a triptych with
interchangeable 5x5-inch squares; and a silver-and-gold, gem-
encrusted butterfly necklace.
The central collaborative piece to be auctioned off this year
is a Friendship Necklace conceived by Reeves to commemorate
the first collaborative donationby a group of artists in2001.
The piece, based ona traditional squash blossomnecklace,
is composed of 66 stamped silver beads made by Reeves; the
clasp, the centerpiece, and the 10 attached pieces replacing the
traditional squash blossomdesigns were created by 12 other
award-winning artists, who joined
inthe collaborative planning,
design, and assembly of the necklace.
Another outstanding collaborative
piece to be auctioned off on August 18 is
a pot designed by four prize-winning potters.
Russell Sanchez and 1989 Best of Showwinner Nancy
Youngblood built the pot, and the etched and incised designs are
by Jody Naranjo and Jennifer Moquino.
Victoria Adams, Veronica Benally, and Fritz Casuse are each
making a special piece of jewelry for the live auction, as well as
a design spinoff for a multifabricated piece to be sold online by
Carolyn Pollack Jewelry, a major Indian Market sponsor.
The HatSmith of Santa Fe donated nine felt hats, which have
been painted by Indian Market artists. Some of the hats will be in
the silent auction and some in the live auction.
Three-time Best of Showwinner Joyce Growing Thunder
Fogarty is donating a beadwork piece made in collaboration with
her daughter Juanita and her granddaughter Jessa Rae, who was
elected Miss Indian World 2012 this past spring. Last year’s Best
of ShowWinner, Passamaquoddy basket maker Jeremy Frey, is
donating a newbasket to the live auction.
The gala is an opportunity for artists, collectors, SWAIAstaff,
and visitors old and newto get together at an elegant party to
celebrate this year’s market —and for attendees to secure the
Santa Fe Indian Market tradition for another year with their bids.
For SWAIA’s executive director Bruce Bernstein, the evening
is not only a celebrationof this year’s market. “It is the crucial
fundraiser for the next year’s market, since booth fees represent
less than40 percent of what is needed,” he said.
SWAIAboardmember Jenny Auger Maw, who is the Gala
Committee chair for the thirdyear, saidthat “last year’s gala was
not as productive as prior years because artists hadgone through
several leanyears andguests were not as inclinedto spendas much
as inprior years.” However, inspite of the economic downturn,
last year’s attendees still bidgenerously andcontributed$210,000
towardthis year’s IndianMarket. Mawanticipates that this year’s
incredible artist donations will bring about a returnof enthusiastic
participationinboththe silent andlive auctions.
AstAr-spAngledevening
Art, Awe And more At the SwAIA AuctIon GAlA And dInner
detAils
The 2012 SWAIAAuction Gala and
Dinner takes place on Saturday,
Aug. 18, at La Fonda on the Plaza.
The evening begins at 5 p.m. with
cocktails and the silent auction in La
Terraza, the garden patio atop the
hotel. Afewlive auction pieces will
also be offered at this time. Dinner
and the live auction continue at
6:30 p.m. in the Lumpkins Ballroom.
Tickets —$150 for general seating
and $225 for preferred seating —
often sell out before the event. To
reserve a seat, call Denise Keron
at 505-983-5220, Ext. 223, or order
online at www.swaia.org.
By BarBara Berkenfield
dAvId vAldez/
cArolyn pollAck jewelry
ALSoInThE LIvE AucTIon
KAThLEEnWALL, jemez pueblo, Touched My
Heart —native clay
ShAWnBLuEJAcKET-RoccAMo,
Shawnee, necklace
D.Y. BEGAY, diné, The Sand Stormwool
weaving
DYAnI REYnoLDS-WhITE hAWK, Sicangu
lakota, Wicozani (Good health and happiness)
—oil on canvas
uPTonEThELBAh, jr., Santa clara pueblo/
white mountain Apache, Dawa Father Sun —
Steatite
JoDYnARAnJo, Santa clara pueblo, Thinking
Outside the Box —pottery
MELISSAcoDY (diné), oRLAnDoDuGI
(diné), KEnnEThWILLIAMS (Arapaho/
Seneca), Universal Grace collaborative hat —
wool, glass and 24-carat gold-plated beads,
pearls, coral
STETSonhonYuMPTEWA, hopi,
Chakwaina katsina —cottonwood root, acrylic
paint
DoMInIQuE ToYA, jemez pueblo, Swirl Pot
—pottery
noconABuRGESS, comanche, Lean Bear —
Acrylic on canvas
RoBERT “SPoonER” MARcuS, ohkay
owingeh pueblo, Blue Spirit Figure —hand-
blown, sculpted, and sand-carved glass
vIcToRIAADAMS, Southern cheyenne,
customized purse
RoBERT TEnoRIo, kewa (Santo domingo
pueblo), Kewa Dough Bowl —pottery
JoYcE, JuAnITAAnDJESSARAE
GRoWInGThunDER, Sioux/Assiniboine,
Figure with Buffalo Purse —Buckskin, glass beads,
silk ribbon, human hair
cARoL EMARThLE-DouGLAS, Seminole/
northern Arapaho, plains Style coiled Basket
DAvIDK. John, diné, Rain Returns —Acrylic
on canvas with sand texture (value $12,000)
AuTuMnBoRTS-MEDLocK, Santa clara
pueblo, Parrot Effigy —pottery (value $5,400)
list as of press time; all items subject to change.
For more details or to place an absentee
bid between August 1 and August 15, visit
santafeindianmarket.com.
2012 I ndI an market 33
By Hana Crawford
Metalsmith Kenneth Johnson tells the
story: “It was 1997. Sunshine Reeves got
Best of Show for his stamped silver tea
set, and he wanted to do something for
SWAIA.” That was the genesis of the first
collaborative project organized by Indian
Market artists — a concho belt auctioned
off at the SWAIA Gala in 2001.
Daniel “Sunshine” Reeves — whose
name refers to the sun-tinted hair he
had as a child — recalled asking a group
of SWAIA artists to come together for a
good cause in 2001. “In those days, SWAIA
was facing hard times,” he said. “For a lot
of artists, Indian Market really starts your
career. I wanted to make sure SWAIA could
keep on giving people those opportunities.”
The innovative work raised a
groundbreaking $42,000 — surprising
artists, staff and board members alike
— and started a tradition of unique
collaborations that continue to bring
national attention to market artists and
SWAIA’s annual fundraising event.
This year Johnson was one of 13
acclaimed jewelers — including five of
the original concho belt collaborators —
who worked together to create another
unique piece.
In June, eight of the jewelers gathered
at Pat Pruitt’s design studio in Paguate,
New Mexico — one of the six villages of
Laguna Pueblo, 116 miles southwest of
Santa Fe — to assemble their donation,
a squash blossom-inspired Friendship
Necklace to be sold at the 2012 Indian
Market Live Auction Gala on Saturday
evening, August 18.
Eight men, joined by a few invited
SWAIA staff, passed 60 sterling
silver beads, 10 pendants, a naja (the
centerpiece, or base of the necklace)
and a clasp around Pruitt’s kitchen table,
admiring Grade 5 titanium next to sterling
silver and Fox, Blue Gem, Tiffany and
Sleeping Beauty turquoise. The pendants
had been stamped, cast, oxidized and
inlaid. One, by Myron Panteah, was
reversible. Allen Aragon had used
cloisonné technique for his pendant, the
only enameled piece in the necklace.
“Its always a fun time, getting to see
how other artists have specialized in
what it is they do,” Pruitt observed. “I
get to learn certain tips and tricks that
are often overlooked … not to mention
the friendship that is built by doing this
work together.” His pendant incorporates
Fox turquoise, Grade 5 titanium, and
the shapes of cast tufa belt buckles and
kehtos, or bow guards.
Eyes wide, Johnson picked up The Four
Seasons of Mother Earth by Ken Romero,
a pendant inlaid with 140 tiny stones of
Sleeping Beauty turquoise, and held it
inches from his nose, counting.
Vernon Haskie, who contributed the
naja, noted that it was “definitely a one-of-
a-kind piece and … very extraordinary.” He
was also pleased that two female jewelers,
although not present for the assembly,
participated in the collaboration.
“Liz Wallace was the first one out of the
gate,” Johnson said.
Positioning himself at a drill, surrounded
by his friends and collaborators, Reeves
— who fashioned the 60 sterling silver
beads that connect all 10 pendants and the
naja — enlarged the holes in the beads,
completing his effort to bring the work of
13 artist friends together. With a breaking
load of 480 pounds, the cable will easily
support the weight of the beads and
pendants.
“It looks like you guys put your heart in
it,” he said, “and it is just awesome to see it
all together. Thank you.”
Thanks To The 13
The 13 select jewelers who created the
Friendship Necklace — Sunshine Reeves
(Diné), Kenneth Johnson (Muscogee/
Seminole), Vernon Haskie (Diné), Arland
Ben (Diné), Myron Panteah (Diné/
Zuni Pueblo), Ken Romero (Laguna/
Taos Pueblo), Allen Aragon (Diné), Liz
Wallace (Diné), Dawn Wallace (Aleut),
Chris Pruitt (Laguna Pueblo), Pat Pruitt
(Laguna Pueblo), Tony Abeyta (Diné),
and Cody Sanderson (Diné) — represent
the best of Native art and metalwork
today. Individually, they are recipients of
highly selective Smithsonian Institution
and SWAIA fellowships, and Best of Show
and Best of Classification awards from
the Santa Fe Indian Market. Their work is
displayed in private collections and world-
renowned museums.
See photos and a video of the one-of-
a-kind Friendship Necklace on SWAIA’s
auction page (www.santafeindianmarket.
com).
Bid on the necklace during Indian
Market Week at the 2012 SWAIA Live
Auction Gala on Saturday, August 18.
Absentee bids will be accepted from
August 1 through 5 p.m. on August 15.
For more information, visit
www.santafeindianmarket.com.
From left, Ken Romero, Pat Pruitt, Kenneth Johnson, Cody Sanderson
PHOTOS TAILINH AGOyO
From left to right, Myron Panteah, Daniel “Sunshine” Reeves, Allen Aragon, Pat Pruitt, Chris Pruitt,
Ken Romero, Kenneth Johnson, Cody Sanderson
ThirTeen naTive jewelers give back To swaia —again
34 2012 i ndi an market
By Dennis J. Carroll
Children have always been a big part of Indian Market, often traveling many miles with
their parents and helping themset up the booths and doing what they can to help sell
artwork made by Momand Dad. And sometimes they’re even showing their own work
alongside that of their parents, grandparents or other relatives. But until this year there
were never booths devoted solely to children’s artworks and educational activities.
“We realize that the future of Native art is with the younger generation —both
in running [Indian Market] and participating in it,” said Wahlesah Dick (United
Keetoowah Band), coordinator of the market’s children’s activities for SWAIA. To that
end, special children’s booths along Washington Avenue during the 2012 market will
feature artwork by the children themselves and live demonstrations by Native artists,
including high-fashion artist and beadwork craftsman Orlando Dugi and painter Ryan
Singer, both Diné (Navajo).
Children ages 6 to 18 will also be encouraged to create artwork in hands-on
workshops offered by artists in the Washington Avenue booths during the market,
Dick said. There is no charge for the activities, but young people who would like
to participate (or their parents) are urged to call her at (918) 457-9234 for further
information about the program.
Dick can also answer questions about an ongoing artist-mentoring programthat
began in May. The artwork of those young students is on display in the Washington
Avenue booths during Indian Market and at the downtown branch of the Santa Fe
Public Library, she said.
“Helping children and being a role model is pretty important to developing their
artistic talents,” said Dugi, who has been mentoring and teaching nine students from
mixed cultures in grades three to 10 as part of the mentoring program. “It’s a great way
to pass on knowledge that I have learned. It is only right to teach someone else howto do
it,” said Dugi, who is known for his intricate bead embroidery and design of high-fashion
evening-wear accessories such as purses. “Giving themdirection is important.”
Other artists participating in the mentoring programand the workshops and
hands-on activities include Linda Lomahaftewa, a Hopi and Choctawprintmaker,
painter and educator; Native filmmaker Chris Eyre (Cheyenne/Arapaho); and
internationally acclaimed printmaker Jaune Quick-to-See Smith (Salish/Kootenai).
In addition, Roy Boney, a Cherokee comic artist, computer animator and language
preservationist, will conduct a free workshop August 17 for the public, educators
and tribal leaders on using art and technology to save Native languages. For more
information on the workshop and the time and place, call Dick at (918) 457-9234.
Boney also conducts two free animation workshops on August 18 for children ages
13 to 18 at Carlos Gilbert Elementary School, 300 Griffin St., fromnoon to 2:15 p.m. and
again from2:30 to 4:45 p.m. Call Dick at the number above to register.
Besides SWAIA, other in-kind sponsors of the children’s events and activities include
the Cherokee Nation, the Georgia O’Keeffe Museum, Santa Fe Public Schools and the
Santa Fe Fine Arts for Children and Teens (FACT) program.
More information on the children’s event and activities is available on SWAIA’s Web
site, swaia.org.
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On June 2, Wanda Aragon sat under a large white
party tent at the Allan Houser Studio and Sculpture
Gardens in Galisteo. The day was hot and windy, the air tangy
with smoke froma fire in the Gila National Forest. Aragon
spoke about selling pottery with her family when she was
a child in the 1950s. “We used to sit on the roadside of
Highway 66, which is nowI-40. We’d set up in wooden
shacks and hold up pottery to the cars driving by, and we
even had white flags to alert themthat something was
happening here.” She paused. “Times have changed.”
Aragon is fromAcoma Pueblo and has been a potter for most of
her life. She was at the Allan Houser compound for a gathering of
approximately 80 potters organized by the Southwestern Association for
Indian Arts in response to the shifting landscape of Pueblo pottery, which has
declined in popularity and in practitioners in recent years.
At Indian Market last year, painters surpassed potters for the first time in market
history. (Jewelry has long been the market’s most popular category, followed closely by
painting and pottery.) The Institute for American Indian Arts offers one lab course in
traditional pottery, but according to Ann Filemyr, academic dean, the school’s focus has
always been on contemporary art forms.
Traditional pottery techniques have long been passed down through Pueblo families,
but there’s a dearth of young, aspiring potters as the existing potter population ages.
Increasingly, the pottery market (outside of Santa Fe Indian Market) is flooded with
souvenirs and knockoffs. Many pots are made using greenware or acrylic paints, while
others are mass-produced —the antithesis of a traditionally crafted handmade piece.
For a piece of pottery to be considered traditional, it must meet several criteria. The clay
must be gathered and processed by hand. The pot must be hand-built and fired outdoors
before ornamentation is added, which can include paints, slips
and carvings. Then the pot is fired a final time. The process is
necessarily slowand careful.
Last year, SWAIAdecided to bring the potters together this June to address the
challenges they face in 2012. The convocation was arranged for two reasons:
to honor the potters with a ceremony, dinner and medals designed by Jody
Naranjo of Santa Clara Pueblo, and to open and encourage dialogue
among potters. Before dinner, the potters met and took turns sharing
their stories and offering suggestions about howto keep pottery vital
and relevant in the years to come.
“The only time of the year potters get together is Indian Market,
and they don’t usually have a chance to speak to each other,”
said Bruce Bernstein, executive director of SWAIA, before the
gathering. “With the help of several donors, we’ve put together the
Potter’s Education Fund. It’s intended to help single out potters that
are working in traditional methods and to differentiate themfromthe
other work that’s going on. … The discussion will also be about getting new
markets and newcollectors for potters. We want to growthe market and we want
to interest people in pottery, so the educational portion is to help people understand what
a unique art formthis is. SWAIAwill be there to listen and learn and to understand how
we might be able to help.
“Market was built around Pueblo potters,” Bernstein explained. He spoke of Santa Clara
artists Maria and Julian Martinez’s development of black-on-black pottery in the 1920s,
just as Indian Market (then called Indian Fair) was beginning. “Without that newstyle,
Indian Market would not have been successful.”
He predicted that much of the potters’ discussion would focus on traditional methods
and techniques. “Each of those sound rather straightforward, but each is laden with
cultural values,” Bernstein said. “I don’t think it’s the position of SWAIAto say that people
should make one thing over another. But we want to honor those people who want to go
the longer route. … Collecting your own clay, for instance, is an activity that’s fraught with
cultural, family and community values, and you don’t get that in a store.”
Potter powwow
Pueblo artists discuss ways to sustain traditional art form
Attendees listen to Bruce Bernstein, executive director of SWAIA, speak during the reception
honoring Pueblo potters at the Allan Houser Studio and Sculpture Gardens in June.
Artist Jody Naranjo, left, hands a medallion to Rebecca Lucario, one of the Pueblo potters being
honored with the Lifetime Achievement Allan Houser Legacy Award. Naranjo designed the medallion.
By Adele MelAnder-dAyton | photos By Kerry scherK
2012 I ndI an market 41
Building a Bridge to youth
During the conversations at the Houser compound, nearly every potter described his or
her particular methods and the lengthy process of making pottery, which begins with
gathering clay. Family tradition is often the basis for a potter’s methods.
“When I was small, I watched both of my grandmothers and my mother and all of her
sisters make pottery,” Aragon explained. “I do everything the way my momtaught me,
fromgathering the clay and cleaning it. It’s a lot of steps just to get the clay. Then, we’d go
out and pick the pottery shards, soak them, clean them, pound themto a fine powder and
mix it together with the clay because it gives it a temper, makes it stick together. This is
the way my ancestors made pottery. [During] every step you sing and pray for the spirits
to guide you.”
Aragon’s 12-year-old grandson, Isaiah, likes to make figurines of horses with little boys
on their backs. “I’mOKwith Isaiah making contemporary shapes,” Aragon said. “I hope as
he grows he’ll steer toward traditional shapes, but either way, it’s OK. It has to be what the
artist likes.”
Max Early, fromLaguna Pueblo, is a self-described member of the younger generation of
Pueblo potters. Early is 48 (but looks at least a decade younger) and has three children ages
24, 20 and 18. His son David, 20, a student at IAIA, attended the conference with his father.
In Early’s family, pottery skipped a generation: His grandmother made pots, but his mother
didn’t. “There was something in me; I had to be a potter,” Early told his fellowartists.
“There isn’t much desire in the youth,” Early said of recruiting newpotters to learn
the traditional methods. “I organized a class [at Laguna] but the students didn’t arrive. …
[Pottery] does take patience, and the younger generation is used to getting things more
quickly.” Early expressed gratitude to his own mentor, Gladys Paquin, who’s also from
Laguna. “She taught me to do outdoor firing,” he said. “I want to be like Paquin was for me
for the next generation. … Some potters I’ve never met before e-mailed me. I said, ‘Why are
you e-mailing me? Come over and have a cup of coffee; we’ll go fromthere.’”
Early advocated skill sharing and building connections within and across pueblos as
a means of passing down traditional pottery techniques. After the public conversations,
Early remembered howhe learned to mix clay froman experienced potter in Cochití. “He
taught me that the right combination of clay, sand and water is essential,” Early explained.
“You knowit’s just right when you can roll the coils out to the diameter of a pencil and it
doesn’t crack or break.”
Potters differed on certain topics, like firing methods and howto share information and
skills. For pottery to be considered traditional, many artists, collectors and dealers argue
that it must be fired outside, using fuels like dried horse manure and pine needles. During
the potters’ conversation, Esther Cajero, of Jemez Pueblo, pointed out that outdoor firing
doesn’t always work. She makes storytellers, and fine details, like fingers, often crack or
break during outdoor firing. In Cajero’s case, using a kiln makes more sense when firing
fragile, intricate pieces with delicate features. Cajero also stressed that transparency and
honesty about firing methods is crucial; if a piece isn’t traditionally fired, it’s up to the artist
to say so or for SWAIAto evaluate the piece if it’s entered into market.
Clarence Cruz of Ohkay Owingeh suggested that SWAIAcould help organize a weeklong
workshop for aspiring potters. Most potters in attendance expressed a willingness to pass
on their skills. Early speculated after the talks that potters may have started guarding their
techniques and clay sources during Pueblo pottery’s peak in the mid-20th century, when
competition among potters was intense.
At 21, Jamelyn Ebelacker was one of the youngest potters at the gathering. Ebelacker
is a student at IAIA, a granddaughter of Virginia Ebelacker and a great-granddaughter of
Margaret Tafoya, both seminal potters of the 20th century. Ebelacker grewup in Alaska
and only recently returned full time to NewMexico.
Ebelacker studies graphic design and filmat IAIA. “IAIAtends to favor more modern
stuff; contemporary pieces often win in shows,” she said. Many of her classmates don’t
knowhowto make traditional pottery or are uninterested in it. “If my father hadn’t been
interested in [traditional] pottery, I wouldn’t have learned [howto do it] any other way,”
said Ebelacker. “I wouldn’t have known where to go to gather clay and ash or what to do
with it.” She shrugged. “Sometimes people want to see something new. To survive as a
potter, I have to evolve in what I’mdoing.
“We need the tools and motivation to bring these traditions to young people,”
Ebelacker said when she addressed the group. “At IAIA, we’re given the choice between
studio art and newmedia. I’ll never forget pottery or where I come from, but we need a
programwhere we could blend pottery and newmedia.” Ebelacker’s suggestions were
broad, but she advocated that SWAIAmight help to “bridge the gap between where kids
are nowand our traditions.”
Making a life as a full-time potter isn’t an easy path. “The decline [of interest] is on both
sides of the equation —the collectors’ side and the potters’ side,” Bernstein noted. “They’re
symbiotic at this point. And the potters are under extraordinary financial pressure. They
can’t fall back on farming as people once did; they’re potters full time. They don’t often
have other occupations, so if those collectors go away, or the marketplace goes away, there
aren’t a whole lot of reasons to make pottery.”
Financial constraints are certainly valid and should be considered when contemplating
a career as an artist in any field. But for many of the older potters, pottery is simply a way
of life. After the June gathering, Dolores Lewis of Acoma had this to say: “Our method is
time-consuming and takes patience. You have to like it. …I still make pots, even though the
economy’s slow. I don’t want to give it up, because pottery is what keeps me going.”
Wanda Aragon fromAcoma Pueblo is one of the
potters honored with The Lifetime Achievement
Allan Houser Legacy Award.
Jamelyn Ebelacker of Santa Clara Pueblo is
one of the potters honored with The Lifetime
Achievement Allan Houser Legacy Award.
Max Early fromLaguna Pueblo is one of the potters honored with The Lifetime Achievement Allan
Houser Legacy Award.
“We used to sit on the roadside of Highway 66, which is now I-40. We’d set up in wooden shacks and hold up pottery to the cars driving by,
and we even had white flags to alert them that something was happening here.” She paused. “Times have changed.”
—Wanda aragon
42 2012 i ndi an market
For Jody NaraNJo, family is
everything —her natural family of
illustrious Santa Clara Pueblo potters and
her adopted family of extraordinary fellow
artists. To become a member of Naranjo’s
extended family is both a privilege and a
responsibility.
“I come froma line of very strong, determined women,
starting with my grandmother rose Naranjo, who was
a potter,” Jody Naranjo said. “There are 30 potters in
my family, yet there is no competition. our different
personalities come out in our work. We’re all so different,
we can’t be competitive.”
other Naranjo family members who have become
award-winning potters include her mother, dolly
Naranjo; aunts Jody Folwell and Edna romero; and
cousins Susan Folwell, Polly rose Folwell, dusty Naranjo
and Forrest Naranjo. She is a niece of sculptors Michael
Naranjo and Nora Naranjo-Morse and a cousin of
sculptor roxanne Swentzell.
Education is a priority in the Naranjo family. Besides
her mother, who has been a teacher, principal and
educational consultant, other relatives have made
significant contributions in various fields. They include
her aunts dr. rina Swentzell (american Studies, focusing
on the philosophical and cultural basis of the Pueblo world and its educational, artistic
and architectural expressions) and dr. Tessie Naranjo (Sociology, co-director of the
Northern Pueblos Institute at Northern NewMexico College in Española) and her uncle
Professor Tito Naranjo (Education and Social Work, nowprofessor emeritus at New
Mexico Highlands University).
“My mother wanted me to go into education, as she had, but when she realized I was
going to be a potter, she gave me her polishing stone and an X-acto knife [for carving],
both of which I still use,” she noted.
Naranjo began creating and selling her pottery as a 5-year-old at Indian Market in
august (sharing her mother’s booth) and under the portal of the Palace of the Governors
in Santa Fe throughout the year. She said she was surprised when her pottery won
awards the first year she entered the adult Indian Market competition at age 18. Naranjo
has considered herself a full-time potter since she was 15. In the past 28 years, she has
become a premier contemporary pottery artist.
yet the slim, attractive artist doesn’t take herself too
seriously. “I like to have fun, bothinmy life andwithmy
work,” she said. “Infact, I’mstarting to slowdowna bit.
Insteadof working 12hours a day, sevendays a week, I’ll
cut back to maybe six to eight hours five days a week. I’ve
paidmy dues andworkedhard. Inthe past, I pushedso
hardthat I’mafraidI misseda lot, especially withmy kids.”
Naranjo has three daughters —all named for stones
—Jade, 22; Coral, 16; and Jett, 9. They are all potters
in their own right, and all have sold pottery at Indian
Market, sharing their mother’s booth as she did when
she was a child.
“I truly believe that my art has made me a better person
and therefore a better parent,” Naranjo said. “I work my
problems out through my art; it’s my therapy. If I’moK,
everybody’s oK. My collectors realize that my pottery
reveals my life. I put everything into it.
“For instance, the pot I donated to [the Southwestern
association for Indian arts] last year for the Gala
auction, Finding Yourself, epitomized my philosophy.
This year I had a wonderful time creating a piece
called Thinking Outside the Box, which included three
ceramic animals —a chicken-like bird, fish and deer —
surrounding a boxlike pot. [The piece] means trying new
things, pushing the limits. you take your own road and
even play a little.
“Thinking Outside the Box encourages me and
everyone who looks at it to consider what lies beyond the day-to-day grind of living,”
Naranjo noted. The pot/box itself is traditional in that she dug the clay used to create
it. The animals are made of commercial clay and painted with acrylics to match the
figures on the pot. The pot was fired in the traditional way, while the more fragile
animals were kiln-fired.
How does sHe do it?
Emphasizing the fact that Pueblo pottery is a family affair, Naranjo gave this rundown of
the process of creating stunning pottery, starting with the annual family dig in april at
Santa Clara Pueblo:
“We collect clay fromthree different areas of the pueblo, spending an afternoon in
each area collecting that specific kind of clay. The collection for a year’s worth of clay
takes a total of three days and, once complete, the clay is stored for six months to a year
story By kay Lockridge | pHotos By kitty Leaken
2012 I ndI an market 43
she
walks
in
beauty
honors, blessIngs
follow
Jody naranJo
44 2012 i ndi an market
until it becomes moldy. This process
makes the clay more elastic and easier
to work with. When the clay is ready, I
use the traditional coil method to shape
the pot, adding ash as a hardener to the
clay base. [The ash works just as pottery
shards would.]
“Sometimes I have specific shapes for
pots in mind, having sketched themlong
before the actual shaping. Some ideas
come fromdreams. Other times, I’ll make
shapes for general purposes, and they [the
pots] will tell me howto proceed.
“The pot must dry, and when that’s
completed I sand it with coarse, medium,
fine and extra-fine sandpaper. With the
sanding completed, I polish the pot and
later add the slip. After that dries, I paint
the pot and polish it again. Firing prepares
the pot for carving. Carving, in fact, takes
80 percent of my time.”
The prepared pots, complete except
for carving, are placed in the firing box at
the pueblo. The fire is already lit under
the box. Naranjo and her mother, Dolly,
cover the box and place stacks of wood
around it to ensure complete firing. Once
that’s done and the fire is put out, Jody,
her mother, and her brother Eli —who’s
also a potter —open the box and allowthe
pots to cool. The reckoning happens now,
in that a pot may crack during cooling.
Naranjo and her brother inspect the
pots and determine that this firing is a
complete success. No pots were broken,
and Naranjo will proceed with the carving
at her home studio.
At work At home
Naranjo’s Albuquerque home, where she
both lives and works, is a reflection of her
artistic experience, with artwork covering
the walls, side tables and floors. She has
paintings by fellowartists and friends
Ryan Lee Smith (Cherokee) and Ryan
Singer (Diné/Navajo) and sculptures
by her cousin Roxanne Swentzell.
Besides pieces of her own pottery, there
are exquisite pieces by her mother; by
another cousin, Dusty Naranjo; and by
longtime friends Autumn Borts-Medlock
(Santa Clara Pueblo), Glendora Fragua
(Jemez Pueblo) and Kathleen Wall
(Jemez Pueblo).
“We don’t buy each other’s artwork,”
Naranjo noted. “We trade pieces of our
own for work by other artists whomwe
admire both as people and artists.” She
added that she has acquired jewelry from
Cody Sanderson (Diné), a fellow“night
person” with whomshe often talks by
phone in the middle of the night, and
clothing fromPenny Singer (Diné), a
longtime friend and a favorite designer.
Getting down to the business at hand
(and, yes, it is a business, as Naranjo
readily acknowledges, that puts food on
the table and pays the mortgage), she
proceeds to her small workroom. It’s here
that she creates award-winning pots
frompiles of clay, using a hand-propelled
lazy Susan to build the pots fromhand-
prepared coils. All her work, except
carving, takes place in this room.
“I can keep the mess behind closed
doors,” she chuckled. Once the pot is
ready for carving —after shaping, drying,
sanding, polishing, adding the slip, drying
again, painting, more polishing and finally
firing —she moves down the hall into her
den. This roomhas a comfortable sofa and
chairs, plus a big-screen television that is
always on while she carves. Reality shows
are among her favorites.
on the roAd
Naranjo works year-round. She appears at
shows fromMarch through December and
does five or six commissions a year. Her
website, www.jodynaranjo.com, lists nine
shows, starting with the Heard Museum’s
Indian Fair and Market in Phoenix in
March. Each May —on Memorial Day
weekend —she does the Native Treasures
Indian Arts Festival in Santa Fe.
Then, less than a month later, she’s off
to Indianapolis for the Eiteljorg Museum
of American Indians and Western Art and
its Indian Market &Festival, followed in
August by Indian Market and, running
concurrently, a showat Blue Rain Gallery
—these last two in Santa Fe. September
brings the annual showat Lovetts Gallery
in Tulsa. November takes her to the
Southwest Museumof the American
Indian, part of the Autry National Center,
in Los Angeles.
Two shows round out the year in
December at the SmithsonianInstitution’s
Museumof the American Indian in
NewYork City and Native American
Collections Gallery in Denver.
“These shows are time for myself,
to get together with other artists and
collectors,” Naranjo said. “The work is
done, for the moment, and we just have
a good time. Plus, I love the locations of
most of the shows.
“I do need to slowdown, however. I can’t
produce as I used to, and I want to have a
life outside of art. So I probably will cut
down on the number of pieces and maybe
concentrate on fewer, larger pieces. I used
to be like a machine, a robot. My pots
were created almost as on an assembly
line: All were shaped within a week, all
were sanded the next week, polished the
following week and so on. NowI work on
each pot individually.
“Still, I never let anybody down. I’m
consistent, and I’ve established good,
2012 I ndI an market 45
satisfying relationships with the various
gallery owners and folks who run the
shows. They were there for me when I was
starting out. I want to be there for them.”
Indian Market leads the pack for her
because “it’s such a big show... and it’s so
much fun to get together with everyone
throughout the Indian art world. I usually
sell out by 10 a.m. the first day, so I can
spend the rest of the market visiting and
partying with people.”
She said she also supports Native
Treasures because “it benefits the
Museumof Indian Arts &Culture, which
in turn supports us.” Surprisingly, she
said the “most fun show” is the Eiteljorg
in what Hoosiers call Naptown. Naranjo
declined to discuss exactly what makes
this showfun, but a local blues bar,
the Slippery Noodle, and great shoe-
shopping opportunities with friends were
mentioned.
Fun on the home Front
Naranjo also enjoys a variety of fun,
even whimsical, things at home. For
instance, she has a number of animals,
including a dog (a Yorkie named Carter),
two ducks (Daisy and Donald), a rabbit
(called Bunny), a wild squirrel (Nadine),
that visits regularly, and a hawk that
is nameless but “loves to come scare
my animals,” which have free rein in
her enclosed backyard, with its small
protected pen and back porch.
Naranjo —pictured here on her red
sidecar in 1995 —expresses her thrill-
seeking side through two motorcycles
—1950 and 1964 Harley-Davidsons. “I’ve
loved motorcycles since I was a teenager
and have owned at least one since then,”
she said.
Naranjo said there’s a newman in her
life. Actually, he’s an old boyfriend from
Española Valley High School, with whom
she reconnected last year when both
were single. Chris Appleby is a contractor
in Santa Fe and has a daughter close to
Coral’s age.
“[Chris] likes me for who I am, and I
like himthe way he is,” Naranjo said.
“We accept each other as we are.
That’s the way it has to be for me —
for both of us.”
on the horizon
Aparticularly exciting opportunity
occurred this spring. SWAIA
executive director Bruce Bernstein
asked Naranjo to collaborate with
noted jewelry designer Carolyn Pollack
on a special pendant to be presented to
all Indian Market potters this year in
recognition of their contributions to the
market and the American art world.
Pollack created a sterling silver pendant
featuring Naranjo’s pottery designs on
both sides. The initial distribution to
approximately 80 potters took place June
2 at SWAIA’s Lifetime Achievement Allan
Houser Legacy Award ceremony.
The award and pendant were
outgrowths of the organization’s
creation of the Potters Education Fund,
which led to the Potters Educational
Fund Fellowship program. Both
were established to generate ongoing
conversations within the community of
potters, as well as among collectors and
the general public, focusing on quality,
authenticity and endangered materials.
“The values rooted in pottery making
are fromdeep inside communities, from
the same center where religious ideas —
the very understandings of who people
are and howthey came to
be —are located,” Bernstein said. “This
award acknowledges, with appreciation,
these values.”
When asked whether she would like
to create more jewelry, thus adding yet
another dimension to her art, Naranjo
enthusiastically responded that she hoped
to continue collaboration with Pollack and
her company, Relios of Albuquerque.
“[It’s] pretty cool ... to make pottery
designs into wearable art, and I’d like to
do more of it in collaboration,” she said.
“I was honored and blessed to have this
opportunity.
“I’ve taken a long look at myself over
the years and asked myself, ‘Who amI?
What amI?’
“I ama potter. It’s what I do. It’s not who
I am, although I do put a lot of myself into
creating a pot and its design. What I amis
a mother, daughter, sister, friend, artist. I
knowwho I am. I like who I am.”
2012 I ndI an market 45
Española Valley High School, with whom
were single. Chris Appleby is a contractor
46 2012 I NDI AN MARKET
2012 I NDI AN MARKET 47
\uscuno| lncian Arts cCu|turc
Museum Hill off Old Santa Fe Trail | (505) 476-1250 | indianartsandculture.org |
They Wove For Horses
Diné Saddle Blankets
Through September 2, 2013
Thc grcat ¡ricc anc ski|| thc linc takc in
acorning thcir horscs is rc·ca|cc in this
cis¡|ay o| wca·ings |oth c·crycay anc |anci|u|
Buchsbaum Gallery of
Southwestern Pottery
Ongoing
\orks |ron thc ¡uc||os o| Ncw \cxico anc
Arizona arc ¡rcscntcc hcrc, rc¡rcscnting thc
c·o|ution o| connunity tracitions
Woven Identities
Through April 1, 2014
lxquisitc |askcts wo·cn |y artists rc¡rcscnt
ing 6o cu|tura| grou¡s in six cu|tura| arcas
o| wcstcrn North Ancrica thc :outhwcst,
Crcat lasin, l|atcau, Ca|i|ornia, thc North
wcst Coast, anc thc Arctic
Top: Margarete Bagshaw, Ancestral Procession, 2010. Bottom, left to right: Diné tapestry- and diagonal twill-weave single saddle blanket, Spider Woman Cross style, 1880–9, photo by Blair Clark. Western Apache jar, c. 1900, photo by Addison Doty. Tesuque polychrome jar, 1890, photo by Blair Clark.
Margarete Bagshaw:
Breaking the Rules
Through December 30, 2012
laintings, |ronzcs anc ¡o|ychronc ccranic
·cssc|s ccnonstratc thc nu|ticincnsiona|ity
o| thc artist’s cazz|ing work
48 2012 i ndi an market
By Staci Golar
When you make a living as an artist, where the
marketplace often rewards consistency and balks at
major shifts in style, what does it mean to explore new
mediums, especially if it’s done in midcareer?
For Virgil Ortiz, Kathy Whitman-Elk Woman and
Shonto Begay, three Indian Market exhibitors who
collectively have more than 70 years of experience as
professional artists, taking risks and changing trajectories
is just another day at the office.
‘Conduit for the creator’
Ortiz, an utterly hip but just as humble 40-something
who comes fromone of Cochití Pueblo’s pottery families,
first drewattention in the art world for helping to revive
the pueblo’s monos figures. The monos came about in the
1800s and represented the Cochití potters’ reaction to
the influx of non-Native visitors to the pueblo. Made from
clay, they mimicked the very people who loved to buy
them, mocking everyone fromtraveling circus performers
to tourists.
While Ortiz used the monos like his ancestors did —as
a mirror of the people and trends around him—he went
a step further to make the tradition his own, offering
figures that were infused with a provocative, goth and
often androgynous sensibility. Collectors and critics
quickly took note.
Even though this success in the art world was
rewarding, Ortiz —who admits he bores easily —added
sewing machines and scissors to his repertoire, adapting
his ideas to fashion. His bold garments quickly became
the hot ticket for Native art collectors and NewYork
fashion designers alike. Afateful meeting in 2002
solidified his designer status when NewYork fashion
mogul Donna Karan noticed his work at the Santa Fe
Indian Market. She asked himto collaborate, and soon
DKNYdresses and skirts with highly stylized designs
including spinach, water, clouds and more were seen on
the runway.
Each time Ortiz appears to master a medium(like
pottery or fashion), he leaps headfirst into a newone (like
jewelry or interior design). He’s even created short films
that tie into the rest of his work. “The more I think outside
of the box,” he said, “the more mediums I pick up.”
Sometimes, the experimentationis out of necessity. “I’ve
done photography inthe past andput it away but started
back upwhenI neededa photographer for immediate
fashionshots once my clothing line startedto expand,”
he said. “NowI do everything fromselecting models to
designing clothing to graphic designand, bang, there are
next season’s designs andimages.”
The thread that unifies everything Ortiz touches is his
interest in the 1680 Pueblo Revolt. “All of the mediums
Newmediums
provide
artists
aveNues
for CritiCal
messages
Virgil Ortiz
Venutian Soldiers
2012 I ndI an market 49
I work with are coming full circle nowand help me to
tell the story of the revolt through my eyes,” Ortiz said.
“Working in mediums other than clay helps reach and
educate a wider audience. They all inspire and feed one
another. Whichever mediumis in my thought, I give it
everything I’ve got.”
Recent projects include participating in the Fondation
Cartier’s Paris, France, showHistories de Voir —Show
and Tell; finishing his 2012 “Colorblind” line of T-shirts
(launching in the fall); designing 20 patterns for a leading,
worldwide carpet manufacturer; and prepping for his
Venutian Soldiers pottery show, opening Thursday,
August 16, at Zane Bennett Gallery in Santa Fe.
While Ortiz’s work might nowbe more ambitious,
his goals are the same as when he started. “I realized
I was put here to tell the story of the Pueblo Revolt, to
educate the world about this revolution and to keep the
art of Cochití pottery alive,” he said. “By using all of the
mediums I dabble in as inspiration, I can continue to tell
a very important part of Pueblo history. I don’t change my
artistic integrity for anyone. I really feel I amnot an artist
but a conduit for the creator.”
Recycling: An ancient tradition
Ask Kathy Whitman-Elk Woman what accounts for her
long-termsuccess as an artist and she’ll tell you it is being
brave enough to followher heart and spirit at the risk of
all possible ridicule. One of the fewfemale stone sculptors
in the Native American art world, this passionate,
energetic artist who first attended Indian Market 25 years
ago has taken a gutsy step in deciding to make almost all
of her newwork fromrecycled materials.
After discovering what’s behind Whitman-Elk
Woman’s motivation, however, her move to make more
recycled work, or “eco-conscious art,” makes perfect
sense. While Whitman-Elk Woman became interested in
recycled materials as a mediumabout eight years ago, the
idea is actually not that revolutionary in her tribe —the
Mandan-Hidatsa-Arikara Nation.
“We used every part of the buffalo when we depended
upon it for sustenance,” Whitman-Elk Woman remarked.
“There was no waste. This idea is ancient throughout the
world and, for me, has a bigger purpose. I felt the need to
be more proactive in taking care of the environment. …I
wanted to be the difference. I started saving aluminum
cans and plastic bottles because they are [among] the
major pollutants to our Mother Earth. Initially, I didn’t
knowhowor what I was going to create.”
But with the love of nature as her guide, Whitman-Elk
Woman first birthed a colorful, somewhat whimsical line
of jewelry created fromthe aluminumcans so many of
us drink fromeach day. “At first, it seemed people were
taken aback and couldn’t understand the idea and the
purpose,” she said. “Some people would laugh at the idea
M
i
d
c
A
R
e
e
R
M
a
v
e
r
i
c
k
s
kathy WhitMan-elk WoMan
50 2012 i ndi an market
and think it was crazy.”
While she still creates the line of jewelry, it didn’t make the impact she expected, so
she began crafting larger, realistic sculptures as well. “The sculptures are proof that
this work can be done,” Whitman-Elk Woman said. “And in the past couple of years, the
public reaction seems to have collectively changed.”
Her honors and commissions provide proof.
In 2011 Whitman-Elk Woman won a first-place ribbon at the Santa Fe Indian Market
for a horse sculpture made completely out of soda cans. Shortly thereafter, at the Autry
Museum’s American Indian Arts Marketplace, she took Best of Sculpture for a 6-foot
sculpture of a Native woman, also crafted fromdiscarded cans. Earlier this year, she
served as the artist in residence for the Yocha DeHe School on the Rumsey Rancheria,
where she and the students created an eco-friendly horse to complement the off-grid,
self-sustaining buildings. “What makes me so excited about all of this,” she said, “is that
it shows the public is broadening their thinking and understands that art is limitless
and that creating fromrecycled materials is not only acceptable but also promotes
sustainability.”
Whitman-Elk Woman has never been one to let the critical art world define her,
though.
“There was a time in my life when I tried to satisfy that world,” she observed, “but
life happens and change is inevitable —thank goodness! I feel as an artist it is my
responsibility to create art that inspires and raises the consciousness, so that we will
be more thoughtful in howwe live with the sacred Mother Earth and with one another.
This was my intention through my art when I started, and that is still my intention. That
will never change; only the way I create my art may change, and the ways are endless.”
Art as a change agent
Diné artist Shonto Begay’s paintings and illustrations have been collected around the
world. They are a reflection of his truth, a vignette of the people and landscapes of
his world. FromNavajo friends traveling in the back of a pickup to the trash among
the brush near Chinle, his subject matter sometimes pushes the comfort level of his
audience without losing their interest completely.
Thoughtful by nature, Begay said he has found long-termsuccess as a painter because
it’s either that or “going mad.” On a more tangible level, he acknowledges that hard work,
visiting every art museumin every city he’s ever been in and being respectful of Navajo
teachings have been crucial to his career path. “I’malso excited about sharing my ideas
and believe as an artist you should be an ambassador for your own vision,” Begay said.
That vision, as well as his desire to keep experimenting, led himthis year to apply
for (and receive) a Southwestern Association of Indian Arts Residency Fellowship for
creative writing. While the fellowship might strike the public as a creative departure for
him, Begay has been writing for decades.
An experience in Berkeley in the 1970s lit the spark. “I was having powerful,
disturbing dreams,” he said. “Since I didn’t have access to a medicine man, who I
normally would have summoned to help with this, I thought I would try to help myself. I
started writing my dreams down using a creative style because I didn’t want themto be
interpreted in a totally narrative or dry, linear way. When I would reread them, I’d say,
‘Wow! Did I do this?’ and it was sort of an ‘aha’ moment, as up until that time I hadn't
thought of myself as a writer.”
Those in Flagstaff, Arizona, have no doubts about Begay’s literary talents; he writes
a regular column called “Letters fromHome” for Flagstaff Live. In it he comments
on everything fromenvironmental concerns to the desecration of American Indian
ceremonies by non-Natives. “My column is a place where, similar to my painting, I can
write about everything the way I see it, through my set of eyes,” he said.
For Begay, part of what compels himto keep painting is also what keeps himwriting
—the dialogue with the audience. He acknowledges his work highlights a certain
amount of heavy subject matter, balancing the harsh realities of the reservation with
the richness of its people and land, but he believes that “a collective healing occurs
when someone sees my work and can find beauty in the middle of whatever pain or
mystery I might be communicating.
“I tendto paint the way I write my words —externalizing painandeducating the public
about our issues, but always instilling inmy work nothing but the truth, the truthof what I
grewupwithandwhat I see now. I believe that painting andwriting are very closely related
andthat artists who canchannel bothof these enthusiastically can’t lose.”
What’s most important, Begay noted, is sharing the perception of his world fromhis
heart. “In my work I get to say, ‘Hey, we are here as Native people and here is what we see
and breathe to educate others. Whether painting or writing, I believe my work acts as a
change agent. Art, no matter the medium, can save lives.’ ”
shonto begay
tom AlexAnder photogrAphy
Shonto Begay
Tree of Knowledge
Acrylic on canvas 36” x 48”
Courtesy mark Sublette, medicine man gallery
2012 I NDI AN MARKET 51
VENUTI AN
S O L D I E R S
A SPECIAL EXHIBITION
during Indian Market week
featuring the clay sculptures
and photography of
Virgil Ortiz
ARTIST RECEPTION:
Thursday, August 16, 5–7 pm
Limited edition signed posters will be given to the
frst 30 guests. Artist will be present
435 South Guadalupe Street, Santa Fe
Tel: 505 982-8111 www.zanebennettgallery.com
Monday–Saturday 10–5, Sunday Noon–4
Railyard Arts District Walk last Friday of every month
C O N T E M P O R A R Y A R T
ZANEBENNETT
David Johns
ABSTRACTED LANDSCAPES
A SPECIAL EXHIBITION during Indian Market week
featuring the paintings of David Johns
ARTIST RECEPTION: Thursday, August 16, 5–7 pm
435 South Guadalupe Street, Santa Fe
Tel: 505 982-8111 www.zanebennettgallery.com
Monday–Saturday 10–5, Sunday Noon–4
Railyard Arts District Walk last Friday of every month
C O N T E M P O R A R Y A R T
ZANEBENNETT
…rediscover your inner artist in our intimate escape from
the ordinary – nestled in a high-mountain desert landscape,
minutes from the magic of Santa Fe, New Mexico.
877.262.4666 198 State Road 592, Santa Fe fourseasons.com/santafe
Under grand skies and infnite stars…
52 2012 i ndi an market
a
nocona burgess
By Kay LocKridge
An artist finds inspiration in many places and forms. When
Comanche painter Nocona Burgess looked with fresh eyes along
a road he had traveled many times, the result was a newseries of
paintings he calls Quahada Lands.
“Quahada is a Comanche word meaning antelope,” Burgess
explained. “Our band of Comanches and the land we inhabited
were called Quahada, which was part of the Comancheria where
the antelope were. It includes eastern NewMexico, west Texas and
western Oklahoma, the latter being my birthplace.
“Since moving to Cochití Lake in1989, I've driventhat route —
Santa Fe to Lawton, Oklahoma, headquarters of the Comanche
Nation—what feels like a milliontimes. Infact, it’s a natural trail for
Comanches; our homelandbegins inthe sacredWichita Mountains
of southwesternOklahoma andcontinues west to Tucumcari and
Santa Fe.”
He began noticing that once-thriving towns along the route —
such as Memphis, Shamrock and Claude, Texas; Hollis and Duke,
Oklahoma; and Cuervo, NewMexico —were “trickling away,” as
Newfinds on old roads
mixed
media
collage
were the homes and farms that surrounded them.
Recently, he began stopping at some of those deserted
homes; those that were accessible he would enter,
discovering objects such as doorknobs, candles and
other ephemera the former residents had left behind.
When sponsors of the annual Native Treasures show
asked artists to create “treasure boxes” for a special
sale to raise funds for the Museumof Indian Arts
&Culture this year, Burgess constructed two boxes
depicting the story of his great-great-grandfather
Quanah Parker. Son of a white mother and Comanche
father, Parker lived in two worlds as an emissary to the
white government and chief of his tribe.
The two boxes look and open like books, each with
a latch. The portrait on the cover of one box depicts
Parker in American clothes of the time, with a suit,
high-collared shirt, tie and bowler atop his head;
the portrait on the other box shows Parker in his
Comanche chief attire, with feathered headdress and
chief’s robe.
Inside each box are small items —old photos, show
fliers, pins, figures, feathers, candles and maps —that
Burgess found in those deserted properties along the
road and on Indian land. The items in the two boxes
represent to himthe real worlds of the Indian and
white man before the turn of the last century.
“These boxes kind of kicked it in for me,” Burgess
said. “I’ve wanted to record what was happening to the
land for a long time, but I didn’t knowhowto approach
it. NowI’mdoing a series of paintings with such
‘found’ objects attached to them.
“The paintings appear on boxes, like the treasure
boxes, with the objects inside or on panel board with
[the objects] attached like mixed-media collages,” the
artist added. “I’musing old wood also found in these
buildings. These newpieces will be stories of old
houses: …who lived there, what happened to them.
All my work tells a story; that’s important to me.”
Burgess will have a number of his traditional
paintings of strong Comanche men and women,
warriors and chiefs at Indian Market, as well as four
to six pieces fromthe newQuahada Lands series.
The artist will give a lecture on Comanche history at
8:30 p.m. Thursday, August 16, at Legends Santa Fe
(125 Lincoln Ave.), where an exhibit of his work,
Numo Soko —Comanche Land, Comanche Stories,
opens August 17 and continues through September 17.
Find Nocona Burgess at Indian Market
booth No. 729 LIN-W. Johnny Depp with Nocona Burgess’ son Quahada and a treasure box
2012 I NDI AN MARKET 53
54 2012 i ndi an market
a
By Diana Del Mauro
Given his ambling ways and the twang of his Oklahoma
accent, Ryan Lee Smith could easily pass as just another
hillbilly fromthe backwoods —which was indeed an
authentic part of his upbringing. So when he began art
school at the University of NewOrleans, he kept his
Cherokee heritage a secret.
“I wanted to go in undercover and see what I could pull
off,” he said.
After Smith established himself at the master of fine
arts program, however, he revealed his identity and
accepted the much-needed minority scholarship money.
Then he kept on doing his thing.
Truth is, Smith didn’t have a strong Native identity
then. He didn’t growup with his Cherokee father. He was
raised on the neighboring Creek Nation by his mother and
grandmother, an artistic woman who taught the young
boy howto draw. He had a variety of friends and didn’t
dwell on culture much. Catfishing, cars, art and football
were his passions.
In college, spontaneity and the simple joy of creating
art drove himto paint. He resisted any pressure to explain
his work; he liked being an artist “out of control.”
He maintained that foot-loose and fancy-free approach
until he entered a competition held by the University of
NewMexico’s Tamarind Institute, which lamented that
“Indian artists have been largely ignored by the power
brokers of the art world.” The Institute selected Smith’s
work for a five-year traveling exhibition, Migrations: New
Directions in Native American Art, debuting in 2007.
Back then, drawing a connection between his art and
his Native heritage felt like a stretch. Since those days,
Smith has clarified his artist statement, allowing himto
progress froman outsider in Native art to a trendsetter
among fellowpainters who are pushing the boundaries at
Santa Fe Indian Market.
He credits his growth to a detour that led himback to
the Cherokee Nation, where he lives today with his wife
and two sons, who attend tribal schools conducted solely
in the Cherokee language.
In 2005, as he neared the completion of his master’s
in New Orleans, Hurricane Katrina turned the
graduate student into a self-employed contractor
specializing in renovations and remodels. Smith
has yet to complete that degree. After two years of
restoration work in New Orleans, his wife suggested
they settle in Tahlequah, Oklahoma, his birthplace and
the heart of the Cherokee Nation.
Smith felt like an outsider when he first stepped on the
reservation. Gradually, he gained the community’s trust
and, side-by-side with tribal members, he organized a
volunteer construction crewthat built a nutrition center
for the elderly. In the process, Smith connected with his
heritage. Recently, he became a cultural specialist at the
newCherokee Arts Center, a small-business incubator
for artists, where he paints, teaches classes and repairs
80-year-old floor looms.
“I have found the true respect for my people that
I —and my [art] work —have been missing,” he told
the Southwestern Association for Indian Arts in his
fellowship proposal.
When Smith won the SWAIAresidency fellowship
award in 2011, he had been living on the Cherokee Nation
for four years, spending little time on art. In Santa Fe,
as he seized the giant studio that would be his for more
than 20 days, a raven appeared and inspired a painting he
carried to his first Santa Fe Indian Market.
Anartist unbound
Abstract painter Ryan Lee Smith is defining his identity and his work on his own terms
“When one’s identity is so
thoroughly prescribed and
overdetermined, it seems
plausible that one might carve
out a space in one’s art simply to
be. This, I suggest, is what Ryan
Lee Smith is doing. By his own
admission, subject matter is
unimportant. His art is neither
representational nor symbolic.
It carries none of the familiar
markers of Native American
art. It represents nothing more
—nor less —than itself.”
Jo Ortel, Migrations: NewDirections
in Native American Art, University of
NewMexico Press, 2006.
Angelfish
photojoel muzzy
2012 I ndI an market 55
indianMarket 101
Days before Santa Fe Indian Market began last summer,
Smith spotted fellowCherokee Wes Studi and rushed to
introduce himself and share news about the folks back
home with the actor.
Studi, who lives in Santa Fe and was on the way to the
bar with friends, didn’t seementhusiastic about Smith’s
approach, but the painter offered to buy hima drink and
tagged along with the group. Once the stories and beer
started flowing, laughter replaced awkwardness. Studi
caught sight of Smith’s newshoes —a pair of Donald
Pliner beaded Italian slippers purchased at Goler Fine
Imported Shoes on East Palace Avenue that very day.
Usually a black Crocs kind of guy, Smith had decided
to buy “something out of character” after seeing an
advertisement featuring his favorite Indian Market
artists sporting similar footwear.
Soon Smith’s newHollywood friends passed his shoe
around, as if it were Cinderella’s glass slipper. Cradling
the shoe against his ear, Native filmmaker Chris Eyre
pretended it was a telephone.
Smith was riding high after that night. But once Indian
Market began, even his Goler shoes couldn’t sustain his
confidence. He hadn’t won any ribbons. He called out
to market-goers across the sidewalk to lure themto his
booth. His paintings of jackrabbits, eagles and ravens
sold first. Selling only eight paintings, he wondered if
the market was the right place for his abstract works. He
figured he had to pay his dues as a little-known artist.
“It kind of woke me up as to what people are buying,”
Smith said.
He returnedto Santa Fe for SWAIA’s Winter Market,
where, as part of his fellowshiprequirement, he painted
live, inhis sloppy everyday clothes. He didn’t sell enough
work to break even, againchalking it upto paying his dues.
aribbonfor Angelfish
This March, at the Heard MuseumGuild Indian Fair
and Market in Phoenix, Arizona, at age 39, Smith tasted
success with his first notable prize for art. In a juried
competition, he won the 12th Conrad House Award —
presented by a unanimous 24-judge vote to the piece in
any mediumthat exemplifies innovation and the late
artist’s vision —for Angelfish. According to guild member
Janet Hoffman, Angelfish was the first painting to receive
the award.
Collectors lined up at his booth the next day. He sold
out of everything but two drawings.
Angelfish began as a four-foot demonstration painting
at a Tahlequah community art festival. It was almost cute:
a bear, standing in a fire, holding a salmon over his head.
“I decided that I had to turn this thing into a prizewinner.”
Smith said. Fifteen layers of paint later, including wide
swaths of black oil paint, all that remained was an
explosion of shapes and colors. Smith articulated nothing
absolutely; the imagery stayed on the level of suggestion.
There could be an angelfish there —but then again, there
could be a squirrel.
“I keep it just under the water,” he explained. “Just
enough to let the viewer take it further, take it on over
that line.”
Guild members Judith and Robert Rothschild bought
Angelfish for a fewthousand dollars. “It was the most
dramatic painting in the room,” said Judith, a retired
educator with a master’s degree in art.
Active patrons of the arts, the Rothschilds have
attended the Heard Fair for more than 15 years and Santa
Fe Indian Market many times. “This is the first thing
we’ve bought froma Native American artist that is totally
abstract,” Judith Rothschild said, referring to Smith’s
painting. “I think he’s a real talent coming up. And a very
nice guy, too.”
upsetting
preconceivednotions
Contemporary artists who sell their work at Indian
markets are still breaking through the stereotypes,
but Smith is optimistic. “There is a definite change
happening in Indian art,” he said. “They tell me right now
is the time to do something different. People are dying for
something different.”
Paintings of bears and other animals have been his
bread-and-butter pieces —work that the average person
can grasp. Although he’s painted abstracts since graduate
school, he rarely showed these paintings because they
might be harder for the audience to appreciate. That’s
why getting recognition at the Indian markets has been a
breakthrough —a “coming out” of sorts.
“I think it’s time for us to compete with the art world
itself, and not just this little niche of Native art, so I’mjust
pushing it and pushing it,” Smith said.
Since the Santa Fe market began in 1922, studio-style
painting —the kind Dorothy Dunn of the Santa Fe Indian
School promoted —has been a category. Contemporary
style became a newcategory of painting at Indian Market
in 1981, when Harry Fonseca and his suave coyotes “broke
it open,” SWAIAdeputy director John Torres-Nez said.
However, the marketplace has been slowto change.
Patrons still expect to see paintings of “buffalos and
tipis,” Torres-Nez said. The same people who buy art at
Indian Market might go to Canyon Road galleries to buy
a contemporary painting, but they don’t expect to do that
at Indian Market. “Alot of it has to do with educating the
public,” he said.
In that vein, the Santa Fe Indian Market website
challenges patrons to think outside the box: “Unlike
grade-school textbooks, museums or Hollywood movies,
Indian Market is centered on Native self-representation.
It is here that your perceptions and preconceived notions
about Native people and culture will be changed forever.”
Native artists whose work is abstract have shied away
fromthe market, said Torres-Nez, who also teaches at
the Institute of American Indian Arts, a 4-year degree
programfocused on contemporary art forms. These
artists have gone straight to the gallery scene and non-
Native art shows, he said, because they felt there was no
“home” for themat Native shows.
Only nowis that starting to change —“just barely,” he
noted.
In 2006, Sheldon Harvey shook things up when he
“literally just burst on the scene” at Santa Fe Indian
Market, Torres-Nez said. Two years later, the self-taught
contemporary painter and sculptor fromthe Navajo
Nation won Best of Showin both mediums. Galleries took
notice. Today, “people like Sheldon and Ryan and a couple
others are in Native shows, when you wouldn’t see them
there before,” Torres-Nez said.
Torres-Nez also pointed out a surprising newtrend:
Last year, for the first time at the Santa Fe show, the
number of painters surpassed potters.
All of this could bode well for Smith.
As Smith returns to Santa Fe this August for his second
Indian Market, he has a sense of validation he didn’t have
before —brought on fromthe support of other artists he
met over the past year, including Sheldon Harvey, and
frompatrons who snatched up his abstract works this
spring. Native markets have given Smith a platformhe
wasn’t achieving on his own, and he likes the scene so
well he’s likely to be a fixture in the Santa Fe and Phoenix
markets for decades to come.
“SWAIAhas set the stage for me,” Smith said. “They’ve
given me every tool I need to make it where I want to go,
and I’mdoing it.”
His ambition, to earn a place in prestigious galleries
that don’t give a hoot about a Certificate of Degree of
Indian Blood, hasn’t changed since art school.
“Ultimately, I want to be in NewYork City and be
recognized for my art and not have to explain or rely on
[my Native American identity] to sell my work,” he said. “I
really want my work to speak for itself.”
(Find Ryan Lee Smith at
Indian Market booth No. 773 LIN-E.)
56 2012 i ndi an market
By Jean Kepler ross
Indian Market is “always a homecoming,” said Waddie
CrazyHorse of Cochití Pueblo, who enjoys reconnecting
with friends who have “known me since I was at market
in diapers.” CrazyHorse is one of many children of Indian
Market artists who grewup around the festival and carry
memories and lessons forward.
“I am very fortunate having Cippy CrazyHorse as
my father,” he said. “I recall the booth always packed
two or three deep. I learned to provide basic customer
service and how to be cordial and mature around
adults and developed my social skills as well as basic
business skills [in my father’s booth]. It’s safe to say
that Indian Market helped me become the extroverted
networker that I am today.”
CrazyHorse was admitted to Stanford University in
2006 with a Gates MillenniumScholarship. “I was very
proud of this,” he said, “so I made a fewStanford ‘S’ pins
to wear at school. Stanford fans took notice and those
started selling at football games. After graduating in June
2011, I founded Collegiate Silver, which became officially
licensed by Stanford in February 2012 to produce their
trademarks.” He is also working with several other
universities to become certified to produce their logos
and expand his business.
CrazyHorse nowoperates a workshop in San Carlos,
California, and uses both traditional hand-wrought and
modern lost-wax casting methods to produce both the
Stanford jewelry and his own designs. “I aminspired
to perpetuate the ‘old-timer’ techniques that have been
passed down frommy Grandpa Joe [Quintana] to my
father,” he said. “It’s a wonderful artistic legacy to be
blessed with. I fully embrace the clean, classic approach
to jewelry design that my family is known for, and I try to
keep things fresh and interesting with various stones and
my use of negative space.
“I look forward to working alongside my dad once again
when I come back for Indian Market.”
Sibling styles
Paris and Jade Bread also grewup attending Indian
Market, helping their mother, Jackie Bread, a bead artist
fromMontana. They first participated in Indian Market
in 1999.
“I was 8 that summer and I entered a large 16-by-
20 drawing of some buffalo and won an award,” Paris
said. When he was 12, his Prismacolor drawing of a
Navajo rug won best of classification. “I was so excited
and overwhelmed; that experience meant so much to
me. When I was 15, I applied for and won a SWAIA
youth fellowship. I got to go to afternoon tea [with] the
governor of NewMexico and was recognized for my
award. My drawings began to get more detailed and told
stories about myself and my people —Blackfeet, Apache
and Navajo. I began doing work in ledger style about five
years ago.”
Paris is nowa media arts major at the University of
Montana in Missoula and is learning to design websites.
“This is an amazing, all-encompassing medium,” he said.
“It seems a contradiction that I amso connected to ledger
drawing while I amso connected to a mediumthat is the
ultimate in technology.”
Paris’ younger sister, Jade, will be a sophomore this fall
at Great Falls High. She first showed her work at Indian
Market in 2003. “Ever since my first year of showing,
I have won some type of ribbon,” she said. “My art has
always been ledger-style drawing, just not done on actual
ledger paper. Searching antique stores, we happened to
come upon a ledger book, making my art what it is today.
All inthe Family
tradition links
generations
of artists
Paris Bread Jade Bread
2012 I ndI an market 57
But my art wouldn’t be [what it is] today if it wasn’t for
my mother and everything that she has taught me. To see
her build her life around something she loves is simply
amazing. I’ve learned so much fromthe great stories my
momand dad have told me over the years. These stories
make my work.”
“Indian Market is really a special part of our lives,”
Paris added. “One of the best things is that we get to
see my dad’s family. They are fromNewMexico, so
reconnecting with themduring this time is cherished.”
Potter withpedigree
Cavan Gonzales, a potter fromSan Ildefonso Pueblo,
belongs to a very long line of Indian Market artists. “I’ve
been going to Indian Market since before I was born,”
he joked. His maternal great-great-grandparents, Maria
and Julian Martinez, attended the first Indian Market
and won a blue ribbon for pottery. Today, Gonzales and
his mother, Barbara Gonzales, work together each year
to create a black pottery plate that they donate to SWAIA
to give to the winner of the Povi’ka Award, which honors
Maria Martinez and recognizes service to Indian Market.
“When I started out, I ate the clay,” Gonzales said.
Around age 4, he started creating “little bowls and
figurines,” which his mother still has. He nowworks
in three types of pottery: polychrome, which is tan and
predates black pottery; black; and contemporary, which
is red and polished. He gathers his own clay and other
materials. “I’malways pushing for perfection,” he said.
Gonzales remembers attending Indian Market when
he was young and helping out at La Fonda on judging
night by passing out glasses of water. He also remembers
enjoying Frito pies and snowcones at Woolworth’s. Now
his wife, April, helps out at his market booth, and his
older children, Charine, 16, and Tyler, 15, showtheir pots;
they’ve both won youth ribbons at recent markets. His
youngest child, Andrieta, 3, is next in line.
Traditionof helping
AutumnBorts-Medlock is a fourth-generationIndian
Market artist. She remembers working withclay as a child,
along withher sister Tammy Garcia, her mother, Linda
Cain, andher grandmother Mary Cain. She recalls seeing
the awards that her grandmother wonat IndianMarket
andwalking downthe hallway at her great-grandmother
Christina Naranjo’s house to peek into the workroom,
where many large pots sat drying.
“Grandma Mary was determined to teach pottery to her
grandchildren, and my sister and I really caught on to it,”
said Borts-Medlock, who grewup at Santa Clara Pueblo.
“It seems that we were meant for it; the creative feeling
just came naturally to us. My momwas also an essential
role model, encouraging us to create our own designs
fromthe world around us but to still honor the designs
that Grandmother taught us. I like to blend the old and the
new, a classic shape with flowers and insects or a modern
shape with Grandmother’s avanyu design.”
As young teenagers, Borts-Medlock, her sister and
a cousin would help their elders unload supplies and
pottery fromtheir pickup and carry themto the Indian
Market booth. They were then free to look around the
market and enjoy cool drinks and Navajo tacos. They
would check in at the booth and give their mother a
break, then help load everything up at the end of the day.
Today, Borts-Medlock’s family helps her set up her own
Indian Market booth, then checks in to give her breaks.
She’s hoping that her 7-year-old daughter Rochelle, a
budding artist, will continue the tradition.
waddie crazyhorse
autumnborts-medlock
cavangonzales
58 2012 i ndi an market
5Profiles
By Jean Kepler ross
Shelden Nuñez-Velarde
Top, Ian Fender
Bottom, Wayland Namingha Jr.
Top, Walter BigBee
Wayland Namingha Jr.
Bottom, Ronald Chee
2012 I ndI an market 59
1
RonaldChee:
Authentic
interpretations
In 1993 Ronald Chee (Diné/Navajo) dropped out
of college, where he had been studying business,
to followhis artistic desires. He started with
watercolors, moved on to acrylics, then settled on
monotype mixed media. He creates his prints with
etching ink mixed with linseed oil painted onto a
plexiglass plate; the finished piece is then pulled
through press rollers with printmaking paper, and the
image transfers to the paper to create original prints
that can be enhanced with paint.
“My choice of colors is all randomon the subject at
hand,” Chee said. “I like multiple-colored horses!”
Chee did not growup on the Navajo Nation, but he
attends ceremonies and sweats with his father and
relatives and interprets Diné traditions in his art.
“Art took me back to my roots,” Chee said.
Authentic and original art best defines who he is,
the artist said. The themes for his Yeii series include
wildlife, the environment and the circle of life, as well
as Yeii faces or masks. They are the most popular
images he paints. “The Yeii subject evolved over
time,” Chee said. “I introduced the subject of spirit
of the environment as an abstract interpretation
of the environment, showing the different colors
to showthe seasonal changes in the sky, having the
mesa mountains across the midsection and having
trees and plant life belowthe bottomhalf, sometimes
adding a river or lake or many other objects as
elements or spirits of the earth.”
Chee’s work has been exhibited at the Institute of
American Indian Arts in Santa Fe and the Southwest
Museumof the American Indian, nowa part of the
Autry National Center in Los Angeles, and has won
blue ribbons at Indian Market. He also acts when
opportunities arise: He was a spirit guide for Olympia
Dukakis in the CBS filmScattering Dad and the
hitchhiker picked up by Renée Zellweger’s character
in My One and Only.
(Find Ronald Chee at Indian Market
Booth No. 721 LN)
2
Walter BigBee:
Hankering for
horses
As a child, Walter BigBee (Comanche/Choctaw) lived
in Ethiopia for four years while his father built a rural
agricultural college under the auspices of Oklahoma
State University. He drewupon that experience when
the family moved to metropolitan Washington, D.C.,
during the civil rights and Native American struggles.
“I lived in the [family] photo albums, constantly
trying to relive my time in Ethiopia, where everything
was bliss.”
BigBee took a photography class in high school and
was drawn to the darkroom, spending “every spare
moment there.” He went on to study commercial
photography at the Rochester Institute of Technology
and to work as an advertising executive/catalog
photographer in the D.C. area for 14 years.
“I discovered horses in Africa, and I always knew
I wanted to have horses in my life,” he said. BigBee
eventually moved to NewMexico to reconnect with
his Comanche heritage and horses. The state —
especially the Moorish influences brought here by
the Spanish —reminded himin many ways of North
Africa. He nowlives in Pojoaque with his wife and
two horses.
BigBee creates black-and-white fine art
photographs that often feature Comanche themes.
“Being Comanche, I have an inherent hankering to
work with wild horses and hunt bison, so horses and
bison are frequent subjects,” he said. BigBee signs his
photographs with his Comanche name, Tutsi Wai,
which means “Always Searching.”
He creates montages with multiple photographic
negatives and also employs digital photography.
He has worked on projects with the Smithsonian
Institution and the Institute of American Indian
Arts and teaches and lectures. “It’s hanging on to
who I am,” he said of his photography. “I live in my
photographs.”
(Find Walter BigBee at Indian Market
Booth No. 121 POG)
3
WaylandNamingha
Jr.: Paintedprayers
Wayland Namingha Jr., a Hopi katsina carver, grew
up in the villages of Third Mesa in Arizona and
has been immersed in his culture since he was a
toddler. Katsina dances are important ceremonies
for his people. “We are dry farmers,” he said, “and
the ceremonies we participate in are prayers for all;
... prayers for rain for our crops and all animals; for
long life for mankind, plants and all living beings; for
balance in the world.”
“Katsi means life in Hopi,” the artist said, and
katsinum—the plural of katsina —are “life bringers.”
Namingha makes traditional-style katsina dolls,
8- to 10-inch long figures that depict the ceremonial
katsinumand are traditionally given to infants and
girls. He carves a piece of cottonwood root into a
figure with his pocketknife, then files, sands and
paints it with pigments he gathers fromthe washes
and cliffs around his home near Old Oraibi. He
embellishes his figures with parrot and macaw
feathers —which historically have been, and still are,
acquired by trade —and cornhusks.
Namingha said he has been around carvers and
carving “fromthe time I was in diapers. There is
Top, Shelden Nuñez-Velarde
Walter BigBee
Bottom, Wayland Namingha Jr.
60 2012 i ndi an market
a photo of me holding a horseshoe file, rasping
away, sitting in sawdust.” His father was a
contemporary-style katsina carver, carving whole
figures out of cottonwood and adding details
with a wood burner, acrylic paints and linseed
oil. Namingha Jr. prefers the traditional style:
“Simplicity drewme back to that style. ... I fell in
love with the soft, muted colors.”
Out of the 300-plus Hopi katsinas, Namingha
favors carving parrots, badgers, bears and other
animals. He also creates the Sun Face, ogres and
the Going Home Dancer, which is featured in the
last of the katsina dances, when the katsinum
return to their spiritual home, the San Francisco
Peaks near Flagstaff.
“When I carve, I carve what I see,” he said. “I
do not add anything. Howthe katsinumpresent
themselves when they come is what I carve.”
Namingha’s carvings have been honored
with many awards, including first place and an
honorable mention in Traditional Carvings at the
2012 Heard MuseumGuild Fair and Market in
Phoenix, Arizona.
(Find Wayland Namingha Jr. at Indian Market
Booth No. 619 PLZ)
4
SheldenNuñez-
Velarde: Manof
manymuses
Shelden Nuñez-Velarde belongs to the Ollero Clan
of the Jicarilla Apache Nation. In keeping with
the pottery-making traditions of his mountain
clan, he began creating traditional hand-coiled
micaceous pottery at the age of 13. At the same
time, he started working with beads, making dolls,
moccasins and pipe bags.
Nuñez-Velarde has won first- and second-
place ribbons for beadwork creations at several
previous Indian Market fashion shows. His
cousin Ashley Julian and nephew Emanuel
Vigil will model traditional Jicarilla attire he
has created in the 2012 Indian Market Clothing
Contest on Sunday morning.
Recently, Nuñez-Velarde received permission
fromtribal elders to learn traditional Jicarilla
basket weaving, typically the province of women.
“My mentor is Rowena Mora, who is a very talented
Jicarilla basket weaver,” he said. “Fromher
guidance, I have learned basket weaving. I amvery
happy to have learned and added it [to the] Jicarilla
arts [for which] I amknown.
“I enjoy going out into the forest by the river
and cutting and preparing my fibers. I enjoy being
beside the river, listening to the river and trees and
birds. I also have to followthe strict code of basket
making.” That code forbids weaving when there is
a death in the tribe, and it requires the weaver to
“make a trail fromthe center of the basket to the
top of the basket [as] an exit for the spirit to leave.”
Nuñez-Velarde studied at Parsons School of
Design in New York City and the Academy of Art
University in San Francisco, and heads back to
school at the Institute of American Indian Arts
in Santa Fe next spring. He aims to sustain his
tribe’s traditions with his art and his work at
the Jicarilla Apache Arts and Crafts Museum.
The tribe plans to establish a new museum, and
Nuñez-Velarde will pursue a bachelor’s degree
in museum studies in hopes of one day directing
his nation’s heritage center.
(Find Shelden Nuñez-Velarde at Indian Market
Booth No. 765 LIN-E)
5
IanFender: Pueblo
potterypotential
Ian Fender starts the seventh grade this fall at
Santa Fe Indian School, but the 11-year-old San
Ildefonso Pueblo potter and Indian Market veteran
is having a productive summer preparing to show
his creations at this year’s Indian Market.
Fender started working with clay at the age of 7
while watching his father, potter Erik Fender. He
goes with his dad to gather clay, then creates small
pots and animal figures in black on black, buff on
red, mica black, mica white, and green on black
pottery.
Inspired by the work of his father and other
Native artists, his favorite designs are dragonflies,
butterflies and the sun face.
“After I got an award last year, it kind of got
me more motivated to work on more pots,” he
said. “Last year was my first time to take pots
[to Indian Market], and I got a third place for
one of my pots that I entered” in the Youth for
Pottery, Non-Burnished (matte), either painted or
undecorated category.
“The money that I make at market I use to
either buy art supplies or other things that I want,”
Fender said. “Last year I was able to buy myself a
cell phone.” He plans to enter the Youth Market
again this year and help his dad at his booth.
(Find Ian and Erik Fender at Indian Market
Booth No. 702 LIN-P)
Top, Shelden Nuñez-Velarde
Bottom, Ian Fender
2012 I NDI AN MARKET 61
62 2012 I NDI AN MARKET
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and the Faraway:
nature anD i mage
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Featuring O’Keeffe’s Camping gear, Paintings, and
Photographs of Her Beloved Southwestern Landscapes
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2012 I ndI an market 63
story By Arin McKennA
photos By Kitty leAKen
When Jeremy Frey won Best of Showlast year, he felt
like he had been struck by lightning. The 32-year-old
Frey had won Best of Showat the Heard Museum
Indian Fair &Market in Phoenix, Arizona, earlier in
the year.
“I didn’t feel it was possible to win Best of Showat both
shows in one year. I was really set to cheer for the artist
who won. I didn’t think it would be me,” said Frey, an
eighth-generation basket weaver. “I’ve never felt as if I
could be as successful as I’ve been this year. I was just
overwhelmed. I think a lot of my dreams came true this
year, dreams I didn’t knowI had.”
Frey acknowledged the Maine Indian Basketmakers
Alliance, an organization that helped revive Native
basketry in Maine. “If it wasn’t for the group I’min,
this wouldn’t have happened, whether it was them
motivating me or me trying to represent them, it’s all
intertwined, it’s all woven together,” Frey said. Frey
learned his art because of the alliance —his mother and
teacher, Gal Frey, also learned through them—and has
served on the board and taught others in return.
He was 22 when he took up basket weaving, Frey
said. The first month was rough. “The pieces wouldn’t
stay where I wanted themto, they kept exploding on
me as I was trying to weave, and I’d get so mad ... Plus
I was trying to get off of drugs. I would have physical
withdrawal symptoms, a lot of energy and anger. But
after about the first month of weaving, I was hooked. It
was such a medicine for me.”
Frey has made his reputation by being an innovator.
“When I first started out, I wanted to get known, so I’d
introduce a newtechnique at every show. It always got
people to come look at my work, because I was doing
things they’d never seen. Being innovative is what got
me a name in the beginning.”
Frey’s award-winning piece —which stands
15 inches tall and has over 1,400 points —is also
groundbreaking. “I’ve been trying to make a large
fancy basket pretty much since I started. All of our
large baskets are utility baskets. They’re roughly
made, strong baskets that you can carry rocks around
in. They’re beautiful in their own way, but they aren’t
made to be these display pieces that we call fancy
baskets,” Frey said.
Frey’s efforts begin with finding a Black Ash tree,
harvesting it and pounding the growth rings to separate
them. “People need to knowthat we do not buy our
materials —they’re made by hand by the artists,” Frey
said. “If I was buying my materials, I’d get what the
person who prepared it gives me, and some people
don’t prepare as well as others. The better you prepare
it, the better your piece will be.
“You have to find a healthy tree without knots or
twists that grewat the right rate. If it grewtoo fast, you
can’t split it down to the right thickness. If it grewtoo
slow, you can’t split it at all,” Frey said. “There have
been days when I’ve driven all over our state and found
nothing. And even once I find a good stand, I still have
to figure out whose land it is, howI’mgoing to cut, then
I’ll look at about a hundred trees before I find one. In a
bad stand, I won’t cut any.”
The intricacy of Frey’s Best of Showpiece presented
special challenges. “For the uprights, I have to findthick,
straight-grained, wide pieces, anda lot of them, to get
all the way aroundthat basket. I think I sortedthrough
hundreds of pieces just to findthose. Andthenthey’re all
individually carvedto take the shape of the basket.”
Frey had to sort and shape material for the points as
well. “There are thousands of individual pieces inthat
basket. Those points have to be really thin, really high-
quality material. And each piece is shaped deliberately
for where it’s supposed to be.” Frey also grades his wood
by color, choosing the whitest pieces for the points.
Weaving such a large, intricate piece takes
remarkable patience. “When you start a piece that big,
everything’s sticking out everywhere, and it’s all curled
together and tangled. When I first start, hours go by
and I’ve made practically no progress,” he said.
Frey uses molds for the base, then creates the upper
basket freehand so each basket is unique. Molds can
be purchased, but Frey creates his own. “If somebody’s
whipping out forms to sell to every weaver in my
community, chances are they’re going to be very
similar. So I started making my own molds so that
people wouldn’t have the same shapes I have.”
Frey’s baskets are finished inside and out. “I’m
looking at every conceivable angle, and it has to look
good to me. It’s completely finished on the inside.”
Like all Black Ash basketweavers, Frey is dreading
the demise of his art due to the Emerald Ash Borer —a
beetle that is infesting ash trees. “It’s going to kill ash
basketry. Period. It’s going across the country and it’s
killing every tree it touches,” Frey said. “No matter how
good I get, I’mnot going to have the material someday.
It makes me really sad, because I amsucceeding at
something now, and it’s going to be taken away. It’s just
another life lesson, I guess, that life throws curve balls
at you and we just adapt and overcome.”
top
honors
Best of show 2011
ClassifiCation Xi • Basketry
Jeremy Frey, Passamaquoddy
Raising the bar
64 2012 i ndi an market
ClassifiCation i
Jewelry
Chris Pruitt
ClassifiCation ii
Pottery
Jody Naranjo
ClassifiCation iii
Paintings, Drawings,
graPhics anD PhotograPhy
Dyani Reynolds-White Hawk
ClassifiCation iV
wooDen Pueblo Figurative
carvings anD sculPture
Arthur Holmes, Jr.
ClassifiCation V
sculPture
Marcus Wall
ClassifiCation Vi
textiles
Lynda Teller-Pete
ClassifiCation Vii
Diverse art Forms
Jamie Okuma
ClassifiCation Viii
beaDwork anD Quillwork
Joyce Growing Thunder Fogarty
ClassifiCation iX
youth (17 years anD unDer)
Valerie Calabaza
ClassifiCation X
moving images
Bennie Klain
ClassifiCation Xi
basketry*
Jeremy Frey
* Best of show
2011
Best of
ClassifiCation
StorieS By Arin McKennA
photoS By Kitty leAKen
Walking through the Santa Fe Indian Market Friday night preview, it’s difficult to imagine
howthe judges are able to select prizewinners in each classification. Some of the best Native
artists in North America enter their finest works for judging —pieces that may have taken
months or even years to create. Judges must evaluate not only the aesthetic quality of each
piece, but howwell it meets SWAIA’s strict standards of authenticity.
More than $100,000 of prize money is awarded. But the ultimate value of the competition
is its impact on artists’ careers, especially for the winners of Best of Classification and the
ultimate award, Best of Show. Such an award fromwhat is arguably the country’s most
prestigious showcase for Native art can have ripple effects for years to come.
ClassifiCation winners
top
honors
Winning may not be everything
But it gives native artists a big career boost
Chris pruitt, Jewelry
Jody naranjo, pottery
2012 I ndI an market 65
ClassifiCation i • Jewelry
Chris Pruitt, Laguna Pueblo
A Zen Aesthetic
ClassifiCation ii • pottery
Jody Naranjo, Santa Clara Pueblo
Pushing creAtive boundAries
Painting PhotograPhy Carvings Jewelry Pottery sCulPture textiles Bead work Basketry
Chris pruitt approaches jewelry making in a way that
is heavily influenced by his years as a professional chef.
“When I worked for a Japanese chef, everything was
precise, nothing was overpowering, it was just enough to
accent it,” Pruitt said.
Pruitt’s award-winning silver belt buckle reflects that
aesthetic. Acentral inlay of turquoise and coral looks like
an abstract cityscape. Three small diamonds with gold
accents adorn one corner, and three more diamonds are
concealed on the back of the buckle. Pruitt used roller
printing to etch some of the silver, and bead-blasting to
create a satin finish on the rest. “I like being simple, clean,
precise,” Pruitt said. Both techniques have been around
for a while, but fewpeople use them, he added.
For roller printing, Pruitt creates a pattern on a hard
surface such as brass, which he runs through a roller to
transfer the pattern to his silver. The brass is only good
for a couple of prints, he said, before the design starts
to disport —bowin the middle. Pruitt then tapes off
sections he wants to remain shiny and blasts the exposed
surface with beads —most jewelers use sand —to create
a satin finish.
Pruitt’s work methods are also influenced by his first
career. “When I was working at a Japanese restaurant, it
was just hours and hours of cuts. You had to get the cuts
right before you could even work on anything else,” Pruitt
said. “So it was tedious work, but it taught you to perfect
that specific style of doing something: getting everything
in its place, getting everything together before you start.”
Pruitt works mainly in silver. He uses only natural
stones —he does his own lapidary work —and accents
his pieces with gold and diamonds. He concentrates on
earrings, buckles, bolos and small bracelets. His peers
advised himto make large bracelets, he said, but Pruitt
trusted his instincts, and always sells out of his small
bracelets first.
Pruitt started making jewelry about six years ago, and
made the decision to commit to it about four years ago.
He has won first-place awards for collaborative pieces
with his brother, Pat Pruitt, but had only received a
second-place award and an honorable mention for his
solo work until now.
“It’s very honoring to knowthat people are starting to
recognize the younger generation of artists like myself
and Marcus Wall,” Pruitt said, “and seeing the skills we’re
developing —not necessarily staying with traditional
everything. Kind of thinking outside the box.”
Jody naranjo comes froma long line of famous Santa
Clara potters. As she watched family members work,
Naranjo said, she thought, “That’s going to be me.
“You’re just always in awe of what someone is doing,”
Naranjo said. “It makes you push yourself harder.”
Naranjo pushes creative boundaries. “I crossedthe
line probably 20years ago. I got a lot of weirdlooks, and
a lot of hesitationfromcollectors. But I stuck withit, and
it’s workedfor me. I’ve kindof made my ownstyle. I’ve
incorporateda very traditional art formanda modernart
form, andpushedpueblo pottery into a little more of today.”
Traditional materials determine the character of
Naranjo’s explorations. “I’mlimited with what I can
do with traditional pottery. I’mnot using anything but
what is passed down in my family,” Naranjo said. “So
I’ve learned to play with what I have, and that becomes
shapes, that becomes polishing certain areas, that
becomes different colors in firing.”
Santa Claran pottery is traditionally the natural red
color of the clay, or black fromsmothering pots with
manure to oxidize themduring firing. Naranjo’s Best
of Classification piece has a chocolate coloration she
achieves by surrounding the pot with manure rather than
smothering it. Naranjo also creates a slight shimmer by
adding a little micaceous clay to her mix.
But Naranjo’s imagination really soars when she carves
and etches her pots. “I have carved anything fromanimals
and landscapes to a city building,” Naranjo said. Naranjo
has etched her “Pueblo Girls” in settings all over the
world, as a rock band and as chamber music musicians.
“Pretty much anything you can think of goes on a pot.
And that’s what keeps me interested. I just can’t imagine
making the same pot over and over again all my life.”
Naranjo’s award-winning piece, Finding Yourself, pushed
evenher ownlimits. Naranjo hadbeenasking, “Who amI?
What amI? Where do I fit?” andusedclay the way other
people use journaling to answer those questions.
“I made that huge traditional pot with every kind of
animal I’ve ever put on a pot —fromthe water serpent
to my modern birds —in a chaotic collage,” Naranjo
said. She then used commercial clay, acrylic paints and
kiln firing to create a large, free-standing deer. Naranjo
outlined his shadowon the pot and etched his reflection
on it. “He’s looking at himself in this traditional pot, and
he has found himself and has this big smile.
“When I was done with it, a real calmcame over
me, and I said, ‘You knowwhat he is? He’s just a deer,’”
Naranjo said. “Why do we have to complicate everything
and label everything and stereotype everything? When
it comes down to it, you are who you are, and it really
doesn’t matter because you’re just this deer.”
chris Pruitt
jody nArAnjo
66 2012 i ndi an market
ClassifiCation iii • paintings, drawings, graphiCs and photography
Dyani Reynolds-White Hawk, Sicangu Lakota
Embracing two worlds
ClassifiCation iV • wooden pueblo figuratiVe CarVings and sCulpture
Arthur Holmes Jr., Hopi
HEaring tHE wood spEak
dyani reynolds-white hawk wanted to bridge
the chasmdividing her Native college education and
the Western educational approach at the University
of Wisconsin, Madison, with her winning painting,
Seeing. “This was a way to really honor all aspects of
my education, of embracing both indigenous education
and Western education. I didn’t think it was an honest
representation to go in one direction or the other.”
The dichotomy in her education is a reflection of
Reynolds-White Hawk’s mixed heritage —Rosebud Sioux
on her mother’s side and German/Welsh on her father’s
side. “This is also a way of healing, really honoring
all aspects of my life, all aspects of my influences and
passions.”
Seeing was the centerpiece for Reynolds-White Hawk’s
MFAthesis exhibit, whichrevolvedaroundthose issues.
“It was just really a shock anda challenge to go fromeight
years of being immersednot only inthe Native community,
but especially inthe Native academic community, where
conversations andwhat’s taught has a very different focus
thanwhat’s taught at a mainstreamuniversity,” Reynolds-
White Hawk said. “I hadanextremely in-depthperspective
of Native history andNative art history, andwas fairly
lacking inmy knowledge of Westernart history. It was
challenging, because the perspectives are very different.
Anda lot of times it’s very conflicting.”
Reynolds-White Hawk foundcommongroundin
abstraction. “Alot of Lakota philosophies andworldviews
are visually displayedthroughabstract motifs, so Western
abstractionwas its counterpart.”
The piece that appears to be inspiredby minimalist
abstract Taos painter Agnes Martinis actually anexact
renditionof a Phase I Navajo blanket. “It was difficult for
me to justify just straight painting a blanket, but those
weavings are masterpieces, so it fit very well into the
context of what I was discussing,” Reynolds-White Hawk
said. “I titledit Master Study, really playing onthe idea that
at a major university youdo these master studies, andall
of the masters are Westernartists. I wantedto do a master
study that was takenfroma Native perspective, to talk
about masters beyondthe Westerndefinitionof masters.
Reynolds-White Hawk is also a quill worker and
beadworker, and has experimented with incorporating
both into her painting. She wanted to incorporate quill
work into Seeing, but the size of the piece was prohibitive
—so she painted a three-dimensional quill-work pattern
in the corners of the piece instead.
The corner panels forma windowfilled with blue
sky and clouds. “This indicates the windowthat we
look through, the fact that we all have our own personal
perspective. Howis it that you see the world? Howdoes
your experience determine what you see? It’s the negative
space, but I wanted it to flop back and forth between the
negative and positive space. It’s the center for me.”
arthur holmes Jr., began making kachinas 19 years ago,
when his first child was born. Holmes and his wife had
just left the city to return to Hopi. “It was the only place
my wife would have our daughter,” Holmes said. Holmes
began carving to support his family and as part of Hopi
ceremony.
Holmes learned to carve fromhis father, Arthur Holmes
Sr., and his uncle, Stetson Honyumptewa —last year’s
Best of Showwinner.
The early years were difficult. Holmes remembers
walking up and down the streets of Sedona trying to sell
his art. Holmes was also struggling with alcohol and drug
abuse, which separated himfromhis family for four years.
When he got clean, he was determined to live a better life.
“As soon as I came home, I started with my carving
career again, and it was my second chance,” Holmes said.
He knewothers would think he had lost his skill. “But
instead, I got better. I looked at life in a different way, and
my ceremonies and culture differently, and my belief was
a lot stronger. And it just progressed, just one step at a
time going up, up, up. And I’mstill learning,”
Holmes nowlives with his family in Prescott Valley,
Arizona, but spends much of his time at Hopi in the house
that belonged to his grandmother, caring for his cornfields
and his wife’s cattle.
“It all starts fromthe spirit inside you, and participating
in ceremony. It all comes together: working in our
cornfields, getting in touch with nature. All things around
us are living things that combine together in the happiness
and harmony in making these dolls,” Holmes said. “Every
time I’mcarving, I’malways constantly praying, not only
for myself and my family, but for all others, all around us.”
Holmes does not take special orders. “When you
look at a piece of wood, it speaks to you. It takes its own
formation. Maybe I will have a piece of wood at the
cornfields where I stay at, and feel that happiness, that
spirit. And it will just flowright in once you start carving,
and it takes the shape of itself,” Holmes said. “I say,
whatever comes to you, that’s what they want, because
you have that connection with the wood, with all different
elements in life. That’s the way I do my carving —speaking
to themand themspeaking to me. When we connect, it
takes its life form.
“In the beginning,” Holmes said, “I was hesitant to
enter these shows because of the teachings of my great-
grandmother. She told me you shouldn’t do that. But right
now, in the world we live in, you have to kind of expand.
You work in order to survive. So I look at it as I have to do
this in order support my kids and put a roof over my family
and feed and clothe them.”
Holmes reconciles that internal conflict by encouraging
his collectors to discover the spirit within the kachinas
and inviting themto experience ceremonies at Hopi to
better understand his culture.
dyani reynolds-White haWk
arthur holmes Jr. Withhis sonhunter
lomakukyva holmes
2012 I ndI an market 67
marcus Wall, Sculpture
arthur Holmes Jr., Wooden Pueblo Figurative Carvings
and Sculpture
Jamie Okuma, diverse art Forms
Joyce Growing thunder Fogerty, Bead Work and Quill Work
dyani reynolds-White Hawk, Paintings, drawings,
Graphics and Photography
Lynda teller-Pete, textiles
Bennie klain, moving Images
Valerie Calabaza, Youth (17 years and under)
68 2012 i ndi an market
Marcus Wall lost hope when his entry was classified as
sculpture rather than pottery.
“My gut reaction was, ‘Oh, great. I have absolutely no
chance of winning.’ I had to compete against my brother
[Adrian] and my sister [Kathleen], Cliff Fragua —all these
great sculptors,” Wall said. “I didn’t even think I’d get a
ribbon. I thought maybe it was a special award —that
it wasn’t good enough to get into the category, but the
judges liked it enough to acknowledge it somehow. When
I sawwhat I had won, I was just beside myself. It was just
totally awesome.”
Wall was even more astounded because, although he
had been a full-time potter for six years, this was his
first year juried into market. He was so naïve, he almost
missed the award ceremony. “When they called to invite
me to the luncheon, I said, ‘I’ll try to make it. I still have a
lot of work to do.’ And they were like, ‘No, it’s in your best
interest to come to lunch.’ ” Kathleen had to explain to
himthat the invitation was code for winning an award.
Wall’s award-winning piece was a replica of a ball and
chain —a medieval weapon —rendered in clay. Time was
short and Wall had no clay on hand, so he built the piece
fromrecycled clay. The entire piece is hollow.
The chain links presented the most difficulty. “I owe a
lot to my sister,” Wall said. “Alot of it was learning from
her, like building the figurines and building the arms and
the hands. I was basically using that technique.”
Kathleen also taught himto build a piece slowly and
patiently, which was the key to making the ball. “If you
build a piece too quickly, it will collapse in on itself, so
taking the time to build it properly is important. You have
to let it harden enough to build onto it,” Wall said. Wall
had dabbled in making round objects before, so the ball
was not as challenging as the links.
Wall adapted as he created the piece. “My original
plan was to create a geometrical pattern with spikes
coming out of the piece. But it just didn’t come out right,”
Wall said. “But while I was searching for designs to put
on some of my other pottery, I had seen this Mimbres
design, and it was just perfect. The design is two warriors
that have gone through battle. The victorious warrior
is decapitating his slain enemy. I thought that was just
totally the piece. The symbology of the ball is victory over
your enemy.”
On the handle, Wall used a kachina to symbolize
strength and power. Wall created the designs with
traditional paints —black rendered fromwild spinach
and a red-clay slip —and added coloration to the clay with
smoke fromthe pit-firing.
For the most part, Wall uses traditional pueblo pottery
techniques to create his contemporary images. “I really
like the old style of pottery. I just really like the feel and
the look of it.”
Lynda Teller-Pete transcended her usual weaving style
to create her award-winning child’s blanket. “I ama fifth
generation Navajo weaver. My father worked at the Two
Grey Hills Trading Post for 35 years. We’re kind of like the
mob, because we were born into the weaving industry,”
Teller-Pete said at the 2011 awards ceremony. “I’ve always
woven Two Grey Hills. But after watching my niece and
my nephew, I got inspired by howfearless they are in their
weavings. So after last year’s Indian Market, I went home
and I set up a period piece. I wanted to do a child’s blanket
to honor older weavers.”
Teller-Pete researched 19th century Navajo textiles at
the Denver Museumof Nature and Science. “But I just
felt funny about copying and I didn’t really knowhowto
proceed with it. So I just put the rug on the back burner
while I made other pieces.”
Then Teller-Pete and her sister Barbara Teller Ornelas
visited the Bosque Redondo Memorial at Fort Sumner
State Monument, where 9,500 Diné (Navajo) people
were imprisoned from1863 to 1868. “We thought it was
going to be a really sad place, but we discovered that it’s
a place of strength,” Teller-Pete said. “We said, ‘Howdid
they survive? Howdid they keep warm? Howdid they
get food?’ Alot of themwere weaving still, so you can
naturally assume that they bartered for clothing and food
with Navajo rugs. And, I thought, maybe that’s why a lot of
themsurvived. Maybe that’s why a lot of themcame back.
“When I went home, I started thinking about the
struggles that they had overcome. And I looked at my
child’s blanket and said, ‘I don’t want to just do a period
piece design. I want to put my own energy into it, and
howI feel about that time period.’ And I wanted it to be
a statement of strength. And that’s why I used a lot of
different colors and made a bolder design than the classic
child’s blanket,” Teller-Pete said. The result was a classic
period design around the edges of the blanket, with
Teller’s own spin on it in the center.
Teller-Pete started weaving when she was six years
old, but was unsure of herself. She entered market as a
beadworker, but —at Teller Ornela’s urging —juried in for
weaving in 2004. She received a blue ribbon her first year
and another one in 2006.
At the ceremony, Teller-Pete thanked Teller Ornelas
(who has won Best of Showtwice) for her help. “We refer
to her as queen of the wool fairies in our family,” Teller-
Pete said. “And I thank God for Skype. Because once you
hit a snag, all you have to do is sit in front of the computer
and say, ‘What amI doing here? I need some advice.’ ”
Teller-Pete enjoys the freedomof her newexploration
and plans to continue. “With these pieces, it’s more
abstract. It makes me think more creatively, and it’s like
I don’t have any boundaries,” Teller-Pete said. “It was
scary at first, but I really like it. I like the freedomof not
knowing what I’mgoing to weave.”
ClassifiCation V • sCulpture
Marcus Wall, Jemez Pueblo
Contemporary traditionalist
ClassifiCation Vi • textiles
Lynda Teller-Pete, Navajo (Diné)
Honoring Her anCestors
marcus Wall andhis daughter ViVianWall
lynda teller-Pete
2012 I ndI an market 69
ClassifiCation Viii • bead work and quill work
Joyce Growing Thunder Fogarty, Assiniboine/Sioux
In her mother’s memory
ClassifiCation Vii • diVerse art forms
Jamie Okuma, Luiseño/Shoshone Bannock
CapturIng motIon
Jamie Okuma began beadworking as a child —“I started
powwowdancing when I was five years old, and it kind of
just comes with the territory” —and created her first doll
when she was 15.
Okuma has won numerous awards for her multimedia
sculptures. She was 22 when she won her first Best of
Showwas in 2000. She received Best of Showagain in
2002.
The Northern Men’s Fancy War Dancer that won Best
of Classification last year eluded Okuma for many years.
“Since I started he’s been on my mind,” Okuma said.
“For anybody who has attended powwows, he is very
familiar. But they do not look appropriate just standing.
They look best when they’re in motion,” Okuma said. “So
for all those years, it has been one of the most daunting
pieces for me to try to create. And finally, with the help of
my parents —he’s also somewhat modeled after a relative
—he’s finally here.”
The sculpture is vibrant with motion. The dancer is
poised between one step and the next, with fringe and
feathers appearing to fly in the wind of his motion.
It was the fringe that stymiedOkuma for so many years.
“I try to, withevery piece of the outfit, be correct inthe
materials, to use the specific materials for eachof the
dance styles,” Okuma said. “For the Fancy Dancing outfits,
the menuse flag tape [to formthe fringe]. So, being correct,
I wantedto do that, but it wasn’t working. So I hadto find
something comparable that mimickedthe look.
Okuma tried —without success —inserting wire into
flag tape to get the desired effect. She then scoured craft
stores for fabric she could manipulate to look like the
real thing and shape to suggest motion. When her mother
discovered some wired ribbon, Okuma was finally able to
make her vision a reality.
The soft sculpture took six months to execute. Okuma
does everything by hand, including sculpting the body
frombrain-tanned buckskin, sewing, beading and
metalworking. She beaded the collar and moccasins
using size 22° beads (about the size of a grain of sand),
incorporating 100-year-old antique beads. Okuma also
crafted the silver roach spreader —a piece on the top of
the head holding the two eagle feathers in place. She has
created silver armbands, bracelets and necklaces for her
other dancers.
Although most of her materials are authentic, Okuma
rarely uses antique fabrics any more. “I did at one point,
but it’s very, very delicate. It can’t really serve its purpose
if it’s weak.” She instead manipulates fabric to recreate
the original.
Okuma invests an enormous amount of time and energy
in every piece she creates. “It’s my life on display,” Okuma
said. “I put my heart and soul in every piece I bring. I want
to bring the best of what I have done.”
Joyce Growing Thunder Fogarty named her award-
winning doll depicting a woman in traditional Sioux dress
for her mother, Alice Running Bear. Aherd of horses
—including six black and white paints —gallop across the
skirt and yoke.
“I wanted to honor my mother. I never spoke of her
until nowbecause she passed away when I was 14
months old,” Growing Thunder Fogarty said. “I’mtold
by my uncles that when my parents lived in the Chelsea
community on our reservation [Fort Peck Reservation,
Montana], everyone had horses, and my parents had the
prettiest black and white paint saddle horse. So I put this
horse on the dress.”
Growing Thunder Fogarty had a long search for the
22° and 24° beads she wanted. When she found them, she
bought the dealer’s entire stock and began the doll.
The skirt, yoke and moccasins are solidly beaded with
those seed beads, which are finer than a grain of sand.
Growing Thunder Fogarty had never used seed beads for
anything larger than earrings. The doll —which took a
year to finish —was her only piece at market. (She usually
brings two or three.) The right needles were also difficult
to find —each had to be tested to find those fine enough to
go through the beads.
The doll’s body is buckskin stuffed with cotton over a
wire frame. She’s wearing dentaliumshell earrings and
has real hair, which Growing Thunder Fogarty purchases.
Growing Thunder Fogarty —who has created more
than 500 pieces and won Best of Showthree times —had
decided not to compete this year. “I entered because my
kids and my grandkids wanted me to. I didn’t expect to
win anything, but I’mtruly honored and humbled,” she
said at the ceremony. “I continue to do my work to inspire
the younger generations to carry on our culture and
tradition. I’ll carry on my work as long as I’mable.”
Growing Thunder Fogarty never knewher mother or
her mother’s mother, but both were beadworkers, and
she feels a connection to themthrough her work. “One
of my grandmothers told me that my mother’s mother
could really bead,” Growing Thunder Fogarty said. “One
of the people who leases my land in Montana told me my
grandmother made hima pair of baby moccasins. He gave
me a picture of them, and her beadwork looks just like
mine. I was surprised and glad about it.”
Growing Thunder Fogarty is passing on that legacy. Her
daughter Juanita has won Best of Classification several
times and Juanita’s daughter Jessica won the Youth
Classification in 2006. She was also gratified when her
son Jack joined the three of themat the kitchen table this
year to work on a beaded gun case.
“They’ve got to carry it on,” Growing Thunder Fogarty
said. “Even my little teeny grandkids say, “I’mgoing to do
beads, too. I’mgoing to make dolls.’ I’ll teach themwhen
they’re ready.”
JamIe Okuma wIthher sOnBOdhI LIntOn
JOyce GrOwInGthunder FOGarty
70 2012 i ndi an market
Bennie Klain, founding partner of TricksterFilms,
has received numerous prestigious awards. Klain’s
documentary, Columbus Day Legacy, follows supporters
and detractors of the Columbus Day Parade in Denver,
Colorado, the birthplace of the celebration.
Klain filmed in 2007, during the 100th anniversary
of Colorado’s Columbus Day holiday. He captures the
clashes between Italian Americans’ desire to honor their
heritage and American Indians’ protest against Columbus’
enslavement of indigenous people and the genocide his
discovery unleashed.
Klain directed the crewfilming the Native side of the
story while his producer, Leighton C. Peterson, filmed the
Italian American point of view.
Klain transcribed all 50 hours of footage, something
he does for every film. “Fromthat an opening scene
emerges for me, and I build that one scene in editing. Then
I just kind of go forth fromthere,” Klain said. “I think it
frustrates my producers because it takes so long, but if you
want to remain true to the human story the process has to
be organic like that.”
Klain draws on the talents of those with whomhe works.
“I operate froman understanding that filmmaking is a
collaborative process.
What Klain’s collaborators have to say is not always
easy to hear. Peterson and Klain’s funders believed the
documentary —originally planned for one hour —would
play better in 30 minutes. “That absolutely killed me,”
Klain said. “But, honestly, I think it’s a better film. I’mglad
I have really opinionated editors who are able to tell me
these things truthfully,” Klain said.
One story that emerges in the filmis of the 1914 Ludlow
Massacre, when the Colorado National Guard directed
machine-gun fire at a tent camp of striking mine workers
and their families —many of themItalian American
—then torched the camp, killing 25 men, women and
children. That is contrasted with footage of 3rd Colorado
Cavalry re-enactors, one of the units responsible for the
Sand Creek Massacre, leading the 2006 parade.
Klain continually questions whether he is telling
the right story or telling it in the right way, but feels he
succeeded with Columbus Day Legacy. “I think by telling
the story of the LudlowMassacre, it provides a very
balanced view. It tells audiences that these two groups
who are battling each other publicly have more in common
than they think,” Klain said.
“I think that the expectationof me as a Navajo filmmaker
would be that I would tilt toward the Native side of the
story and just capture that. But I was adamant fromthe
very beginning that I wanted to get both sides.” Klain
said. “No story is interesting unless you get both sides.
Otherwise it just starts to fall into propaganda territory.
And my job is not to spread propaganda. My job is to tell a
humanstory. That’s always beenwhat I’ve worked toward.”
Valerie Calabaza, 13, faced stiff competition last year.
More than 600 youths under 17 entered Indian Market.
Calabaza’s winning shell mosaic necklace and earring set
was a remarkable piece of workmanship.
Calabaza’s two primary teachers are her grandparents,
Mary and Joseph Calabaza, who specialize in super-fine
heishi. Both learned fromtheir parents. The elders have
taught all their grandchildren jewelry making.
Valerie Calabaza started making bracelets when
she was three or four. “I start themoff early. Like this
granddaughter here,” Mary Calabaza said, pointing
to a nearby child. “She’s three and she’s helping us do
the work.” As she teaches themto make jewelry, Mary
Calabaza also teaches the children about their Santo
Domingo culture and tradition.
Valerie Calabaza’s necklace and earring set was a
traditional design worn at ceremonies. It was the first time
she had attempted anything like this, and she was proud
of doing all the work herself. She began in January and
finished just before market.
Spiny oyster shell forms the foundation for each
segment of the necklace. Valerie Calabaza cut the shell and
each piece of stone for the inlay. There is a lot of breakage
in the process, and stones that do not fit snuggly had to be
reshaped or discarded. She then glued the inlay pieces onto
the shell base. After the stones were set, she ground each
segment to achieve a uniformsurface. The centerpiece
presented the greatest challenge, Valerie Calabaza said,
because she had to grind the inlay to match the convex
surface of the shell.
“At first, it’s really frustrating, because the pieces break
sometimes. And you just keep trying and trying,” Valerie
Calabaza said. “Sometimes you don’t have a perfect shape,
too, so you have to just keep working at it.”
“I’mso very proud of her. She had the patience,” Mary
Calabaza said. “There are times that you get frustrated,
because of all the breakage and [things] not coming out
perfect, but she just went right back and redid everything.
She took her time and listened to what I had to say.”
Mary Calabaza has shared stories of their jewelry
making lineage with her grandchildren, fromhow
their ancestors had shaped heishi by hand, rolling it on
sandstone —Valerie used contemporary grinders and
polishers —to howmore contemporary generations
innovated with materials like gypsum, old batteries and old
records when nothing else was available.
At the awards ceremony, Mary Calabaza said, “[Valerie]
thought of making one this year to honor her great-grandpa
and great-great-grandpa. So I amvery honored and pleased
and happy that she did that piece. She worked on it really
hard fromscratch.”
ClassifiCation iX • youth (17 years and under)
Valerie Calabaza, Santo Domingo Pueblo
Keeping her heritage alive
ClassifiCation X • moving images
Bennie Klain, Navajo (Diné)
telling the human story
Valerie Calabaza withher grandfather
Joe franCis Calabaza
2012 I ndI an market 71
InnovatIon
award
By Arin McKennA
The piece that took last year’s Innovation Award —a
stainless-steel concho belt designed by Pat Pruitt —gives
newmeaning to the term“functional art.”
Not only is the belt wearable art, but each concho is
engraved with a readable quick response (QR) code.
QRcodes, a type of barcode, are popular with smart
phone users. Aquick scan can lead to a website or more
information about whatever the code is attached to.
Pruitt was still using a “dumb phone” when he created
the belt, but he became curious about the origin of the
increasingly popular QRcodes and began researching
them. When he found websites that would create QRcodes
free of charge, his imagination soared.
“It occurred to me, you can literally tell a story. You
can convey a message. It doesn’t have to be advertising. It
doesn’t have to be document information. You can literally
tell a story by generating the proper code for sentences,
paragraphs, really structured things. The variations
are infinite,” Pruitt said. “And the code itself is kind of
beautiful. There was this inherent beauty of this code that
can mean anything.”
Making the belt functional in the sense Pruitt wanted
was a challenge. “You had to be able to stick your phone up
to it and read it,” he said. He realized that the computerized
machining process he normally uses would not create
a crisp enough image. So he sought out an Albuquerque
company that specializes in laser engraving.
But there was another unforeseen hurdle. “The image I
had was of this super-polished piece with this cool black
image on it.” He soon found that the reflectivity of the
highly polished surface interfered with a smart phone’s
ability to read the code. Sanding produced the same
problem. Through trial and error, Pruitt discovered that a
bead-blasted matte finish did the trick.
Pruitt took a leap of faith that the judges would realize
that they should “read” the belt. “It was designed to create
that interaction and create that mystique about, ‘What
does it say?’ ” he said.
Eight conchos each convey one line of a poemby Pruitt.
It reads:
AFine Line.
We respect our culture and tradition.
The world revolves around us.
It has been given to us to protect.
This is the razor’s edge.
We balance on this line.
We run in both worlds.
We speak without saying words.
The ninth concho leads to Pruitt’s website, www.
patpruitt.com.
Pruitt has not created any more QRpieces, although
the possibilities continue to lure him. “If you really start
thinking about the fact that you can generate any code
to say anything or take you anywhere, howcool would it
be to make a necklace with a bunch of little codes in the
squash blossomformat? What if all those little links were
QRcodes that took you to YouTube videos of you making
Pat Pruitt, Laguna Pueblo
Breaking the Code
Pat PruItt wIthhIs wIfe marla allIson
that necklace?”
The belt found a very appropriate home. It was
purchased by Bruce Nussbaum, who arrived at Pruitt’s
booth at 5 a.m. Saturday morning to be sure he could
purchase it.
Nussbaumis a professor of innovation and design at
Parsons The NewSchool for Design. “I brought the belt
into my class and they all whipped out their smart phones
and had a good time,” Nussbaumsaid.
72 2012 i ndi an market
fellowship winners
pursue their passions
2012 swaia
fellowships
By Arin McKennA
The SWAIAFellowship Programwas established in 1980
to support both emerging and established artists who
wanted to expand their artistic horizons. The material
support and prestige associated with these awards have
launched and revitalized careers.
Rising to the top of a field of talented competitors is no
easy feat, and the caliber of this year’s recipients is —as
usual —outstanding. These working artists all expressed
gratitude for the resources that allowthemto pursue
long-cherished goals.
Discovery Fellows
Discovery Fellowships are designed to help artists explore
their creative process and push the boundaries of their
respective art forms. Discovery Fellows receive a $5,000
monetary award and a complimentary Fellowship Booth
at market.
Jackie Larson Bread
Amsakapi Pikunni (Southern Blackfeet)
Jackie Larson Bread taught herself beading by studying
her deceased grandmother’s work.
“The really lasting component of this fellowship is
that I get to go and look at Blackfeet beadwork held in
both private and public collections and learn fromthose
pieces,” Larson Bread said. “And that’s something that
I will always have. In the long run, it will make me be a
better artist, and I’mreally thankful for that.”
She has no intention of recreating historical pieces. “I
don’t like to just regurgitate Blackfeet traditional designs
again and again. It’s been done by people who were better
than me at it, and I don’t have any desire to do something
that’s already been done,” Larson Bread said. “I want to
take some of those components that are so unique to us
as Blackfeet people and present themin a different way,
present themin the way I’mseeing them.”
Larson Bread seeks out historical photographs
of Blackfeet people for source material to do the
photorealistic beadwork she specializes in. “Looking at
those photos is endlessly interesting to me,” she said. “I
spend hours and hours with people that passed away a
hundred years ago. It is also such a challenge to really
make it look like that person, to be true to that person.
One bead in the wrong place and it changes everything. So
in that sense it’s a technical challenge. And I’malways up
for that.”
Larson Bread has also begun work on a major piece —a
large blanket strip that incorporates her photorealistic
images and traditional Blackfeet designs. She is using
beads smaller than 1/16 inch and a technique called two-
needle appliqué. “Technically, it is one of the most time-
consuming styles of beadwork, but you can do virtually
anything with it,” she said.
Asked howshe finds the patience, Larson Bread replied,
“I think it is just the passion that takes the forefront. This
is so engrossing to me that it doesn’t matter howmuch
time it’s going to take. I can wait for virtually days to see
howthis small area is going to turn out. And I don’t think
that’s really patience. It’s just being in awe of the media.”
fromleft above, Jackie larson Bread, shonto Begay, alex peña
fromleft below, dyani reynolds-white hawk, amber laughing, atsatsa’ antonio
2012 I ndI an market 73 2012 I ndI an market 73
Untitled, dyani reynolds-White Hawk
alex Peña
Shonto Begay, Dante and Salvador on the Keet Seel Trail, acrylic on canvas atsatsa’ antonio
amber Laughing Jackie Larson Bread
74 2012 i ndi an market
Dyani Reynolds-White Hawk
Sicangu Lakota (Rosebud Sioux)
Dyani Reynolds-White Hawk —who also won a 2011 Best
of Classification award —plans to continue exploring
the interaction between the respective art forms of her
Lakota and European heritage. She sees abstraction as the
bridge between the two: the abstract symbolismof Plains
art and the work of Western abstractionist painters.
Discovering that many of those abstractionists were
influenced by American Indian art intensified her desire
to explore the connection.
In her fellowship application, Reynolds-White Hawk
wrote, “It is not their Native counterparts that are
celebrated and honored for their rich contributions, but
the Western artists whose work was so highly influenced
by contact with Native cultures.” She hopes the work
generated by her research changes that and increases
awareness of the mastery of Native artists. She plans to
expand upon a series of abstractions rooted in Plains
quillwork and beadwork and to create a “master studies”
series of Navajo blankets.
Reynolds-White Hawk will study the Plains and
Southwest collections at the National Museumof the
American Indian (NMAI) in Washington, D.C., and
Western abstract paintings in NewYork City’s museums
and galleries. “The experience firsthand —actually seeing
the works in person and getting to spend time with the
works —is so, so different than looking at things in print
or online,” she said. “You’re privy to information you just
can’t get in printed sources. That’s why it’s so important
to me to actually get out there and spend time with both
Native historic works and Western works.
“It’s a real gift to be able to conduct research that I’m
really excited and passionate about,” Reynolds-White
Hawk added. “You can sit around and mull on a great idea,
but if you don’t have the ability to carry it through, then
it’s just a great idea. So it’s not only the ability to get the
access but the inspiration and productivity and newideas
that come out of that. That’s what excites me most. And
I’mjust beside-myself excited to get into the collections of
the NMAI, too. It’s something I’ve wanted to do for a long
time. I can’t wait to go spend time with all those works.”
Residency Fellows
Residency Fellows receive a one-month residency at
the Santa Fe Art Institute, a $5,000 monetary award, a
complimentary Fellowship Booth at market and a Santa
Fe Art Institute Open Studio Event.
Shonto Begay
Navajo (Diné)
Shonto Begay hopes being away fromthe familiarity of
his home in Flagstaff, Arizona, and free fromthe pressure
to generate income allowhimto fully engage in his work
as an artist. “I want to take this time and space to create
froma deeper source than I have explored,” he said.
“I want to delve into my own mystery and bring to the
surface the dark light I have been hesitant to awaken.”
Begay hopes the residency moves himtowardhis artistic
peak. “There are always many, many roads leading out
of my artistic world, so I just needto finda more definite
path,” he said. “Not necessarily the pathof least resistance,
but something adventurous that’s a goodlegacy.”
Besides painting, Begay hopes to make progress toward
completing his autobiography and do some other writing.
“The paintings I do are pretty muchautobiographical,”
he said. “The landscapes I do, the people I do, wherever
they come from, they all come fromthe same source. That’s
something I want to give language to, give a voice to.”
Begay also expects to engage young artists, something
he does regularly in Flagstaff. “I just feel it’s something
that goes with the gifts you’ve been given. You’ve been
given a beautiful way to express your life, express your
world, express your victories,” Begay said.
“I came out of the grueling, brutal world of the United
States government boarding school and the poverty of the
sheep camps and the reservation and still found a lot of
beauty and a lot of message in it, and a lot of things that
can be expressed in a way the whole world appreciates.
Those types of things, I want to put words to them.
Because a lot of young people, especially now, are just
giving up.”
Begaywantstoencourageyoungpeoplenot tobecome
“amanufacturer of products.” Hesaid, “I want toremain
genuine, andsharethegenuinenesswithyoungpeople,
becausetheyneedthat. Theyneedsomebodytotell themthat
youdon’t needtopaint withintheline. Youjust needtopaint
asthoughyoudon’t needthemoney. Paint withnerves.
“I think that would be a peak that all artists aspire to,
to be an artist whose life mattered, whose having been,
breathed, walked, created in this world mattered for
centuries to come.”
Alex Joel Peña
Cochití Pueblo/San Ildefonso Pueblo/Pawnee
This is Alex Peña’s first year showing at Indian
Market. He had never applied because he believed
only “traditional” Native artists were accepted. That
misconception was corrected when he actually visited
market. “One of the things that attracted me to Indian
Market is the juxtaposition between someone who is very
contemporary next to traditional Native artists,” he said.
Peña is in many ways an artistic explorer. “I never
want to pigeonhole myself into one type of art, because
to me that is extremely limiting,” Peña said. “I vacillate
between ideas, between techniques, between realismand
abstraction —all of those all of the time —and have given
myself the indulgence to be able to do that.”
The artist has resisted the pressure to be defined by his
heritage as well as the pressure to reject it. “During my
undergraduate work, my professors viewed me as having
this great wealth of millenniums-old knowledge and
heritage and culture that I could tap into. And if I didn’t
tap into it, then there was something wrong. So they kind
of made it feel like it was my obligation to stick to that,”
Peña said. “But when I got to graduate school, I had one
professor ask me, ‘Why does every Indian have to do a
feather?’ So it was kind of the opposite, in that they were
trying to get me away fromsomething Native. I found a
balance, eventually, in between. I’mnot abandoning being
Native, nor amI doing stereotypical Native work that
some people would have liked me to do.”
In his fellowship application, Peña wrote: “I consider
myself an emerging contemporary artist with an
American Indian background. …With my work I want
to showthat I have no obligation to create anything for
anyone else because ‘I’msupposed to,’ but I can create for
any audience or reason.”
The studio space provided by the residency will allow
the artist —who normally works on the kitchen table in
his apartment —to create large, bold, abstract pieces.
Peña is moved by SWAIA’s recognition. “It’s rewarding
to see that there are people who really value my work and
have given me this privilege and honor to expand on my
work,” he said.
youthFellows
SWAIAbelieves the future of Native art rests with our
younger generations. Youth Fellows receive a certificate
presented at an honoring reception and a cash award to be
used for research or supplies.
Atsatsa’ Antonio
Navajo/Shawnee
Seventeen-year-old Atsatsa’ Antonio has explored
drawing, painting, clay working and carving. But five
years ago, someone taught himhowto use metalworking
to create tools fromfound objects, and he was hooked.
In his fellowship application, Antonio wrote: “I love
turning things that people once thought [of ] as junk into a
beautiful, unique tool.”
Antonio has created fire pokers, knives and horse
equipment. “I try to keep the original look to the metal,” he
said. “If I use rebar, you try to keep that original pattern.
If I use a file, I keep the grooves in it. So I try to keep a
natural look to it.”
He uses a forge he built himself froma repurposed shop
vacuumpowered by a car battery, and he is nonchalant
about that accomplishment. “There are many ways to
build a forge. My first forge, I just used my own breath.
I blewthrough a little tube into the fire,” Antonio said.
“Then I designed a regular forge using a hair dryer. You
can make themout of almost anything. It’s pretty easy.”
Antonio plans to create some larger projects with the
fellowship money. “I want to make an ax or a machete, but
I need a bigger forge. I have to try to find a bigger blower
and a better heat source. So instead of seasoned charcoal,
I might try using coal or something like that.”
The young artist also hopes to travel to study with
other blacksmiths. This is his first year showing at
market. “It’s pretty exciting. I don’t really knowwhat to
expect. I can’t wait.”
Asked why metalworking won out over all the other
arts, Antonio replied, “Because it’s really unique and
hardly anyone else does it. You’re like the only one. And
you can make most anything with the forge. I like that
concept, to make your own stuff, and you don’t have to buy
anything, because you have the skills.”
Amber Laughing
Navajo (Diné)
Amber Laughing, 14, has been weaving since she was
4 years old. “My grandma started teaching me, and my
parents started teaching me. That way I could continue
the weaving throughout the family, because not many of
my cousins weave,” she said. “To me, it’s about …telling
a story within the rugs. It’s more about howit connects
within your life and howtradition has to be kept alive.
That’s why it was important to me.”
In 2010, at the age of 12, Laughing took first place, Best
of Class and Best of Showawards at the Navajo Nation
Fair in WindowRock, Arizona, and won first place in the
Youth 3DCategory at the same event in 2011.
Laughing will use her fellowship to purchase yarn and
tools to create more complex weavings. “I want to start
doing more difficult rugs, rugs that my grandma does, like
some that have three rugs in one,” she said. “Because right
now, mine are kind of simple. And I just want to get better
at it, to learn different ways, like howthe colors connect.”
Laughing came regularly to Indian Market with her
grandmother when she was younger but is not sure if she
will make it this year. She starts classes at her high school
the Monday after market.
“I only do maybe one rug a year, because there are so
many other things to do,” she said. “And a lot of those are
orders, so I can’t really sell themat art shows.”
Laughingbelievesshewill continuetoweave“asahobby”
but doesnot seethisasher career. Asafreshmaninhigh
school, weavinghastocompetewithrigorousacademic
classesandher loveof sports—basketball inparticular.
“Practice is two hours a day, and traveling out of town
constantly for tournaments gets pretty hectic,” she said.
“So there’s not a lot of time to weave, but when I do, I
really try hard and try to put effort into my work.”
2012 I NDI AN MARKET 75
76 2012 I NDI AN MARKET
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To visit our gallery, call (505) 983-9515 or email us at info@marthastruever.com
Online Gallery: www.marthastruever.com
Photos: © Wendy McEahern
martha hopkins struever
Martha Struever Lecture: Master Jewelers of the Southwest
Show-and-Tell: Pieces by 24 hard-to-get American Indian jewelers from the 30s, 40s, and 50s.
Tuesday, August 14, 2012, 2:00pm, Open Seating, Zia Room, Eldorado Hotel
A Loloma Discovery
An important private collection of Loloma
jewelry comes to light.
Friday, August 17, 2012, 2:00pm
DeVargas Room, Eldorado Hotel
Richard & Jared Chavez Opening
Richard, recognized master of stone inlay jewelry,
displays his newest work as Jared unveils strikingly
original Puebloan jewelry with Asian overtones.
Wednesday, August 15, 2012, 2:00-5:00pm
DeVargas Room, Eldorado Hotel
presenTing four special shows
aT The eldorado hoTel
Tuesday, augusT 14– friday, augusT 17, 2012
All shows continue Saturday, August 18 & Sunday, August 19, 11:00am-5:00pm
Important Estate Collection
of American Indian Pottery
Major Exhibition of
American Indian Jewelry
An Hour with McKee Platero
Thursday, August 16, 2012, 4:00- 8:00pm
DeVargas Room, Eldorado Hotel
MS.05.12 Four Shows Ad #2.indd 1 7/1/12 9:44:58 PM
Da r r e n Vi g i l Gr ay
Mary Etherington, Director of Contemporary Art
1011 Paseo de Peralta, santa Fe, nM 87501 | tel 505-954-5700
August 17th - October 6th
Darren Vigil Gray, The Four Legged, The Two Legged and The Winged Ones, Acrylic on paper, 30 x 42 inches
ne w wor k
© 2012 courtesy Gerald Peters Gallery.
The Southwest’s Classic Western Art Auction House Since 1994
Santa Fe art auction
Santa Fe Art Auction | P. O. Box 2437, Santa Fe, NM, 87504-2437
Tel 505 954-5858 | Fax 505 954-5785 | curator@santafeartauction. com
PleASe viSiT Santafeartauction.com FOr MOre iNFOrMATiON
Presented by Gerald Peters Gallery ©
Clockwise from Top Left: Clark Hulings, THE GIFT 1977, oil on canvas, 17 3/8 x 26 3/8 inches
E. Martin Hennings, ENTRANCE TO THE RIO HONDO, oil on canvas, 16 1/8 x 20 1/8 inches
Clark Hulings, FRIDAY MORNING MARKET, BONNIEUX, 1993, oil on canvas, 24 7/8 x 66 inches
© 2012 courtesy, Santa Fe Art Auction
Live auction | noveMBer 17, 2012 | 1:30pM MSt
Santa Fe Convention Center | Previews: November 16th from 5pm - 8pm & November 17th from 9am - 1pm
view HigHLigHtS & regiSter onLine at SantaFeartauction.coM
Dian Malouf
American nobility
On the Plaza, Santa Fe
Packard’s Artist Reception
Thursday, August 16, 5 to 9 PM
Indian Market Hours
Friday, August 17, 10:30 AM to 6 PM
Saturday, August 18, 7:30 AM to 6 PM
Sunday, August 19, 9 AM to 6 PM
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505.983.9241 or 800.648.7358
www.shoppackards.com
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Arti st Recepti on:
Thursday, August 16
5 – 8 pm
Also exhibiting works by
Tammy Garcia, Tony Abeyta,
Preston Singletary, Richard
Zane Smith, Jody Naranjo
and many others during Blue
Rain’s Annual Celebration
of Contemporary Native
American Art. Please visit
blueraingallery.com for a
complete show schedule.
130 Lincoln Avenue, Suite C
Santa Fe, New Mexico 87501
505.954.9902
www.blueraingallery.com
KEVI N REBHOLTZ PHOTOGRAPHY
Directions: Centrally located between Albuquerque and Santa Fe. Exit 259 , look for our signs
Santo Domingo Pueblo Arts & Crafts Market
P.O. Box 369
Santo Domingo Pueblo, NM 87502
505.465.0406
Meet the Artisans!
FREE ADMISSION & PARKING
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Santo
Domingo
Pueblo
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ALBUQUERQUE
SANTA FE
I-40 I-40
September
1, 2 & 3
SANTO DOMINGO PUEBLO 2012 Annual
ARTS & CRAFTS MARKET
Quality crafted products, traditional pottery, jewelry,
baskets, contemporary sculptures, paintings, Indian
food, farm produce and entertainment!
OBRZUT
SANTA FE
INDIAN
MARKET
BOOTH # 515 SF
ON SANTA FE TRAIl
AuguST 18-19, 2012
SWAIA.ORg
lA FONDA
HOTEl
gAllERY SHOW
100 E. SAN FRANcIScO.
SANTA FE, NM
AuguST 16-20, 2012
10 am-7 pm
KIM SEYESNEM OBRZUT
WWW. K I MO B R Z u T. c O M • 9 2 8 . 2 2 6 . 0 6 9 0 • F l A g S TA F F, A R I Z O N A
F i n e n at i v e a m e r i c a n S c u l p t u r e
101 W. SAN FRANCISCO STREET • 988-1866 • 800-874-9297 • OPEN SEVEN DAYS A WEEK
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Special showing of
all his designs and
vintage jewelry
Visit Federico
during Indian Market
August 16th -19th.
On the Plaza, Santa Fe
Packard’s Artist Reception
Thursday, August 16, 5 to 9 PM
Indian Market Hours
Friday, August 17, 10:30 AM to 6 PM
Saturday, August 18, 7:30 AM to 6 PM
Sunday, August 19, 9 AM to 6 PM
www.shoppackards.com
505.983.9241 or 800.648.7358
Douglas Magnus
turquoise iconography
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2012 I NDI AN MARKET 93
The Art Hotel of Santa Fe
855-278-5276 (ART-LAPO)
330 East PalacE avEnuE, santa FE • laPosadadEsantaFE.com
BROnze By
dalE claudE lamPhErE
FEaturing sPEctacular art by intErnationally rEcognizEd artists.
thE Paintings and sculPturEs oF
Patrick dEan hubbEll, doug coFFin, bEtty nancE smith
kathlEEn Frank, signE bErgman , addiE draPEr
darlEnE olivia mcElroy, don Ward
all shoWcasEd throoughout indian markEt
and art curator sara EyEstonE.
The Art of Hospitality
94 2012 I NDI AN MARKET
2012 I NDI AN MARKET 95
Fine Native American
Pawn Jewelry • Contemporary
Jewelry • Pottery • Folk Art
Vintage Mexican Jewelry
Collectible Hispanic Folk
Art and Fine Crafs
T H e R A i n b ow M A n
sinCe 1945
107 East PalacE avE • santa FE, nM 87501 • 505 982-8706 • rainbomn@aol.com
www.rainbowman.com • www.therainbowman.com
original photographs
Photogravures • Goldtones
by edward s. Curtis
Featuring Paintings by Tom Russell
Folk Art by Ron Rodriguez
Jewelry by Angie owen
MUSEUM OF
INDIAN ARTS & CULTURE
505.476.1250 • on Museum Hill
Margarete Bagshaw: Breaking the Rules
A Native American artist goes
her own way
NEw MExICO
MUSEUM OF ART
505.476.5072 • on the Plaza
It’s About Time: 14,000 Years
of Art in New Mexico
Looking back, the state of everlasting
art marks its 100th year
NEw MExICO HISTORY
MUSEUM/PALACE OF
THE GOVERNORS
505.476.5100 • on the Plaza
Native American Portraits:
Points of Inquiry
Original prints capture elegance
and beauty in the faces of the
frst Americans
ART OFTHE STATE
State of the Art,
MUSEUM OF
INTERNATIONAL FOLK ART
505.476.1200 • on Museum Hill
Art of Gaman: Arts and Crafts from
the Japanese American Internment
Camps, 1942-1946
They braved the seemingly unbearable
with dignity and patience
2012 I NDI AN MARKET 97
98 2012 I NDI AN MARKET
Paintings and Sketches by Acclaimed American Artist
ErnESt ChiriACkA (1913 – 2010)
Limited Engagement
reception: thursday, August 16, 5-7 pm
CASWECk GALLEriES
203 West Water Street, Santa Fe • 505-988-2966 in the Galisteo/Water District
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native American West
“Tutelage,”
oil on board, 22” x 24”
“Three Kings,” oil on board, 24” x 30” “Chief,” oil on board, 16” x 20”
Exhibition thru
Friday, August 31
2012 I NDI AN MARKET 99
FETISHES JEWELRY POTTERY SINCE 1981
all show proceeds go
directly to the artists
thezuniconnection
227 don gaspar
santa fe nm
505.989.8728
www.keshi.com
KESHi
Corn Maidens:
Kateri Quandelacy Sanchez
Lion Family: Orin Eriacho
Quandelacy Family Show
Saturday August 18
1 - 4 pm
QUANDELACY ERIACHO
Melvin and Orin Eriacho
Sunday August 19
11 am - 2 pm
Just in front of the Palace of the Governors, two Bens
are talking —artist Ben Harjo Jr., a Seminole-Shawnee,
and artist Ben Nighthorse Campbell (perhaps better
known outside artistic circles as a former U.S. senator
fromColorado). The two men have known each other for
more than 30 years. “Ben and I go back a long ways,” said
Campbell, who doesn’t showat market anymore because
too many folks wanted to discuss Medicare or Social
Security once he went into politics. He’s still attending,
though. “I like togoandsee oldfriends; unfortunately, now,
some are passing on.”
Campbell, a jeweler and member of the Northern
Cheyenne tribe, doesn’t miss his old job in Congress. “It’s
so mean back there,” he said. “It’s angry. I’mhappy being a
grandpa. I was inthis worldlong before I went intopolitics.”
Leaning on a beaded cane, Campbell tells a story that
sums up the small world of market and Indian art: “I was
walking last year at market and this guy came up to me,
pointedat my cane andsaid, ‘My mommade that cane.’”
Classification winners Jamie Okuma and Arthur
Holmes Jr. (she for a beaded dancer in Diverse Arts; he for
Wooden Pueblo Carvings) are side by side. Her momand
fellowartist, Sandra Okuma, is selling her beaded purses.
Jamie (Luiseño/Shoshone-Bannock) is standing backfrom
the booth, watching. She’s wearing slick, sparkling black
tennis shoes and spidery black gloves, taking in the scene
without speaking. Apotential buyer wants to peek at the
beaded Louboutins (high-end shoes) in the case. Another
is trying ona bracelet. She always sells out of her exquisite
beadwork.
Next door, Holmes sits with his massive katsina on
the table before him. It’s a father and son hunting (the
judge called it the most important skill a Hopi father can
pass down: survival). His wife, Irene, and son Hunter are
nearby. Hunter is pleased about his father’s success but
is more excited that he has just received his first phone.
It’s only 7:02a.m.
The streets of Santa Fe were eerie on the Friday of
the 2011 Indian Market, with a temporary power outage
turning the world black. By early morning, water pooled
in the canvas that covers the booths, sending liquid show-
ers below. It was chilly enough for Manuelita Coochvikvia
(Hopi) to grab her son’s SpongeBob blanket and wrap her-
self inits warmth.
Curtis Naseyowma, alsoa member of the Hopi tribe and
self-proclaimed “helper” for artists Gregory and Gilbert
Naseyowma, was using a chair to knock the water off the
top of his booth covering. The drive into Santa Fe from
Hopi was spectacular, he said, as the family came in from
near Tuba City, Arizona, throughAbiquiúandCuba. “It was
storming andit was almost pitchblack,” Curtis said. “It just
lit upthe mountains.”
Right along the Plaza, on San Francisco Street, Joe V.
Cajero is holding court. The Jemez Pueblo bowmaker and
potter is telling a customer, “I don’t knowhowmany bows
I’ve made. I’ve lost count.” The bows are of oak, blacklocust
and salt cedar, with turkey feathers to guide the arrows
along (culled from turkeys Cajero shot himself). He’s a
crack shot withanarrow.
“One time,” he said, “withmy son, whenhe was 11 years
old, I sawthis turkey, and shot himthrough the eyes.” Just
before market, Cajero competed in the national Senior
Olympics, taking fourthplace inhis archery classification.
“Being anIndian,” he said, “I have to be good.”
The last booth on Lincoln Avenue —about as far fromthe
Plaza as IndianMarket gets —is where painter andsculptor
By Inez Russell Gomez PHoTos By JAne PHIllIPs
market
It’s early on the first day of Santa Fe Indian Market, well before 7 a.m.
Market veterans are set up and ready to start selling with the official
opening. Lines are winding fromthe booths of the most popular artists.
Other artists are barely wheeling their items in. This year, a drenching,
overnight rain still glistens on booths and pavement with clouds threat-
ening another downpour. The Plaza grass is wet — shimmering for the
first time in what seems like ages. The drought that has plagued Santa Fe
for months isn’t over, but it is temporarily abated.
It’s not just the art that draws people to Indian Market
This is Indian Market 2011, a jumble of sights and sounds, a place where friends and family reunite and,
most of all, where the biggest and best Native art market on the planet assembles in the middle of Santa Fe.
The place to see and be seen, it’s one big event made up of the small moments that bring to life this gathering for
both old-timers and newcomers every year.
100 2012 I NdI aN MarkeT
moments
Facing page top left:
Daisuki Uchi
sealaska Pavilion
Gail Bird
Ben nighthorse Campbell and Ben Harjo Jr.
Arthur Holmes Jr.
Above:
John Paul Rangel
Umbrellas by Patricia michaels
Joe V. Cajero
Beaded Louboutins by Jamie okuma
and former Best of Showwinner Sheldon Harvey roosts.
His wife, Tonya Jesus, is there, talking tocustomers, giving
out prices andgenerally running the show.
Nearby is Daisuki Uchi, a Japanese man in cowboy
hat and boots who’s in town for market and a longtime
friend of the family. “He went to Japan and stayed with
my family,” Uchi said of the Navajo painter. “Then he
came back and won Best of Show. My grandfather gave
to Sheldon the family crest. He is an older brother.” Uchi,
a leathermaker, is so fond of the Navajo culture, he said,
“they call me a Jap-a-ho.”
The recession, as recessions do, cut into the art busi-
ness. “I got hit hard,” Harvey said. “It’s been about four
months withme literally hustling andhustling. It was get-
ting scary.” Harvey andseveral other artist friends pitched
infor aglossy, two-pageadvertisement inlast year’s issueof
thismagazinetobringinbusiness. “It wasCodySanderson’s
idea. He said, ‘Why don’t we all pitch in for this cover?
This will be a good marketing tool.’ It was fun.” Harvey,
Sanderson, JodyNaranjo, KennethJohnson, KathleenWall
andTony Abeyta became the inside spreadinthe magazine
with that ad (Goler Shoes provided the footwear). So cool
weretheshoes, hesaid, “Weendedupbuyingthem.”
Over at Cathedral Park, where the nonprofits reside dur-
ing market, Sealaska Heritage Institute is gearing up to
showcase the culture of the far Northwest. With artists,
demonstrations, storytelling and dancing, it brings a dif-
ferent vibe to market, introducing another slice of Native
life tothe Southwest. It’s alsothe place for another moment
at market, this one featuring city code enforcers. The 2011
market will forever be remembered as the one where
debates over taxes andbuildingpermits intrudedontheart.
Sevastian Gurule, constituent services manager for
the city of Santa Fe, is there with enforcer Barbara Lopez,
whowants toknowwhy sales are taking place at Cathedral
Park. City ordinances, she said, limit sales at the park
only to a few select shows — it’s part of a deal with the
Archdiocese of Santa Fe that gave the land to the city —
and Indian Market isn’t one of those selected shows.
SWAIAhonchoBruce Bernsteinis all smiles as the discus-
sion goes on. “We’ve had merchandise sales here for four
to five years,” he said of the SWAIAbooth that is sharing
the nonprofit space with Sealaska and others. Sealaska
Heritage officer Lee Kadinger reminds everyone that art-
ists at the cathedral are selling through the nonprofit, not
as individuals. Not only that, officials fromSealaska met
with Mayor David Coss back in June to work all this out.
It was approved, he maintained.
Gurule saidhis staff is bending over backwardtomake
Indian Market work, especially after the earlier holdups
over business licenses. What matters most, both men
agreed, is that Indian Market succeed for all of Santa Fe.
For this weekend, for these moments of market, the non-
profits cankeepselling.
Despite the difficulties last year —every IndianMarket
artist must obtain a city business permit, which neces-
sitates having an individual tax number, a process that
jammed at several critical points in 2011 —all seems to be
humming along between the city and the market by mid-
morning Saturday. “They’re doing a great job inhandling a
huge workload,” Bernsteinsaid. “Inanevent like this, there
is always something that canhappen. This is 14city blocks.
Ultimately, we bothwant IndianMarket, its history andits
traditiontoshine.”
Rachel Gearhart and Harmony Romano are holding silky,
colorful umbrellas over by Taos Pueblo designer Patricia
Michaels’ booth. They were among 19 models who took
part in a street fashion show that unleashed beauty on
heels around the Santa Fe Plaza on Saturday. Wearing
Michaels’ original fashion and carrying the umbrellas —
“it’s a sculpture for the corner of your home,” one customer
remarked —the young women set off en masse to spread
light andcolor aroundthe madness of market.
“It was so much fun,” Gearhart said. “Her fabrics are
all lightweight and moveable. Look at the colors through
the sun.”
Inspiration for the umbrella —with hand-carved han-
dles and hand-painted fabrics —came froma love of T.C.
Cannon’s art and traditional flowers as they appear on
pottery. The splashes of color change as the sun shines on
them, making the umbrella a piece of art that won’t sit still.
Model Romano, gazing at her fabric, said, “I feel like a
fairy under a toadstool.”
Just one more moment at market. Piled one on top of the
other, these moments combine tocreate the magic that sets
IndianMarket apart. We’ll all be backagainthis year tosee
what the 2012 market brings, whether a famous designer
(TomFord) judging the Clothing Competition on Sunday,
or a surprise winner at the Best of Show Ceremony on
Friday —or best of all, a simple conversationwithanartist
who shares his inspirationandstory.
2012 I ndI an market 101
Clothing contestants push fashion
boundaries while honoring tradition
story By Kay LocKridge
photos By Kitty LeaKen
“Color, composition and creativity all are
essential to good [fashion] design, but perhaps
it’s the things you can’t see but feel —the
energy and effort put into each piece of
clothing —that creates a winning style,” said
Santa Fe native TomFord, a noted fashion
designer and award-winning filmdirector and
producer. “Such energy and effort are projected
onto the design through the belief of the
designer. You can feel it as well as see it.”
Ford was the celebrity judge brought in for the first time
to judge the contemporary clothing categories, including
the newcontemporary designer clothing competition,
during the 2011 Native American Clothing Contest at
Indian Market.
“What I found exceptional in the contemporary
competition was that designers were
faithful to traditional Native
American elements and yet
presented themwith a new,
fresh perspective,” he said,
pointing to the winning
design by Toni Williams
(Arapaho/Seneca) in
the Contemporary Adult
Women category. “Good
things are always good
things and stand out. Good,
creative design strikes a
chord with people. This is
true whether we’re talking about
traditional or contemporary design.”
Williams had created a Japanese-
B e y o n d
102 2012 i ndi an market
Judge TomFord with Naomi Bebo Maybee and Persephone Maybee in Best of Showoutfit,
2011 SWAIAIndian Market Native Clothing Contest
Brent Brokeshoulder
Royale Da
inspired kimono for her daughter-in-lawNaomi Bebo
Maybee (Menominee/Hochunk).
“I love ledger art, which speaks to our past and present,
as well as to the future, and wanted to put it on clothing,”
Williams said. “I wasn’t sure howto do it, however, so
I prayed on it for a year and then, at the Heard show
[in Phoenix] in March [2011], I sawa kimono featuring
buffalos. After that, I had a dreamin which I sawthe
buffalo running east …to greet the day, as the Creator
would have them.
“I’ve beensewing forever, but suchvisions hadnever
come before. The kimono I designedtells our story ina way
people today will understandandappreciate,” she said.
Williams has passed down both her love of, and talent
for, sewing to her son, artist Dallin Maybee, who has
designed award-winning clothing for himself in previous
Indian Market clothing contests. In 2011 Maybee
designed a head-to-toe pink outfit for his 1-year-old
daughter, Persephone, which won both first place for girls
1 to 5 in the traditional Plains and other tribes category
and Female Best in Show.
“My daughter inspired me the moment she was born,
and she continues to inspire me,” Maybee said. “She’s
a blessing to us and a joy as well. The outfit is a Plains
design and construction; it’s made to be worn and
enjoyed. This outfit shows you want the best for your
child. Every parent must feel that way —at least I hope
they do. We certainly do.”
Fordsaidhe was “quite takenwithbothwinning outfits.
This was a family affair. Youcouldsee the sharedvision.”
Warren Giago Jr. (Lakota/Dakota) shyly but proudly
wore the traditional wedding suit designed by his wife,
artist Lauren Good Day Frank-Giago (Arikara/Blackfeet/
Cree), that won both the traditional Plains and other
tribes adult male category and Male Best in Show. He
said it was important to themboth that he be dressed
in traditional clothing for [their wedding], “the most
important day of my life. It speaks to our life together.”
Clothing tells the story of a people, its culture,
history and tradition. “Often, people think about Native
Americans as we were envisioned at the turn of the [last]
century,” said artist, educator and activist Charlene
Teters (Spokane). “If we’re not walking around in
buckskin and fringe, mimicking the stereotype in dress
and art form, we’re not seen as real. Native Americans are
here, and we are contemporary people, yet we are very
much informed and connected to our history.”
Perhaps no one is more connected to his history than
Virgil Ortiz, Cochití Pueblo potter and fashion designer.
“I always say potter first, because that came first and is
so important to our pueblo,” Ortiz said. “Actually fashion
and pottery kind of lean on each other. Ideas fromeach
other go back and forth.
“Tradition is important to me. My art, considered
extremely contemporary, reflects that, especially if you
look closely at my designs. I comment on the past and
present through my art, which becomes the future —
and I encourage you to look at and think about the
design.”
Diné designer Penny Singer is
another Native artist who pushes
the boundaries of fashion while
remaining true to her cultural
roots. She draws inspiration
fromtraditional Navajo designs,
embossing geometric shapes
on velvet and using silver in
her work. “Mostly I see all of
my garments as wearable art,”
Singer said. “I can do the traditional
Navajo velvet and then I incorporate
silver or beadwork on vests and jackets.
I also have used seashells and brass
buttons …jazzing the garment up, giving it that
regalia look, a little of the powwowlook.”
Virginia Yazzie Ballenger (Diné) and Kathy Whitman-
Elk Woman (Mandan/Hidatsa) also reinvent and
reinterpret tribal traditions in their practical apparel.
“I like to continue to grow, to innovate, to find the next
different thing and stay fresh,” Whitman-Elk Woman
said. “This is what it means to be an artist.”
2012 I ndI an market 103
Dallin Maybee
Jessica Growing Thunder Left, Jessica Perea and Wakeah Jhane Audrey Brokeshoulder
Malakie Yellowman
But it was a trip to Jemez artist Cliff Fragua’s studio
that launched his fascination with sculpture. Wall was
7 or 8 years old and was intrigued by the power tools and
the clouds of dust as artists brought figures to life from
stone slabs
“It was really cool,” he said. “It’s a vivid memory.”
But he also wanted to be a rock star. He and his friends
at Santa Fe Indian School listened to a lot of heavy
metal, and his original plan was to be a drummer. Then
his friend Ed Kabotie bought hima bass guitar at age 17,
and he started listening to rock and reggae and actually
playing music.
Wall pursued the two passions concurrently when he
moved to Albuquerque at age 19. He learned fromfellow
sculptors and artists, and he also helped start a Native
rock band, Red Earth. He was introduced to funk, samba
and Latin-infused music and loved the syncopation.
“Being really young and really hungry to make music
and art was an incredible time in my life,” said Wall.
Red Earth was “totally about smashing stereotypes,”
he said. “It was about being a Native artist in this age and
expressing ourselves without any kind of filters.”
Wall said he took to the bass because it was percussive
and links the other instruments.
“Being a bass player fits my personality, because I like
to see everything going on and howit fits together and see
what my role is,” he said.
Now41, Wall is an established artist with a number
of loyal collectors and is a veteran of Santa Fe Indian
Market, where he has participated for about 12 years.
After more than 10 years with Red Earth, including
recording three CDs, he left to spend more time on his art.
He also had a family, including a son, and balancing all
that was difficult, he added.
But Wall has continued to play, adding flute and guitar
to his repertoire and releasing two solo CDs, Reap the
Sun and Songs on the Wind. He and Kabotie launched a
project several years ago called Twin Rivers and recorded
Springs of Guisewa, which they hope to remix and release
next year. It’s a mix of traditional music with reggae and
other influences.
“We’re bringing Native music into a more contemporary
context,” he said, and that includes his flute music. “That’s
really exciting to me.”
Kabotie is a drummer and vocalist, as well as a linguist,
and the project features lyrics in Tewa and Hopi
languages.
Pamela Pierce, CEOof Silver Bullet Productions, has
used Wall’s music in several documentaries, including
Ancient Pathways and Canes of Power.
“He has a great energy,” Pierce said. “He captures the
Native sound but does it with great modern flair.”
Wall’s art reflects that sensibility as well. He has
usually drawn inspiration fromPueblo traditions
and Southwestern aesthetics, but he also combines
representational images with abstract forms.
Wall often plays music at festivals where he is also
showing his art. He listens to music constantly as he
works at his Santa Fe studio. Lately it’s Polynesian and
reggae, but his tastes run the gamut.
“My iPod is pretty intense,” he said. “My all-time
favorite band is Fishbone. They’re just amazing. I think
Red Earth really modeled themselves after them.”
Wall also organized jamsessions at the Institute for
American Indian Arts, where he is pursuing a bachelor’s
degree, and eventually started a music club at the school.
He will play at IAIA’s Vital Strides event at the Museum
of Contemporary Native Arts on August 19. The event
is a fundraiser for the school’s Associated Student
Government. It includes art demonstrations and a silent
auction and runs from10 a.m. to 5 p.m.
Since entering IAIA, Wall said his artistic vision
has been changing. “I was doing all these markets and
galleries and my art was being commodified because I was
making it for this market,” he said. “I’mstarting to make
more art for myself. I’mtrying to give my art a voice.”
By Megan KaMericK
Dual
passions
fuel
Adrian Wall’s
artistic
Vision
He recently did a piece on genetically modified food
that featured a corn maiden, contrasting Native food as
medicine with altered food.
He has also started to tackle social issues with his
music but said he finds that more difficult.
“I’ve done a couple of pieces that were controversial
and attacked issues, but a lot has been feel-good music,”
he said. “I have a harder time letting myself go, writing
music and lyrics that take a side.”
Details
Adrian Wall plays at IAIA’s Vital Strides III event at the Museum
of Contemporary Native Arts, 108 Cathedral Place, on August
19. (For more information about the event, go to www.mocna.org
or call 505-428-5907). He also performs at the Santa Fe Indian
Market Live Auction Gala at La Fonda on the Plaza on the 18th.
(For more information about this ticketed event, call 505-983-
5220.)
Find Adrian Wall at Indian Market booth No. 612-PLZ.
Watch Wall create a sculpture and talk about his work in this
2009 video www.youtube.com/watch?v=wRNOTHEkNCA
Hear Wall and Kabotie’s work from Twin Rivers at www.myspace.
com/twinriversmusic.
photos By Kerry shercK
Adrian Wall was surrounded by artists growing up on Jemez Pueblo. His mother was a potter, his
father a silversmith. His sister, Kathleen Wall, launched her own career in pottery as a teenager.
104 2012 I NdI AN MARKET
2012 I NDI AN MARKET 105
Please Join Us for an Evening withThree Prominent Native Jewelers
STEVE LARANCE / WIKVI YA
MARI AN DENIPAH
AARON BROKESHOULDER
The Artists will present their latest work on
Thursday August  from : – : pm
Refreshments
Jewelry • Gifts • Accessories • Home
RIPPEL
andcompany
 Old Santa Fe Trail
.. • johnrippel.com
We admire Native art on our walls. We display it on our mantels and elsewhere in our
homes or workplaces. Many of us wear fine Native art, displaying it with pride. Yet, when
we consider all its diverse forms, we rarely think of Native art on the movie screen.
Over the past dozen years, through the Native Cinema Showcase at Santa Fe Indian
Market, the Southwestern Association for Indian Arts and the Smithsonian Institution’s
National Museumof the American Indian have made tremendous strides in making
Native filmmaking a central component of the Native art world.
“Through the years we have seen Native art evolve and progress,” said Jhane Myers
NoiseCat (Comanche/Blackfeet), coordinator of the 12th Annual Native Cinema
Showcase and the founding executive director of the American Indian National Center
for Television and Filmin Los Angeles. “SWAIAhas always nurtured and acknowledged
a continuation of Native fine art. Filmis a natural fit as a creative art formof Native
artistic expression. With the inclusion of Native filmas a viable part of Indian Market, it
introduces the films and filmmakers to a broad and impressionable audience.”
“The showcase is a tremendous experience for filmmakers and audiences,” said film
producer Chad Burris (Chickasaw), founder of the NewMexico-based Indion Group
of Entertainment Companies. “It’s an opportunity for filmmakers to screen in front of
a wide audience. It also gives that same audience an opportunity to see the films they
might otherwise miss. SWAIAand the Smithsonian have been such great supporters and
true advocates for independent cinema, [and] the showcase really
exemplifies this.”
The showcase has evolved froma weekend event to a full week
of screenings. This year it will premiere at 7 p.m. Monday, August
13, with Mosquita y Mari, an award-winning coming-of-age story
directed by acclaimed filmmaker Aurora Guerrero and produced
by Burris. (Guerrero, Burris and N. Bird Runningwater, director of
Sundance Institute’s Native American and Indigenous Program, will
be present at the event.)
“I couldn’t be happier to be the opening film,” said Burris, who has
produced such films as Barking Water by Sterlin Harjo (Seminole/
Creek), as well as Bringing Up Bobby, The Killer Inside Me and Yellow.
“What’s a more perfect opportunity than opening for market and allowing this formof
art to be in front of so many? I think it’s absolutely vital to continue to allowa venue to
screen films by Native artists, and there’s nothing more apt than Indian Market for that.”
Myers NoiseCat explained that SWAIAand NMAI entered into a partnership four
years ago, making cinema an official category at Indian Market —Classification X: A
Moving Images awards category, more commonly known simply as Class X.
WhyClass X?
“Prior to filmbeing added to the juried art formthere were nine classifications of art
at Indian Market,” said Myers NoiseCat, an accomplished and award-winning artist.
“Naturally filmbecame the 10th classification. Since Xsymbolizes 10 in Roman
numerals, the title evolved to Class X.”
The class is divided into five divisions. The category of narrative shorts encompasses
non-commercial, narrative motion pictures shorter than 30 minutes. Brief films
that record reality fall into the documentary shorts division. The animation category
includes 2-Dor 3-Dfilms in which the rapid display of still images creates the illusion
of movement. Experimental films are characterized by the absence of a linear narrative.
Finally, narrative films longer than 90 minutes fall into the full-length feature category.
Steven Judd (Kiowa/Choctaw) is a relative newcomer to telling the Native experience
through film. He believes that throughout history one way of saving
or even sharing culture is through story.
“I think the way ‘storytelling’ has shifted is that we have different
mediums to tell stories,” said Judd, who co-wrote the screenplay
for Shouting Secrets, a filmby Karinna Sehringer currently making
its way around the film-festival circuit. Shouting Secrets will show
at the SWAIA/Smithsonian cinema showcase at 7:30 p.m. Friday,
August 17. Judd, Sehringer and lead actor Chaske Spencer (Lakota)
—aka werewolf SamUley in the Twilight series —will be present.
“So while I don’t just make Native-specific stories all the time,”
Judd said, “I do make a very conscious effort to try to use the
language when I can in a modern setting. I think it’s a way to reach
[people], especially the youth, and help share a bit of our culture that
they might not otherwise be privy to or even care to know.”
As Native films begin to stretch past the long shadows of Hollywood, one question
that emerges is whether Native films and documentaries will always be considered
somewhat “underground.” Burris, a member of the Writers Guild of America and
a recipient of the ABC/Disney Writing Fellowship Program, has a take: “Yes and
no; I mean, we are such a small population that I guess we will always be somewhat
underground just due to the content available. However, I do believe we will have
mainstreamfilms as the writing and acting …improve —and once we write, direct and
act in a movie that catches the American zeitgeist.”
Myers NoiseCat pointed out that the Native Cinema Showcase is gaining popularity.
The event has outgrown its former venues and has graduated to the NewMexico
History Museum’s theater this year. Winners of all Class Xdivisions will be announced
on Thursday, August 17; afterward, the winning films will be screened at the museum
theater. There will also be an encore screening of these films at The Screen theater at
Santa Fe University of Art and Design after Indian Market.
Another addition to the showcase will be the 1491s comedy team, a group of Native
filmmakers and writers who are trying to change the image of the 21st century Native
through the Internet and in particular via YouTube videos. They will produce a showthat
includes their online videos and improvisation at Warehouse 21 on Saturday, August 18.
“I think cinema is an amazing tool,” remarked Burris, who won the Mark Silverman
Award for NewProducers fromthe Sundance Institute in 2007. “Ultimately the question
‘What is Native cinema’ is what will be redefined to allowfor the greater integration into
the industry. Likewise, I think there’s a style apparent among Native filmmakers that has
a specific voice that will find its place in the market and bring an audience looking for
something newaround to this particular style.”
Generation
X
film
Native art is thriving in a new phase of its evolution —
By Harlan McKosato
Ultimately the question
‘What is native cinema’
is what will be
redefined to allowfor
the greater integration
into the industry.
106 2012 i ndi an market
August 13
7 p.m. Native Cinema showcase Opening Night
presented by sundance Institute
Mosquita y Mari (U.S., 2012, 85 min.) In English and Spanish with
English subtitles. Director and screenwriter: Aurora Guerrero.
Producer: Chad Burris (Chickasaw)
This coming-of-agestoryfocuses onatender friendshipandbudding
romance between two young Chicanas growing up in immigrant
households in Los Angeles. Yolanda (Fenessa Pineda), an only
child, delivers straight A’s and aspires to live the American Dream,
while Mari (Venecia Troncoso) shares economic responsibilities as
the oldest child in her undocumented family. Mounting pressures
at home collide with their newfound connection, forcing them
to choose between their obligations to others and staying true to
themselves. World premiere at the 2012 Sundance FilmFestival.
In person: Aurora Guerrero, Chad Burris and N. Bird Runningwater,
director of the Native American and Indigenous Program of the
Sundance Institute
Preceded by I Lost My shadow(u.s., 2011, 3 min.)
Director: Nanobah Becker (Diné/Navajo)
Encounters on the NewYork subway, featuring Navajo dancer Jock
Soto, highlight this music video of a song from Laura Ortman’s
second solo album, Someday We’ll Be Together.
In person: Nanobah Becker and Laura Ortman (White Mountain
Apache)
August 14
3 p.m. Racing the Rez, presented by Native American
Public telecommunications
(U.S., 2012, 57 min.) Producer: Brian Truglio
In the rugged canyons of Northern Arizona, Navajo and Hopi
cross-country runners fromtwo rival high schools put it all on the
line for community pride and state championship glory. Over the
course of two racing seasons, the boys strive to find their place
in their own Native communities and in the American culture
surrounding them. Win or lose, what they learn will have a dramatic
effect on the rest of their lives.
5 p.m. skins
(U.S., 2001, 84 min.) Director: Chris Eyre (Cheyenne/Arapaho)
Twobrothers, veterans of VietnamwhohavereturnedtotheLakota
reservation, findthemselves ondifferent paths. Rudy (Eric Schweig)
gets a college degree and a job as a tribal police officer, while Mogie
(Graham Greene) turns to the alcoholism that has devastated his
family. Angry about the destructive effects of American history on
thepeopleof thereservation, Rudy takes matters intohis ownhands,
going on a vigilante quest to save his community.
7 p.m. Hide Away
(U.S., 2011, 88 min.) Director: Chris Eyre (Cheyenne/Arapaho)
While running away from his tragic past, a man known as the
Young Mariner (Josh Lucas) finds an idyllic harbor in the Great
Lakes. There he buys the dilapidated sailboat Hesperus and sets
to work to restore it. Over the next year, the boat and the harbor
community become his greatest support as he struggles to rebuild
his life. World premiere and winner of best cinematography at the
2011 SXSWFilmFestival.
August 15
11 a.m. Calling All Filmmakers —NAPtCase study: Injunuity
What does it take to produce a successful documentary for
PBS? Native American Public Telecommunications (NAPT) will
present a case study that will take participants through the process
of funding, delivery and community engagement to increase the
capacity of the film to make change. Learn more about NAPT
resources that go far beyond funding. (Interested filmmakers,
producers, educators using media and tribal community members
are encouraged to attend.)
1 p.m. Navajo Paradiso
Total running time: 73 min.
The Navajo Nation has produced some of the most exciting and
successful Native filmmakers of the past decade. Join us for a
program of short films and talk with the artists who made them.
For a complete listings of films, visit www.santafeindianmarket.com
or www.swaia.org.
4 p.m. Future Voices of NewMexico
Total running time: approx. 90 min.
This year’s secondannual FutureVoices of NewMexicoNativeYouth
FilmandVideoFestival showcases andawards prizes for outstanding
film and video by young emerging filmmakers. The festival is
producedby Future Voices of NewMexico, anorganizationworking
with indigenous and underrepresented communities to encourage
high school students to tell stories through film and photography.
Future Voices is a collaborative project of the National Geographic
All Roads Film Project, Lensic Performing Arts Center, Santa Fe
Photographic Workshops and the Indigenous Language Institute.
For more information, visit www.futurevoicesofnewmexico.org.
7 p.m. Canes of Power
(U.S., 2012, 52 min.) Introduced by Conroy Chino (Acoma)
Producers: Pam Pierce and Nick Durrie. Associate producer:
Matthew Martinez (Ohkay Owingeh). Produced by Silver Bullet
Productions. Narrator: Wes Studi (Cherokee)
In 1864, President AbrahamLincoln presented silver-headed canes
to each of New Mexico’s 19 pueblos. Today these canes remain
potent symbols of continuing sovereignty. Why did this war-weary
president, a leader of an Indian policy that destroyed many tribal
communities, choose this action?
Discussion to followwith PamPierce and Nick Durrie, historian and
director of research Matthew Martinez and screenwriter Maura
Dhu Studi.
August 16
1 p.m. sneak Preview: the Medicine game, presented by
Native American Public telecommunications
(U.S., 2012, 64 min.) Director/Co-Producer: Lukas Korver
For Jeremy and Jerome Thompson, brothers from the Onondaga
Nation in New York, lacrosse is more than just a game — it’s part
of their Iroquois heritage. They are pinning their hopes on their
skill in the sport to take themto Syracuse University, a school with
14 national teamchampionship wins in lacrosse. With their college
dreams nearly within reach, the boys are caught up in a constant
struggle to define their Native identity, live up to their family’s
expectations and balance challenges on and off the reservation.
In person: Lukas Korver and Jeremy Thompson
The 12th Annual Native
Cinema Showcase
AuguST 13-19, 2012
Free AdmiSSioN
SWAIA and the Smithsonian Institution’s National Museum of the American
Indian present a seven-day celebration of films and videos by and about
indigenous peoples in connection with Santa Fe Indian Market. All films will be
shown at the New Mexico History Museum (113 Lincoln Ave., 505-476-5200).
All films are subject to change. For a complete guide and up-to-date listings of all
films and screening times, visit www.santafeindianmarket.comor www.swaia.org.
2012 I ndI an market 107
3 p.m. Skateboard Nation
(U.S., 2011, 51 min.) Director: Martha Conboy. Produced by
Smithsonian Networks
Explore the underground movement that is helping Native
American youth throughout the U.S. soar above life’s challenges
one half-pipe at a time. Skateboarding is increasingly popular on
reservations as well as urban areas, cultivating athletes, artists,
entrepreneurs and mentors. From the streets of Albuquerque to
New York City, from Washington, D.C., to Pine Ridge, the sport is
fueling a newformof self-expression and pride.
In person: Albuquerque’s West End Boyz
7 p.m. Classification XWinners Screening
(Repeats at 5:30 p.m. / Friday and 1 p.m. / Saturday)
This special program features the SWAIA Indian Market Moving
Images “Classification X” winners in the following categories:
NarrativeShort, Documentary Short, AnimationShort, Experimental
and Full Length Feature. Screenings followed by a Q&A with the
Classification X winners, moderated by Jhane Myers NoiseCat
(Comanche/Blackfeet), SWAIAfilmcoordinator.
AuguSt 17
Noon Path Waves-Youth Shorts Program
Total running time: 55 min.
For a complete listings of films, visit www.santafeindianmarket.com
or www.swaia.org.
5:30 p.m. Repeat of Classification XWinners Screening
This special program features the SWAIA Indian Market Moving
Images “Classification X” winners in the following categories:
NarrativeShort, Documentary Short, AnimationShort, Experimental
and Full Length Feature. Screenings followed by a Q&A with the
Classification X winners, moderated by Jhane Myers NoiseCat
(Comanche/Blackfeet), SWAIAfilmcoordinator.
AuguSt 17
8 p.m. Shouting Secrets
(U.S., 2011, 88 min.) Director: Korinna Sehringer. Writers: Mickey
Blaine, Tvli Jacob (Choctaw) and Steven Judd (Kiowa/Choctaw)
June is a loving wife and a support to her three grown children.
But when she falls ill, the confused and quarreling siblings and the
misunderstood father are left to cope with her illness, and with one
another, inthetight confines of thehospital andat thefamilyhomeon
thereservation. Worldpremiereat 2011 AmericanIndianFilmFestival.
In person: Korinna Sehringer, lead actor Chaske Spencer (Lakota)
and screenwriter Steven Judd
Preceded by: the Storm
(U.S., 2011, 5 min.) Director: Steven Judd (Kiowa/Choctaw)
In this music video, Seminole musicians Zack “Doc” Battiest and
Spencer Battiest performtheir 2011 singleTheStorm. Thesongandthe
video were created as a tribute to the Seminole Tribe of Florida and
an homage to the singers’ parents, grandparents and tribal leaders.
AuguSt 18
1 p.m. Repeat of Classification XWinners Screening
This special program features the SWAIA Indian Market Moving
Images “Classification X” winners in the following categories:
NarrativeShort, Documentary Short, AnimationShort, Experimental
and Full Length Feature. Screenings followed by a Q&A with the
Classification X winners, moderated by Jhane Myers NoiseCat
(Comanche/Blackfeet), SWAIAfilmcoordinator.
3 p.m. imagineNAtIVE Presents
(Total running time: 70min.) Presented by Jason Ryle (Saulteaux),
executive director, imagineNATIVE Film+ Media Arts Festival
Since 2007 the imagineNATIVE Film + Media Arts Festival has
commissioned new work from Canadian aboriginal artists. This
program features 10 of these commissions, some by Canada’s
leading media makers and others by emerging filmmakers. This
program includes the project’s first sound art commission and a
collaboration of indigenous youth fromdifferent continents. The
festival features works by world indigenous artists and takes place
next on October 17-21, 2012, in Toronto. For a complete listing
of films, visit www.santafeindianmarket.com or www.swaia.org.
7 p.m. the 1491s: NDNCountry in Cyberspace
Note location: Warehouse 21, 1614 Paseo de Peralta
The 1491s presents a curated show of not just their own snarky
videos but videos handpicked from all that NDN Country has to
offer in the previously uncharted territory known as the Web. “The
1491s is a sketch comedy group based in the wooded ghettos of
Minnesota and buffalo grass of Oklahoma. They are a gaggle of
Indians full of cynicismandsplashedwitha gooddose of indigenous
satire. They coined the term‘all my relations’ and are still waiting for
the royalties. They were at Custer’s last stand. They mooned Chris
Columbus when he landed. They invented bubble gum. The 1491s
teach young women howto be strong. And they teach young men
howto seduce these strong women.”
AuguSt 19
11 a.m. My Louisiana Love, presented by Native American
Public telecommunications
(U.S., 2012, 64 min.) Director: Sharon Linezo Hong. Producers/
Writers: Sharon Linezo Hong and Monique Verdin (Houma)
Monique Verdin returns to southeast Louisiana to reunite with
her family and quickly realizes that the Houma people’s traditional
way of life —fishing, trapping and hunting in these fragile wetlands
— is threatened by a cycle of man-made environmental crises.
Hurricane Katrina and the BP oil spill are just the latest rounds in
this century-old cycle that is forcing Monique’s clan to adapt in new
ways. Monique must overcome the loss of her house, her father and
her partner and redefine the meaning of home.
In person: Sharon Linezo Hong and Monique Verdin
Preceded by: Handmade Portraits: the Bone Carver
and Handmade Portraits: Mabel Pike
(U.S., 2012, 4 min. each) Director: Tara Young
In short films made for the online craft market Etsy, the filmmaker
profiles theIñupiat carver Sylvester Ayek andtheTlingit beadworker
Mabel Pike.
1 p.m. Run to the East, presented in cooperation with
the 2012 Wings of America 5K
(U.S., 2011, 87 min.) Director: Henry Lu
Run to the East follows three Native American highschoolers
through their senior year. Chantel “Tails” Hunt (Navajo), Thomas
Martinez (Navajo) and Dillon Shije (Zia Pueblo) have overcome
every obstacle in their personal lives and their communities to
become elite cross-country runners, and all three are determined
to succeed. At the year’s track meets they compete against runners
from more privileged schools as they vie for college scholarships
and a chance to explore opportunities off the rez.
In person: Dustin Martin (Navajo), director of Wings of America
3 p.m. Mesnak
(Canada, 2011, 96 min.) Director: Yves Sioui Durand (Huron-
Wendot). Producer: Ian Boyd
In French and Innu with English subtitles
When he unexpectedly receives a photo of his birth mother, young
actor DaveBrodeur (Victor Andres Turgeon-Trelles) leaves Montreal
and his repertory work on Shakespeare’s Hamlet for the desolate
reserve community of Kinogamishinsearchof his Native history and
culture. He finds his mother is on the verge of marrying the town’s
chief (andfellowrecoveringalcoholic), whois baskingintheproceeds
froma logging deal. With the help of a local sage and friend of Dave’s
long-dead father, Dave uncovers secrets that destabilize the town’s
balance of power and explain his own past. World premiere at 2011
imagineNATIVE Film+ Media Arts Festival. For mature audiences.
In person: Yves Sioui Durand and Ian Boyd
Preceded by: Reviens Moi
(U.S., 2012, 11 min.) Director: Tracy Rector (Seminole)
Memories from the past ignite a young man’s yearning for his
childhood sweetheart.
Tracy Rector is the executive director and co-founder of Longhouse
Media and its youth media project, Native Lens. She also runs
Longhouse’s annual youth filmmaking workshop, SuperFly. She is a
Nativeeducationspecialist andin2008receivedAntiochUniversity’s
Horace Mann Award for her work in empowering Native youth.
All films subject to change. For a complete guide and up-to-date listings of all films and screening times, visit
www.santafeindianmarket.com or www.swaia.org
108 2012 i ndi an market
2012 I NDI AN MARKET 109
D
uring Indian Market, when a wandering circuit around the Plaza yields a feast for the eyes — everywhere
you look there’s pottery, painting, beadwork, jewelry, sculpture, and more —it can be tempting to forget art
that isn’t visual, namely, Native literature. But not paying attention to work by indigenous authors would
be a mistake. Across the country — with a particular concentration in the Southwest — Native writers are
producing a body of work that’s innovative, fresh and, in the words of poet Janice Gould, “flourishing.” Right here in
Santa Fe, we’re fortunate to have a number of Native American artists whose mediumisn’t paint or clay but words.
Gouldis Koyangk’auwi (Concow) Maiduandthemost recent indigenous writer inresidenceat theSchool for Advanced
Research, a nonprofit foundedin1907tostudy the archaeology andethnography of the Southwest. Today, SARprovides
residencies for scholars and artists and, with the Lannan Foundation, launched the Indigenous Writer in Residence
Program in 2011. The residency takes place in January and February and culminates in a public presentation of the
author’s work in conversation. This past February, Gould read her poetry and played music —she’s also a composer and
musician —with her friend, fellowpoet and musician Joy Harjo (Muscogee/Creek).
“It was a productive time for me,” Gould said of her winter at SAR. Gould is a professor at the University of Colorado
at ColoradoSprings, wheresheteaches inthewomen’s andethnic studies departments. Gouldalsodevelopedtheschool’s
Native American Studies program. She describes her work as “lyrical poetry,” and her poems often explore personal
themes, such as love, identity and relationships, interwoven with the stories of Native people.
A prominent theme in Gould’s work is “simply being a California Indian,” she said. “People don’t usually associate
California with Native people, but at one time, there were hundreds of languages and many different tribes. It’s a sig-
nificant history that oftengets overlooked, andit’s always beenimportant tome tomake that history come alive, as well
as my own family’s history and the history of mixed bloods.” (Gould’s father was Anglo.) Her poems are forthright and
specific as she unravels growing up half-Native and lesbian in California during the 1950s and 1960s. Her most recent
book, Doubters and Dreamers, was published in 2011 by the University of Arizona Press.
SAR’s first indigenous writer in residence, Santee Frazier, is also a poet. Frazier grewup in the Cherokee Nation of
Oklahoma and earned a bachelor’s degree in fine arts fromthe Institute of American Indian Arts in 2004. He went on
to receive his master’s degree infine arts fromSyracuse University inNewYork, where he still resides. “Two months is
relatively short,” Frazier said, “but my time [at SAR] was very productive, and the community, the archaeologists and
anthropologists wereveryhelpful.” At theendof his residency, Frazier presentedhis workinconversationwithhis friend
David Treuer (Ojibwe), author of Native American Fiction: AUser’s Manual.
Frazier’s poetry is written “frommemory,” and much of it is about growing up in a Cherokee-speaking household or
his time living in NewMexico. Frazier said his work is often characterized as a “documentary style of poetics,” and his
poems don’t romanticize the Native experience. The subject matter — which includes poverty and violence — is often
grim, but that aspect is countered by vivid, gorgeous descriptions of landscape and people.
“I don’t find my work to be Native in the sense that I’mnot using specific words, which I call ‘anthropological words
of study,’ but I’m trying to create a larger world and experience for readers,” he said. “I feel my voice is Native enough,
even though I’mnot using those words and identifiers.”
BothFrazier andGouldare optimistic about the future of Native literature, andbothhadpraise for the University of
Tri bal Hi s Tory
By Janice Gould
(Koyangk’auwi [Concow] Maidu)
When I think of my mother’s hands,
brown and square, fingers slightly bent
from years of work, I consider
all the other hands of Concow folk,
bound, prepared
for the lynching at the crooked oak
along the mountain road
near the town of Cherokee.
It stood not far from the meadows
where our ancestral people made their home.
This was in the time when white men
scoured those hills, breaking them
down into rubble in their crazy search
for gold. The treaty with the Concow
would not be ratified by Congress,
for Indians were in the way of “progress,”
and though a promise had been made
to provide corn starch and other commodities
to every man who made his X
on that scrap of parchment,
the only X the white men made
was to cross the hands of Indians
behind their backs before swinging them
out over the lava walls of the canyon.
– From Doubters and Dreamers,
University of Arizona Press, 2011
Literature offers another mediumfor native expression
By adeLe meLander-dayton
110 2012 I ndI An MArKeT
pas tor al
By Santee Frazier
(Cherokee)
stark is the wood stove in the dark
its bulbous hull a womb
of popping embers
simmering corn filling the house
with a thick nutty perfume
what sounds but guzzle
of a pumped well
the gushing water against the metal
stark is slowness
scything of grass
chucking grain toward
chickens
low bark of hounds
gnats backlit by the sun
their flight pattern
scattered in gold
song of exoskeleton
zoomof the jun bug’s wings
lifting itself
fromthe screen door
and off to the damp night
far away roar of tire
bucking junk in the truck bed
slow sputter and buzz
of a mower echoed in the gully
the radio whispering
a piano that vibrated
gospel
when it uttered
– Previously published in
Talking Stick Native Arts Quarterly
ArizonaPress, whichalsorecentlypublishedFrazier’s collection, DarkThirty. Eachpoet acknowledgedNative writing
createdinthe’70s and’80s as animportant precursor for what they’redoing now. “[Today] there’s moreartistic freedom
to do what you want in Native lit,” Frazier said. “At first, I was pushed to do activist poetry, which fought for political
rights or being noticed. Natives are often self-conscious about being ignored. A lot of work came out of the red power
movement of the ’70s, and as a result, I nowhave the luxury to do the work I want to do.”
For readers who want to support indigenous writing —beyond buying the books, which is a good first step —Gould
advocates patronizing small presses, like that at the University of Arizona or West End Press in Albuquerque, which
often take chances on new, experimental work and writers.
Frazier, who’s still active at Syracuse University, believes there’s work to be done in academia. “Even though there
are Native AmericanStudies programs and courses about Native lit, and as muchas it helps us to be noticed, it’s also in
some ways a prison,” he saidof academia. “People tendto believe that all Natives are a monolithic group. The labels and
distinctions [taught inschool] shouldn’t be sogeneric. ‘Native writers’ alsoincludes all folks whoare indigenous to this
hemisphere. [Academia] should avoid prefabricated notions of who we are.”
Before and during Indian Market, people have many opportunities to engage with Native writers and their work.
Most of the market’s literary events take place at CollectedWorks Bookstore, whichowner Dorothy Massey termedthe
“literaryarm” of IndianMarket. Theevents includebooksignings andpanel discussions withdiversewriters andartists.
“There’s nothing more engaging thanseeing someone live infront of anaudience,” Massey said. “And the more we have
a chance to interact with poets and authors of all ethnic backgrounds, the better our understanding and appreciation
of the work they’re producing.”
Earlier this year, Joseph Marshall III, Sicangu Lakota (Rosebud Sioux), read at Collected Works from his latest
book, The Lakota Way of Strength and Courage: Lessons in Resilience Fromthe Bowand Arrow. “[Marshall] is a deeply
religious andcultural man,” Masseysaid. “Tohear himspeakabout his grandfather, it comes across inadimensionthat
really enhances reading his books.”
During inDianMarket week, check out the native lit available at collecteD works,
or stop by the Market’s book tent onthe plaza.
scheduledevents at the bookstore —all free andopentothe public —include:
4:30 p.m. august 14
SWAIAand Collected Works Bookstore present a conversation with Bruce Bernstein, executive director of SWAIA, who
discusses the history of the market in his newbook, The Santa Fe Indian Market: AHistory of Native Arts in the Marketplace
(Museumof New Mexico Press, 2012). Book signing to follow.
4:30 p.m. august 15
SWAIAand Collected Works Bookstore present author Suzanne Deats and photographer Kitty Leaken, who discuss their
book Contemporary Native American Artists (Gibbs Smith, 2012). Deats and Leaken will be joined by 14 artists featured in
the book for a Q&A and signing. A portion of book sales will be donated to SWAIA to support Indian Market.
4:30 p.m. august 16
SWAIAand Collected Works Bookstore present sculptor Michael Naranjo (Santa Clara) with the newbook about his work
edited by Laurie Naranjo, Inner Vision: The Sculpture of Michael Naranjo (Two Little Girls Publishing, 2012). Q&Awill follow.
Collected Works Bookstore is at 202 Galisteo Street.
For more information about any of the market week book events, call 505-988-4226.
To learn more about the School of Advanced Research’s Indigenous Writer in Residence Program,
visit http://sarweb.org/.
Across the country —with a particular
concentration in the Southwest —
Native writers are producing a body
of work that’s innovative, fresh and, in the
words of poet Janice Gould, “flourishing.”
2012 I NDI AN MArKeT 111
112 2012 i ndi an market
Manifestations: newnative art CritiCisM
edited by nancy marie mithlo Forward by Patsy Phillips Preface by Will Wilson
museumof Contemporary native arts, 2012
InhIs essay “OwnIngthe Image: IndIgenOus arts sInce 1990,” included in Manifestations: New Native Art
Criticism, Mario A. Caro writes: “While it is difficult to comprehensively assess writings on Indigenous art —these come
frommany disciplines and are disseminated in numerous and radically different venues —there has been a sharp increase
in the number of texts dealing with the subject, at least since 1990. And it is Indigenous scholars who are also artists that
have produced many of these texts.” Caro’s words are representative of the idea behind Manifestations, a newbook about
contemporary Native art, produced by the Institute for American Indian Art’s museum, the Museumof Contemporary
Native Arts, with the support of the Ford Foundation. Manifestations features the work of 60 indigenous artists and
21 indigenous writers.
The book is divided into two parts: The first section features four critical essays about the state of Native arts. In the
introductory essay, editor Nancy Marie Mithlourges readers toconsider Native arts inthe context of history andpost-colonial
politics, even as she states, “We are not post-colonial.” Later, Stephen Fadden and Stephen Wall consider the ways in which
U.S. government policy has impacted AmericanIndianart, both inthe past and inits continued legacy today. The four essays
that comprise the first half of Manifestations are heady, detailedand, for the most part, academic intone. The secondpart of the
bookoffers shorter pieces, as writers —oftenartists themselves —discuss contemporary Native artists working across media.
The short essays serve as a comprehensive, if brief, introductiontothe aesthetics andconcerns of eachartist. The secondhalf
of Manifestations is illustrated, offering representative pieces of eachartist’s work.
Throughout, Manifestations is anact of self-definition. The questionof identity rises to the surface againandagain, as the
voices inManifestations explore the infinite andevolving iterations of Native artists.
Manifestations is available at the museumof Contemporary native arts, 108 Cathedral Place. For information call (888) 922-4242.
American Indian Jewelry II is an exhaustive, definitive reference full of information about
jewelers, including short biographies of hundreds of artists. Published by Gregory Schaaf and
his wife Angie Yan Schaaf under the auspices of their nonprofit Center for Indigenous Arts &
Cultures, AmericanIndianJewelryII homes inondetails.
At 400 pages long, the book is organized like an encyclopedia, with jewelers listed
alphabetically. The biographies include tribal affiliation, family members, collections and
publications in which the artist’s work appears. Many entries include websites and e-mail
addresses (helpful for tracking downa particular jeweler), quotes fromthe artist andfull-color
pictures of his or her work. The book opens witha special sectiononturquoise. Different types
of natural, high-grade turquoise are identified by mine (Lone Mountain, Cerrillos, Sleeping
Beauty), and each description includes a timeline that describes when the source was first
identified, if it’s still inuse and characteristics of the type of turquoise.
Even if you’re not a Native jewelry expert, leafing through the pages of American Indian
Jewelry II provides a sense of the art form, both as it was envisioned in the past and today.
American Indian Jewelry II: A-L is available at the SWaia book tent on the Plaza. Gregory & angie
Schaaf sign copies of the book from4 to 5 p.m. on august 17 at Packard’s on the Plaza, 61 Old Santa Fe
trail. For information, call 505-983-9241.
aMeriCanindianJewelry ii: a-l 1,800 artist Biographies
By Gregory Schaaf, assisted by angie Yan Schaaf Center for indigenous arts &Cultures Press, 2012
[
fresh off the press
]
By Adele MelAnder-dAyton
offer iMages, insight, CritiCisM
Books onnative arts
2012 I ndI an market 113
Contemporary nativeameriCanartists showcases some of the best known and emerging Native artists
working today. The group, which features artists like Jody Naranjo (Santa Clara Pueblo, pottery) and Rhett Lynch
(Diné, painting), was a result of artist Ken Lingad’s (Isleta Pueblo, musician) desire to unite Native artists across
media. For more than a year (2007-2008) the artists in the book
worked together on large-scale exhibitions. Though their collabora-
tionis no more, Contemporary Native AmericanArtists is a well-illus-
trated chronicle of each artist’s continuing individual work.
Deats’ descriptions of each artist are effusive, if necessarily
perfunctory. Her introductions do their best to encompass and
describe the work and process of the artists while highlighting
their major life events, career milestones, exhibitions and awards.
But the images are the real focus here, and Leaken’s photographs
feel truly revealing; they depict the artists exhibiting their work in
galleries or at Indian Market, in their studios and workspaces —
inNaranjo’s case, firing pots outdoors at Santa Clara Pueblo inhigh
heels — or are glossy, high-resolution images of the art itself.
Small details, like close-ups of paint-spattered brushes and clay-
encrusted carving tools, or a pegboard of Jemez Pueblo sculptor
Adrian Wall’s unceremoniously arranged drills and sanders lend an intimacy to
polished portraits and photographs of finished work. In certain cases, like the section on jeweler
Fritz J. Casuse, readers are invited to see a piece of the artistic process itself as Casuse heats pieces
of metal under a flame.
Photographer kitty Leaken and author Suzanne deats discuss Contemporary Native Artists at 4 p.m. on august
15 at Collected Works Bookstore 202 Galisteo St. (505-988-4226). they will be joined by several of the artists
featured in the book for a signing and question and answer session. Book sales benefit SWaIa.
Contemporary native ameriCanartists
By Suzanne deats, photographs by kitty Leaken Gibbs Smith, 2012
Likemany Cartoonists, riCardoCaté pokes fun at the
way people pursue their everyday lives —cooking, cleaning, going
to school, watching TV, doing the laundry. But Caté’s characters
do more than that: They also make pottery, shoot arrows, and deal
with tourists and a U.S. Army officer who looks a lot like George
Armstrong Custer. That’s because Caté’s sometimes sly, some-
times sharp-edged humor is anchored in Native American expe-
rience, surroundings, and history—bringing a unique perspective
to mainstreamnewspaper comics. His work has been published in
The Santa Fe NewMexican since 2006.
Caté —who grewup onthe Santo Domingo (Kewa) Pueblo and lives and teaches there
now—is anequal-opportunity satirist, skewering white andredman(andwoman) alike.
Although he has noticed that non-Natives sometimes have a harder time understand-
ing some of his cartoons, he has been working to make his jokes more accessible to all
races. “I like to think that this is a universal cartooninwhichthe characters just happen
to be Native,” he writes in the introduction to his book. But that doesn’t mean he waters
down his messages or shrinks fromexploring the painful or the poignant, along with the
just plain silly. “Sometimes I get letters fromnon-Natives who have called me racist and
insensitive to Natives until they realize that I amNative myself,” he continues. “Non-
Natives often walk up to me and say, ‘I didn’t get the cartoon today,’ and I reply, ‘That’s
OK; I don’t get the cartoons inThe NewYorker either.’”
InCaté’s world, clueless pilgrims andflag-planting Spaniards rub elbows withNatives
contending withcranky spouses andsmart phones, andreaders get to giggle, sigh, or laugh
out loud —and maybe learna little something —with each turnof the page.
native humorist ricardo Caté discusses and signs copies of Without Reservations at 1 p.m. aug.
16 at the Wheelwright museum of the american Indian, 704 Camino Lejo. For information,
call 982-4636.
— Pat WeSt-Barker
Without reservations: the Cartoons of riCardoCaté
By ricardo Caté Gibbs Smith, 2012
B
ruce Bernstein, Ph.D. —scholar, curator, research fellow, arts administrator —has been observing and con-
tributing to Santa Fe Indian Market for more than 30 years, first as a volunteer, then a board member, and
for the past five years as executive director of the Southwestern Association of Indian Arts (SWAIA), the
nonprofit organization that produces the annual event. Both Bernstein’s academic interests and singular
personal vantage point come together in his long-awaited history of the market —Santa Fe Indian Market: AHistory
of Native Arts andthe Marketplace, releasedthis monthby the Museumof NewMexico Press.
Anearly chapter is devoted to IndianMarket’s beginning as IndianArt Fair in1922, conceived as part of Santa Fe
Fiesta by then Museumof NewMexico director Edgar Lee Hewett. An archaeologist and anthropologist by training,
Hewett “began to encourage [Pueblo] potters to make pottery modeled on prehistoric and historic pieces that were
thought to represent anunsulliedor authentic culture, as determinedby cura-
tors and anthropologists” to counterbalance the flood of Native artwork
being created to serve the tourist trade that arrived in NewMexico in
tandemwiththe railroad.
With his particularly deep knowledge of Pueblo pottery,
Bernstein has used historical photos, early journals, adver-
tising materials, letters, newspapers, and magazines to track
the making and selling of Native art over hundreds of years,
documenting the origins of efforts to help artists eliminate
the middlemen in curio shops and trading posts and to sell
their work directly to customers. Although the market has gone
through many permutations over the decades —all documented
in this book —many of the features we still associate with Indian
Market beganinthe early years: prize money, art classifications, crafts
demonstrations, clothing contests, and educational programs for both
artists and visitors all trace their origins to the early 1920s and the market
envisioned by Hewett and his associates.
More subtle than the procedural history of the development of Indian Market over time is the history of how
Native peoples were perceived and treated by those who would be their champions. Romanticized onthe one hand,
Natives who participated in the market were also “placed in settings that resembled display cases” and were not
allowed to stay intownduring the event. “To Hewett and the others,” Bernsteinwrites, “the Pueblos were anexample
of a preindustrial society worthy of preservation for scientific study and tourist curiosity. [Hewett] had no trouble
telling Pueblo people ‘howto be Indians’ because he believed the science of his archaeology provided himwith an
authority of purpose and knowledge.” That purpose did not extend to allowing the Native artists he showcased to
use the bathrooms in his museum.
As he gets deeper into the early history of the market, Bernstein carefully records the changes he believes potters
Maria and JulianMartinez of SanIldefonso Pueblo —whose work was sold at the very first IndianFair —introduced
to the marketplace with their unique black-on-black pottery. “The lustrous black pottery was a wholly newtype of
Native art —Native fine art,” Bernsteinwrites. “Althoughseatedinthe traditions of southwesternpottery, the designs
and high-polished surfaces were not derived fromspecific Tewa potting traditions but rather were reformulated via
personal expression for the non-Indian market. The pottery reflected personal, creative ideas rather than a goal of
preserving tradition.”
Bernstein makes a very thorough investigation of the changes in Indian Market’s organizational structure from
its founding to its present-day incarnation. His research reveals that the groups that sponsored the market several
times came close toshutting the event downas it shiftedfroma sociopolitical posture toanarts focus. Createdin1959,
SWAIAhas presidedover the market’s phenomenal change andgrowthwhile still incorporating many of the early goals
of its founders. As envisioned by Hewett and others, the market still serves as a major tourist attractionfor the city of
Santa Fe andcontributes to the economic success andinternational reputations of numerous Native artists.
If themes thread throughthe whole of Bernstein’s book, they are these: that Native arts —and artists —transcend
ethnography tooccupy a place inthe worldof fine art; andthat the ongoing tensionbetweentraditionandinnovation,
persistence andchange, is at the heart of Native art —andIndianMarket.
“When Jeremy Fry, a Passamaquoddy basket maker won [Best of Show] in 2011,” Bernstein writes, “there was no
talkof whether his workwas tootraditional or contemporary. There was only admirationfor the strikingly made piece.”
—Barbara Walzer contributed to this story.
By Patricia West-Barker
Phenomenal growth
In 1970 Indian Market was held under the portal of
the Palace of the Governors and along the north
and east sides of the plaza. All two hundred art-
ists who showed up on Saturday morning were
given booths. The following year, a row of booths
was added on the east side of the plaza, accom-
modating about five hundred artists. By 1980 the
market had grown to 330 booths in rows of three
on all four sides of the plaza. Fifty-nine new booths
were added along Lincoln Avenue in 1982. Fifty more
booths were added to Washington Avenue in 1991. By
1992 the market featured 537 booths and 1,043 artists,
with 300 more artists on a waiting list.
To accommodate more artists, from 1990 to 1995,
SWAIA set up forty-seven booths in the DeVargas
Center, a shopping mall less than two miles from the
plaza. A shuttle bus ran between the plaza and the
mall. Buyers quickly caught on that SWAIA was plac-
ing second-tier artists in DeVargas, however. Most of
those placed there were newto the market; many were
from nonsouthwestern tribes. While nearly one hun-
dred thousand people visited the booths on the plaza
each year, only eight thousand walked by the booths
at the mall. Afewartists dropped out or threatened to
drop out if they were assigned to DeVargas. …
By the 2012 Indian Market, 650 booths ringed the
entire plaza and spread out down San Francisco Street
to the St. Francis Cathedral, along Palace Avenue
to Grant Avenue, down Old Santa Fe Trail to Water
Street, and north on Lincoln Avenue to Federal Place
— a total of fourteen square city blocks. Since collec-
tors expect to find certain artists in certain spots year
after year, artists covet their booths and will do almost
anything to retain them. Those artists and families who
have been at the market for many decades tend to be
located in the most coveted spots near the plaza.
Excerpted from Santa Fe Indian Market: A History of
Native Arts and the Marketplace by Bruce Bernstein,
Museumof New Mexico Press, 2012
Bowl by Maria and Julian Martinez, 1919
Photo Blair Clark
details
SantaFe IndianMarket: AHistory of Native Arts andthe Marketplace is available at all local bookstores and museumgift shops
as well as in sWaia’s book tent on the Plaza during indian Market.
at 4:30p.m. on august 14 Bruce Bernstein discusses the history of santa Fe indian Market and the book at collected Works
Bookstore, 202 Galisteo st. call (505) 988-4226 for more information. Book signing to follow.
NiNety-oNe years
and counti nG
IndianMarket thenandnow
114 2012 I NDI AN MArkET
tors and anthropologists” to counterbalance the flood of Native artwork
being created to serve the tourist trade that arrived in NewMexico in
in this book —many of the features we still associate with Indian
Market beganinthe early years: prize money, art classifications, crafts
demonstrations, clothing contests, and educational programs for both
artists and visitors all trace their origins to the early 1920s and the market
Phenomenal growth
In 1970 Indian Market was held under the portal of
the Palace of the Governors and along the north
and east sides of the plaza. All two hundred art-
ists who showed up on Saturday morning were
given booths. The following year, a row of booths
was added on the east side of the plaza, accom-
modating about five hundred artists. By 1980 the
market had grown to 330 booths in rows of three
on all four sides of the plaza. Fifty-nine new booths
were added along Lincoln Avenue in 1982. Fifty more
booths were added to Washington Avenue in 1991. By
1992 the market featured 537 booths and 1,043 artists,
with 300 more artists on a waiting list.
To accommodate more artists, from 1990 to 1995,
SWAIA set up forty-seven booths in the DeVargas
2012 I NDI AN MARKET 115
New Millennium Fine Art – Southside of The Plaza
32 Years of the Highest
Quality Art Bargains and
Happy Customers!
Female Nudes
RC Gorman Pastel Drawing (22 X 28) 1976
New Millennium Fine Art
505.983.2002
Santa Fe Arcade, Suite 110 - Downstairs
60 West San Francisco Street
Stephen Fox, Founder
• Neil David Paintings (Hopi)
• 2 Robert Draper Watercolors (Navajo)
• Traditional Pueblo Painters (Paul Virgil &
Bobby Vigil)
• Darren Vigil Gray Collection (1980’s)
• Japanese Woodblock Prints (1790 – 1930)
• Gustave Baumann 1911 Woodblock Prints
• Anderson Kee (Navajo), Ledger Art
• Dominic Monti New Mexico Landscapes
• 2 Marcel Marceau Self Portrait Lithographs
• Helen Greene Blumenschein Ink and
Watercolor Paintings
Warrior with Captured Sabre
George Flett (Spokane)
Ledger Watercolor (11 X 14)
Terrance Guardipee (Blackfeet)
Ledger (12 X 18)
Terrance Guardipee (Blackfeet)
Montana Ledger Drawing (18 X 27)
Santa Fe’s Most Affordable & Most Eclectic Gallery
Why Pay Retail Prices?
116 2012 i ndi an market
story and photos by Loi s eLLen Frank
Native American Cuisine
Contemporary dishes containelements of the past
“What is Native American cuisine?”
I ask this question of my cooking students all the
time. Students froma variety of backgrounds raise
their hands: Corn, beans and squash —or the Three
Sisters —a student replies. Wild game, says another.
Foods fromthe land, including wild-harvested
foods, says a woman in the front of the class.
I point to several students in the roomand
ask again. “What do you think Native American
cuisine is?”
“Fry bread,” replies the first student. “Indian
tacos,” says the next person I point to. The third
person says that stews made with sheep or pork,
like the traditional red chile or green chile stews
found in the Southwest, are Native.
All are correct.
Native American cuisine includes food from
the distant past, thousands of years before Native
peoples had contact with non-Natives; it includes
foods that were brought to the Americas by the
first Europeans who came and stayed; and it
even includes foods distributed to tribes by the
U.S. government as Natives were moved onto
reservations.
To define Native American cuisine, we first have
to look at the historic Native food continuum.
Many millennia ago, Native peoples passed
cultural information fromone generation to the
next through the oral tradition of stories, histories,
legends and myths. The elders imprinted these
historical accounts on the youth. Where foods
were concerned, the women of each group were the
tribal historians, committing to memory a body of
past experiences and cultural traditions relating to
food and its uses, including howto find wild plants,
which plants were edible or useful as medicine,
plant names, howto prepare and preserve plants,
howto growand store themand howto prepare
wild game and fish.
Additional data fromanthropological,
ethnobotanical and archaeological accounts and
research fromscholars have also contributed to
our understanding of what Native people ate in
specific areas. Arecent analysis by academicians
Patricia L. Crown and W. Jeffrey Hurst of
ceramics fromPueblo Bonito —the largest site
in Chaco Canyon in northwestern NewMexico
—documented the presence of theobromine,
a marker for Theobroma cacao or chocolate.
This indicates that cacao was consumed in the
American Southwest around AD100 to 1125,
meaning that Native peoples had extensive trade
routes and that foods were traded and often shared
with other Natives fromfaraway regions.
Aboriginal appetizers
Many wild-harvested plants were —and still are —full
of nutrients. These foods provided essential ingredients
for a healthy and well-rounded diet. Agood example of
an abundant wild food that was once a vital part of the
ancestral Puebloan diet is purslane (Portulaca oleracea)
—or verdolaga in Spanish. This plant is an extremely rich
source of omega-3 fatty acids and is high in vitamins A
and C. Its succulent stems and leaves are most commonly
boiled or sautéed, eaten alone or in soups and stews,
but they can also be dried for use in winter. It’s one of a
number of wild plants traditionally collected for food
and nowknown to have medicinal benefits in addition to
nutritional qualities.
I love purslane and harvest it whenever I see it.
Sometimes I’ve bought it fromwomen at the Santa Fe
Farmers Market who still harvest it. Buying a wild-
harvested food helps to ensure that this food continues
to be available and that the knowledge surrounding it is
perpetuated. My favorite way to prepare and eat the green
is sautéed in olive oil with garlic.
Purslane loves disturbed soil, comes with the summer
monsoon rains and is free for the picking. What could be
better?
The ancestral Native American diet in the pre-contact
Southwest —and for that matter all over the Americas
—was diverse and intricate. It included a multitude of
ingredients gathered fromthe areas where people lived
for local consumption or for trade with tribal groups
that didn’t have access to them. These pre-contact foods,
many of which are still available, make up the bulk of
Native American cuisine.
Mealtime mingling
Here in the Southwest, the Spanish were the first
Europeans encountered by Native peoples. In the 1500s,
when the Spanish entered the region fromMexico, they
Diné chef Walter Whitewater’s masked “Ye’i Bi Chei” is made from American caviars, chopped egg, white onion and
parsley, and served with white and purple endive feathers.
brought foods and livestock fromtheir homelands
—cattle, sheep, goats, pigs, horses, wheat, peaches,
apricots, plums, cherries, melons, watermelon, apples
and the wine grape —as well as chiles, tomatoes,
potatoes, prickly pears, epazote and other foods fromthe
tribes of Mesoamerica.
The Spanish also introduced the oven made
fromearthen bricks that we call the horno. This
newtechnology revolutionized Indian baking and
incorporated newingredients for making a variety of
breads. Oven bread made fromwheat was introduced to
the NewMexico pueblos, altering the corn-based diet of
Pueblo residents.
More crops, additional types of livestock, winter
vegetables and grains, fruits and nut trees and novel
cooking techniques were brought north fromcentral
Mexico. Newvarieties of wheat, barley, lentils, peas,
chickpeas, fava beans and melons emerged and became
distinctive to the Southwest. Asubstantial effort has
been made to keep these heritage foods vital here.
We call these “first contact foods,” meaning foods that
came initially with the Spanish. Basically the foods of the
Spanish settlers and the puebloans evolved at the same
time, with Native American foods being added to the
Spanish diet and Spanish foods being added to the Native
American diet.
It’s also important to note that while newfoods came
to the Americas, foods fromthe Americas traveled back
to the Old World and changed diets there. Corn, beans,
squash, chiles, cacao, vanilla, potatoes and tomatoes,
which did not exist in the Old World before this
encounter, became infused into the cuisines of many
cultural groups. Try to imagine Italian food without the
tomato or Irish food without the potato. These foods
have been interwoven into the cuisines of those regions
the same way sheep have been woven into Diné (Navajo)
culture and wheat oven bread into Pueblo culture.
These foods are nowa part of the Native American
cuisine of this region.
Rationrevolution
The last section of the food continuumfocuses on
the commodity foods issued to tribes when they were
forcibly relocated onto reservations or forced to move
away fromtheir ancestral homelands. Once this
concentration onto reservations took place, tribes lost
portions of their ancestral homelands, their hunting
grounds and in many cases their primary sources of wild
and cultivated foods.
The government-issued food rations originally
included beans, beef, lard, flour, coffee and sugar,
which were distributed twice a month. Later cheese,
egg mix, nonfat dry and evaporated milk, pasta, rice
and other grains and peanut butter were added. This
food distribution programled to one of the most
dramatic dietary changes in American Indian history.
The original intention of the U.S. government was to
supply rations as an interimsolution until dislocated
and relocated Native peoples could raise enough food of
their own. Instead, many Indian people froma variety
of communities all over the Southwest became totally
dependent on these rations.
As Native communities struggled to incorporate
these ingredients, they invented newdishes that
featured them. I call this era in Native American
cuisine the “government issue” period —and this is
where fry bread and the Indian taco were born. These
two dishes can be found at almost every feast, powwow,
ceremonial and arts and crafts fair in Indian Country.
Fusionfare
Today, Native American cuisine encompasses all of
these periods. You can eat a contemporary Navajo
lamb-stuffed NewMexico green chile prepared by
chef Walter Whitewater (Diné) of Red Mesa Cuisine
or buy homemade Pueblo oven bread baked in a horno
or a Pueblo fruit pie at the Santa Fe Farmers Market.
Or you can sample traditional blue corn mush (atole in
Spanish) or buy a piece Hopi piki bread made fromblue
cornmeal, culinary ash and water cooked on a hot stone
fromsome of the vendors at Santa Fe Indian Market.
While there is not a specific restaurant in Santa Fe
that offers all of these dishes, you can taste regional
specialties in some local restaurants. Amaya at the
Native American-owned Hotel Santa Fe serves a
bison burger at lunch and venison with quinoa for
dinner, as well as other Native American foods that
are woven together in a style that is both ancient and
contemporary.
Red Mesa Cuisine, a Native American catering
company, serves foods fromlocal and Native sources in
a variety of venues. Visitors and locals can also take a
Native American cooking class at the Santa Fe School
of Cooking. The Pueblo Harvest Café and Bakery at
the Indian Pueblo Cultural Center in Albuquerque
offers some Pueblo favorites as well as a Native fusion
cuisine inspired by the traditions and ingredients
cultivated by Puebloan ancestors.
Young Native American chefs are becoming
classically trained in the culinary arts and
finding jobs in tribally owned resorts, casinos and
restaurants where they can create foods that offer
a contemporary take on all three of these historical
food periods in Native American cuisine. Look for
the new Native American chefs as they materialize
in a variety of venues, and look for their cuisine to
become more visible.
native american cooking classes
Lois Ellen Frank (Kiowa/Sephardic), chef/owner of Red Mesa
Cuisine, is teaching two hands-on Native American cooking
classes at her Eldorado test kitchen with chef de cuisine
Walter Whitewater (Diné) featuring ancestral foods with a
modern twist. The first is from10 a.m. to 1 p.m. on Sunday,
August 19; the second is from10. a.m. to 1 p.m. on Saturday,
August 25. Each class is limited to 12 students and costs $95
plus tax. To reserve a space, call 505-466-6306. Adeposit
will hold your reservation.
2012 I NDI AN MARKET 117
This traditional lamb stew is made with locally sourced ground lamb and green chile, potatoes and tomatoes.
118 2012 i ndi an market
W
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By Arin McKennA
Third-generation
Indian artist MArgArete BAgshAw
Breaks all the rules
Multigenerational families of
artists are common in traditional
American Indian art but are
rarely encountered in the world
of fine art. The merging of those
two worlds has produced a new
phenomenon.
“It has basically been stated —
and we haven’t found any proof
otherwise —that we are the only
three generations of professional
female painters. Period. Not in
Native America, not in the United
States, but anywhere,” said
Margarete Bagshaw. “We can’t
find anybody else documented
that does it by profession, that’s
been featured in museumshows,
that’s been publicized fromthat
perspective.”
Bagshaw, the daughter of Helen
Hardin and the granddaughter of
Pablita Velarde, is featured at the
Museumof Indian Arts &Culture
this summer with an exhibit
called Margarete Bagshaw:
Breaking the Rules. Bagshaw’s
work reflects the innovation,
creativity, and technical
excellence that are earmarks of
her illustrious lineage.
Pablita Velarde (also known as Tse Tsan, or Golden Dawn) is widely recognized by
collectors and museums as one of the most accomplished American Indian artists of her
time. Anative of San Ildefonso Pueblo, she defied pueblo chairmen who pressured her to
adopt a more traditional role in life (summed up by some as “beans, babies and bread”).
At the Santa Fe Indian School, Velarde was the only female student in Dorothy Dunn’s
inaugural class at The Studio, which offered the first authorized art classes at any Indian
boarding school. At 16 years old, she painted a mural for the 1934 Chicago World’s
Fair. During construction of Bandelier National Monument, she was a Works Progress
Administration artist in residence, painting over 70 images depicting puebloan life.
Velarde won every major award for Native artists several times over, including
first place at the Santa Fe Indian Market a dozen times. In 1953 she became the first
woman to receive the Grand Purchase Award at the Philbrook Museumof Art’s Annual
Exhibition of Contemporary Indian Painting. The French government awarded her the
1954 Palmes Académiques for excellence in art. Her illustrated book, Old Father Story
Teller, was the first book published by a Pueblo Indian woman. Velarde painted until her
death in 2006.
“It’s pretty amazing, all of the things that she accomplished. Nothing was given to
her. She worked harder than anybody around her for anything she ever got, whether it
was awards or her honorary
doctorate. Whatever she
achieved, she achieved by
working. Nobody laid the red
carpet out for her,” Bagshaw
said.
Helen Hardin (called Tsa-
sah-wee-eh, or Little Standing
Spruce) was the first Native
female painter to move from
traditional representational
painting to abstract works, part
of a vanguard that included
the likes of Fritz Scholder and
Michael Kabotie. Hardin won
almost as many awards as
her mother, including first or
second place (or both) at Indian
Market many times.
Hardin produced more than
3,500 paintings during her
brief career (she died of breast
cancer in 1983 at age 41). Her
works were highly prized in
NewYork and California and
sold out at embassy shows
in Bogotá, Colombia, and in
Guatemala. The Smithsonian
Institution established the
Helen Hardin Performance
Theatre in her honor at the
Museumof Contemporary Native Art in Santa Fe.
“She did with acrylics what nobody else has been able to do, ever. She was able
to achieve a really incredible brilliance with her paint. But also a real dimensional,
lacquered effect with her work,” Bagshawsaid. “It’s really unfortunate that her
masterpieces are not on the market, because those are the screamers.”
When Bagshawcontacts collectors to see if they are interested in selling one of
Hardin’s pieces, the response is, “No. I’mnot selling my Helens.”
Breaking away
Bagshawhas inherited her mother’s and grandmother’s knack for engaging in
conversation as she works, and she —like her mother —is a self-taught artist. She did
not take up painting until 1990, when she was 26 years old. “I was eight months pregnant
with my son, and it was just something I would get up and do that was quiet in the middle
of the night,” Bagshawsaid.
Bagshaw’s first showing was at the NewMexico Arts &Crafts Fair. “It was blind
juried, which was appealing to me, because then I wouldn’t be admitted just based on my
family,” Bagshawsaid.
Like her mother and grandmother before her, Bagshawhas faced criticismfor defying
La Papessa, 2012. Oil on Belgian Linen (48” x 60”)
Margarete Bagshaw
2012 I ndI an market 119
convention. She uses vibrant color in her complex,
dynamic images —a mix of cubism, modernismand
transcendentalism. Aprominent figure in the Santa Fe art
world once told her she should paint in earth tones, ‘the
colors of your people.’
“For somebody to try to stuff me in a little Indian hole
with my earth tones, I was appalled,” Bagshawsaid. “But
that’s exactly what goes on in this world. If we don’t paint
in a particular style that is suited for the color of our skin,
then it’s not acceptable. I think no matter who you are,
what race you were born in, you should be able to create
where your spirit takes you.”
Bagshawdescribed her process for creating The Rain
Council, which started as a prayer for rain. “I decided to
start out with a kind of washy background effect and just
get some ‘wet’ feeling to it,” Bagshawsaid. Next came
rainbows as her “composition breakup.” Then the figures
she calls the Rain Council started appearing, and finally
she chose the avanyu (water serpent) to express the
power of lightning.
“Being able to express all of these things is what makes
painting exciting. I don’t knowhowthey’re going to
turn out. I have no idea what’s happening when I start
something. The only reason I knewthat this was going to
be a rain painting was that we needed rain.”
Bagshawis amused by people who are “looking for
some sort of profound, channeled communication from
some other universe that’s telling me to paint these
beings. I’mlike, no, this is a prayer for rain,” Bagshaw
said. “On the other hand, I have other paintings that are
tapped into a deep spiritual place for me, and they’re very
meditative.”
“All of my work is coming froma very central place
in my spirit, but it’s not anything that somebody else
couldn’t understand if they just gave it some time,”
Bagshawsays.
Viewers often experience a subliminal recognition as
they gaze at Bagshaw’s compositions. One piece in the
MIACexhibit, Self Portrait, was painted shortly after
Bagshaw’s divorce fromher first husband.
“I was feeling very beat down emotionally, and I was
trying to find who I was on a big scale. I was basically
trying to revive my spirit again. So I decided to do it very
large and find out who I was,” Bagshawsaid.
Awoman sawthe painting at the gallery and began
sobbing. Bagshawdiscovered the woman had recently
been through a divorce herself. Several women also burst
into tears upon viewing La Papessa, a painting based on
the story of Pope Joan.
“Those are the reasons I paint. I’mhoping that my
paintings will reach somebody else’s spirit and give them
the same experience I’mhaving, or something similar, and
let themknowthat they’re not alone,” Bagshawsaid.
details
Books highlighting these three remarkable women—Pablita
Velarde: In Her Own Words (written by mIaC director Shelby
tisdale), Helen Hardin: AStraight Line Curved (written by kate
nelson) and Teaching My Spirit to Fly, a memoir by margarete
Bagshaw—have just been published. the books will be
available during a reception and opening at Bagshaw’s Golden
dawn Gallery, 5 p.m. august 17. the gallery is located at 201
Galisteo Street. For more information call 988-2024 or go to
goldendawngallery.com.
Margarete Bagshaw: Breaking the Rules runs through december 30,
2013, at the museum of Indian arts & Culture, 710 Camino Lejo,
(505) 476-1250, www.miaclab.org.
Ancestral Procession, 2010, Oil on Linen (80” x 110”)
Margarete Bagshaw
Courtesy Museum of Indian Arts and Culture
The Rain Council, 2012, Oil on Belgian Linen (48” x 60”)
Margarete Bagshaw
120 2012 i ndi an market
NewmuseumhoNors Native womeNartists
Pablita Velarde
Museumof Indian Women in the Arts
is Santa Fe’s newest offering
O
ne reason Margarete Bagshaw
opened Golden Dawn Gallery
was to educate people about
the contributions of her mother
(Helen Hardin) and grandmother
(Pablita Velarde).
“There’s a whole generation nowof
people who have no idea of the signifi-
cance of these women in this world,”
Bagshawsaid. “My mother, alongside
her contemporaries, changed the
way Indian art is looked at, fromtra-
ditional to contemporary. She was
responsible for bringing it into the
contemporary art world.
“People come in and look at my
grandmother’s work and say, ‘Why is
it so expensive?’ She was the first one
to do that. She invented that style of
painting. And why shouldn’t she be
as respected as other painters in this
town who have their own museums?”
Now, with the founding of the Pablita Velarde
Museumof Indian Women in the Arts, Bagshawand
her husband, Dan McGuinness, hope to expand the art
world’s horizons even further, to include all talented
American Indian women.
“This is a museumthat will celebrate Native women
fromall over the North American continent, in all art
genres —film, painting, writing, poetry, performance,
weaving, pottery, the you-name-its,” Bagshawsaid. “It
will celebrate the talents of all of these women. And
the reason we named it the Pablita Velarde Museumof
Indian Women in the Arts is because my grandmother
opened that door for women to be able to practice their
artwork as a profession.”
Bagshawis following in her grandmother’s footsteps
with this endeavor. Velarde was one of the
founders of the Indian Pueblo Cultural
Center in Albuquerque, which has
helped elevate awareness
about Puebloan
art. But Bagshawstill sees a gap to be filled. “Native
women artists are so under-recognized. There is no
other institution that celebrates Native women and their
talents every single day of the year. We’re relegated to
Native American Month or Women’s History Month,”
Bagshawsaid.
A Museum for the Generations
The museumplans to open this month in the former
administrative offices of the Cathedral Basilica of St.
Francis of Assisi. Fundraising continues toward purchas-
ing a building with enough space to include Velarde’s
actual studio, the Roxanne Swentzell Sculpture Garden,
a museumtheater for performance arts, a media center
and library, and ample space for permanent exhibits.
Any woman able to verify indigenous ancestry within
three generations is eligible to showat the museum.
Bagshawalso donated a significant collection of work by
Velarde and Hardin.
Although they have met some resistance to opening
another museumin Santa Fe, Bagshawand McGuinness
were gratified by the response they received when they
began fundraising a year ago. “We’ve had people waiting
details
the Pablita Velarde museumof indian Women
in the arts is located just south of the Cathedral
Basilica of St. Francis of assisi at 213 Cathedral Place.
For more information, call (888) 455-4369, email
info@PVmiWa.org, or go to pvmiwa.org.
Creative Hands
Pablita Velarde
for us inthe morning whenwe were
opening upto write us a check. We’ve
hadpeople who are remembering us in
their estates,” Bagshawsaid. Aretired
librarianfor the Library of Congress
wants to put the library together. Others
have volunteeredin-kindcontributions
suchas constructionwork, painting,
andtearing upworncarpets.
The 12 founding members of
the museuminclude prominent
members of the Native art world
such as Roxanne Swentzell and her
husband, TimStar; Jaune Quick-To-
See Smith; and Rick West, emeritus
founding director of the Smithsonian
Institution’s National Museumof the
American Indian. NMAI’s current
director, Kevin Gover, has also offered
support.
Bagshawherself donated 100 prints
of her work Women’s World and 20 percent of her earn-
ings fromher Santa Fe Indian Market showlast year.
More than$100,000has beenraisedsofar. Bagshawesti-
mates that her teamwill have toraise between$6million
and$10millionfor the permanent museumthey envision.
Partners inEducationis serving as the fiscal spon-
sor (the nonprofit organizationincharge of all finances)
until the museumreceives its 501(c)(3) designation. The
museumwill have a heavy educational component,
including an outreach programto bring in schoolchildren
and an artist-in-residence program.
Bagshawbelieves that rather than detracting from
other museums and galleries, the museumwill serve
as another asset to attract people to Santa Fe. “You go
to Washington, D.C., and you get to see maybe three or
four museums while you’re there,” Bagshawsaid. “You
have to stay someplace. You have to eat someplace.
You have to rent a car or pay a taxi. It filters
money into the economy. So give
people a reason to come back.”
2012 I NDI AN MARKET 121
EXPERI ENCE EXCEPTI ONAL NATI VE AMERI CAN ART
FAUST GALLERY + KING GALLERIES
7100 MAIN STREET, SUITES 3 & 4, SCOTTSDALE, AZ 85251
CELL: 480.200.4290 (CALL OR TEXT)
WWW. FAUSTGALLERY. COM | | WWW. KI NGGALLERI ES. COM
CLASSIC TO CONTEMPORARY
PUEBLO POTTERY &
INDIAN JEWELRY
SIGNED HISTORIC WORK BY:
MARIA MARTINEZ, TONY DA,
CHARLES LOLOMA, MARGARET TAFOYA,
HELEN SHUPLA, BLUE CORN
SPECIAL EVENTS AUGUST 13-19
Important Contemporary Native Jewelry
“Early San Ildefonso Innovators” Pottery
Roxanne Swentzell:
An Important Collection of Clay Figures
Jamie Zane Smith, Jason Garcia
& Chris Youngblood: New Works in Clay
AUGUST 13–19
Returning to our space below the
La Fonda Indian Shop & Gallery.
100 E. San Francisco St., Santa Fe
Open Daily 10 a.m. to 6 p.m.
122 2012 i ndi an market
AroundTown
5-8 p.m. Opening reception for 50/50: Fifty
Artists, Fifty Years; museumof Contemporary
native arts, 108 Cathedral Place. For
information, contact Hayes Locklear, 428-5907
or hlocklear@iaia.edu, or go to www.mocna.org.
5-8 p.m. Opening reception for Metal and Rock:
Cody Sanderson and Adrian Wall. meet the artists
and enjoy entertainment and food. Poeh Center,
Pojoaque Pueblo, 78 Cities of Gold road, 455-
5041, www.poehmuseum.com. Free (donations
accepted).
Friday, August 17
8:30–10 a.m. Breakfast with the Curators:
Woven Identities: Basketry Art fromthe
Collections. Breakfast with award-winning
basketmaker, teacher and activist terrol dew
Johnson (tohono O’odham) and Valerie
Verzuh, miaC exhibit curator, followed by a
talk by Johnson about contemporary native
basketry, his own work as a basketmaker, and
the tohono O’odham Community action
basketry co-op. $35/ $30 for Foundation
members, museum admission included.
museum of indian arts and Culture, 710
Camino Lejo, 476-1250, www.miaclab.org/.
476-1247or 476-1271 for information. tickets
available through the museum shop, 982-5057.
8:30-11 a.m. Native Chic Jewelry, featuring
traditional and cutting-edge jewelry especially
created for this event. artist demonstrations
under the tent on the museum patio feature
jewelers, basket weavers, katsina carvers,
potters, sculptors and painters. Wheelwright
museum of the american indian, Case trading
Post, 704 Camino Lejo, 982-4636, www.
wheelwright.org/casetradingpost. Off-site
parking and free shuttle from St. John’s United
methodist Church at Old Pecos trail and
Cordova road. Free.
multiple free events at Wheelwright museumof
the american indian also include:
9-10:30a.m. the Collector’s table.
10:30a.m.-12:30p.m. art-for-Wear
designer Showcase.
11 a.m.-1 p.m. 37th annual benefit auction, live
auction preview.
1 p.m. Live auction.
Saturday, August 18
9 a.m.-5 p.m. Portal artisans’ Celebration,
with traditional indian dances, music, hand-
crafted art, raffles and a native specialties food
booth. Palace of the Governors, enter through
the Blue Gate just south of the newmexico
History museum’s main entrance at 113 Lincoln
ave. For information, call 476-1141,
www.palaceofthegovernors.org. Free.
events at museumof Contemporary native
arts, 108 Cathedral Place, include:
7:30-9:15 a.m. members’ breakfast: moCna
members free, non-members $10.
1-2:30p.m. Panel discussion on t.C. Cannon
3-4:30p.m. Gerald mcmaster panel
3-4 p.m. Book signings with Joyce Cannon Yi,
author of My Determined Eye, and Joan Frederick,
T.C. Cannon: He Stood in the Sun.
For more information, contact Hayes Locklear,
428-5907 or hlocklear@iaia.edu or go to
www.mocna.org.
Sunday, August 19
9 a.m.-5 p.m. Portal artisans’ Celebration,
with traditional indian dances, music,
handcrafted art, raffles and a native specialties
food booth. Palace of the Governors, enter
through the Blue Gate just south of the new
mexico History museum’s main entrance at
113 Lincoln ave. For information, call 476-1141,
www.palaceofthegovernors.org. Free.
Noon-5 p.m. Vital Strides III, iaiaassoci-
ated student government silent auction fun-
draiser, Live Paint and auction. museumof
Contemporary native art. For information,
contact Hayes Locklear, 428-5907 or hlocklear@
iaia.edu or go to www.mocna.org.
1-2 p.m. panel discussion in conjunction with
50/50: Fifty Artists, Fifty Years exhibit; 3-4:30
p.m. Drum: Poetry Slamwith Janet rogers and
alex Jacobs; 3-4:30 p.m. Corn-Bred, poetry
performance by Janet rogers. museumof
Contemporary native art. For information,
contact Hayes Locklear, 428-5907 or hlocklear@
iaia.edu or go to www.mocna.org.
By Arin McKennA
oNgoiNg
museumof Contemporary native art, 50/50:
Fifty Artists, Fifty Years. also anna tsouhlaraskis’
installation Edges of the Ephemeral; mateo
romero’s Red Meridian; Jeff kahm’s Vernacular;
debra Yepa-Pappan’s Deconstruction Dualities;
Billy Luther’s Grab —the movie; Public Poles,
live art under the portal. CANNONPOPS at
MoCNA: Pai-doung-u-day, t.C. Cannon in the
Lloyd kiva newGallery. 108 Cathedral Place,
888-922-4242, www.mocna.org.
museumof indian arts &Culture, Margarete
Bagshaw: Breaking the Rules; They Wove for
Horses: Diné Saddle Blankets; Woven Identities;
Basketry Art fromthe Collection and works by
2012 miaCLiving treasure artist tony abeyta.
museumof indian arts &Culture, 710 Camino
Lejo, 476-1250, www.miaclab.org.
Wheelwright museumof the american indian,
ACertain Fire: Mary Cabot Wheelwright Collects
the Southwest. also Calvin analla and denise
Wallace sales exhibits at the Case trading Post.
704 Camino Lejo, 982-4636, www.wheelwright.
org. the museumis offering offsite parking and
a free shuttle fromSt. John's United methodist
Church at Old Pecos trail and Cordova road
from7:30 a.m.-7 p.m. thursday and 7:30 a.m.-
5 p.m. Friday.
Sunday, August 12
7 a.m.-3 p.m. ninth annual Pueblo
independence day. acommemoration of the
successful Pueblo revolt against the Spanish on
august 10, 1680. Begins at 7 a.m. with a 13-mile
pilgrimage run fromWalatowa Plaza in Jémez
Pueblo to Gisewa Pueblo kiva at Jémez State
monument (general public is welcome to partic-
ipate). at 10 a.m., guest speakers welcome run-
ners. Jémez traditional dances, native american
flute music, authentic native arts and crafts and
native food. Jémez State monument, nm4,
43 miles north of Bernalillo, 575-829-3530,
www.nmmonuments.org. Free admission.
Tuesday, August 14
8:30-10a.m. SWaiaand museumof indian
arts &Culture present Breakfast With the
Curators: Indian Market Highlights with Bruce
Bernstein, executive director of SWaia, which
produces Santa Fe indian market. $35/$30 for
museumof newmexico Foundation members;
museumadmission is included. reservations
required. museumof indian arts &Culture,
710 Camino Lejo, www.miaclab.org. (Call
476-1247 or 476-1271 for information, or the
Lensic Performing arts Center box office,
ticketssantafe.org or 988-1234, for required
reservations.)
Wednesday, August 15
Noon-2 p.m. Let’s Take a Look. Curators from
the museumof indian arts &Culture and the
Laboratory of anthropology are in the lobby of
miaCto look at your treasures. For information,
call 476-1253. museumof indian arts &Culture,
710 Camino Lejo, 476-1250, www.miaclab.org.
Free admission.
5:30p.m. annual institute of american indian
arts scholarship benefit dinner and silent auc-
tion, celebrating 50 years. at La Fonda on the
Plaza. For reservations, call 424-2309 or email
edwyer@iaia.edu. www.iaia.edu.
Thursday, August 16
Wheelwright museumof the american indian,
Case trading Post, 704 Camino Lejo, 982-4636,
www.wheelwright.org/casetradingpost.
Off-site parking and free shuttle fromSt. John’s
United methodist Church at Old Pecos trail
and Cordova road.
events at the Wheelright museum include:
10a.m. Opening of sales exhibition with
Laguna potter Calvin analla.
1 p.m. Without Reservations, native humor with
ricardo Caté (Santo domingo).
1:45 p.m. announcement of 2012-2013 fellow-
ship recipients.
2 p.m. “Finding Our Way,” a roundtable of
young artists.
2-4 p.m. Opening reception for sales exhibi-
tion of newwork by denise Wallace. Continues
through Sunday, august 19.
4-6 p.m. 37th annual benefit auction. Silent
auction and Live auction Preview.
Photo Blair Clark
Fromthe exhibition: They Wove for Horses: Dine Saddle Blankets
tapestry- and diagonal twill-weave single saddleblanket,
Spider Woman Cross style, 1880–90
Courtesy Museumof indian arts &Culture
2012 I ndI an market 123
otherspecial events
Sunday, August 12
6-9 p.m. the 34th annual Whitehawk
antique Indian art Showpreviewgala. Santa Fe
Community Convention Center, 201 W. marcy
St.; $75. tickets available at the door, www.
whitehawkshows.comor at www.atada.org.
Monday, August 13and
Tuesday, August 14
10a.m.-5 p.m. the 34th annual Whitehawk
antique Indian art Show. Santa Fe Community
Convention Center, 201 W. marcy St.; $10.
tickets available at the door, www.
whitehawkshows.comor at www.atada.org.
Saturday, August 18and
Sunday, August 19
10a.m.-4 p.m. Indian market Open House.
tours of the allan Houser archives and the
historic allan Houser Studio House. allan
Houser Studio Sculpture Gardens and Gallery,
30 minutes south of Santa Fe; 471-1528 or
fineart@allanhouser.comfor driving directions;
www.allanhouser.com. Free.
galleries
Ongoing
august 13-19 Classic to Contemporary, native
jewelry and pottery, including signed historic
work by Charles Loloma, maria martinez, tony
da, margaret tafoya and Lucy Lewis, and
contemporary work by Chris Youngblood, Jason
Garcia, Jarrod da, Grace medicine Flower,
Sonwai, ric Charlie and others. king Galleries
and Faust Gallery, located during Indian market
downstairs belowthe Indian Shop at La Fonda,
100 e. San Francisco St.; 480-200-4290,
www.kinggalleries.comor www.faustgallery.com.
august 15-20artist-in-residence Hopi carver
Spencer nutima will be on the patio daily,
carving kachinas. Little Bird at Loretto (formerly
kiva Fine art), 211 Old Santa Fe trail, Santa Fe,
820-7413, www.kivaindianart.com.
august 17-19 artists michael Horse, ray
tracey, denny Wainscott, mary Hunt, david
Copher, roark Griffin, Spencer nutima, John
Bennett, marie Barbera and Connie Sanchez
will be on hand. Live music and more. Little
Bird at Loretto (formerly kiva Fine art),
211 Old Santa Fe trail, Santa Fe, 820-7413,
www.kivaindianart.com.
august 17-19 Five Families —FromMatriarch
to Modern: Martinez, Tafoya, Nampeyo, Cordero,
Chino; 10 a.m.-6 p.m. andrea Fisher Fine
Pottery, 100 W. San Francisco St., 986-1234,
www.andreafisherpottery.com.
august 17-september 1 Low-Rez: Native
American LowbrowArt, eggman and Walrus art
emporium, 131 W. San Francisco St., first floor,
and 130 W. Palace ave., second floor. 660-0048,
www.eggmanwalrus.com.
Wednesday, August 15
2-4:30p.m. Classic to Contemporary, Pueblo
pottery by master artists fromking Galleries
of Scottsdale. Charles king will be present.
robert nichols Gallery, 419 Canyon road,
982-2145, robertnicholsgallery.com.
6-9 p.m. Opening reception for Zombie Skins:
Salon de la Vie Morte, the brainchild of Frank
Buffalo Hyde, ryan Singer, monty Singer and
Chris Pappan. Group showof native artists
exploring the concept of zombies and the
undead. Showruns thursday-Saturday from
2-6 p.m., at ahalenia Studios, 12889-e trades
West (between Clark and Siler roads),
699-5882, www.ahalenia.com.
Thursday, August 16
3 p.m. Lecture and jewelry making
demonstration with diné (navajo) jeweler ray
tracey and artist michael Horse. See a squash
blossom necklace made from start to finish.
Little Bird at Loretto (formerly kiva Fine art),
211 Old Santa Fe trail, Santa Fe, 820-7413.
www.kivaindianart.com.
4-7 p.m. reception for Native Modern, works in
clay by diego romero, Glen nipshank and alan
e. Lasiloo. robert nichols Gallery, 419 Canyon
road, 982-2145, robertnicholsgallery.com.
4 p.m. Seventh annual Arts of Native America
Showand Sale, featuring Cliff Fragua, Caroline
Carpio, mark Fischer, Pahponee and others.
Great food, live music and fun. Showruns
through august 18. river trading Post, 610-B
Canyon road, 982-2805,
www.rivertradingpost.com.
5-7 p.m. Opening reception for Virgil Ortiz
(Venutian Soldiers) and david Johns
(Abstracted Landscapes), Zane Bennett
Contemporary art, 435 S. Guadalupe St.,
982-8111, www.zanebennettgallery.com.
5-8 p.m. artist reception for maria Samora,
Jody naranjo, david Bradley, al Qoyawayma,
mateo romero, Lisa Holt Harland reano,
HyrumJoe. Blue rain Gallery, 130 Lincoln ave.,
954-9902, www.blueraingallery.com.
5-9 p.m. Indian market artist reception.
Featured artists include: arland Ben, Cippy
Crazyhorse, Cheryl Yestewa, randy Chitto,
Wayne aguilar, Lawrence Baca, david dear
and michelle tapia. artists make appearances
throughout market. Indian market hours:
Friday, 10 a.m.-7 p.m.; Saturday, 7:30 a.m.-6 p.m.;
Sunday, 9 a.m.-6 p.m. Packard’s on the Plaza,
61 Old Santa Fe trail, 983-9241,
www.shoppackards.com.
7-8:30p.m. Numu Soko: Comanche Land,
Comanche stories, lecture by nocona Burgess.
Legends Santa Fe, 125 Lincoln ave., 983-5639,
legendssantafe.com.
Friday, August 17
8 a.m. Annual Pottery Showand Sale. new
pieces by tammy Garcia and richard Zane
Smith. Previewfrom8-9:45 a.m., sale at 10 a.m.
Blue rain Gallery, 130 Lincoln ave., 954-9902,
www.blueraingallery.com.
11 a.m.-4 p.m. Glass-blowing demonstration
with Preston Singletary and bronze
patina demonstrations with Bronzesmith
Foundry from Prescott Valley, ariz.
Blue rain Gallery, 130 Lincoln ave., 954-9902,
www.blueraingallery.com.
4-6 p.m. Opening reception for special
exhibition of jewlery by Yazzie Johnson and
Gail Bird, Zane Bennett Contemporary art,
435 S. Guadalupe St., 982-8111,
www.zanebennettgallery.com.
5 p.m. margarete Bagshaw, market 2012 show
opening and general release of three books:
Pablita Velarde: In Her Own Words, Helen Hardin:
AStraight Line Curved and Teaching My Spirit
To Fly. Golden dawn Gallery, 201 Galisteo St.,
988-2024, goldendawngallery.com.
5-7 p.m. Numu Soko: Comanche Land,
Comanche Stories, lecture by nocona Burgess.
Legends Santa Fe, 125 Lincoln ave., 983-5639,
legendssantafe.com.
5-8 p.m. Opening reception for Allan Houser
Works in Stone. Indian market hours: Saturday,
10 a.m.-5 p.m.; Sunday, 10 a.m.-4 p.m. allan
Houser Gallery, 125 Lincoln ave., 982-4705,
www.allanhouser.com/thegallery.
5-8 p.m. artist reception for tony abeyta,
Preston Singletary and Larry Vasquez.
Blue rain Gallery, 130 Lincoln ave., 954-9902,
www.blueraingallery.com.
5-8 p.m. artists’ reception for Treasures of
Native America, works by raymond nordwall
and Upton ethelbah. Showruns august 14-29.
Beals &abbate Fine art, 713 Canyon road,
438-8881.
5:30-7:30 p.m. Opening reception for
artists dan, arlo and michael namingha.
niman Fine art, 125 Lincoln ave., 988-5091
or www.namingha.com.
5:30-9 p.m. Opening reception for Low-Rez:
Native American LowbrowArt, a group art show
of emerging and established native artists.
eggman and Walrus art emporium, 131 W. San
Francisco and 130 W. Palace ave., second floor,
660-0048, eggmanwalrus.com/.
Saturday, August 18
11 a.m.-4 p.m. Glass-blowing demonstra-
tion with Preston Singletary and bronze
patina demonstrations with Bronzesmith
Foundry from Prescott Valley, arizona.
Blue rain Gallery, 130 Lincoln ave., 954-9902,
www.blueraingallery.com.
1-4 p.m. keshi: the Zuni Connection, will host
the Quandelacy family of Zuni fetish carvers.
all proceeds go directly to the artist.
227 don Gaspar ave., 989-8728. www.keshi.com.
6-8 p.m. Live music: flute playing and singing
for Low-Rez: Native American LowbrowArt, a
group art showof emerging and established
native artists. eggman and Walrus art
emporium, 131 W. San Francisco St. and
130 W. Palace ave., second floor, 660-0048,
eggmanwalrus.com/.
Sunday, August 19
11 a.m.-2 p.m. keshi: the Zuni Connection
hosts a show and sale of the fetishes and
sculpture of Orin eriacho and melvin eriacho
of Zuni Pueblo. all proceeds go directly to
the artist. keshi: the Zuni Connection,
227 don Gaspar ave., 989-8728, www.keshi.com.
6-9 p.m. Closing reception for Zombie Skins:
Salon de la Vie Morte. ahalenia Studios,
12889-e trades West (between Clark and Siler
roads), 699-5882, www.ahalenia.com.
courtesy Blue rain Gallery
tony abeyta, Yei Creating, oil on canvas
124 2012 I NDI AN MARKET
Fastsigns
Washington Federal
Stewart Title
Paul Davis Restoration
H & S Craftsmen
SuS.982-9699 · www.£abuwaIIous.com
A P A R A D E O F H O M E S
Home Building Santa Fe Style
AUGUST 10-12 & 16-19, 2012
Homes will be open for two weekends
- Fri., Sat. & Sun. from 11 to 6. Free admission
to the Twilight Tour from 4 to 6 PM on August 16.
Tickets available at the Lensic box office: 505-988-1234.
Brought to you by the
Santa Fe Area Home Builders Association
505.982.1774 • sfahba.com • Haciendasmagazine.com
Haciendas
Santa Fe’s Best Open House Santa Fe’s Best Open House
2012 I NDI AN MARKET 125
126 2012 I NDI AN MARKET
CHANGE OF LOCATION
704 Camino Lejo, Museum Hill, Santa Fe, NM 87505
505-982-4636 x110 www.wheelwright.org/casetradingpost
OF THE AME R I CAN I NDI AN
The Case Trading Post Presents
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Thursday, August 16
Pottery of Calvin Analla
10:00 a.m. in the Case Trading Post.
Opening of a sales exhibition of the unique work by Laguna
potter, Calvin Analla. Continues through August 19.
Without Reservations: The Cartoons of Ricardo Caté
Talk, Book Signing and Sales Show
1:00 p.m. in the Museum Library.
A presentation of Native Humor with Ricardo Caté (Santo
Domingo). Ricardo will be available to sign copies of his new
book. Original paintings of his cartoons will be available for sale.
Fellowship Award Presentation
1:45 p.m. in the Museum Library.
Announcement of fellowship recipients for 2012 - 2013
The fellowships are designed to foster the growth of artists who
show promise at an early stage of their career.
Finding Our Way
2:00 p.m. in the Museum Library with Chip Conway, moderator.
Young Indian artists will share their hopes, dreams and
aspirations.
Friday, August 17
ARTIST DEMONSTRATIONS 8:30 a.m. – 11:00 a.m. under the
demonstration tent on the Museum patio. An opportunity to watch
jewelers, kachina carvers, potters, weavers and painters at work and to
learn more about the creative process.
NATIVE CHIC JEWELRY
8:30 a.m. – 11:00 a.m.
A special sales show under the demonstration tent, featuring traditional
and cutting-edge jewelry especially created for this event by Case Trading
Post artists.
DENISE WALLACE
(Chugach Aleut)
Sales Exhibition of New Work
August 16 - 19, 2012
Artist present Thursday,
August 16th from 2 – 4 p.m.
2012 I NDI AN MARKET 127
704 Camino Lejo, Museum Hill, Santa Fe, NM 87505
505-982-4636 x110 www.wheelwright.org/casetradingpost
OF THE AME R I CAN I NDI AN
Old Friends, New Faces 2012
ROSENAK FOLK ART COLLECTION
Special Sales Show
The Case Trading Post is pleased to offer selected pieces from the
Chuck and Jan Rosenak Collection of Navajo and Pueblo Folk Art.
Having collected for over twenty-five years, the Rosenaks have
been credited by many as the discoverers of Navajo folk art.
Many of the pieces in their collection have been acquired by the
Smithsonian. The pieces being offered in this special sales show
are a personal and touching tribute to a couple devoted to a true
American art form.
OLD FRIENDS AND NEW FACES 2012
During Indian Market Week, the Trading Post will also be featuring
special pieces by a variety of Case Trading Post artists.
EXPANDED MUSEUM and
CASE TRADING POST HOURS
Thursday, August 16, 10:00 a.m. – 7:00 p.m.
Friday, August 17, 8:30 a.m. – 5:00 p.m.
Saturday, August 18, 10:00 a.m. – 5:00 p.m.
Sunday, August 19, 10:00 a.m. – 5:00 p.m.
Artists will be present. Call 505-982-4636, ext. 110 for specific times.
Free shuttle and offsite parking available.
128 2012 I NDI AN MARKET
DENISE WALLACE
(CHUGACH ALEUT)
SALES EXHIBITIONOFNEWWORK
ARTIST WILL BE PRESENT THURSDAY, AUGUST 16
TH
FROM 2 – 4 PM
CASE TRADING POST MUSEUMSHOP
Wheelwright MuseumOf The AmericanIndian
704 Camino Lejo, Museum Hill, Santa Fe • 505-982-4636, Ext. 110
wheelwright.org/casetradingpost

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AUGUST 16 – 19, 2012
AT THE
CASE TRADING POST
WHEELWRIGHT MUSEUMSHOP
2012 I NDI AN MARKET 129
Wheelwright Museum
of the american indian
704 camino Lejo, museum hill
Santa fe, nm 87505
www.wheelwright.org
monday–Saturday 10–5
Sunday 1–5
free admission
a certain fire: mary cabot Wheelwright collects the Southwest
through april 14, 2013
Projects are made possible in part by the City of Santa Fe Arts Commission
and the 1% Lodgers’ tax; new mexico arts, a division of the
department of cultural affairs and the national endowment for the arts;
the thaw charitable trust; and many private donors.
acoma manta, circa 1855
indian arts research center, iaft.122
Gift of mary cabot Wheelwright
School for advanced research, Santa fe
Photo by addison doty
130 2012 i ndi an market
i Jewelry
naavaasya
Hopi/acoma Pueblo
613 PLZ
naveek
navajo (diné)
244 PaL-S
tchin
narragansett/Blackfeet
522 SF-e
abeyta, Lester
Santo domingo Pueblo
532 SF-P
abeyta, richard
Santo domingo Pueblo
532 SF-P
abeyta, Sharon
Santo domingo Pueblo
532 SF-P
adams, Victoria G.
Cheyenne
209 PaL-n
aguilar, Joseph
Santo domingo Pueblo
401 Wa-e
aguilar, richard Lee
Santo domingo Pueblo/
Choctaw
332 Fr-S
aguilar, Wayne
Santo domingo Pueblo
900 Cat
aragon, allen
navajo (diné)
749 Lin-e
aragon, Loren
acoma Pueblo
907 Cat
arviso, Chery
navajo (diné)
529 SF-W
arviso, Steven
navajo (diné)
766 Lin-e
arviso, Wil Paul
navajo (diné)
208 PaL-S
ataumbi, keri
kiowa
125 POG
Bahe, Fidel
navajo (diné)
600 PLZ
Bailon, Clarence
Santo domingo Pueblo
334 Fr-S
Bailon, eleanor
Santo domingo Pueblo
334 Fr-S
Bailon, Pablita
Santo domingo Pueblo
713 Lin-e
Begay, abraham
navajo (diné)
300 Fr-S
Begay, darryl
navajo (diné)
678 PLZ
Begay, eddie
navajo (diné)
769 Lin-W
Begay, erick
navajo (diné)
322 Fr-S
Begay, kary
navajo (diné)
220 PaL-n
Begay, kenneth
navajo (diné)
768 Lin-e
Begay, Larry
navajo (diné)
528 SF-P
Begay, Lee
navajo (diné)
756 Lin-e
Begay, Leroy
navajo (diné)
768 Lin-W
Begay, mary Lou
navajo (diné)
220 PaL-n
Begay, nelson
navajo (diné)
220 PaL-n
Begay, rebecca
navajo (diné)
678 PLZ
Begay, richard
navajo (diné)
246 PaL-n
Begay, Steven
navajo (diné)
220 PaL-n
Ben, arland
navajo (diné)
518 SF
Benally, ernest
navajo (diné)
324 Fr-n
Benally, Veronica
navajo (diné)
324 Fr-n
Bennett, donna
acoma Pueblo
720 Lin-W
Bennett, George
Hualapai
720 Lin-W
Betoney Sr., Billy
navajo (diné)
418 Wa-e
Bia, norman
navajo (diné)
761 Lin-W
Bigknife, Heidi
Shawnee
343 Fr-n
Bird, dennis
Ohkay Owingeh Pueblo/
Santo domingo Pueblo
260 PaL-S
Bird, Gail
Santo domingo Pueblo/
Laguna Pueblo
262 PaL-n
Bird, Jolene
Santo domingo Pueblo
710 Lin-P
Bird-romero, mike
Ohkay Owingeh Pueblo/
taos Pueblo
259 PaL-S
Blue Jacket-roccamo,
Shawn
Shawnee/Cherokee
110 POG
Bobelu, Gomeo
Zuni Pueblo
405 Wa-W
Boone, Lena
Zuni Pueblo
714 Lin-P
Brokeshoulder, aaron
Shawnee
735 Lin-e
Cajero, althea
Santo domingo Pueblo/
acoma Pueblo
521 SF
Calabaza, Jimmy
Santo domingo Pueblo
533 SF-e
Calabaza, Joseph F.
Santo domingo Pueblo
304 Fr-n
Calabaza, marie J.
Ohkay Owingeh Pueblo
414 Wa-W
Calabaza, mary
Santo domingo Pueblo
304 Fr-n
Calabaza, mitchell
Santo domingo Pueblo
414 Wa-W
Campbell, terrence
tahltan
303 Fr-S
Carrillo, Franklin
Laguna Pueblo/Choctaw
727 Lin-W
Casuse, Fritz
navajo (diné)
519 SF
Caté, Barbara
Santo domingo Pueblo
703 Lin-e
Caté, irma
Santo domingo Pueblo
708 Lin-e
Caté, Lorraine
Santo domingo Pueblo
708 Lin-e
Caté, mary
Santo domingo Pueblo
703 Lin-e
Charlie, edward
navajo (diné)
717 Lin-e
Charlie, ric
navajo (diné)
407 Wa-e
Chavez, Clarita
Santo domingo Pueblo
743 Lin-W
Chavez, dorothy
Santo domingo Pueblo
303 Fr-n
Chavez, Jared
San Felipe Pueblo
306 Fr-n
Chavez, Joseph
kewa Pueblo
769 Lin-e
Chavez, LeJeune
kewa Pueblo/Seminole
769 Lin-e
Chavez, michael d.
Santo domingo Pueblo
716 Lin-e
Chavez, richard
San Felipe Pueblo
306 Fr-n
Chavez, trinnie
Santo domingo Pueblo
716 Lin-e
Chavez Sr., Franklin
Santo domingo Pueblo
303 Fr-n
Chee, Frank
navajo (diné)
266 PaL-S
Clark, Carl
navajo (diné)
744 Lin-W
Clark, irene
navajo (diné)
744 Lin-W
Claw, monty
navajo (diné)
706 Lin-W
Coochwikvia, marcus
Hopi
763 Lin-W
Coonsis, Colin
Zuni Pueblo
336 Fr-S
Coonsis, Phyllis
Zuni Pueblo
906 Cat
Coriz, alonzo
Santo domingo Pueblo
708 Lin-W
Coriz, Joseph d.
Santo domingo Pueblo
623 PLZ
Coriz, Juanita d.
Santo domingo Pueblo
305 Fr-S
Coriz, Lila
Santo domingo Pueblo
524 SF-W
Coriz, mary r.
Santo domingo Pueblo
325 Fr-S
Coriz, rudy
Santo domingo Pueblo
325 Fr-S
Coriz-Lovato, mary
Santo domingo Pueblo
534 SF-P
Crazyhorse, Cippy
Cochiti Pueblo
258 PaL-n
Crazyhorse, Waddie
“red dakota”
Cochiti Pueblo
258 PaL-n
Crespin, don
Santo domingo Pueblo
315 Fr-S
Crespin, nancy
Santo domingo Pueblo
315 Fr-S
Crespin, terecita
Santo domingo Pueblo
307 Fr-n
Cummings, edison
navajo (diné)
207 PaL-S
Curtis, Jennifer
navajo (diné)
736 Lin-W
Custer, Cheyenne
navajo (diné)
737 Lin-e
Custer, Gary
navajo (diné)
204 PaL-S
Custer, ira
navajo (diné)
737 Lin-e
dalangyawma, ramon
Hopi
717 Lin-W
dallasvuyaoma,
Bennard
Pima-maricopa/Hopi
286 PaL
dallasvuyaoma, Frances
Jue
Hopi
286 PaL
denipah, marian
navajo (diné)/
Ohkay Owingeh Pueblo
512 SF
dial, isaac
navajo (diné)
627 PLZ
draper Jr., teddy
navajo (diné)
129 POG
dugi, Orlando
navajo (diné)
237 PaL-S
dukepoo, Causandra
taos Pueblo
254 PaL-n
dukepoo, michael
Hopi
254 PaL-n
duwyenie, Preston
Hopi
410 Wa-W
edaakie, raylan
Zuni Pueblo
230 PaL-n
edaakie, Sheryl
Zuni Pueblo
207 PaL-n
emery, dorothy
Jemez Pueblo
731 Lin-W
emery Jr, terrance
St. Croix Chippewa/
Jemez Pueblo
731 Lin-W
emery Sr., terrence
St. Croix Chippewa
731 Lin-W
eustace, Jolene
Zuni Pueblo/
Cochiti Pueblo
415 Wa-e
eustace-Carlisle,
Bernadette
Zuni Pueblo/
Cochiti Pueblo
415 Wa-e
Fragua-Cota, Laura
Jemez Pueblo
724 Lin-e
Francis, Florence
navajo (diné)
761 Lin-W
Gabriel, Victor
Washoe
245 PaL-n
Meet the
artists
130 Jewelry
132 Pottery
134 Paintings / Drawings /
Graphics / Photography
135 Pueblo Wooden Carvings
135 sculpture
136 textiles
136 Diverse arts
138 Beadwork / Quillwork
138 Moving images
138 Basketry
140 Booth Locator Map
142 alphabetical artist List
The Southwestern Association for
Indian Arts, Inc (SWAIA—producers
of the Santa Fe Indian Market) reminds
buyers that all purchases are between
the buyer and artist. SWAIAis in no way
responsible for such transactions. The
artists set their own commission/sale
policies on any and all purchases. SWAIA
recommends that these policies are fully
understood between buyer and artist and
in writing to satisfy both parties. SWAIA
is not responsible for any commission
transaction and the buyer accepts
all responsibility for any commission
transaction.
SWai a 2012 di reCtOry OF arti StS
2012 I ndI an market 131
SWaI a 2012 dI rectory of artI StS
Garcia, david
Pascua-yaqui/
nambe Pueblo
506 Sf
Garcia, emily B.
Santo domingo Pueblo
642 PLZ
Garcia, Lorencita
Santo domingo Pueblo
320 fr-n
Garcia, michael
“na na Ping”
Pascua yaqui
506 Sf
Garcia, nelson
Santo domingo Pueblo
718 LIn-W
Gasper, duran
Zuni Pueblo
786 LIn-W
Gaussoin, connie tsosie
navajo (diné)/
Picuris Pueblo
261 PaL-S
Gaussoin, david
navajo (diné)/
Picuris Pueblo
261 PaL-S
Gaussoin, Wayne
Picuris Pueblo/
navajo (diné)
261 PaL-S
Gaussoin Jr., Jerry
Picuris Pueblo/
navajo (diné)
261 PaL-S
Gchachu, Smokey
Zuni Pueblo
755 LIn-e
Gene, Leonard
navajo (diné)
658 PLZ
Goldtooth, Laverna
navajo (diné)
418 Wa-W
Gordo, melvin
navajo (diné)
720 LIn-e
Gress, robert
crow
509 Sf
Haloo, rolanda
Zuni Pueblo/
navajo (diné)
336 fr-S
Harris, cheyenne
navajo (diné)
101 PoG
Harrison, Jimmie
navajo (diné)
501 Sf
Haskie, Vernon
navajo (diné)
632 PLZ
Hayes, Lucille Bah
navajo (diné)
313 fr-n
Hendren, Shane
navajo (diné)
712 LIn-e
Herrera, Grace ann
navajo (diné)
318 fr-S
Herrera, tim
cochiti Pueblo
670 PLZ
Hesuse, Lori
navajo (diné)
529 Sf-W
Hodgins, L. Bruce
navajo (diné)
501 Sf
Honahnie, anthony
Hopi
759 LIn-W
Honanie, antone
Hopi
337 fr-S
Hoskie, randy
navajo (diné)
771 LIn-e
Howard, Ivan
navajo (diné)
704 LIn-W
Hunt, corrine
tlingit
911 cat
Hunter, cody
navajo (diné)
240 PaL-S
Hunter, Wilma
navajo (diné)
240 PaL-S
Huntinghorse, dina
Wichita/kiowa
420 Wa-e
Irene, mary
muscogee (creek)
236 PaL-n
Jackson, dan a.
navajo (diné)
343 fr-S
Jackson, Gene
navajo (diné)
728 LIn-W
Jackson, martha
navajo (diné)
728 LIn-W
Jackson, tommy
navajo (diné)
725 LIn-W
Jamon, carlton
Zuni Pueblo/
navajo (diné)
216 PaL-S
Joe, alfred
navajo (diné)
525 Sf-W
Joe, Bryan
navajo (diné)
525 Sf-W
Joe, Larry r.
navajo (diné)
706 LIn-P
Joe, oreland
Ute/navajo (diné)
700 LIn-e
Joe-chandler, amelia
navajo (diné)
338 fr-S
Johnson, kenneth
muscogee/Seminole
237 PaL-n
Johnson, Pete
navajo (diné)
736 LIn-W
Johnson, yazzie
navajo (diné)
262 PaL-n
Jojola, Vernon
Isleta Pueblo/
Laguna Pueblo
721 LIn-W
Julian, rainey
Jicarilla apache
600 PLZ
Jumbo, darrell
navajo (diné)
416 Wa-W
keyonnie, Julius
navajo (diné)
227 PaL-S
kirk, michael
Isleta Pueblo/
navajo (diné)
748 LIn-e
kohlmeyer-eagleboy,
royce
Jemez Pueblo
310 fr-n
koinva, anderson
Hopi
762 LIn-W
Laconsello, nancy
Zuni Pueblo/
navajo (diné)
323 fr-S
Laconsello, ruddell
Zuni Pueblo
323 fr-S
Lafountain, Samuel
chippewa/
navajo (diné)
763 LIn-e
Larance, Steve
Hopi/assiniboine
512 Sf
Lee, allison
navajo (diné)
416 Wa-e
Lee, kyle
navajo (diné)
416 Wa-e
Lee, russell
navajo (diné)
256 PaL-S
Lee, trent
navajo (diné)
416 Wa-e
Lee-anderson, Wyatt
navajo (diné)
416 Wa-e
Lister, ernie
navajo (diné)
630 PLZ
Little, James
navajo (diné)
653 PLZ
Livingston, Irene
navajo (diné)
525 Sf-e
Livingston, Jake
navajo (diné)/
Zuni Pueblo
525 Sf-e
Livingston, Jay Jacob
navajo (diné)
321 fr-n
Lomaventema, Gerald
Hopi
655 PLZ
Loretto, fran
Jemez Pueblo/
cochiti Pueblo
644 PLZ
Loretto, Glenda
Jemez Pueblo
740 LIn-e
Lovato, andrew
Santo domingo Pueblo
261 PaL-n
Lovato, anthony
Santo domingo Pueblo
629 PLZ
Lovato, calvin
Santo domingo Pueblo
673 PLZ
Lovato, Lillian r.
Santo domingo Pueblo
313 fr-S
Lovato, maria S.
Santo domingo Pueblo
677 PLZ
Lovato, martine
Santo domingo Pueblo
246 PaL-S
Lovato, marvin
Santo domingo Pueblo
313 fr-S
Lovato, Peggy
Santo domingo Pueblo
261 PaL-n
Lovato, Pilar a.
Santo domingo Pueblo
673 PLZ
Lovato Sr., ray
Santo domingo Pueblo
261 PaL-n
macknight, Sheridan
chippewa
420 Wa-W
maha, Loren
Hopi
218 PaL-S
maktima, duane
Laguna Pueblo/Hopi
752 LIn-e
manygoats, Benson
navajo (diné)
223 PaL-n
mares, Shirley
yakima
263 PaL-S
martinez, terry
navajo (diné)
216 PaL-n
medina, Jennifer
Santo domingo Pueblo
513 Sf
metoxen, Linda
navajo (diné)
626 PLZ
mitchell, toney
navajo (diné)
231 PaL-n
mitten, katrina
miami tribe of
oklahoma
342 fr-S
montoya, rodger
navajo (diné)
703 LIn-P
morgan, Jacob
navajo (diné)
306 fr-P
nakai, Bernice
navajo (diné)
728 LIn-W
naseyowma, Gregory
Hopi
755 LIn-W
natay, ehren
navajo (diné)
342 fr-n
nells, albert
navajo (diné)
205 PaL-S
nelson, L. eugene
navajo (diné)
214 PaL-n
nelson, Peter
navajo (diné)
726 LIn-W
nequatewa, Verma
Hopi
602 PLZ
nez, ned
navajo (diné)
324 fr-S
nez Jr., Sidney
navajo (diné)
668 PLZ
nieto, christopher
Santo domingo Pueblo
339 fr-n
ortiz, Isaiah
San felipe Pueblo
648 PLZ
owen, angie
Santo domingo Pueblo
249 PaL-S
owen, dean
Santo domingo Pueblo
249 PaL-S
Pajarito, cordell
Santo domingo Pueblo
629 PLZ
Pajarito, Joel
Santo domingo Pueblo
629 PLZ
Panteah, Loren
Zuni Pueblo
229 PaL-S
Panteah, myron
navajo (diné)/
Zuni Pueblo
213 PaL-S
Paquin, allen
Jicarilla apache/
Zuni Pueblo
410 Wa-e
Paquin, Isabel
Isleta Puebo
711 LIn-W
Paquin, Sherman P.
Zuni Pueblo
711 LIn-W
Parrish, rain
navajo (diné)
754 LIn-W
Perry, michael
navajo (diné)
408 Wa-W
Peshlakai, norbert
navajo (diné)
747 LIn-W
Piaso, thompson
navajo (diné)
663 PLZ
Pino, maggie
navajo (diné)
308 fr-n
Plummer, earl
navajo (diné)
534 Sf-W
Poblano, dylan
Zuni Pueblo
604 PLZ
Poblano, Jovanna
Zuni Pueblo
604 PLZ
Poblano, Veronica
Zuni Pueblo
604 PLZ
Polacca III, Starlie
Havasupai/Hopi
660 PLZ
Pourier, kevin
oglala Lakota
322 fr-n
Pruitt, christopher
Laguna Pueblo
314 fr-S
Pruitt, Pat
Laguna Pueblo
708 LIn-P
rafael, tonya June
navajo (diné)
217 PaL-n
ramone, dennis
navajo (diné)
707 LIn-P
reano, angie P.
Santo domingo Pueblo
249 PaL-n
reano, arnold
Santo domingo Pueblo
311 fr-S
reano, charlotte J.
San felipe Pueblo
250 PaL-S
reano, daisy
Santo domingo Pueblo
252 PaL-n
reano, debra
Santo domingo Pueblo
311 fr-S
reano, denise
Santo domingo Pueblo
250 PaL-S
reano, frank
Santo domingo Pueblo
527 Sf-W
reano, Janalee frances
San felipe Pueblo
527 Sf-W
reano, Joe
Santo domingo Pueblo
703 LIn-W
reano, Joe L.
Santo domingo Pueblo
249 PaL-n
reano, Percy
Santo domingo Pueblo
250 PaL-S
reano, rose
Santo domingo Pueblo
248 PaL-n
reano-yepa, dena
Santo domingo Pueblo
232 PaL-n
reeves, daniel
“Sunshine”
navajo (diné)
227 PaL-n
roanhorse, mark
navajo (diné)
717 LIn-e
roanhorse, michael
navajo (diné)
717 LIn-e
rogers, kay
navajo (diné)
710 LIn-P
rogers, michael
Paiute
745 LIn-W
romero, ken
Laguna Pueblo/
taos Pueblo
504 Sf
rosetta, arnell
kewa Pueblo
302 fr-P
rosetta, eileen
Santo domingo Pueblo
526 Sf-P
rosetta, Jeremy
Santo domingo Pueblo
526 Sf-P
rosetta, Jessie
Santo domingo Pueblo
302 fr-P
rosetta, Paul
kewa Pueblo
302 fr-P
rosetta, reyes
Santo domingo Pueblo
246 PaL-S
Samora, maria
taos Pueblo
311 fr-n
Sanchez, alex
navajo (diné)
235 PaL-n
Sanchez, eugene
Santo domingo Pueblo
312 fr-P
Sanchez-reano,
charlene
San felipe Pueblo
527 Sf-W
Sanderson, cody
navajo (diné)
674 PLZ
132 2012 i ndi an market
Sandoval, Lester
navajo (diné)
326 Fr-S
Saufkie, Griselda
Hopi
704 Lin-e
Schrupp, nelda
Oglala Lakota
222 PaL-S
Sequaptewa Sr.,
raymond
Hopi
335 Fr-S
Shirley, Lorenzo edward
navajo (diné)
775 Lin-W
Shorty, Perry
navajo (diné)
210 PaL-S
Sice, Howard
Laguna Pueblo/Hopi
331 Fr-S
Sice, troy
Zuni Pueblo
203 PaL-S
Slim, darrell
navajo (diné)
779 Lin-e
Slim, marvin
navajo (diné)
720 Lin-e
Slim, michael
navajo (diné)
720 Lin-e
Slim, michelle
navajo (diné)
720 Lin-e
Sloan, david-alexander
navajo (diné)
342 Fr-n
Smith, Patrick
navajo (diné)
665 PLZ
Soohafyah, eddison
Hopi
308 Fr-P
Spry-misquadace,
Wanesia
Ojibwa
519 SF
Stevens, mark
Laguna Pueblo
760 Lin-e
Stevens, Shannon
Laguna Pueblo
760 Lin-e
ta’itsohii, raynard Scott
navajo (diné)
216 PaL-n
tafoya, Lorenzo
Santo domingo Pueblo
741 Lin-W
tafoya, mary Louise
Santo domingo Pueblo
741 Lin-W
takala Sr., Jason
Hopi
412 Wa-W
talahaftewa, roy
Hopi
649 PLZ
taylor, tsosie
navajo (diné)
524 SF-P
tenorio, deanna
Santo domingo Pueblo
123 POG
tenorio, George
kewa
628 PLZ
tenorio, margaret ann
Santo domingo Pueblo/
Cochiti Pueblo
309 Fr-n
tenorio, marilyn
navajo (diné)
319 Fr-S
tenorio, matilda
Santo domingo Pueblo
308 Fr-S
tenorio, robert Lewis
Santo domingo Pueblo
656 PLZ
tenorio, roderick
Santo domingo Pueblo/
navajo (diné)
319 Fr-S
tenorio, Sidelio
Santo domingo Pueblo
308 Fr-S
tenorio, Veronica
Santo domingo Pueblo
411 Wa-W
tewa, Bobbie
Ohkay Owingeh Pueblo/
Hopi
532 SF-W
todacheene, alvin
navajo (diné)
417 Wa-W
tom, mary Lou
navajo (diné)
301 Fr-S
tomeo, James
Colville/Yakima
727 Lin-e
tortalita, Vickie
Santo domingo Pueblo
603 PLZ
tsabetsaye, edith
Zuni Pueblo
251 PaL-n
tsabetsaye Jr., roger
Zuni Pueblo
210 PaL-n
tsabetsaye, Sr.,
roger
Zuni Pueblo
210 PaL-n
tsalate, raymond
Zuni Pueblo
203 PaL-S
tsingine, Olin
navajo (diné)/Hopi
671 PLZ
tsinnie, Orville
navajo (diné)
667 PLZ
tsosie, Lyndon
navajo (diné)
620 PLZ
tsosie, raymond
navajo (diné)
770 Lin-W
tsosie, richard
navajo (diné)
300 Fr-n
Vicenti, Jennie
Zuni Pueblo
762 Lin-e
Wall, Stephen
Chippewa
724 Lin-e
Wallace, dawn
aleut
241 PaL-n
Wallace, Liz
navajo (diné)
333 Fr-n
Waynee, robin
Saginaw Chippewa
250 PaL-n
Weahkee, Sharon
navajo (diné)
503 SF
Whitman-elk Woman,
kathy
mandan/Hidatsa
742 Lin-e
Willie, Jt
navajo (diné)
344 Fr-S
Willie, Wesley
navajo (diné)
330 Fr-n
Yazzie, Leo
navajo (diné)
791 Lin-W
Yazzie, raymond C.
navajo (diné)
210 PaL-S
Yazzie Jr, kee
navajo (diné)
402 Wa-W
ii Pottery
Goldenrod
Pojoaque Pueblo/
Santa Clara Pueblo
126 POG
Pahponee
kickapoo/Potawatomi
615 PLZ
White Swann
Hopi
614 PLZ
abeita, karen
isleta Pueblo/Hopi
752 Lin-e
abeyta, Pablita
navajo (diné)
111 POG
aguilar, michael a.
San ildefonso Pueblo
767 Lin-W
aguino, karen
Santa Clara Pueblo
534 SF-e
aguino, kayleen a.
Ohkay Owingeh Pueblo
534 SF-e
antonio, Frederica
navajo (diné)
705 Lin-e
aragon, allen
navajo (diné)
749 Lin-e
aragon, Clarice
acoma Pueblo
257 PaL-S
aragon, delores
acoma Pueblo
215 PaL-n
aragon, ralph
Zia Pueblo
522 SF-W
aragon, Wanda
acoma Pueblo
257 PaL-S
aragon Sr., marvis
acoma Pueblo
257 PaL-S
archuleta, mary
Santa Clara Pueblo
265 PaL-S
arquero, martha
Cochiti Pueblo
529 SF-P
arquero, mary
Cochiti Pueblo
529 SF-P
atencio, ambrose
Santo domingo Pueblo
525 SF-P
Baca, angela
Santa Clara Pueblo
264 PaL-n
Baca, annie
Santa Clara Pueblo
702 Lin-W
Baca, david
Santa Clara Pueblo
264 PaL-n
Baca, Joe P.
Santa Clara Pueblo
203 PaL-n
Bassett, Hathaweh
Passamaquoddy
907 Cat
Bassett, Hiyatsi
Passamaquoddy
907 Cat
Begay, romaine
navajo (diné)
713 Lin-W
Blaze, randall
Oglala Lakota Sioux
231 PaL-S
Borts-medlock, autumn
Santa Clara Pueblo
664 PLZ
Cajero, esther H.
Jemez Pueblo
320 Fr-S
Cajero, teri
Jemez Pueblo
622 PLZ
Cajero Sr., aaron
Jemez Pueblo
622 PLZ
Candelario, Hubert
San Felipe Pueblo
217 PaL-S
Carpio, Caroline
isleta Pueblo
659 PLZ
Carr, Stacey
Laguna Pueblo
784 Lin-W
Cerno, Barbara
acoma Pueblo/Hopi
700 Lin-P
Cerno Sr., Joseph
acoma Pueblo
700 Lin-P
Charley, karen kahe
Hopi
737 Lin-W
Chavarria, denise
Santa Clara Pueblo
253 PaL-n
Chavarria, Loretta
“Sunday”
Santa Clara Pueblo
253 PaL-n
Chavarria, Stella
Santa Clara Pueblo
253 PaL-n
Chinana, Lorraine
Jemez Pueblo
764 Lin-W
Chitto, randall
Choctaw
725 Lin-e
Cling, alice
navajo (diné)
413 Wa-e
Concho, Carolyn
acoma Pueblo
530 SF-P
Concho, rachel
acoma Pueblo
507 SF
Concho Jr., George
acoma Pueblo
908 Cat
Coriz, ione
Santo domingo Pueblo
531 SF-W
Cornshucker, melvin
Cherokee
724 Lin-W
Correa, Prudy
acoma Pueblo
239 PaL-n
Curran, dolores
Santa Clara Pueblo
263 PaL-n
Curran, Ursula
Ohkay Owingeh Pueblo
263 PaL-n
duwyenie, debra
Santa Clara Pueblo
410 Wa-W
duwyenie, Preston
Hopi
410 Wa-W
earles, Chase
“kahwinhut”
Caddo
780 Lin-e
early, alan
Laguna Pueblo
243 PaL-S
early, max
Laguna Pueblo
243 PaL-S
ebelacker, Jamelyn
Santa Clara Pueblo
280 PaL
ebelacker, James
Santa Clara Pueblo
280 PaL
ebelacker, Jason L.
Santa Clara Pueblo
758 Lin-W
ebelacker, Jerome
Santa Clara Pueblo
758 Lin-W
ebelacker, Sarena
Santa Clara Pueblo
280 PaL
epaloose, kenneth
Zuni Pueblo
240 PaL-n
Fender, erik
“than tsideh”
San ildefonso Pueblo
702 Lin-P
Fender, martha
“appleleaf”
San ildefonso Pueblo
702 Lin-P
Fields, anita
Osage
209 PaL-S
Foley, Benina
Jemez Pueblo
523 SF-W
Folwell, Jody
Santa Clara Pueblo
640 PLZ
Folwell, Susan
Santa Clara Pueblo
640 PLZ
Fragua, B.J.
Jemez Pueblo
727 Lin-W
Fragua, Glendora
Jemez Pueblo
652 PLZ
Fragua, Juanita
Jemez Pueblo
652 PLZ
Fragua, Linda
Jemez Pueblo
222 PaL-n
Fragua, melinda
Jemez Pueblo
712 Lin-W
Fragua, tablita
Jemez Pueblo
753 Lin-e
Gachupin, Henrietta
Jemez Pueblo
712 Lin-W
Gachupin, Laura
Jemez Pueblo
523 SF-W
Gala Lewis, Lorraine
Laguna/taos/Hopi
242 PaL-n
Garcia, effie
Santa Clara Pueblo
713 Lin-P
Garcia, Jason
Santa Clara Pueblo
126 POG
Garcia, John
Santa Clara Pueblo
126 POG
Garcia, margaret Peggy
acoma Pueblo
736 Lin-e
Garcia, mary d. Lewis
acoma Pueblo
527 SF-e
Garcia, melanie
acoma Pueblo
736 Lin-e
Garcia, Sharon naranjo
Santa Clara Pueblo
606 PLZ
Garcia, Wilfred L.
acoma Pueblo
511 SF
Gibson, rowena
taos Pueblo/
Santa Clara Pueblo
706 Lin-e
Gomez, Glenn
taos Pueblo/
Pojoaque Pueblo
223 PaL-S
Gonzales, aaron
San ildefonso Pueblo
247 PaL-n
Gonzales, Barbara
“tahn-moo-whe”
San ildefonso Pueblo
247 PaL-n
Gonzales, Brandan
San ildefonso Pueblo
247 PaL-n
Gonzales, Cavan
San ildefonso Pueblo
520 SF
Gonzales, Jeanne
San ildefonso Pueblo/
Winnebago
312 Fr-S
Gonzales, John
San ildefonso Pueblo
741 Lin-W
Gonzales, robert
San ildefonso Pueblo
247 PaL-n
Gonzales-kailahi,
marie ann
San ildefonso Pueblo
312 Fr-S
Gutierrez, denny
Santa Clara Pueblo
301 Fr-n
Gutierrez, dorothy
navajo (diné)
254 PaL-S
Gutierrez, Gary
Santa Clara Pueblo
254 PaL-S
Gutierrez, margaret
rose
Santa Clara Pueblo
248 PaL-S
SWAIA 2011 di reCtOrY OF arti StS
2012 I ndI an market 133
Gutierrez, rose
Santa Clara Pueblo/
San Ildefonso Pueblo
309 Fr-P
Gutierrez, teresa
Santa Clara Pueblo
230 PaL-S
Gutierrez Jr., tony
Santa Clara Pueblo
707 LIn-W
Gutierrez-naranjo,
Carol
Santa Clara Pueblo/
San Ildefonso Pueblo
309 Fr-P
Gutierrez-naranjo,
kathy
San Ildefonso Pueblo/
Santa Clara Pueblo
309 Fr-P
Hanna, Crystal
Cherokee (Western)
513 SF
Histia, Jacqueline
acoma Pueblo
271 PaL
Holt, Lisa
Cochiti Pueblo
228 PaL-n
Huma, rondina
Hopi
528 SF-W
Juanico, marie
acoma Pueblo
215 PaL-n
Juanico, marietta
acoma Pueblo
323 Fr-n
Juanico, melvin
acoma Pueblo
323 Fr-n
kahe, Gloria
navajo (diné)
752 LIn-W
kahe, Valerie J.
Hopi
752 LIn-W
kanteena, michael
Laguna Pueblo
528 SF-P
kohlmeyer, reina
Jemez Pueblo
310 Fr-n
kokaly, mary Lou
Isleta Pueblo/
Ohkay Owingeh Pueblo
218 PaL-S
Lasiloo, alan e.
Zuni Pueblo
331 Fr-n
Lewis, Bernard
acoma Pueblo
530 SF-P
Lewis, Joyce
Cochiti Pueblo
746 LIn-W
Lewis, Judy m.
acoma Pueblo
741 LIn-e
Lewis, Sharon
acoma Pueblo
306 Fr-S
Lewis-Garcia, diane
acoma Pueblo
530 SF-P
Littlebird, Harold
Laguna Pueblo/
kewa Pueblo
400 Wa-e
Loretto, Fran
Jemez Pueblo/
Cochiti Pueblo
644 PLZ
Loretto, Jonathan
Cochiti Pueblo
765 LIn-W
Louis, reycita
acoma Pueblo
339 Fr-S
Lovato, manuelita
Santo domingo Pueblo
246 PaL-S
Lowden, Virginia
acoma Pueblo
319 Fr-n
Lucario, amanda
acoma Pueblo
908 Cat
Lucario, daniel
acoma Pueblo
908 Cat
Lucario, rebecca
acoma Pueblo
741 LIn-e
Lucas, Steve
Hopi
405 Wa-e
Lujan-Hauer, Pamela
taos Pueblo
321 Fr-n
madalena, Joshua
Jemez Pueblo
403 Wa-e
madalena, reyes
Jemez Pueblo
535 SF-e
madalena, Shannan
Jemez Pueblo
535 SF-e
manygoats, elizabeth
navajo (diné)
660 PLZ
manymules, Samuel
navajo (diné)
704 LIn-P
martinez, Pauline
San Ildefonso Pueblo
252 PaL-S
mckelvey, Lucy Leuppe
navajo (diné)
530 SF-e
medina, elizabeth
Zia Pueblo
722 LIn-e
medina, marcellus
Zia Pueblo
722 LIn-e
melchor, Crucita
Santo domingo Pueblo
705 LIn-W
mirabal, martha
Santa Clara Pueblo
316 Fr-S
mirabal, tammie
Santa Clara Pueblo/
taos Pueblo
316 Fr-S
mitchell, emma
acoma Pueblo
528 SF-e
moquino, Jennifer
Santa Clara Pueblo
232 PaL-S
naha, rainy
Hopi/tewa
253 PaL-S
nahohai, Jaycee
Zuni Pueblo
624 PLZ
nahohai, milford
Zuni Pueblo
624 PLZ
nahohai, randy
Zuni Pueblo
624 PLZ
namingha, Les
Hopi/Zuni Pueblo
233 PaL-S
naranjo, Betty
Santa Clara Pueblo
304 Fr-P
naranjo, dusty
Santa Clara Pueblo
707 LIn-e
naranjo, Frances
Santa Clara Pueblo
265 PaL-n
naranjo, Geri
Santa Clara Pueblo
263 PaL-n
naranjo, Jody
Santa Clara Pueblo
402 Wa-W
naranjo, Johnathan
Santa Clara Pueblo
317 Fr-S
naranjo, Joseph G.
Santa Clara Pueblo
315 Fr-n
naranjo, kevin
Santa Clara Pueblo
341 Fr-S
naranjo, madeline e.
Santa Clara Pueblo
265 PaL-n
naranjo, monica
Santa Clara Pueblo
263 PaL-n
naranjo, robert G.
Santa Clara Pueblo
719 LIn-W
naranjo, robert t.
Santa Clara Pueblo
304 Fr-P
naranjo, Stephanie
Santa Clara Pueblo
248 PaL-S
naranjo-neikrug, dolly
Santa Clara Pueblo
304 Fr-S
natseway, thomas
Laguna Pueblo
522 SF-P
navasie, Fawn
Hopi
402 Wa-e
nipshank, Glen
Cree
328 Fr-S
nuñez-Velarde, Shelden
apache (Jicarilla)
765 LIn-e
Ortiz, dominick
Cochiti Pueblo
746 LIn-W
Ortiz, evelyn
acoma Pueblo
709 LIn-W
Ortiz, Guadalupe
Cochiti Pueblo
746 LIn-W
Ortiz, kyle
Cochiti Pueblo
746 LIn-W
Ortiz, mary
Cochiti Pueblo
208 PaL-n
Ortiz, Virgil
Cochiti Pueblo
746 LIn-W
Osti, Jane
Cherokee
527 SF-P
Pacheco, rose a.
Santo domingo Pueblo
311 Fr-P
Padilla, andrew
Laguna Pueblo/
Santa Clara Pueblo
310 Fr-S
Padilla, andy
Santa Clara Pueblo
702 LIn-e
Padilla, marcia
Santa Clara Pueblo
702 LIn-e
Padilla, Patricia
Santa Clara Pueblo
534 SF-e
Padilla, terrence
Santa Clara Pueblo
534 SF-e
Padilla, tony
Santa Clara Pueblo
534 SF-e
Pajarito, Florence
Santo domingo Pueblo
628 PLZ
Paloma, Gabriel
Zuni Pueblo
636 PLZ
Panana, rufina
Zia Pueblo
718 LIn-e
Paquin, Gladys
Laguna Pueblo/
Zuni Pueblo
310 Fr-S
Patricio, robert
acoma Pueblo
756 LIn-e
Pecos, Carol
Jemez Pueblo
266 PaL-n
Pecos, Irwin
Jemez Pueblo
266 PaL-n
Pecos, Jeanette
Jemez Pueblo
266 PaL-n
Pecos-Sun rhodes,
rose
Jemez Pueblo
266 PaL-n
Peters, Franklin
Laguna Pueblo
535 SF-P
Peynetsa, agnes
Zuni Pueblo
666 PLZ
Peynetsa, anderson
Zuni Pueblo
303 Fr-P
Peynetsa, Priscilla
Zuni Pueblo
666 PLZ
Polacca, delmar
Hopi/tewa
404 Wa-W
Polacca, Vernida
Hopi
417 Wa-W
ray, marilyn
acoma Pueblo
741 LIn-e
real rider, austin
Pawnee
211 PaL-n
reano, Harlan
Santo domingo Pueblo
228 PaL-n
reano-Yepa, dena
Santo domingo Pueblo
232 PaL-n
redCorn, Jeri
Caddo
201 PaL-S
reid, Ulysses
Zia Pueblo
533 SF-W
rodriguez, andrew
Laguna Pueblo
904 Cat
roller, Jeff
Santa Clara Pueblo
531 SF-e
roller, ryan
Santa Clara Pueblo
531 SF-e
roller, toni
Santa Clara Pueblo
531 SF-e
romero, diego
Cochiti Pueblo
509 SF
romero, edna
Santa Clara Pueblo
706 LIn-e
romero, Pauline
Jemez Pueblo
309 Fr-S
romero, Priscilla
Cochiti Pueblo
238 PaL-n
Sahmie, rachel
Hopi
221 PaL-S
Sahmie, V. Jean
Hopi/tewa
329 Fr-S
Salvador, maria
acoma Pueblo
258 PaL-S
Sanchez, Corrine
San Ildefonso Pueblo
662 PLZ
Sanchez, Gerti mapoo
Isleta Pueblo
264 PaL-S
Sanchez, Gilbert
San Ildefonso Pueblo
700 LIn-W
Sanchez, kathleen
“Wan Povi”
San Ildefonso Pueblo
662 PLZ
Sanchez, russell
San Ildefonso Pueblo
701 LIn-W
Sando, Caroline
Jemez Pueblo
740 LIn-W
Setalla, dee
Hopi
614 PLZ
Setalla, Gwen
Hopi
651 PLZ
Seymour, mary a.
acoma Pueblo
339 Fr-S
Shields, ethel
acoma Pueblo
522 SF-P
Shields, Judy
acoma Pueblo
326 Fr-n
Simplicio, noreen
Zuni Pueblo
240 PaL-n
Singer, ryan
navajo (diné)
317 Fr-n
Small, mary
Jemez Pueblo/
San Felipe Pueblo
318 Fr-n
Smith, elijah naranjo
Santa Clara Pueblo
304 Fr-S
Smith, timothy
“Coyote”
Hopi/Laguna Pueblo
305 Fr-P
“Black Bear”
Stephen LaBoueff
Blackfeet
228 PaL-S
Suazo, anita
Santa Clara Pueblo
529 SF-e
Suazo, marie
Santa Clara Pueblo
230 PaL-S
Suazo-naranjo, Bernice
taos Pueblo
317 Fr-S
Suina, ada
Cochiti Pueblo
530 SF-W
Suina, dena
Cochiti Pueblo
531 SF-P
tafoya, Forrest
Santa Clara Pueblo
263 PaL-S
tafoya, Harriet
Santa Clara Pueblo
314 Fr-n
tafoya, Judy
Santa Clara Pueblo
661 PLZ
tafoya, Laura
Santa Clara Pueblo
314 Fr-P
tafoya, Lu ann
Pojoaque Pueblo/
Santa Clara Pueblo
251 PaL-S
tafoya, Sarah
Santa Clara Pueblo
661 PLZ
tafoya, Starr
Santa Clara Pueblo
301 Fr-P
tafoya-Sanchez, Linda
Santa Clara Pueblo
265 PaL-S
talachy, Pearl
nambe Pueblo/tewa
676 PLZ
tapia, Sue
Laguna Pueblo
255 PaL-S
tapia, thomas
Ohkay Owingeh Pueblo
255 PaL-S
tapia, thomas V.
tesuque Pueblo
122 POG
tapia-Browning,
michele
Pojoaque Pueblo/
Santa Clara Pueblo
251 PaL-S
teller, Stella
Isleta Pueblo
312 Fr-n
teller Velardez, robin
Isleta Pueblo
312 Fr-n
tenorio, doris
Santa Clara Pueblo
230 PaL-S
tenorio, robert
Santo domingo Pueblo
526 SF-W
tenorio, thomas
Santo domingo Pueblo
726 LIn-e
SWAIA 2011 dI reCtOrY OF artI StS
134 2012 i ndi an market
tohtsoni Prudencio,
therese
Picuris Pueblo/
navajo (diné)
618 PLZ
toledo, Yolanda
Jemez Pueblo
712 Lin-W
torres, elvis
San ildefonso Pueblo
710 Lin-W
tosa, Phyllis
Jemez Pueblo
514 SF
toya, Camilla mariam
Jemez Pueblo
256 PaL-n
toya, dominique
Jemez Pueblo
256 PaL-n
toya, Judy
Jemez Pueblo
714 Lin-W
toya, marie
Jemez Pueblo
714 Lin-W
toya, mary ellen
Jemez Pueblo
714 Lin-W
toya, mary rose
Jemez Pueblo
305 Fr-n
toya, maxine
Jemez Pueblo
256 PaL-n
trujillo, elizabeth
Cochiti Pueblo
719 Lin-e
trujillo, Geraldine
Cochiti Pueblo/
Ohkay Owingeh Pueblo
255 PaL-S
trujillo, Joseph
Cochiti Pueblo
255 PaL-S
trujillo, mary t.
Ohkay Owingeh Pueblo/
Cochiti Pueblo
255 PaL-S
tse Pe, dora
San ildefonso Pueblo
605 PLZ
tse Pe, irene V.
San ildefonso Pueblo
605 PLZ
tsosie, darrick
Jemez Pueblo
313 Fr-P
tsosie, emily
Jemez Pueblo
313 Fr-P
tsosie, Leonard
Jemez Pueblo
313 Fr-P
Velarde, dina
Jicarilla apache
740 Lin-e
Velarde-Brewer, Carol
Santa Clara Pueblo
707 Lin-W
Victorino, Sandra
acoma Pueblo
234 PaL-n
Vigil, Charlotte
San ildefonso Pueblo
730 Lin-W
Vigil, Lonnie
nambe Pueblo
273 PaL
Vigil, Vanessa
San ildefonso Pueblo
730 Lin-W
Wall, kathleen
Jemez Pueblo
224 PaL
Waquie, marie L.
Jemez Pueblo
533 SF-P
Wesaw, Jason
Potawatomi
415 Wa-W
Westika, Gaylon
Zuni Pueblo
303 Fr-P
White dove, Shyatesa
acoma Pueblo
907 Cat
Whitegeese, daryl
Pojoaque Pueblo/
Santa Clara Pueblo
251 PaL-S
Yazzie, angie
taos Pueblo
523 SF-P
Yepa, alvina
Jemez Pueblo
647 PLZ
Yepa, elston
Jemez Pueblo
232 PaL-n
Yepa, marcella
Jemez Pueblo/
Chickasaw
647 PLZ
Youngblood, nancy
Santa Clara Pueblo
255 PaL-n
Youngblood Cutler,
Christopher
Santa Clara Pueblo
255 PaL-n
Youngblood Lugo,
Sergio
Santa Clara Pueblo
255 PaL-n
iii Paintings
drawings
Graphics
Photography
naavaasya
Hopi/acoma Pueblo
613 PLZ
Yellowman
navajo (diné)
532 SF-e
aguilar, Joseph
Santo domingo Pueblo
401 Wa-e
aguilar Jr., martin
San ildefonso Pueblo
767 Lin-W
albro, Janice
Sisseton-Wahpeton/
Sioux
510 SF
allison, marla
Laguna Pueblo
708 Lin-P
antonio, Olathe
navajo (diné)/Shawnee
611 PLZ-Fellowship
aragon, Loren
acoma Pueblo
907 Cat
aragon, ralph
Zia Pueblo
522 SF-W
arquero, dominic
Cochiti Pueblo
711 Lin-P
arviso, Wil Paul
navajo (diné)
208 PaL-S
ataumbi, keri
kiowa
125 POG
Babby, angela
Oglala Lakota Sioux
243 PaL-n
Begay, Shonto
navajo (diné)
225 PaL
Beyale, Jaycee
navajo (diné)
772 Lin-e
BigBee, Walter
Comanche
121 POG
Blalock-Jones, ruthe
Shawnee/delaware
109 POG
Blaze, randall
Oglala Lakota Sioux
231 PaL-S
Boome, Peter
Upper Skagit
621 PLZ
Bordeaux, todd
rosebud Sioux
417 Wa-e
Bread, Paris L.
navajo (diné)
284 PaL
Broer, roger
Oglala Sioux
106 POG
Burgess, nocona
Comanche
729 Lin-W
Burgess, Quanah
Comanche
734 Lin-W
Burgess, ronald
Comanche
734 Lin-W
Cadman, marcus
navajo (diné)
774 Lin-e
Campbell, terrence
tahltan
303 Fr-S
Casuse, Fritz
navajo (diné)
519 SF
Caté, ricardo Lee
Santo domingo Pueblo
743 Lin-e
Chacon, nanibah
navajo (diné)
772 Lin-e
Chaney, ross
Cherokee
763 Lin-W
Charley, avis
dakota/navajo (diné)
406 Wa-W
Chee, ronald
navajo (diné)
721 Lin-e
Chiago Sr., michael
tohono O’odham
790 Lin-W
Clark, don
navajo (diné)
120 POG
Clark, Gwendolyn
navajo (diné)
332 Fr-n
Claw, monty
navajo (diné)
706 Lin-W
Corcoran, dolores Purdy
Caddo
634 PLZ
da, Jarrod
San ildefonso Pueblo
517 SF
dalasohya Jr., david
Hopi
775 Lin-e
dark mountain, dawn
Oneida
759 Lin-e
denipah, marian
navajo (diné)/
Ohkay Owingeh Pueblo
512 SF
desJarlais Jr., Larry
turtle mt. Chippewa
728 Lin-e
dougi, ishkoten
Jicarilla apache/
navajo (diné)
213 PaL-n
draper Jr., teddy
navajo (diné)
129 POG
durr, Judith
Choctaw
792 Lin-W
duwyenie, mary Lynn
Hopi
302 Fr-n
edd, Chamisa
navajo (diné)
750 Lin-W
edd, ruthie
navajo (diné)
750 Lin-W
edd, Santana
navajo (diné)
750 Lin-W
edd, Sierra
navajo (diné)
750 Lin-W
emerson, anthony Chee
navajo (diné)
113 POG
esquivel, dennis
Ottawa
729 Lin-e
Farris, thomas
Otoe-missouria
204 PaL-n
Flett Sr., George
Spokane
727 Lin-e
Fontenot, Peggy
Potawatomi/Cherokee
202 PaL-n
Fowler, myron
navajo (diné)
777 Lin-e
Fragua-Cota, Laura
Jemez Pueblo
724 Lin-e
Franklin, William
navajo (diné)
118 POG
Garcia, Jason
Santa Clara Pueblo
126 POG
Garcia, John
Santa Clara Pueblo
126 POG
Gendron, richard m.
Colville
764 Lin-e
Giago, Lauren Good day
arikara/Blackfeet/Cree
335 Fr-n
Gonzales, Barbara
“tahn-moo-whe”
San ildefonso Pueblo
247 PaL-n
Goshorn, debra Shan
Cherokee
793 Lin-W
Greenwood, Brent
Ponca
779 Lin-W
Growing thunder,
darryl
dakota nakona
340 Fr-n
Guardipee, terrance
Blackfeet
235 PaL-S
Gutierrez, Geraldine
San ildefonso Pueblo/
Santa Clara Pueblo
309 Fr-P
Hardridge, Justin “Starr”
muscogee (Creek)
508 SF
Harjo Jr., Benjamin
Seminole/Shawnee
103 POG
Harvey, Sheldon
navajo (diné)
794 Lin-W
Haukaas, m. Linda
rosebud Sioux
127 POG
Haukaas, thomas
rosebud Sioux
325 Fr-n
Hewson, robert
tsimshian
739 Lin-e
Hobson, andrew
navajo (diné)
282 PaL
Honahnie, anthony
Hopi
759 Lin-W
Honyumptewa, Lorne k.
Hopi/Picuris Pueblo
500 SF
Howard, norma
Choctaw/Chickasaw
206 PaL-n
Hubbell, Patrick
navajo (diné)
910 Cat
Hummingbird, Jesse
Cherokee
404 Wa-e
Jacobs, alex
akwesasne mohawk
321 Fr-S
Joe, Cheryl
navajo (diné)
316 Fr-n
Joe, Hyrum
navajo (diné)/Ute
233 PaL-n
John, alvin
navajo (diné)
637 PLZ
John, david
navajo (diné)
274 PaL
Johnson, elihu
Chickasaw
787 Lin-W
Jojola, deborah
isleta Pueblo/
Jemez Pueblo
715 Lin-e
Jones, topaz
Shoshone/Lummi
219 PaL-S
Jones-Crouch, micqaela
Shoshone
734 Lin-e
Judd, Steven
kiowa/Choctaw
327 Fr-S
kemp, randy
muscogee (Creek)/
Choctaw
748 Lin-W
kemp, rykelle
Creek/Choctaw
748 Lin-W
king, James
navajo (diné)
523 SF-e
king, John
navajo (diné)
616 PLZ
LaFountain, eve
“Little Shell”
Chippewa
710 Lin-e
Learned, Brent
Cheyenne/arapaho
260 PaL-n
Little thunder, merlin
Cheyenne
344 Fr-n
Lomahaftewa, Linda
Hopi/Choctaw
108 POG
Loretto, Fran
Jemez Pueblo/
Cochiti Pueblo
644 PLZ
Lynch, rhett
navajo (diné)
722 Lin-W
macknight, Sheridan
Chippewa
420 Wa-W
martinez, Jocelyn
taos Pueblo
744 Lin-e
maybee, dallin
arapaho/Seneca
242 PaL-S
mcCoy Jr., daniel
muscogee (Creek)/
Potawatomi
219 PaL-S
mcCullough, michael
Choctaw
257 PaL-n
mcCullough, Stephen
Choctaw
257 PaL-n
medina, marcellus
Zia Pueblo
722 Lin-e
melero, melissa
Paiute
102 POG
menchego, arthur J.
Santa ana Pueblo
733 Lin-e
meredith, america
Cherokee
229 PaL-n
montoya, Geronima
Ohkay Owingeh Pueblo
116 POG
montoya, Paul
Sandia Pueblo/
Ohkay Owingeh Pueblo
116 POG
montoya, robert B.
Sandia Pueblo
116 POG
mose, allen
navajo (diné)
226 PaL
murillo, ramon
Shoshone
757 Lin-e
murphy, William
navajo (diné)
718 Lin-e
SWai a 2012 di reCtOrY OF arti StS
2012 I ndI an market 135
natay, ehren
navajo (diné)
342 Fr-n
nelson, Benjamin
kiowa/navajo (diné)
532 SF-e
nelson , maryBeth
Cherokee
409 Wa-e
nordwall, raymond
Pawnee/Chippewa
114 POG
Okuma, Jamie
Luiseno/Shoshone
Bannock
218 PaL-n
Ortega, adam
“deer mountain”
Pojoaque Pueblo/
Santa Clara Pueblo
651 PLZ
Ortega, alicia
“evergreen Blossom”
Pojoaque Pueblo/
Santa Clara Pueblo
651 PLZ
Ortega, rebecca
navajo (diné)
212 PaL-S
Pappan, Chris
kaw nation
774 LIn-W
Paschall, Sallyann
Cherokee
105 POG
Peña, alex
Comanche/
San Ildefonso Pueblo
609 PLZ-Fellowship
Peshlakai, norbert
navajo (diné)
747 LIn-W
Quotskuyva, Gerry
Hopi
234 PaL-S
reynolds-White Hawk,
dyani
rosebud Sioux
608 PLZ-Fellowship
richards, rueben
navajo (diné)
767 LIn-e
rizal, Clarissa
tlingit
283 PaL
romero, Cara
Chemehuevi
777 LIn-W
romero, mateo
Cochiti Pueblo
735 LIn-W
roybal, timothy
San Ildefonso Pueblo
732 LIn-e
Salcido Comes
Charging, Frank
navajo (diné)
330 Fr-S
Sanchez, ramos
San Ildefonso Pueblo
701 LIn-W
Santiago, Lawrence
Coushatta
341 Fr-n
Sevier, Chessney
northern arapaho
236 PaL-S
Sevier, Jackie
northern arapaho
715 LIn-W
Shakespeare, Lindsey
apache (mescalero)
779 LIn-W
Shelton III, Peter
Hopi
119 POG
Silversmith, mark
navajo (diné)
104 POG
Singer, Jeremy
navajo (diné)
784 LIn-W
Singer, ryan
navajo (diné)
317 Fr-n
Skenandore, Olivia
Oglala Lakota
742 LIn-W
Sloan, david-alexander
navajo (diné)
342 Fr-n
Smith, ryan Lee
Cherokee
773 LIn-e
Stevens, Shannon
Laguna Pueblo
760 LIn-e
Suazo, david
taos Pueblo
783 LIn-W
Susunkewa, Sheryl
Hopi
262 PaL-S
tapia, thomas V.
tesuque Pueblo
122 POG
tapia-Browning,
michele
Pojoaque Pueblo/
Santa Clara Pueblo
251 PaL-S
tiger, dana
muscogee (Creek)/
Seminole
409 Wa-W
tiger, Jon
Creek
633 PLZ
toledo, ethel
navajo (diné)
701 LIn-P
toledo, Joe
Jemez Pueblo
115 POG
toledo-moore, Lena
navajo (diné)
730 LIn-e
tonips, Gordon
Comanche
719 LIn-W
tso, Geraldine
navajo (diné)
281 PaL
tsosie, nelson
navajo (diné)
789 LIn-W
tsosie-Sisneros,
michelle
Santa Clara Pueblo/
navajo (diné)
301 Fr-n
tyler, keeaero
navajo (diné)
901 Cat
tyler, keetahni
navajo (diné)
901 Cat
Velarde, dina
Jicarilla apache
740 LIn-e
Vigil, Felix
Jicarilla apache
723 LIn-e
Vigil, Virgil
tesuque Pueblo/
navajo (diné)
128 POG
Walters, daniel
navajo (diné)/Pawnee
328 Fr-n
Walters, Gertrude ann
navajo (diné)
328 Fr-n
Walters Jr., roy
navajo (diné)
745 LIn-e
Whitman-elk Woman,
kathy
mandan/Hidatsa
742 LIn-e
Wilcox, dwayne C.
Oglala Sioux
526 SF-e
Williams, Brandon
navajo (diné)
212 PaL-n
Yazzie, alice
navajo (diné)
239 PaL-S
Yazzie, Gary
navajo (diné)
124 POG
Yazzie, Peterson
navajo (diné)
750 LIn-e
IV Pueblo
Wooden
Carvings
acadiz, Lawrence
Hopi
205 PaL-n
albert, robert
Hopi
205 PaL-n
Brokeshoulder, Brent
Hopi/Shawnee
238 PaL-S
Brokeshoulder, randy
Hopi/Shawnee
238 PaL-S
Calnimptewa, Cecil
Hopi
740 LIn-W
Chavarria, manuel
Hopi
737 LIn-W
Chimerica, darance
Hopi
614 PLZ
Coochyamptewa, Paul
Hopi
414 Wa-e
Cuch, norman
Hopi/Ute
(Uinta & Ouray)
766 LIn-W
dawahoya, nuvadi
Hopi
214 PaL-S
day Sr., Jonathan
Hopi/Laguna Pueblo
655 PLZ
Gasper Sr., Bart
Zuni Pueblo
251 PaL-n
George, ros
Hopi
672 PLZ
Holmes Jr., arthur
Hopi
219 PaL-n
Honanie, antone
Hopi
337 Fr-S
Honanie, delbridge
Hopi
716 LIn-W
Honanie, ernest
Hopi
337 Fr-S
Honanie, kara anne
Hopi
714 LIn-e
Honyumptewa, aaron
Picuris Pueblo/Hopi
500 SF
Honyumptewa, Stetson
Hopi
500 SF
Jenkins, michael
Hopi/Pima
909 Cat
Jensen, david
Hopi
279 PaL
kaye, Wilmer
Hopi
403 Wa-W
kayquoptewa, Brendan
Hopi
420 Wa-W
koinva , anderson
Hopi
762 LIn-W
kootswatewa, d’armon
Hopi
279 PaL
koruh, renferd
Hopi
307 Fr-S
namingha Jr., Wayland
Lester
Hopi
619 PLZ
naseyowma, Gilbert
Hopi
755 LIn-W
nequatewa, Bryson
Hopi
602 PLZ
nutumya, maurice
Hopi
711 LIn-e
Ortiz, Guadalupe
Cochiti Pueblo
746 LIn-W
Patterson, earl
Hopi
775 LIn-W
Phillips, Loren
Hopi
672 PLZ
Quotskuyva, Gerry
Hopi
234 PaL-S
Seechoma, edward
Hopi
675 PLZ
Sekakuku, Gilbert
Hopi
245 PaL-S
Shelton III, Peter
Hopi
119 POG
Susunkewa, manfred
Hopi
262 PaL-S
tapia-Browning,
michele
Pojoaque Pueblo/
Santa Clara Pueblo
251 PaL-S
taylor, eli
Hopi
759 LIn-W
tenakhongva, Clark
Hopi
657 PLZ
tewa, dennis
Hopi
672 PLZ
Yungotsuna, elmer
Hopi/tewa
769 LIn-W
V Sculpture
abeyta, Pablita
navajo (diné)
111 POG
albro, Janice
Sisseton-Wahpeton/
Sioux
510 SF
Begay Jr., Frederick
navajo (diné)/Ute
601 PLZ
Billie, Gene
navajo (diné)
200 PaL-S
Blaze, randall
Oglala Lakota Sioux
231 PaL-S
Boone, Lena
Zuni Pueblo
714 LIn-P
Bowannie Sr., Bryston
Zuni Pueblo
405 Wa-W
Cajero Jr., Joe
Jemez Pueblo
521 SF
Campbell, terrence
tahltan
303 Fr-S
Carpio, Caroline
Isleta Pueblo
659 PLZ
Chattin, daniel
Zuni Pueblo
604 PLZ
Chee Sr., raymond
navajo (diné)
631 PLZ
deCelles, Jon
Gros Ventre
783 LIn-W
desJarlais Jr., Larry
turtle mt. Chippewa
728 LIn-e
dougi, Ishkoten
Jicarilla apache/
navajo (diné)
213 PaL-n
draper Jr., teddy
navajo (diné)
129 POG
edaakie, dee
Zuni Pueblo
646 PLZ
ethelbah Jr., Upton
Santa Clara Pueblo/
apache (White
mountain)
654 PLZ
Fields, anita
Osage
209 PaL-S
Fischer, mark
Oneida
776 LIn-e
Fragua, Cliff
Jemez Pueblo
753 LIn-e
Fragua-Cota, Laura
Jemez Pueblo
724 LIn-e
Fredericks, evelyn
Hopi
778 LIn-W
Gasper, debra
Zuni Pueblo
714 LIn-P
Gasper, dinah
Zuni Pueblo
714 LIn-P
Gaussoin, Connie tsosie
navajo (diné)/
Picuris Pueblo
261 PaL-S
Goeman, Stonehorse
Seneca
771 LIn-W
Grandbois, rollie
turtle mountain
Chippewa
715 LIn-e
Hart, nathan
Cheyenne arapaho
785 LIn-W
Hattie Sr, Brion
Zuni Pueblo
709 LIn-P
Joe, Oreland
Ute/navajo (diné)
700 LIn-e
John, alvin
navajo (diné)
637 PLZ
John, david
navajo (diné)
274 PaL
kaydahzinne, Vincent
mescalero apache
731 LIn-e
Laahty, ricky
Zuni Pueblo
337 Fr-n
Laahty, ron
Zuni Pueblo
337 Fr-n
LaFountain, Bruce
Chippewa
710 LIn-e
LaFountain, Presley
Chippewa
723 LIn-W
LaFountain, Saige
navajo (diné)/
Chippewa
763 LIn-e
Lee, tony
navajo (diné)
275 PaL
Lujan-Hauer, Pamela
taos Pueblo
321 Fr-n
maldonado, nicholas
Pascua-Yaqui
211 PaL-S
marcus, robert
“Spooner”
Ohkay Owingeh Pueblo
607 PLZ
mitchell-trejo, mary
navajo (diné)
507 SF
morrison, eddie
Cherokee
334 Fr-n
naranjo, tito
Santa Clara Pueblo
707 LIn-e
naseyowma, Gilbert
Hopi
755 LIn-W
nelson, L. eugene
navajo (diné)
214 PaL-n
nequatewa, Bryson
Hopi
602 PLZ
nez, rickie
navajo (diné)
746 LIn-e
SWaI a 2012 dI reCtOrY OF artI StS
136 2012 i ndi an market
Obrzut, kim
Hopi
515 SF
Oliver, marvin
Quinault
756 Lin-W
Osti, Jane
Cherokee
527 SF-P
Othole, Gibbs
Zuni Pueblo
203 PaL-n
Padilla, tony
Santa Clara Pueblo
534 SF-e
Panana, matthew
Jemez Pueblo
770 Lin-e
Patterson, earl
Hopi
775 Lin-W
Poblano, Jovanna
Zuni Pueblo
604 PLZ
Quam, Jayne
navajo (diné)
229 PaL-S
Quam, Lynn
Zuni Pueblo
229 PaL-S
Quigno, Jason
Saginaw Chippewa
778 Lin-e
reyna, Sharon dry
Flower
taos Pueblo
270 PaL
rodriguez, andrew
Laguna Pueblo
904 Cat
roller, Jeff
Santa Clara Pueblo
531 SF-e
romero, Santiago
Cochiti Pueblo/
taos Pueblo
735 Lin-W
Santiago, Lawrence
Coushatta
341 Fr-n
Shetima, Jeff
Zuni Pueblo
213 PaL-S
Sice, troy
Zuni Pueblo
203 PaL-S
ta’itsohii, raynard Scott
navajo (diné)
216 PaL-n
tomeo, James
Colville/Yakima
727 Lin-e
tonips, Gordon
Comanche
719 Lin-W
tsalabutie, Loren
Zuni Pueblo
786 Lin-W
tsalate, raymond
Zuni Pueblo
203 PaL-S
tsethlikai, ray
Zuni Pueblo
714 Lin-P
tsosie, nelson
navajo (diné)
789 Lin-W
Vigil, Felix
apache (Jicarilla)
723 Lin-e
Vigil, James
Jemez Pueblo
272 PaL
Vigil, Victor
Jemez Pueblo
761 Lin-e
Wall, adrian
Jemez Pueblo
612 PLZ
Wall, kathleen
Jemez Pueblo
224 PaL
Wall, marcus
Jemez Pueblo
612 PLZ
Wall, Stephen
Chippewa
724 Lin-e
Walters Jr., roy
navajo (diné)
745 Lin-e
Washburn, tim
navajo (diné)
754 Lin-e
Weahkee, daniel
Zuni Pueblo/
navajo (diné)
503 SF
Weahkee, danielle
navajo (diné)/
Zuni Pueblo
503 SF
Weahkee, manuel
Zuni Pueblo
503 SF
Whitman-elk Woman,
kathy
mandan/Hidatsa
742 Lin-e
Yatsayte, mike
Zuni Pueblo
523 SF-P
Yawakia, Jimmy
Zuni Pueblo
786 Lin-W
Yazzie, Cody
navajo (diné)
781 Lin-W
Yazzie, Lance
navajo (diné)
781 Lin-W
Yazzie, Larry
navajo (diné)
781 Lin-W
Yazzie, Peterson
navajo (diné)
750 Lin-e
Vi textiles
ramah navajo Weavers
assoc.
navajo (diné)
100 POG
abeita, Frances
Santo domingo Pueblo
524 SF-e
aragon, nanabah
navajo (diné)
749 Lin-e
Begay, d.Y.
navajo (diné)
701 Lin-e
Begay, Frances
navajo (diné)
768 Lin-e
Begay, nellie
navajo (diné)
220 PaL-S
Begay, rena
navajo (diné)
259 PaL-n
Blackhorse, Catherine
Seminole
235 PaL-S
Charley, Berdina
navajo (diné)
701 Lin-e
Chopito, aric
Zuni Pueblo
619 PLZ
Clark, irene H.
navajo (diné)
332 Fr-n
Cody, Lola
navajo (diné)
733 Lin-W
Cody, melissa
navajo (diné)
733 Lin-W
duwyenie, mary Lynn
Hopi
302 Fr-n
esquiro, Sholeen
“Sho Sho”
kaska dene
902 Cat
Galvan, Joselita
Zia Pueblo
760 Lin-W
Garza, dolly
Haida
237 PaL-S
Giago, Lauren Good day
arikara/Blackfeet/Cree
335 Fr-n
Gonzales, isabel
Jemez Pueblo
215 PaL-S
Gonzales, melanie
San ildefonso Pueblo/
Jemez Pueblo
215 PaL-S
Grant, dorothy
Haida of alaska
747 Lin-e
Hageman, Lisa
Haida
751 Lin-e
Hardy, Genevieve
navajo (diné)
754 Lin-e
Harvey, Jason
navajo (diné)
641 PLZ
Henderson, alberta
navajo (diné)
406 Wa-e
Hunt, Corrine
tlingit
911 Cat
Laughing, Charlene
navajo (diné)
200 PaL-n
Laughing, milton
navajo (diné)
200 PaL-n
Laughing, mona
navajo (diné)
200 PaL-n
Laughing-reeves,
michele
navajo (diné)
227 PaL-n
Lee, emma r.
navajo (diné)
401 Wa-W
naataanii, tahnibaa
navajo (diné)
645 PLZ
nutumya, maurice
Hopi
711 Lin-e
Okuma, Jamie
Luiseno/Shoshone
Bannock
218 PaL-n
Ornelas, Barbara
navajo (diné)
780 Lin-W
Ornelas, michael
navajo (diné)
780 Lin-W
Ornelas, Sierra
navajo (diné)
780 Lin-W
Owens, mary
navajo (diné)
412 Wa-e
Peacock, etta
navajo (diné)
202 PaL-S
Quintana, evelyn
Ohkay Owingeh Pueblo
260 PaL-S
rizal, Clarissa
tlingit
283 PaL
Sandoval, ramoncita
Ohkay Owingeh Pueblo
117 POG
Schultz, marilou
navajo (diné)
732 Lin-W
Schultz, martha G.
navajo (diné)
732 Lin-W
Shabi, Geneva
navajo (diné)
635 PLZ
Singer, Penny
navajo (diné)
739 Lin-W
Smith, timothy
“Coyote”
Hopi/Laguna Pueblo
305 Fr-P
tafoya, Harriet
Santa Clara Pueblo
314 Fr-n
taylor, Lillie
navajo (diné)
206 PaL-S
taylor, rosie
navajo (diné)
658 PLZ
teller-Pete, Lynda
navajo (diné)
780 Lin-W
tippeconnie, Lynnderra
navajo (diné)
406 Wa-e
toledo, Helen
navajo (diné)
307 Fr-P
tsosie, J’shen
navajo (diné)
775 Lin-e
Wheeler, margaret
Choctaw/Chickasaw
285 PaL
Williams, antonio
(toni)
arapaho, northern
242 PaL-S
Williams, Lena
navajo (diné)
732 Lin-W
Willie, Jt
navajo (diné)
344 Fr-S
Woodie, Bonnie
navajo (diné)
505 SF
Yazzie Ballenger,
Virginia
navajo (diné)
276 PaL
Vii diverse
arts
adams, tiffany
Chemehuevi/maidu
777 Lin-W
adams, Victoria G.
Cheyenne
209 PaL-n
ahtoneharjo Growing
thunder, tahnee marie
muscogee (Creek)
247 PaL-S
antonio, atsatsa’
navajo (diné)/Shawnee
611 PLZ-Fellowship
aragon, Joan
Zia Pueblo
522 SF-W
aragon, Loren
acoma Pueblo
907 Cat
aragon, ralph
Zia Pueblo
522 SF-W
Babby, angela
Oglala Lakota Sioux
243 PaL-n
Babic, mary
aleut
241 PaL-n
Bordeaux, todd
rosebud Sioux
417 Wa-e
Box, austin
Southern Ute
738 Lin-W
Box, debra
Southern Ute
738 Lin-W
Boxley, david
tsimshian
905 Cat
Boxley Jr., david
tsimshian
905 Cat
Bread, nathaniel
navajo (diné)/apache
284 PaL
Cajero, esther H.
Jemez Pueblo
320 Fr-S
Cajero, Joe V.
Jemez Pueblo
320 Fr-S
Carolin, rex
Cheyenne river Sioux
123 POG
Chandler Good Strike,
aloysius
Gros Ventre/arapaho
302 Fr-S
Chavarria, dave
Santa Clara Pueblo
410 Wa-W
Chavez-thomas, Lisa
isleta Pueblo
411 Wa-e
Claw, monty
navajo (diné)
706 Lin-W
Coochyamptewa, Paul
Hopi
414 Wa-e
Corcoran, dolores Purdy
Caddo
634 PLZ
Country Jr., Francis
Sisseton-Wahpeton
Sioux
201 PaL-n
darden, Steve
navajo (diné)
705 Lin-P
emery, dorothy
Jemez Pueblo
731 Lin-W
emery Sr., terrence
St. Croix Chippewa
731 Lin-W
esquivel, dennis
Ottawa
729 Lin-e
Fragua-Cota, Laura
Jemez Pueblo
724 Lin-e
Giago, Lauren Good day
arikara/Blackfeet/Cree
335 Fr-n
Gonzales, myron
Jemez Pueblo/
San ildefonso Pueblo
215 PaL-S
Hemlock, Carla
mohawk
776 Lin-W
Hemlock, donald
mohawk (St. regis)
776 Lin-W
Her many Horses, emil
Oglala Lakota
669 PLZ
Herrera, Carlos
Cochiti Pueblo
670 PLZ
Herrera, theodore
arnold
Cochiti Pueblo
670 PLZ
Herrera, thomas L.
Cochiti Pueblo
670 PLZ
Holy Bear, Charlene
Standing rock Sioux
408 Wa-e
Honyouti, richard
Hopi
726 Lin-W
Hunt, Corrine
tlingit
911 Cat
Jennings, Vanessa
Pima/kiowa
669 PLZ
Johnson, elihu
Chickasaw
787 Lin-W
Lent, mary
Laguna Pueblo/
Santa Clara Pueblo
310 Fr-S
Lewis-Barnes, melissa
navajo (diné)
758 Lin-e
Lt, Patta
Choctaw
340 Fr-S
magee, deborah
Blackfeet
244 PaL-n
maldonado, alex
Yaqui
211 PaL-S
martinez, marie
San ildefonso Pueblo
700 Lin-W
maybee, dallin
arapaho/Seneca
242 PaL-S
mckay, Glenda
athapaskan
221 PaL-n
murillo, ramon
Shoshone
757 Lin-e
myers, Jhane
Comanche/Blackfeet
338 Fr-n
norton, doug
“tsaile Boy”
navajo (diné)
789 Lin-W
SWai a 2012 di reCtOrY OF arti StS
2012 I NDI AN MARKET 137
138 2012 i ndi an market
SWai a 2012 di rectory of arti StS
ortega, alicia
“evergreen Blossom”
Pojoaque Pueblo/
Santa clara Pueblo
651 PLZ
Peebles, Susan red Lake
chippewa
643 PLZ
Pino, maggie
navajo (diné)
308 fr-n
Poolheco, theresa
Santo domingo Pueblo/
Laguna Pueblo
Pueblo 749 Lin-W
Poolheco Sr., frank
Hopi
749 Lin-W
Pourier, kevin
oglala Lakota
322 fr-n
roybal, Gary
San ildefonso Pueblo
732 Lin-e
Schrupp, nelda
oglala Lakota
222 PaL-S
Sekakuku, Gilbert
Hopi
245 PaL-S
Shakespeare, Lindsey
apache (mescalero)
779 Lin-W
Skenandore, olivia
oglala Lakota
742 Lin-W
Spry-misquadace,
Wanesia
ojibwa
519 Sf
Suina, Joseph e.
cochiti Pueblo
531 Sf-P
tafoya, francis
Santa clara Pueblo
107 PoG
taylor, tsosie
navajo (diné)
524 Sf-P
tenoso, donald
cheyenne river Sioux
753 Lin-W
tenoso, Paul
cheyenne river Sioux
753 Lin-W
toehe, rosemary
navajo (diné)
705 Lin-P
tohtsoni Prudencio,
therese
Picuris Pueblo/
navajo (diné)
618 PLZ
toledo, Helen
navajo (diné)
307 fr-P
tortalita, Vickie
Santo domingo Pueblo
603 PLZ
tsosie, raymond
navajo (diné)
770 Lin-W
White-country, mary
Sisseton-Wahpeton
201 PaL-n
Whitman-elk Woman,
kathy
mandan/Hidatsa
742 Lin-e
Worcester ii, daniel
chickasaw
329 fr-n
Viii
Beadwork
and Quillwork
ahtoneharjo Growing
thunder, tahnee marie
muscogee (creek)
247 PaL-S
aitson, richard
kiowa
344 fr-n
amerman, marcus
choctaw
757 Lin-W
aragon, Joan
Zia Pueblo
522 Sf-W
arquero, imogene
Goodshot
oglala Sioux
711 Lin-P
arquero, mary
cochiti Pueblo
529 Sf-P
Baker, Linda
Southern Ute
758 Lin-e
Berryhill, Les
creek
329 fr-n
Bordeaux, todd
rosebud Sioux
417 Wa-e
Bread, Jackie
Blackfeet
284 PaL
chavarria, dave
Santa clara Pueblo
410 Wa-W
chavez, LeJeune
kewa Pueblo/Seminole
769 Lin-e
chavez-James, B. toby
Santo domingo Pueblo
407 Wa-W
chitto, Hollis
choctaw/Laguna/isleta
725 Lin-e
claw, kareen
San carlos apache
706 Lin-W
darden, Steve
navajo (diné)
705 Lin-P
dugi, orlando
navajo (diné)
237 PaL-S
fontenot, Peggy
Potawatomi/cherokee
202 PaL-n
fowler, cindy
navajo (diné)
523 Sf-e
frey, frances
Passamaquoddy
712 Lin-P
friday, Paula
Jicarilla apache
765 Lin-W
Gala, carol
Laguna Pueblo/
taos Pueblo
709 Lin-e
Greeves, teri
kiowa
327 fr-n
Growing thunder, Jessa
rae
assiniboine/Sioux
(dakota)
419 Wa-W
Growing thunder,
ramey
assiniboine-Sioux
(fort Peck)
340 fr-n
Growing thunder
fogarty, Joyce
Sioux/assiniboine
419 Wa-W
Growing thunder
fogarty, Juanita
Sioux/assiniboine
419 Wa-W
Haukaas, thomas
rosebud Sioux
325 fr-n
Jennings, Vanessa
Pima/kiowa
669 PLZ
Jonathan, Grant
tuscarora
772 Lin-W
kelly, craig
navajo (diné)
524 Sf-e
Laahty, Lorena
Zuni Pueblo
310 fr-P
Lent, mary
Laguna Pueblo/
Santa clara Pueblo
310 fr-S
magee, deborah
Blackfeet
244 PaL-n
mitten, katrina
miami tribe of
oklahoma
342 fr-S
nez, ned
navajo (diné)
324 fr-S
okuma, Jamie
Luiseno/
Shoshone Bannock
218 PaL-n
okuma, Sandra
Shoshone/Luiseno
(La Jolla mission)
218 PaL-n
Pate, elena
choctaw
231 PaL-n
Peebles, Susan
red Lake chippewa
643 PLZ
Peters, Summer
Saginaw ojibwe
902 cat
Poblano, Jovanna
Zuni Pueblo
604 PLZ
Quetawki, alesia
Zuni Pueblo
646 PLZ
romero, Priscilla
cochiti Pueblo
238 PaL-n
Sarracino, anna
Zuni Pueblo
310 fr-P
Simplicio, margia
Zuni Pueblo
240 PaL-n
Singer, Penny
navajo (diné)
739 Lin-W
toehe, rosemary
navajo (diné)
705 Lin-P
toledo, Helen
navajo (diné)
307 fr-P
trujillo, elizabeth
cochiti Pueblo
719 Lin-e
tsosie, J’shen
navajo (diné)
775 Lin-e
tsosie, Jacinta a.
navajo (diné)
775 Lin-e
Van fleet, Pauline
navajo (diné)
625 PLZ
White-country, mary
Sisseton-Wahpeton
201 PaL-n
Williams, kenneth
arapaho/Seneca
237 PaL-S
Willie, Jt
navajo (diné)
344 fr-S
X moving
images
asenap, Jason
comanche
Becker, nanobah
navajo (diné)
castro, christina
Jemez Pueblo
craig, Velma
navajo (diné)
emerson, ramona
navajo (diné)
ernest, marcella
ojibwe-Bad river Band
eyre, chris
cheyenne/arapaho
freeland, Sydney
navajo (diné)
Hyde, daniel
navajo (diné)
Jacob, tvli
choctaw
Judd, Steven
kiowa/choctaw
327 fr-S
Lafountain, eve
“Little Shell”
chippewa
710 Lin-e
Lasilou, kiera
Zuni Pueblo
Lowe, Blackhorse
navajo (diné)
ramos, tim
Pomo
Sioui-durand, yves
Huron-Wendat
Swaney, Brooke
Blackfeet
tully, carey
navajo (diné)
Wallace, Liz
navajo (diné)
333 fr-n
young, Brian
navajo (diné)
Xi Basketry
aitson, mary
cherokee
333 fr-S
antone, annie
tohono o’odham
413 Wa-W
Bacon, eric
Passamaquoddy
762 Lin-e
Black, Sally
navajo (diné)
725 Lin-W
church, kelly
chippewa
738 Lin-e
croslin, Larry
cherokee
535 Sf-W
day, irma
Laguna Pueblo
222 PaL-n
douglas-Willard, diane
Haida
241 PaL-S
emarthle-douglas,
carol
Seminole/northern
arapaho
516 Sf
frey, frances
Passamaquoddy
712 Lin-P
frey, Jeremy
Passamaquoddy
712 Lin-P
Garza, dolly
Haida
237 PaL-S
Goeman, ronni-Leigh
onondaga
771 Lin-W
Goshorn, debra Shan
cherokee
793 Lin-W
Herrera, carlos
cochiti Pueblo
670 PLZ
Herrera, thomas L.
cochiti Pueblo
670 PLZ
James, darlene
Pomo
516 Sf
kooyahoema, kathryn
Hopi
336 fr-n
neptune, George
Passamaquoddy
601 PLZ
oyenque, Jill m
ohkay owingeh Pueblo
779 Lin-e
romero, Leona
tohono o’odham
413 Wa-W
ryan, Loa
tsimshian
739 Lin-e
Saufkie, Griselda
Hopi
704 Lin-e
Secord, theresa
Penobscot
112 PoG
Shannon, Louann
tohono o’odham
788 Lin-W
Susunkewa, norma
Hopi
262 PaL-S
thomas, kathleen
oneida
906 cat
Willard, Gianna
tlingit/Haida
241 PaL-S
Wong-Whitebear, Laura
colville
516 Sf
2012 I NDI AN MARKET 139
140 2012 i ndi an market
Plaza
Stage
600-607
PLZ
608-616
PLZ
Fellowship
Winner
617-629
PLZ
640-650
PLZ
Plaza
L
i
n
c
o
l
n
A
v
e
.
Native American
Clothing Contest
Sunday, 9 a.m.-noon
300-320 FR-N
300-320 FR-S San Francisco Street
700-
716
LIN-E
700-
716
LIN-W
First
National
Bank
of
Santa Fe
200-223 PAL-N
200-223 PAL-S
227-244 PAL-N
227-244 PAL-S
245-266 PAL-N
245-266 PAL-S
100-129 POG
Palace of
the Governors
Palace Avenue
300-315 FR-P
Five & Dime
D
o
n
G
a
s
p
a
r
717-
763
LIN-W
755-
781
LIN-E
Museum of
Fine Arts
700-
714
LIN-P
Snacks and
Soft drink booths
SWAIA Information
and Volunteer Registration
Restrooms
Emergence Productions
Native Peoples
224-226 PAL
717-
754
LIN-E
Food Booths
764-
794
LIN-W
New Mexico
History Museum
651-666
PLZ
667-678
PLZ
Santa Fe.com
NY Times
SWAIA Merchandise
Na
SWAIA Merchandise
630-637
PLZ
Buffalo Thunder
New Mexican
S
h
e
r
i
d
a
n
A
v
e
.
Museum of Museum of Museum of Museum of Museum of
LIN-P
1922 2012
Native Literary
Arts Booth
2012 I ndI an market 141
608-616
PLZ
wship
inners
617-629
PLZ
Police and EMT
270-276 PAL
400-
420
WA-W
400-
420
WA-E
W
a
s
h
i
n
g
t
o
n
A
v
e
.
Cathedral
Basilica of
St. Francis
of Assisi
Cathedral Park
IAIA
Museum
La Fonda
O
l
d
S
a
n
t
a
F
e
T
r
a
i
l
522-
535
SFT-W
522-
535
SFT-E
500-
521
SF
321-344 FR-N
321-344 FR-S
Marcy Street
522-
535
SFT-P
Sena Plaza
279-287 PAL
SWAIA Merchandise
Nonprofit Booths
SWAIA Gala
Saturday evening
Sealaska Stage
Native Cinema Showcase
Packing
Shipping
C
a
t
h
e
d
r
a
l
P
l
a
c
e
900-
911
CAT
Native Youth Programing
LEGEND
1922 2012
CAT Cathedral Place
POG Palace of the Governors
FR San Francisco St.
LIN Lincoln Ave.
PAL Palace Ave.
SF Old Santa Fe Trail
WA Washington Ave.
142 2012 i ndi an market
alphabetical artist list
Cherokee Arts Center
cherokee
903 cat
Various co-op Groups
Goldenrod
pojoaque pueblo/
santa clara pueblo
126 pOG
ii pottery
Naavaasya
hopi/acoma pueblo
613 plZ
i Jewelry
iii paintings/drawings/
Graphics/photography
Naveek
navajo (diné)
244 pal-s
i Jewelry
PahponeeKickapoo/
Potawatomi
615 plZ
ii pottery
Poeh Arts
intertribal
751 lin-W
Various co-op Groups
Ramah Navajo
Weavers Assoc.
navajo (diné)
100 pOG
Vi textiles
Tamaya Crafts Co-op
santa ana pueblo
502 sF
Various co-op Groups
Tchin
narragansett/blackfeet
522 sF-e
i Jewelry
White Swann
hopi
614 plZ
ii pottery
Yellowman
navajo (diné)
532 sF-e
iii paintings/drawings/
Graphics/photography
A
Abeita, Frances
santo domingo pueblo
524 sF-e
Vi textiles
Abeita, Karen
isleta pueblo/hopi
752 lin-e
ii pottery
Abeyta, Lester
santo domingo pueblo
532 sF-p
i Jewelry
Abeyta, Pablita
navajo (diné)
111 pOG
ii pottery
V sculpture
Abeyta, Richard
santo domingo pueblo
532 sF-p
i Jewelry
Abeyta, Sharon
santo domingo pueblo
532 sF-p
i Jewelry
Acadiz, Lawrence
hopi
205 pal-n
iV pueblo Wooden
carvings
Adams, Tiffany
chemehuevi/maidu
777 lin-W
Vii diverse arts
Adams, Victoria G.
cheyenne
209 pal-n
i Jewelry
Vii diverse arts
Aguilar, Joseph
santo domingo pueblo
401 Wa-e
i Jewelry
iii paintings/drawings/
Graphics/photography
Aguilar, Michael A.
san ildefonso pueblo
767 lin-W
ii pottery
Aguilar, Richard Lee
santo domingo pueblo/
choctaw
332 Fr-s
i Jewelry
Aguilar, Wayne
santo domingo pueblo
900 cat
i Jewelry
Aguilar Jr., Martin
san ildefonso pueblo
767 lin-W
iii paintings/drawings/
Graphics/photography
Aguino, Karen
santa clara pueblo
534 sF-e
ii pottery
Aguino, Kayleen A.
Ohkay Owingeh pueblo
534 sF-e
ii pottery
Ahtoneharjo Growing
Thunder, Tahnee
Marie
muscogee (creek)
247 pal-s
Vii diverse arts
Viii beadwork/
Quillwork
Aitson, Mary
cherokee
333 Fr-s
Xi basketry
Aitson, Richard
kiowa
344 Fr-n
Viii beadwork/
Quillwork
Albert, Robert
hopi
205 pal-n
iV pueblo Wooden
carvings
Albro, Janice
sisseton-Wahpeton/
sioux
510 sF
iii paintings/drawings/
Graphics/photography
V sculpture
Allison, Marla
laguna pueblo
708 lin-p
iii paintings/drawings/
Graphics/photography
Amerman, Marcus
choctaw
757 lin-W
Viii beadwork/
Quillwork
Antone, Annie
tohono O’odham
413 Wa-W
Xi basketry
Antonio, Atsatsa
navajo (diné)/shawnee
611 plZ-Fellowship
Vii diverse arts
Antonio, Frederica
navajo (diné)
705 lin-e
ii pottery
Antonio, Olathe
navajo (diné)/shawnee
611 plZ-Fellowship
iii paintings/drawings/
Graphics/photography
Aragon, Allen
navajo (diné)
749 lin-e
i Jewelry
ii pottery
Aragon, Clarice
acoma pueblo
257 pal-s
ii pottery
Aragon, Delores
acoma pueblo
215 pal-n
ii pottery
Aragon, Joan
Zia pueblo
522 sF-W
Vii diverse arts
Viii beadwork/
Quillwork
Aragon, Loren
acoma pueblo
907 cat
i Jewelry
iii paintings/drawings/
Graphics/photography
Vii diverse arts
Aragon, Nanabah
navajo (diné)
749 lin-e
Vi textiles
Aragon, Ralph
Zia pueblo
522 sF-W
ii pottery
iii paintings/drawings/
Graphics/photography
Vii diverse arts
Aragon, Wanda
acoma pueblo
257 pal-s
ii pottery
Aragon Sr., Marvis
acoma pueblo
257 pal-s
ii pottery
Archuleta, Mary
santa clara pueblo
265 pal-s
ii pottery
Arquero, Dominic
cochiti pueblo
711 lin-p
iii paintings/drawings/
Graphics/photography
Arquero, Imogene
Goodshot
Oglala sioux
711 lin-p
Viii beadwork/
Quillwork
Arquero, Martha
cochiti pueblo
529 sF-p
ii pottery
Arquero, Mary
cochiti pueblo
529 sF-p
ii pottery
Viii beadwork/Quillwork
Arviso, Cheryl
navajo (diné)
529 sF-W
i Jewelry
Arviso, Steven
navajo (diné)
766 lin-e
i Jewelry
Arviso, Wil Paul
navajo (diné)
208 pal-s
i Jewelry
iii paintings/drawings/
Graphics/photography
Asenap, Jason
comanche
X moving images
Ataumbi, Keri
kiowa
125 pOG
i Jewelry
iii paintings/drawings/
Graphics/photography
Atencio, Ambrose
santo domingo pueblo
525 sF-p
ii pottery
B
Babby, Angela
Oglala lakota sioux
243 pal-n
iii paintings/drawings/
Graphics/photography
Vii diverse arts
Babic, Mary
aleut
241 pal-n
Vii diverse arts
Baca, Angela
santa clara pueblo
264 pal-n
ii pottery
Baca, Annie
santa clara pueblo
702 lin-W
ii pottery
Baca, David
santa clara pueblo
264 pal-n
ii pottery
Baca, Joe P.
santa clara pueblo
203 pal-n
ii pottery
Bacon, Eric
passamaquoddy
762 lin-e
Xi basketry
Bahe, Fidel
navajo (diné)
600 plZ
i Jewelry
Bailon, Clarence
santo domingo pueblo
334 Fr-s
i Jewelry
Bailon, Eleanor
santo domingo pueblo
334 Fr-s
i Jewelry
Bailon, Pablita
santo domingo pueblo
713 lin-e
i Jewelry
Baker, Linda
southern Ute
758 lin-e
Viii beadwork/
Quillwork
Balloue, John
cherokee
419 Wa-e
iii paintings/drawings/
Graphics/photography
Bassett, Hathaweh
passamaquoddy
907 cat
ii pottery
Bassett, Hiyatsi
passamaquoddy
907 cat
ii pottery
Beck Sr., Victor P.
navajo (diné)
259 pal-n
i Jewelry
Becker, Nanobah
navajo (diné)
X moving images
Begay, Abraham
navajo (diné)
300 Fr-s
i Jewelry
Begay, D.Y.
navajo (diné)
701 lin-e
Vi textiles
Begay, Darryl
navajo (diné)
678 plZ
i Jewelry
Begay, Eddie
navajo (diné)
769 lin-W
i Jewelry
Begay, Erick
navajo (diné)
322 Fr-s
i Jewelry
Begay, Frances
navajo (diné)
768 lin-e
Vi textiles
Begay, Kary
navajo (diné)
220 pal-n
i Jewelry
Begay, Kenneth
navajo (diné)
768 lin-e
i Jewelry
Begay, Larry
navajo (diné)
528 sF-p
i Jewelry
Begay, Lee
navajo (diné)
756 lin-e
i Jewelry
Begay, Leroy
navajo (diné)
768 lin-W
i Jewelry
Begay, Mary Lou
navajo (diné)
220 pal-n
i Jewelry
Begay, Nellie
navajo (diné)
220 pal-s
Vi textiles
Begay, Nelson
navajo (diné)
220 pal-n
i Jewelry
Begay, Rebecca
navajo (diné)
678 plZ
i Jewelry
Begay, Rena
navajo (diné)
259 pal-n
Vi textiles
Begay, Richard
navajo (diné)
246 pal-n
i Jewelry
Begay, Romaine
navajo (diné)
713 lin-W
ii pottery
Begay, Shonto
navajo (diné)
225 pal
iii paintings/drawings/
Graphics/photography
Begay, Steven
navajo (diné)
220 pal-n
i Jewelry
Begay Jr., Frederick
navajo (diné)/Ute
601 plZ
V sculpture
Ben, Arland
navajo (diné)
518 sF
i Jewelry
Benally, Ernest
navajo (diné)
324 Fr-n
i Jewelry
Benally, Veronica
navajo (diné)
324 Fr-n
i Jewelry
Bennett, Donna
acoma pueblo
720 lin-W
i Jewelry
Bennett, George
hualapai
720 lin-W
i Jewelry
Berryhill, Les
creek
329 Fr-n
Viii beadwork/
Quillwork
Betoney Sr., Billy
navajo (diné)
418 Wa-e
i Jewelry
Beyale, Jaycee
navajo (diné)
772 lin-e
iii paintings/drawings/
Graphics/photography
Bia, Norman
navajo (diné)
761 lin-W
i Jewelry
BigBee, Walter
comanche
121 pOG
iii paintings/drawings/
Graphics/photography
BigKnife, Heidi
shawnee
343 Fr-n
i Jewelry
Billie, Gene
navajo (diné)
200 pal-s
V sculpture
Bird, Dennis
Ohkay Owingeh pueblo/
santo domingo pueblo
260 pal-s
i Jewelry
Bird, Gail
santo domingo pueblo/
laguna pueblo
262 pal-n
i Jewelry
Bird, Jolene
santo domingo pueblo
710 lin-p
i Jewelry
Bird-Romero, Mike
Ohkay Owingeh pueblo/
taos pueblo
259 pal-s
i Jewelry
Black, Sally
navajo (diné)
725 lin-W
Xi basketry
Blackhorse, Catherine
seminole
235 pal-s
Vi textiles
Blalock-Jones, Ruthe
shawnee/delaware
109 pOG
iii paintings/drawings/
Graphics/photography
Blaze, Randall
Oglala lakota sioux
231 pal-s
ii pottery
iii paintings/drawings/
Graphics/photography
V sculpture
Blue Jacket-Roccamo,
Shawn
shawnee/cherokee
110 pOG
i Jewelry
Bobelu, Gomeo
Zuni pueblo
405 Wa-W
i Jewelry
Boome, Peter
Upper skagit
621 plZ
iii paintings/drawings/
Graphics/photography
Boone, Lena
Zuni pueblo
714 lin-p
i Jewelry
V sculpture
Bordeaux, Todd
rosebud sioux
417 Wa-e
iii paintings/drawings/
Graphics/photography
Vii diverse arts
Viii beadwork/
Quillwork
Borts-Medlock,
Autumn
santa clara pueblo
664 plZ
ii pottery
Bowannie Sr., Bryston
Zuni pueblo
405 Wa-W
V sculpture
Box, Austin
southern Ute
738 lin-W
Vii diverse arts
Box, Debra
southern Ute
738 lin-W
Vii diverse arts
Boxley, David
tsimshian
905 cat
Vii diverse arts
Boxley Jr., David
tsimshian
905 cat
Vii diverse arts
Bread, Jackie
blackfeet
284 pal
Viii beadwork/
Quillwork
Bread, Nathaniel
navajo (diné)/apache
284 pal
Vii diverse arts
Bread, Paris L.
navajo (diné)
284 pal
iii paintings/drawings/
Graphics/photography
2012 I ndI an market 143
alphabetIcal artIst lIst
Broer, Roger
Oglala sioux
106 pOG
III paintings/drawings/
Graphics/photography
Brokeshoulder, Aaron
shawnee
735 lIn-e
I Jewelry
Brokeshoulder, Brent
hopi/shawnee
238 pal-s
IV pueblo Wooden
carvings
Brokeshoulder, Randy
hopi/shawnee
238 pal-s
IV pueblo Wooden
carvings
Burgess, Nocona
comanche
729 lIn-W
III paintings/drawings/
Graphics/photography
Burgess, Quanah
comanche
734 lIn-W
III paintings/drawings/
Graphics/photography
Burgess, Ronald
comanche
734 lIn-W
III paintings/drawings/
Graphics/photography
Cadman, Marcus
navajo (diné)
774 lIn-e
III paintings/drawings/
Graphics/photography
Cajero, Althea
santo domingo pueblo/
acoma pueblo
521 sF
I Jewelry
Cajero, Esther H.
Jemez pueblo
320 Fr-s
II pottery
VII diverse arts
Cajero, Joe V.
Jemez pueblo
320 Fr-s
VII diverse arts
Cajero, Teri
Jemez pueblo
622 plZ
II pottery
Cajero Sr., Aaron
Jemez pueblo
622 plZ
II pottery
Cajero Jr., Joe
Jemez pueblo
521 sF
V sculpture
Calabaza, Jimmy
santo domingo pueblo
533 sF-e
I Jewelry
Calabaza, Joseph F.
santo domingo pueblo
304 Fr-n
I Jewelry
Calabaza, Marie J.
Ohkay Owingeh pueblo
414 Wa-W
I Jewelry
Calabaza, Mary
santo domingo pueblo
304 Fr-n
I Jewelry
Calabaza, Mitchell
santo domingo pueblo
414 Wa-W
I Jewelry
Calnimptewa, Cecil
hopi
740 lIn-W
IV pueblo Wooden
carvings
Campbell, Terrence
tahltan
303 Fr-s
I Jewelry
III paintings/drawings/
Graphics/photography
V sculpture
Candelario, Hubert
san Felipe pueblo
217 pal-s
II pottery
Carolin, Rex
cheyenne river sioux
123 pOG
VII diverse arts
Carpio, Caroline
Isleta pueblo
659 plZ
II pottery
V sculpture
Carr, Stacey
laguna pueblo
784 lIn-W
II pottery
Carrillo, Franklin
laguna pueblo/choctaw
727 lIn-W
I Jewelry
Castro, Christina
Jemez pueblo
X moving Images
Casuse, Fritz
navajo (diné)
519 sF
I Jewelry
III paintings/drawings/
Graphics/photography
Caté, Barbara
santo domingo pueblo
703 lIn-e
I Jewelry
Caté, Irma
santo domingo pueblo
708 lIn-e
I Jewelry
Caté, Lorraine
santo domingo pueblo
708 lIn-e
I Jewelry
Caté, Mary
santo domingo pueblo
703 lIn-e
I Jewelry
Caté, Ricardo Lee
santo domingo pueblo
743 lIn-e
III paintings/drawings/
Graphics/photography
Cerno, Barbara
acoma pueblo/hopi
700 lIn-p
II pottery
Cerno Sr., Joseph
acoma pueblo
700 lIn-p
II pottery
Chacon, Nanibah
navajo (diné)
772 lIn-e
III paintings/drawings/
Graphics/photography
Chandler Good Strike,
Aloysius
Gros Ventre/arapaho
302 Fr-s
VII diverse arts
Chaney, Ross
cherokee
763 lIn-W
III paintings/drawings/
Graphics/photography
Charley, Avis
dakota/navajo (diné)
406 Wa-W
III paintings/drawings/
Graphics/photography
Charley, Berdina
navajo (diné)
701 lIn-e
VI textiles
Charley, Karen Kahe
hopi
737 lIn-W
II pottery
Charlie, Edward
navajo (diné)
717 lIn-e
I Jewelry
Charlie, Ric
navajo (diné)
407 Wa-e
I Jewelry
Chattin, Daniel
Zuni pueblo
604 plZ
V sculpture
Chavarria, Dave
santa clara pueblo
410 Wa-W
VII diverse arts
VIII beadwork/
Quillwork
Chavarria, Denise
santa clara pueblo
253 pal-n
II pottery
Chavarria, Loretta
“Sunday”
santa clara pueblo
253 pal-n
II pottery
Chavarria, Manuel
hopi
737 lIn-W
IV pueblo Wooden
carvings
Chavarria, Stella
santa clara pueblo
253 pal-n
II pottery
Chavez, Clarita
santo domingo pueblo
743 lIn-W
I Jewelry
Chavez, Dorothy
santo domingo pueblo
303 Fr-n
I Jewelry
Chavez, Jared
san Felipe pueblo
306 Fr-n
I Jewelry
Chavez, Joseph
kewa pueblo
769 lIn-e
I Jewelry
Chavez, LeJeune
kewa pueblo/seminole
769 lIn-e
I Jewelry
VIII beadwork/
Quillwork
Chavez, Michael D.
santo domingo pueblo
716 lIn-e
I Jewelry
Chavez, Richard
san Felipe pueblo
306 Fr-n
I Jewelry
Chavez, Trinnie
santo domingo pueblo
716 lIn-e
I Jewelry
Chavez Sr., Franklin
santo domingo pueblo
303 Fr-n
I Jewelry
Chavez-James, B.
Toby
santo domingo pueblo
407 Wa-W
VIII beadwork/
Quillwork
Chavez-Thomas, Lisa
Isleta pueblo
411 Wa-e
VII diverse arts
Chee, Frank
navajo (diné)
266 pal-s
I Jewelry
Chee, Ronald
navajo (diné)
721 lIn-e
III paintings/drawings/
Graphics/photography
Chee Sr., Raymond
navajo (diné)
631 plZ
V sculpture
Chiago Sr., Michael
tohono O’odham
790 lIn-W
III paintings/drawings/
Graphics/photography
Chimerica, Darance
hopi
614 plZ
IV pueblo Wooden
carvings
Chinana, Lorraine
Jemez pueblo
764 lIn-W
II pottery
Chitto, Hollis
choctaw/laguna Isleta
725 lIn-e
VIII beadwork/
Quillwork
Chitto, Randall
choctaw
725 lIn-e
II pottery
Chopito, Aric
Zuni pueblo
619 plZ
VI textiles
Church, Kelly
chippewa
738 lIn-e
XI basketry
Clark, Carl
navajo (diné)
744 lIn-W
I Jewelry
Clark, Don
navajo (diné)
120 pOG
III paintings/drawings/
Graphics/photography
Clark, Gwendolyn
navajo (diné)
332 Fr-n
III paintings/drawings/
Graphics/photography
Clark, Irene
navajo (diné)
744 lIn-W
I Jewelry
Clark, Irene H.
navajo (diné)
332 Fr-n
VI textiles
Claw, Kareen
san carlos apache
706 lIn-W
VIII beadwork/Quillwork
Claw, Monty
navajo (diné)
706 lIn-W
I Jewelry
III paintings/drawings/
Graphics/photography
VII diverse arts
Cling, Alice
navajo (diné)
413 Wa-e
II pottery
Cody, Lola
navajo (diné)
733 lIn-W
VI textiles
Cody, Melissa
navajo (diné)
733 lIn-W
VI textiles
Concho, Carolyn
acoma pueblo
530 sF-p
II pottery
Concho, Rachel
acoma pueblo
507 sF
II pottery
Concho Jr., George
acoma pueblo
908 cat
II pottery
Coochwikvia, Marcus
hopi
763 lIn-W
I Jewelry
Coochyamptewa,
Paul
hopi
414 Wa-e
IV pueblo Wooden
carvings
VII diverse arts
Coonsis, Colin
Zuni pueblo
336 Fr-s
I Jewelry
Coonsis, Phyllis
Zuni pueblo
906 cat
I Jewelry
Corcoran, Dolores
Purdy
caddo
634 plZ
III paintings/drawings/
Graphics/photography
VII diverse arts
Coriz, Alonzo
santo domingo pueblo
708 lIn-W
I Jewelry
Coriz, Ione
santo domingo pueblo
531 sF-W
II pottery
Coriz, Joseph D.
santo domingo pueblo
623 plZ
I Jewelry
Coriz, Juanita D.
santo domingo pueblo
305 Fr-s
I Jewelry
Coriz, Lila
santo domingo pueblo
524 sF-W
I Jewelry
Coriz, Mary R.
santo domingo pueblo
325 Fr-s
I Jewelry
Coriz, Rudy
santo domingo pueblo
325 Fr-s
I Jewelry
Coriz-Lovato, Mary
santo domingo pueblo
534 sF-p
I Jewelry
Cornshucker, Melvin
cherokee
724 lIn-W
II pottery
Correa, Prudy
acoma pueblo
239 pal-n
II pottery
Country Jr., Francis
sisseton-Wahpeton
sioux
201 pal-n
VII diverse arts
Craig, Velma
navajo (diné)
X moving Images
Crazyhorse, Cippy
cochiti pueblo
258 pal-n
I Jewelry
Crazyhorse, Waddie
“Red Dakota”
cochiti pueblo
258 pal-n
I Jewelry
Crespin, Don
santo domingo pueblo
315 Fr-s
I Jewelry
Crespin, Nancy
santo domingo pueblo
315 Fr-s
I Jewelry
Crespin, Terecita
santo domingo pueblo
307 Fr-n
I Jewelry
Croslin, Larry
cherokee
535 sF-W
I basketry
Cuch, Norman
hopi/Ute
(Uinta & Ouray)
766 lIn-W
IV pueblo Wooden
carvings
Cummings, Edison
navajo (diné)
207 pal-s
I Jewelry
Curran, Dolores
santa clara pueblo
263 pal-n
II pottery
Curran, Ursula
Ohkay Owingeh pueblo
263 pal-n
II pottery
Curtis, Jennifer
navajo (diné)
736 lIn-W
I Jewelry
Custer, Cheyenne
navajo (diné)
737 lIn-e
I Jewelry
Custer, Gary
navajo (diné)
204 pal-s
I Jewelry
Custer, Ira
navajo (diné)
737 lIn-e
I Jewelry
D
Da, Jarrod
san Ildefonso pueblo
517 sF
III paintings/drawings/
Graphics/photography
Dalangyawma,
Ramon
hopi
717 lIn-W
I Jewelry
Dalasohya Jr., David
hopi
775 lIn-e
III paintings/drawings/
Graphics/photography
Dallasvuyaoma,
Bennard
pima-maricopa/hopi
286 pal
I Jewelry
Dallasvuyaoma,
Frances Jue
hopi
286 pal
I Jewelry
Darden, Steve
navajo (diné)
705 lIn-p
VII diverse arts
VIII beadwork/Quillwork
Dark Mountain, Dawn
Oneida
759 lIn-e
III paintings/drawings/
Graphics/photography
Dawahoya, Nuvadi
hopi
214 pal-s
IV pueblo Wooden
carvings
Day, Irma
laguna pueblo
222 pal-n
XI basketry
Day Sr., Jonathan
hopi/laguna pueblo
655 plZ
IV pueblo Wooden
carvings
DeCelles, Jon
Gros Ventre
783 lIn-W
V sculpture
Denipah, Marian
navajo (diné)/
Ohkay Owingeh pueblo
512 sF
I Jewelry
III paintings/drawings/
Graphics/photography
DesJarlais Jr., Larry
turtle mt. chippewa
728 lIn-e
III paintings/drawings/
Graphics/photography
V sculpture
Dial, Isaac
navajo (diné)
627 plZ
I Jewelry
Dougi, Ishkoten
Jicarilla apache/
navajo (diné)
213 pal-n
III paintings/drawings/
Graphics/photography
V sculpture
Douglas-Willard, Diane
haida
241 pal-s
XI basketry
Draper Jr., Teddy
navajo (diné)
129 pOG
I Jewelry
III paintings/drawings/
Graphics/photography
V sculpture
Dugi, Orlando
navajo (diné)
237 pal-s
I Jewelry
VIII beadwork/Quillwork
Dukepoo, Causandra
taos pueblo
254 pal-n
I Jewelry
Dukepoo, Michael
hopi
254 pal-n
I Jewelry
144 2012 i ndi an market
Durr, Judith
Choctaw
792 Lin-W
iii Paintings/drawings/
Graphics/Photography
Duwyenie, Debra
Santa Clara Pueblo
410 Wa-W
ii Pottery
Duwyenie, Mary Lynn
Hopi
302 Fr-n
iii Paintings/drawings/
Graphics/Photography
Vi textiles
Duwyenie, Preston
Hopi
410 Wa-W
i Jewelry
ii Pottery
E
Earles, Chase
kahwinhut/Caddo
780 Lin-e
ii Pottery
Early, Alan
Laguna Pueblo
243 PaL-S
ii Pottery
Early, Max
Laguna Pueblo
243 PaL-S
ii Pottery
Ebelacker, Jamelyn
Santa Clara Pueblo
280 PaL
ii Pottery
Ebelacker, James
Santa Clara Pueblo
280 PaL
ii Pottery
Ebelacker, Jason L.
Santa Clara Pueblo
758 Lin-W
ii Pottery
Ebelacker, Jerome
Santa Clara Pueblo
758 Lin-W
ii Pottery
Ebelacker, Sarena
Santa Clara Pueblo
280 PaL
ii Pottery
Edaakie, Dee
Zuni Pueblo
646 PLZ
V Sculpture
Edaakie, Raylan
Zuni Pueblo
230 PaL-n
i Jewelry
Edaakie, Sheryl
Zuni Pueblo
207 PaL-n
i Jewelry
Edd, Chamisa
navajo (diné)
750 Lin-W
iii Paintings/drawings/
Graphics/Photography
Edd, Ruthie
navajo (diné)
750 Lin-W
iii Paintings/drawings/
Graphics/Photography
Edd, Santana
navajo (diné)
750 Lin-W
iii Paintings/drawings/
Graphics/Photography
Edd, Sierra
navajo (diné)
750 Lin-W
iii Paintings/drawings/
Graphics/Photography
Emarthle-Douglas,
Carol
Seminole/
northern arapaho
516 SF
Xi Basketry
Emerson, Anthony
Chee
navajo (diné)
113 POG
iii Paintings/drawings/
Graphics/Photography
Emerson, Ramona
navajo (diné)
X moving images
Emery, Dorothy
Jemez Pueblo
731 Lin-W
i Jewelry
Vii diverse arts
Emery Jr., Terrance
St. Croix Chippewa/
Jemez Pueblo
731 Lin-W
i Jewelry
Emery Sr., Terrence
St. Croix Chippewa
731 Lin-W
i Jewelry
Vii diverse arts
Epaloose, Kenneth
Zuni Pueblo
240 PaL-n
ii Pottery
Ernest, Marcella
Ojibwe-Bad river Band
X moving images
Esquiro, Sholeen
“Sho Sho”
kaska dene
902 Cat
Vi textiles
Esquivel, Dennis
Ottawa
729 Lin-e
iii Paintings/drawings/
Graphics/Photography
Vii diverse arts
Ethelbah Jr., Upton
Santa Clara Pueblo/
apache (White
mountain)
654 PLZ
V Sculpture
Eustace, Jolene
Zuni Pueblo/
Cochiti Pueblo
415 Wa-e
i Jewelry
aLPHaBetiCaL artiSt LiSt
Eustace-Carlisle,
Bernadette
Zuni Pueblo/
Cochiti Pueblo
415 Wa-e
i Jewelry
Eyre, Chris
Cheyenne/arapaho
X moving images
F
Farris, Thomas
Otoe-missouria
204 PaL-n
iii Paintings/drawings/
Graphics/Photography
Fendenheim, James
tohono O’odham
757 Lin-W
i Jewelry
V Sculpture
Fender, Erik
“Than Tsideh”
San ildefonso Pueblo
702 Lin-P
ii Pottery
Fender, Martha
“Appleleaf”
San ildefonso Pueblo
702 Lin-P
ii Pottery
Fields, Anita
Osage
209 PaL-S
ii Pottery
V Sculpture
Fischer, Mark
Oneida
776 Lin-e
V Sculpture
Flett Sr., George
Spokane
727 Lin-e
iii Paintings/drawings/
Graphics/Photography
Foley, Benina
Jemez Pueblo
523 SF-W
ii Pottery
Folwell, Jody
Santa Clara Pueblo
640 PLZ
ii Pottery
Folwell, Susan
Santa Clara Pueblo
640 PLZ
ii Pottery
Fontenot, Peggy
Potawatomi/Cherokee
202 PaL-n
iii Paintings/drawings/
Graphics/Photography
Viii Beadwork/
Quillwork
Fowler, Cindy
navajo (diné)
523 SF-e
Viii Beadwork/Quillwork
Fowler, Myron
navajo (diné)
777 Lin-e
iii Paintings/drawings/
Graphics/Photography
Fragua, B.J.
Jemez Pueblo
727 Lin-W
ii Pottery
Fragua, Cliff
Jemez Pueblo
753 Lin-e
V Sculpture
Fragua, Glendora
Jemez Pueblo
652 PLZ
ii Pottery
Fragua, Juanita
Jemez Pueblo
652 PLZ
ii Pottery
Fragua, Linda
Jemez Pueblo
222 PaL-n
ii Pottery
Fragua, Melinda
Jemez Pueblo
712 Lin-W
ii Pottery
Fragua, Tablita
Jemez Pueblo
753 Lin-e
ii Pottery
Fragua-Cota, Laura
Jemez Pueblo
724 Lin-e
i Jewelry
iii Paintings/drawings/
Graphics/Photography
V Sculpture
Francis, Florence
navajo (diné)
761 Lin-W
i Jewelry
Franklin, William
navajo (diné)
118 POG
iii Paintings/drawings/
Graphics/Photography
Fredericks, Evelyn
Hopi
778 Lin-W
V Sculpture
Freeland, Sydney
navajo (diné)
X moving images
Frey, Frances
Passamaquoddy
712 Lin-P
Xi Basketry
Viii Beadwork/Quillwork
Frey, Jeremy
Passamaquoddy
712 Lin-P
Xi Basketry
Friday, Paula
Jicarilla apache
765 Lin-W
Viii Beadwork/Quillwork
G
Gabriel, Victor
Washoe
245 PaL-n
i Jewelry
Gachupin, Henrietta
Jemez Pueblo
712 Lin-W
ii Pottery
Gachupin, Laura
Jemez Pueblo
523 SF-W
ii Pottery
Gala, Carol
Laguna Pueblo/
taos Pueblo
709 Lin-e
Viii Beadwork/Quillwork
Gala Lewis, Lorraine
Laguna Pueblo/
taos Pueblo/Hopi
242 PaL-n
ii Pottery
Galvan, Joselita
Zia Pueblo
760 Lin-W
Vi textiles
Garcia, David
Pascua-Yaqui/
nambe Pueblo
506 SF
i Jewelry
Garcia, Effie
Santa Clara Pueblo
713 Lin-P
ii Pottery
Garcia, Emily B.
Santo domingo Pueblo
642 PLZ
i Jewelry
Garcia, Jason
Santa Clara Pueblo
126 POG
ii Pottery
iii Paintings/drawings/
Graphics/Photography
Garcia, John
Santa Clara
Pueblo
126 POG
ii Pottery
iii Paintings/drawings/
Graphics/Photography
Garcia, Lorencita
Santo domingo Pueblo
320 Fr-n
i Jewelry
Garcia, Margaret
Peggy
acoma Pueblo
736 Lin-e
ii Pottery
Garcia, Mary D. Lewis
acoma Pueblo
527 SF-e
ii Pottery
Garcia, Melanie
acoma Pueblo
736 Lin-e
ii Pottery
Garcia, Michael
“Na Na Ping”
Pascua Yaqui
506 SF
i Jewelry
Garcia, Nelson
Santo domingo Pueblo
718 Lin-W
i Jewelry
Garcia, Sharon
Naranjo
Santa Clara Pueblo
606 PLZ
ii Pottery
Garcia, Wilfred L.
acoma Pueblo
511 SF
ii Pottery
Garza, Dolly
Haida
237 PaL-S
Xi Basketry
Vi textiles
Gasper, Debra
Zuni Pueblo
714 Lin-P
V Sculpture
Gasper, Dinah
Zuni Pueblo
714 Lin-P
V Sculpture
Gasper, Duran
Zuni Pueblo
786 Lin-W
i Jewelry
Gasper Sr., Bart
Zuni Pueblo
251 PaL-n
iV Pueblo Wooden
Carvings
Gaussoin, Connie
Tsosie
navajo (diné)/
Picuris Pueblo
261 PaL-S
i Jewelry
V Sculpture
Gaussoin, David
navajo (diné)/
Picuris Pueblo
261 PaL-S
i Jewelry
Gaussoin, Wayne
Picuris Pueblo/navajo
(diné)
261 PaL-S
i Jewelry
Gaussoin Jr., Jerry
Picuris Pueblo/
navajo (diné)
261 PaL-S
i Jewelry
Gchachu, Smokey
Zuni Pueblo
755 Lin-e
i Jewelry
Gendron, Richard M.
Colville
764 Lin-e
iii Paintings/drawings/
Graphics/Photography
Gene, Leonard
navajo (diné)
658 PLZ
i Jewelry
George, Ros
Hopi
672 PLZ
iV Pueblo Wooden
Carvings
Giago, Lauren Good
Day
arikara/Blackfeet/Cree
335 Fr-n
iii Paintings/drawings/
Graphics/Photography
Vi textiles
Vii diverse arts
Gibson, Rowena
taos Pueblo/
Santa Clara Pueblo
706 Lin-e
ii Pottery
Goeman, Ronni-Leigh
Onondaga
771 Lin-W
Xi Basketry
Goeman, Stonehorse
Seneca
771 Lin-W
V Sculpture
Goldtooth, Laverna
navajo (diné)
418 Wa-W
i Jewelry
Gomez, Glenn
taos Pueblo/
Pojoaque Pueblo
223 PaL-S
ii Pottery
Gonzales, Aaron
San ildefonso Pueblo
247 PaL-n
ii Pottery
Gonzales, Barbara
“Tahn-moo-whe”
San ildefonso Pueblo
247 PaL-n
ii Pottery
iii Paintings/drawings/
Graphics/Photography
Gonzales, Brandan
San ildefonso Pueblo
247 PaL-n
ii Pottery
Gonzales, Cavan
San ildefonso Pueblo
520 SF
ii Pottery
Gonzales, Isabel
Jemez Pueblo
215 PaL-S
Vi textiles
Gonzales, Jeanne
San ildefonso Pueblo/
Winnebago
312 Fr-S
ii Pottery
Gonzales, John
San ildefonso Pueblo
741 Lin-W
ii Pottery
Gonzales, Melanie
San ildefonso Pueblo/
Jemez Pueblo
215 PaL-S
Vi textiles
Gonzales, Myron
Jemez Pueblo/
San ildefonso Pueblo
215 PaL-S
Vii diverse arts
Gonzales, Robert
San ildefonso Pueblo
247 PaL-n
ii Pottery
Gonzales-Kailahi,
Marie Ann
San ildefonso Pueblo
312 Fr-S
ii Pottery
Gordo, Melvin
navajo (diné)
720 Lin-e
i Jewelry
Goshorn, Debra Shan
Cherokee
793 Lin-W
Xi Basketry
iii Paintings/drawings/
Graphics/Photography
Grandbois, Rollie
turtle mountain
Chippewa
715 Lin-e
V Sculpture
Grant, Dorothy
Haida of alaska
747 Lin-e
Vi textiles
Greenwood, Brent
Ponca
779 Lin-W
iii Paintings/drawings/
Graphics/Photography
Greeves, Teri
kiowa
327 Fr-n
Viii Beadwork/Quillwork
Gress, Robert
Crow
509 SF
i Jewelry
Growing Thunder,
Darryl
dakota nakona
340 Fr-n
iii Paintings/drawings/
Graphics/Photography
Growing Thunder,
Jessa Rae
assiniboine/Sioux
(dakota)
419 Wa-W
Viii Beadwork/
Quillwork
Growing Thunder,
Ramey
assiniboine/Sioux
(Fort Peck)
340 Fr-n
Viii Beadwork/Quillwork
Growing Thunder
Fogarty, Joyce
Sioux/assiniboine
419 Wa-W
Viii Beadwork/
Quillwork
Growing Thunder
Fogarty, Juanita
Sioux/assiniboine
419 Wa-W
Viii Beadwork/
Quillwork
Guardipee, Terrance
Blackfeet
235 PaL-S
iii Paintings/drawings/
Graphics/Photography
Gutierrez, Denny
Santa Clara Pueblo
301 Fr-n
ii Pottery
Gutierrez, Dorothy
navajo (diné)
254 PaL-S
ii Pottery
Gutierrez, Gary
Santa Clara Pueblo
254 PaL-S
ii Pottery
2012 I ndI an market 145
alphabetIcal artIst lIst
Gutierrez, Geraldine
san Ildefonso pueblo/
santa clara pueblo
309 Fr-p
III paintings/drawings/
Graphics/photography
Gutierrez, Margaret
Rose
santa clara pueblo
248 pal-s
II pottery
Gutierrez, Rose
santa clara pueblo/
san Ildefonso pueblo
309 Fr-p
II pottery
Gutierrez, Teresa
santa clara pueblo
230 pal-s
II pottery
Gutierrez Jr., Tony
santa clara pueblo
707 lIn-W
II pottery
Gutierrez-Naranjo,
Carol
santa clara pueblo/
san Ildefonso pueblo
309 Fr-p
II pottery
Gutierrez-Naranjo,
Kathy
san Ildefonso pueblo/
santa clara pueblo
309 Fr-p
II pottery
H
Hageman, Lisa
haida
751 lIn-e
VI textiles
Haloo, Rolanda
Zuni pueblo/
navajo (diné)
336 Fr-s
I Jewelry
Hanna, Crystal
cherokee (Western)
513 sF
II pottery
Hardridge, Justin
“Starr”
muscogee (creek)
508 sF
III paintings/drawings/
Graphics/photography
Hardy, Genevieve
navajo (diné)
754 lIn-e
VI textiles
Harjo Jr., Benjamin
seminole/shawnee
103 pOG
III paintings/drawings/
Graphics/photography
Harris, Cheyenne
navajo (diné)
101 pOG
I Jewelry
Harrison, Jimmie
navajo (diné)
501 sF
I Jewelry
Hart, Nathan
cheyenne arapaho
785 lIn-W
V sculpture
Harvey, Jason
navajo (diné)
641 plZ
VI textiles
Harvey, Sheldon
navajo (diné)
794 lIn-W
III paintings/drawings/
Graphics/photography
Haskie, Vernon
navajo (diné)
632 plZ
I Jewelry
Hattie Sr., Brion
Zuni pueblo
709 lIn-p
V sculpture
Haukaas, M. Linda
rosebud sioux
127 pOG
III paintings/drawings/
Graphics/photography
Haukaas, Thomas
rosebud sioux
325 Fr-n
III paintings/drawings/
Graphics/photography
VIII beadwork/
Quillwork
Hayes, Lucille Bah
navajo (diné)
313 Fr-n
I Jewelry
Hemlock, Carla
mohawk
776 lIn-W
VII diverse arts
Hemlock, Donald
mohawk (st. regis)
776 lIn-W
VII diverse arts
Henderson, Alberta
navajo (diné)
406 Wa-e
VI textiles
Hendren, Shane
navajo (diné)
712 lIn-e
I Jewelry
Her ManyHorses, Emil
Oglala lakota
669 plZ
VII diverse arts
Herrera, Carlos
cochiti pueblo
670 plZ
VII diverse arts
XI basketry
Herrera, Grace Ann
navajo (diné)
318 Fr-s
I Jewelry
Herrera, Theodore
Arnold
cochiti pueblo
670 plZ
VII diverse arts
Herrera, Thomas L.
cochiti pueblo
670 plZ
VII diverse arts
XI basketry
Herrera, Tim
cochiti pueblo
670 plZ
I Jewelry
Hesuse, Lori
navajo (diné)
529 sF-W
I Jewelry
Hewson, Robert
tsimshian
739 lIn-e
III paintings/drawings/
Graphics/photography
Histia, Jacqueline
acoma pueblo
271 pal
II pottery
Hobson, Andrew
navajo (diné)
282 pal
III paintings/drawings/
Graphics/photography
Hodgins, L. Bruce
navajo (diné)
501 sF
I Jewelry
Holmes Jr., Arthur
hopi
219 pal-n
IV pueblo Wooden
carvings
Holt, Lisa
cochiti pueblo
228 pal-n
II pottery
Holy Bear, Charlene
standing rock sioux
408 Wa-e
VII diverse arts
Honahnie, Anthony
hopi
759 lIn-W
I Jewelry
III paintings/drawings/
Graphics/photography
Honanie, Antone
hopi
337 Fr-s
I Jewelry
IV pueblo Wooden
carvings
Honanie, Delbridge
hopi
716 lIn-W
IV pueblo Wooden
carvings
Honanie, Ernest
hopi
337 Fr-s
IV pueblo Wooden
carvings
Honanie, Kara Anne
hopi
714 lIn-e
IV pueblo Wooden
carvings
Honanie, Watson
hopi
714 lIn-e
I Jewelry
Honyouti, Richard
hopi
726 lIn-W
VII diverse arts
Honyumptewa, Aaron
picuris pueblo/hopi
500 sF
IV pueblo Wooden
carvings
Honyumptewa, Lorne
K.
hopi/picuris pueblo
500 sF
III paintings/drawings/
Graphics/photography
Honyumptewa,
Stetson
hopi
500 sF
IV pueblo Wooden
carvings
Hoskie, Randy
navajo (diné)
771 lIn-e
I Jewelry
Howard, Ivan
navajo (diné)
704 lIn-W
I Jewelry
Howard, Norma
choctaw/chickasaw
206 pal-n
III paintings/drawings/
Graphics/photography
Hubbell, Patrick
navajo (diné)
910 cat
III paintings/drawings/
Graphics/photography
Huma, Rondina
hopi
528 sF-W
II pottery
Hummingbird, Jesse
cherokee
404 Wa-e
III paintings/drawings/
Graphics/photography
Hunt, Corrine
tlingit
911 cat
I Jewelry
VI textiles
VII diverse arts
Hunter, Cody
navajo (diné)
240 pal-s
I Jewelry
Hunter, Wilma
navajo (diné)
240 pal-s
I Jewelry
Huntinghorse, Dina
Wichita/kiowa
420 Wa-e
I Jewelry
Hyde, Daniel
navajo (diné)
X moving Images
I
Irene, Mary
muscogee (creek)
236 pal-n
I Jewelry
J
Jackson, Dan A.
navajo (diné)
343 Fr-s
I Jewelry
Jackson, Gene
navajo (diné)
728 lIn-W
I Jewelry
Jackson, Martha
navajo (diné)
728 lIn-W
I Jewelry
Jackson, Tommy
navajo (diné)
725 lIn-W
I Jewelry
Jacobs, Alex
akwesasne mohawk
321 Fr-s
III paintings/drawings/
Graphics/photography
James, Darlene
pomo
516 sF
XI basketry
Jamon, Carlton
Zuni pueblo/
navajo (diné)
216 pal-s
I Jewelry
Jenkins, Michael
hopi/pima
909 cat
IV pueblo Wooden
carvings
Jennings, Vanessa
pima/kiowa
669 plZ
VII diverse arts
VIII beadwork/
Quillwork
Jensen, David
hopi
279 pal
IV pueblo Wooden
carvings
Joe, Alfred
navajo (diné)
525 sF-W
I Jewelry
Joe, Bryan
navajo (diné)
525 sF-W
I Jewelry
Joe, Cheryl
navajo (diné)
316 Fr-n
III paintings/drawings/
Graphics/photography
Joe, Hyrum
navajo (diné)/Ute
233 pal-n
III paintings/drawings/
Graphics/photography
Joe, Larry R.
navajo (diné)
706 lIn-p
I Jewelry
Joe, Oreland
Ute/navajo (diné)
700 lIn-e
I Jewelry
V sculpture
Joe-Chandler, Amelia
navajo (diné)
338 Fr-s
I Jewelry
John, Alvin
navajo (diné)
637 plZ
III paintings/drawings/
Graphics/photography
V sculpture
John, David
navajo (diné)
274 pal
III paintings/drawings/
Graphics/photography
V sculpture
Johnson, Kenneth
muscogee/seminole
237 pal-n
I Jewelry
Johnson, Pete
navajo (diné)
736 lIn-W
I Jewelry
Johnson, Yazzie
navajo (diné)
262 pal-n
I Jewelry
Jojola, Deborah
Isleta pueblo/
Jemez pueblo
715 lIn-e
III paintings/drawings/
Graphics/photography
Jojola, Vernon
Isleta pueblo/laguna
pueblo
721 lIn-W
I Jewelry
Jonathan, Grant
tuscarora
772 lIn-W
VIII beadwork/Quillwork
Jones, Topaz
shoshone/lummi
219 pal-s
III paintings/drawings/
Graphics/photography
Jones-Crouch,
Micqaela
shoshone
734 lIn-e
III paintings/drawings/
Graphics/photography
Juanico, Marie
acoma pueblo
215 pal-n
II pottery
Juanico, Marietta
acoma pueblo
323 Fr-n
II pottery
Juanico, Melvin
acoma pueblo
323 Fr-n
II pottery
Judd, Steven
kiowa/choctaw
327 Fr-s
III paintings/drawings/
Graphics/photography
X moving Images
Julian, Rainey
Jicarilla apache
600 plZ
I Jewelry
Jumbo, Darrell
navajo (diné)
416 Wa-W
I Jewelry
K
Kahe, Gloria
navajo (diné)
752 lIn-W
II pottery
Kahe, Valerie J.
hopi
752 lIn-W
II pottery
Kanteena, Michael
laguna pueblo
528 sF-p
II pottery
Kaydahzinne, Vincent
mescalero apache
731 lIn-e
V sculpture
Kaye, Wilmer
hopi
403 Wa-W
IV pueblo Wooden
carvings
Kayquoptewa,
Brendan
hopi
420 Wa-W
IV pueblo Wooden
carvings
Kelly, Craig
navajo (diné)
524 sF-e
VIII beadwork/Quillwork
Kemp, Randy
muscogee (creek)/
choctaw
748 lIn-W
III paintings/drawings/
Graphics/photography
Kemp, Rykelle
creek/choctaw
748 lIn-W
III paintings/drawings/
Graphics/photography
Keyonnie, Julius
navajo (diné)
227 pal-s
I Jewelry
King, James
navajo (diné)
523 sF-e
III paintings/drawings/
Graphics/photography
King, John
navajo (diné)
616 plZ
III paintings/drawings/
Graphics/photography
Kirk, Michael
Isleta pueblo/
navajo (diné)
748 lIn-e
I Jewelry
Kohlmeyer, Reina
Jemez pueblo
310 Fr-n
II pottery
Kohlmeyer-Eagleboy,
Royce
Jemez pueblo
310 Fr-n
I Jewelry
Koinva, Anderson
hopi
762 lIn-W
I Jewelry
IV pueblo Wooden
carvings
Kokaly, Mary Lou
Isleta pueblo/
Ohkay Owingeh pueblo
218 pal-s
II pottery
Kootswatewa,
D’Armon
hopi
279 pal
IV pueblo Wooden
carvings
Kooyahoema,
Kathryn
hopi
336 Fr-n
XI basketry
Koruh, Renferd
hopi
307 Fr-s
IV pueblo Wooden
carvings
L
Laahty, Lorena
Zuni pueblo
310 Fr-p
VIII beadwork/Quillwork
Laahty, Ricky
Zuni pueblo
337 Fr-n
V sculpture
Laahty, Ron
Zuni pueblo
337 Fr-n
V sculpture
Laconsello, Nancy
Zuni pueblo/
navajo (diné)
323 Fr-s
I Jewelry
Laconsello, Ruddell
Zuni pueblo
323 Fr-s
I Jewelry
LaFountain, Bruce
chippewa
710 lIn-e
V sculpture
LaFountain, Eve
“Little Shell”
chippewa
710 lIn-e
III paintings/drawings/
Graphics/photography
X moving Images
LaFountain, Presley
chippewa
723 lIn-W
V sculpture
LaFountain, Saige
navajo (diné)/
chippewa
763 lIn-e
V sculpture
LaFountain, Samuel
chippewa/
navajo (diné)
763 lIn-e
I Jewelry
146 2012 i ndi an market
LaRance, Steve
Hopi/assiniboine
512 SF
i Jewelry
Lasiloo, Alan E.
Zuni Pueblo
331 Fr-n
ii Pottery
Lasilou, Kiera
Zuni Pueblo
X moving images
Laughing, Charlene
navajo (diné)
200 PaL-n
Vi textiles
Laughing, Milton
navajo (diné)
200 PaL-n
Vi textiles
Laughing, Mona
navajo (diné)
200 PaL-n
Vi textiles
Laughing-Reeves,
Michele
navajo (diné)227
PaL-n
Vi textiles
Learned, Brent
Cheyenne/arapaho
260 PaL-n
iii Paintings/drawings/
Graphics/Photography
Lee, Allison
navajo (diné)
416 Wa-e
i Jewelry
Lee, Emma R.
navajo (diné)
401 Wa-W
Vi textiles
Lee, Kyle
navajo (diné)
416 Wa-e
i Jewelry
Lee, Russell
navajo (diné)
256 PaL-S
i Jewelry
Lee, Tony
navajo (diné)
275 PaL
V Sculpture
Lee, Trent
navajo (diné)
416 Wa-e
i Jewelry
Lee-Anderson, Wyatt
navajo (diné)
416 Wa-e
i Jewelry
Lent, Mary
Laguna Pueblo/
Santa Clara Pueblo
310 Fr-S
Vii diverse arts
Viii Beadwork/
Quillwork
Lewis, Bernard
acoma Pueblo
530 SF-P
ii Pottery
Lewis, Joyce
Cochiti Pueblo
746 Lin-W
ii Pottery
Martinez, Jocelyn
taos Pueblo
744 Lin-e
iii Paintings/drawings/
Graphics/Photography
Martinez, Marie
San ildefonso Pueblo
700 Lin-W
Vii diverse arts
Martinez, Pauline
San ildefonso Pueblo
252 PaL-S
ii Pottery
Martinez, Terry
navajo (diné)
216 PaL-n
i Jewelry
Maybee, Dallin
arapaho/Seneca
242 PaL-S
iii Paintings/drawings/
Graphics/Photography
Vii diverse arts
McCoy Jr., Daniel
muscogee (Creek)/
Potawatomi
219 PaL-S
iii Paintings/drawings/
Graphics/Photography
McCullough, Michael
Choctaw
257 PaL-n
iii Paintings/drawings/
Graphics/Photography
McCullough, Stephen
Choctaw
257 PaL-n
iii Paintings/drawings/
Graphics/Photography
McKay, Glenda
athapaskan
221 PaL-n
Vii diverse arts
McKelvey, Lucy
Leuppe
navajo (diné)
530 SF-e
ii Pottery
Medina, Elizabeth
Zia Pueblo
722 Lin-e
ii Pottery
Medina, Jennifer
Santo domingo Pueblo
513 SF
i Jewelry
Medina, Marcellus
Zia Pueblo
722 Lin-e
ii Pottery
iii Paintings/drawings/
Graphics/Photography
Melchor, Crucita
Santo domingo Pueblo
705 Lin-W
ii Pottery
Melero, Melissa
Paiute
102 POG
iii Paintings/drawings/
Graphics/Photography
Menchego, Arthur J.
Santa ana Pueblo
733 Lin-e
iii Paintings/drawings/
Graphics/Photography
aLPHaBetiCaL artiSt LiSt
Lewis, Judy M.
acoma Pueblo
741 Lin-e
ii Pottery
Lewis, Sharon
acoma Pueblo
306 Fr-S
ii Pottery
Lewis-Barnes,
Melissa
navajo (diné)
758 Lin-e
Vii diverse arts
Lewis-Garcia, Diane
acoma Pueblo
530 SF-P
ii Pottery
Lister, Ernie
navajo (diné)
630 PLZ
i Jewelry
Little, James
navajo (diné)
653 PLZ
i Jewelry
Little Thunder,
Merlin
Cheyenne
344 Fr-n
iii Paintings/drawings/
Graphics/Photography
Littlebird, Harold
Laguna Pueblo/
kewa Pueblo
400 Wa-e
ii Pottery
Livingston, Irene
navajo (diné)
525 SF-e
i Jewelry
Livingston, Jake
navajo (diné)/
Zuni Pueblo
525 SF-e
i Jewelry
Livingston, JayJacob
navajo (diné)
321 Fr-n
i Jewelry
Lomahaftewa, Linda
Hopi/Choctaw
108 POG
iii Paintings/drawings/
Graphics/Photography
Lomaventema, Gerald
Hopi
655 PLZ
i Jewelry
Loretto, Fran
Jemez Pueblo/
Cochiti Pueblo
644 PLZ
i Jewelry
ii Pottery
iii Paintings/drawings/
Graphics/Photography
Loretto, Glenda
Jemez Pueblo
740 Lin-e
i Jewelry
Loretto, Jonathan
Cochiti Pueblo
765 Lin-W
ii Pottery
Louis, Reycita
acoma Pueblo
339 Fr-S
ii Pottery
Lovato, Andrew
Santo domingo Pueblo
261 PaL-n
i Jewelry
Lovato, Anthony
Santo domingo Pueblo
629 PLZ
i Jewelry
Lovato, Calvin
Santo domingo Pueblo
673 PLZ
i Jewelry
Lovato, Lillian R.
Santo domingo Pueblo
313 Fr-S
i Jewelry
Lovato, Manuelita
Santo domingo Pueblo
246 PaL-S
ii Pottery
Lovato, Maria S.
Santo domingo Pueblo
677 PLZ
i Jewelry
Lovato, Martine
Santo domingo Pueblo
246 PaL-S
i Jewelry
Lovato, Marvin
Santo domingo Pueblo
313 Fr-S
i Jewelry
Lovato, Peggy
Santo domingo Pueblo
261 PaL-n
i Jewelry
Lovato, Pilar A.
Santo domingo Pueblo
673 PLZ
i Jewelry
Lovato Sr., Ray
Santo domingo Pueblo
261 PaL-n
i Jewelry
Lowden, Virginia
acoma Pueblo
319 Fr-n
ii Pottery
Lowe, Blackhorse
navajo (diné)
X moving images
LT, Patta
Choctaw
340 Fr-S
Vii diverse arts
Lucario, Amanda
acoma Pueblo
908 Cat
ii Pottery
Lucario, Daniel
acoma Pueblo
908 Cat
ii Pottery
Lucario, Rebecca
acoma Pueblo
741 Lin-e
ii Pottery
Lucas, Steve
Hopi
405 Wa-e
ii Pottery
Lujan-Hauer, Pamela
taos Pueblo
321 Fr-n
ii Pottery
V Sculpture
Lynch, Rhett
navajo (diné)
722 Lin-W
iii Paintings/drawings/
Graphics/Photography
M
MacKnight, Sheridan
Chippewa
420 Wa-W
i Jewelry
iii Paintings/drawings/
Graphics/Photography
Madalena, Joshua
Jemez Pueblo
403 Wa-e
ii Pottery
Madalena, Reyes
Jemez Pueblo
535 SF-e
ii Pottery
Madalena, Shannan
Jemez Pueblo
535 SF-e
ii Pottery
Magee, Deborah
Blackfeet
244 PaL-n
Viii Beadwork/
Quillwork
Vii diverse arts
Maha, Loren
Hopi
218 PaL-S
i Jewelry
Maktima, Duane
Laguna Pueblo/Hopi
752 Lin-e
i Jewelry
Maldonado, Alex
Yaqui
211 PaL-S
Vii diverse arts
Maldonado, Nicholas
Pascua-Yaqui
211 PaL-S
V Sculpture
Manygoats, Benson
navajo (diné)
223 PaL-n
i Jewelry
Manygoats, Elizabeth
navajo (diné)
660 PLZ
ii Pottery
Manymules, Samuel
navajo (diné)
704 Lin-P
ii Pottery
Marcus, Robert
“Spooner”
Ohkay Owingeh Pueblo
607 PLZ
V Sculpture
Mares, Shirley
Yakima
263 PaL-S
i Jewelry
Meredith, America
Cherokee
229 PaL-n
iii Paintings/drawings/
Graphics/Photography
Metoxen, Linda
navajo (diné)
626 PLZ
i Jewelry
Mirabal, Martha
Santa Clara Pueblo
316 Fr-S
ii Pottery
Mirabal, Tammie
Santa Clara Pueblo/
taos Pueblo
316 Fr-S
ii Pottery
Mitchell, Emma
acoma Pueblo
528 SF-e
ii Pottery
Mitchell, Toney
navajo (diné)
231 PaL-n
i Jewelry
Mitchell-Trejo, Mary
navajo (diné)
507 SF
V Sculpture
Mitten, Katrina
miami tribe of
Oklahoma
342 Fr-S
i Jewelry
Viii Beadwork/
Quillwork
Montoya, Geronima
Ohkay Owingeh Pueblo
116 POG
iii Paintings/drawings/
Graphics/Photography
Montoya, Paul
Sandia Pueblo/
Ohkay Owingeh Pueblo
116 POG
iii Paintings/drawings/
Graphics/Photography
Montoya, Robert B.
Sandia Pueblo
116 POG
iii Paintings/drawings/
Graphics/Photography
Montoya, Rodger
navajo (diné)
703 Lin-P
i Jewelry
Moquino, Jennifer
Santa Clara Pueblo
232 PaL-S
ii Pottery
Morgan, Jacob
navajo (diné)
306 Fr-P
i Jewelry
Morrison, Eddie
Cherokee
334 Fr-n
V Sculpture
Mose, Allen
navajo (diné)
226 PaL
iii Paintings/drawings/
Graphics/Photography
Murillo, Ramon
Shoshone
757 Lin-e
iii Paintings/drawings/
Graphics/Photography
Vii diverse arts
Murphy, William
navajo (diné)
718 Lin-e
iii Paintings/drawings/
Graphics/Photography
Myers, Jhane
Comanche/Blackfeet
338 Fr-n
Vii diverse arts
N
Naataanii, TahNibaa
navajo (diné)
645 PLZ
Vi textiles
Naha, Rainy
Hopi/tewa
253 PaL-S
ii Pottery
Nahohai, Jaycee
Zuni Pueblo
624 PLZ
ii Pottery
Nahohai, Milford
Zuni Pueblo
624 PLZ
ii Pottery
Nahohai, Randy
Zuni Pueblo
624 PLZ
ii Pottery
Nakai, Bernice
navajo (diné)
728 Lin-W
i Jewelry
Namingha, Les
Hopi/Zuni Pueblo
233 PaL-S
ii Pottery
Namingha Jr.,
Wayland Lester
Hopi
619 PLZ
iV Pueblo Wooden
Carvings
Naranjo, Betty
Santa Clara Pueblo
304 Fr-P
ii Pottery
Naranjo, Dusty
Santa Clara Pueblo
707 Lin-e
ii Pottery
Naranjo, Frances
Santa Clara Pueblo
265 PaL-n
ii Pottery
Naranjo, Geri
Santa Clara Pueblo
263 PaL-n
ii Pottery
Naranjo, Jody
Santa Clara Pueblo
402 Wa-W
ii Pottery
Naranjo, Johnathan
Santa Clara Pueblo
317 Fr-S
ii Pottery
Naranjo, Joseph G.
Santa Clara Pueblo
315 Fr-n
ii Pottery
Naranjo, Kevin
Santa Clara Pueblo
341 Fr-S
ii Pottery
Naranjo, Madeline E.
Santa Clara Pueblo
265 PaL-n
ii Pottery
Naranjo, Monica
Santa Clara Pueblo
263 PaL-n
ii Pottery
Naranjo, Robert G.
Santa Clara Pueblo
719 Lin-W
ii Pottery
Naranjo, Robert T.
Santa Clara Pueblo
304 Fr-P
ii Pottery
Naranjo, Stephanie
Santa Clara Pueblo
248 PaL-S
ii Pottery
Naranjo, Tito
Santa Clara Pueblo
707 Lin-e
V Sculpture
Naranjo-Neikrug,
Dolly
Santa Clara Pueblo
304 Fr-S
ii Pottery
Naseyowma, Gilbert
Hopi
755 Lin-W
iV Pueblo Wooden
Carvings
V Sculpture
Naseyowma, Gregory
Hopi
755 Lin-W
i Jewelry
Natay, Ehren
navajo (diné)
342 Fr-n
i Jewelry
iii Paintings/drawings/
Graphics/Photography
Natseway, Thomas
Laguna Pueblo
522 SF-P
ii Pottery
Navasie, Fawn
Hopi
402 Wa-e
ii Pottery
Nells, Albert
navajo (diné)
205 PaL-S
i Jewelry
Nelson, L. Eugene
navajo (diné)
214 PaL-n
i Jewelry
V Sculpture
Nelson, Peter
navajo (diné)
726 Lin-W
i Jewelry
2012 I NDI AN MARKET 147
148 2012 i ndi an market
alphabetical artist list
Pecos, Irwin
Jemez pueblo
266 pal-n
ii pottery
Pecos, Jeanette
Jemez pueblo
266 pal-n
ii pottery
Pecos-Sun Rhodes,
Rose
Jemez pueblo
266 pal-n
ii pottery
Peebles, Susan
red lake chippewa
643 plZ
Viii beadwork/
Quillwork
Vii diverse arts
Peña, Alex
comanche/
san ildefonso pueblo
609 plZ-Fellowship
iii paintings/drawings/
Graphics/photography
Perry, Michael
navajo (diné)
408 Wa-W
i Jewelry
Peshlakai, Norbert
navajo (diné)
747 lin-W
i Jewelry
iii paintings/drawings/
Graphics/photography
Peters, Franklin
laguna pueblo
535 sF-p
ii pottery
Peters, Summer
saginaw Ojibwe
902 cat
Viii beadwork/
Quillwork
Peynetsa, Agnes
Zuni pueblo
666 plZ
ii pottery
Peynetsa, Anderson
Zuni pueblo
303 Fr-p
ii pottery
Peynetsa, Priscilla
Zuni pueblo
666 plZ
ii pottery
Phillips, Loren
hopi
672 plZ
iV pueblo Wooden
carvings
Piaso, Thompson
navajo (diné)
663 plZ
i Jewelry
Pino, Maggie
navajo (diné)
308 Fr-n
i Jewelry
Vii diverse arts
Plummer, Earl
navajo (diné)
534 sF-W
i Jewelry
Nelson, Benjamin
kiowa/navajo (diné)
532 sF-e
iii paintings/drawings/
Graphics/photography
Nelson, MaryBeth
cherokee
409 Wa-e
iii paintings/drawings/
Graphics/photography
Neptune, George
passamaquoddy
601 plZ
Xi basketry
Nequatewa, Bryson
hopi
602 plZ
V sculpture
iV pueblo Wooden
carvings
Nequatewa, Verma
hopi
602 plZ
i Jewelry
Nez, Ned
navajo (diné)
324 Fr-s
i Jewelry
Viii beadwork/Quillwork
Nez, Rickie
navajo (diné)
746 lin-e
V sculpture
Nez Jr., Sidney
navajo (diné)
668 plZ
i Jewelry
Nieto, Christopher
santo domingo pueblo
339 Fr-n
i Jewelry
Nipshank, Glen
cree
328 Fr-s
ii pottery
Nordwall, Raymond
pawnee/chippewa
114 pOG
iii paintings/drawings/
Graphics/photography
Norton, Doug
“Tsaile Boy”
navajo (diné)
789 lin-W
Vii diverse arts
Nuñez-Velarde,
Shelden
apache (Jicarilla)
765 lin-e
ii pottery
Nutumya, Maurice
hopi
711 lin-e
iV pueblo Wooden
carvings
Vi textiles
O
Obrzut, Kim
hopi
515 sF
V sculpture
Okuma, Jamie
luiseno/shoshone
bannock
218 pal-n
iii paintings/drawings/
Graphics/photography
Viii beadwork/Quillwork
Vi textiles
Okuma, Sandra
shoshone/luiseno-
(la Jolla mission)
218 pal-n
Viii beadwork/
Quillwork
Oliver, Marvin
Quinault
756 lin-W
V sculpture
Ornelas, Barbara
navajo (diné)
780 lin-W
Vi textiles
Ornelas, Michael
navajo (diné)
780 lin-W
Vi textiles
Ornelas, Sierra
navajo (diné)
780 lin-W
Vi textiles
Ortega, Adam
“Deer Mountain”
pojoaque pueblo/
santa clara pueblo
651 plZ
iii paintings/drawings/
Graphics/photography
Ortega, Alicia
“Evergreen Blossom”
pojoaque pueblo/
santa clara pueblo
651 plZ
iii paintings/drawings/
Graphics/photography
Vii diverse arts
Ortega, Rebecca
navajo (diné)
212 pal-s
iii paintings/drawings/
Graphics/photography
Ortiz, Dominick
cochiti pueblo
746 lin-W
ii pottery
Ortiz, Evelyn
acoma pueblo
709 lin-W
ii pottery
Ortiz, Guadalupe
cochiti pueblo
746 lin-W
ii pottery
iV pueblo Wooden
carvings
Ortiz, Isaiah
san Felipe pueblo
648 plZ
i Jewelry
Ortiz, Kyle
cochiti pueblo
746 lin-W
ii pottery
Ortiz, Mary
cochiti pueblo
208 pal-n
ii pottery
Ortiz, Virgil
cochiti pueblo
746 lin-W
ii pottery
Osti, Jane
cherokee
527 sF-p
V sculpture
ii pottery
Othole, Gibbs
Zuni pueblo
203 pal-n
V sculpture
Owen, Angie
santo domingo pueblo
249 pal-s
i Jewelry
Owen, Dean
santo domingo pueblo
249 pal-s
i Jewelry
Owens, Mary
navajo (diné)
412 Wa-e
Vi textiles
Oyenque, Jill M.
Ohkay Owingeh pueblo
779 lin-e
Xi basketry
P
Pacheco, Rose A.
santo domingo pueblo
311 Fr-p
ii pottery
Padilla, Andrew
laguna pueblo/
santa clara pueblo
310 Fr-s
ii pottery
Padilla, Andy
santa clara pueblo
702 lin-e
ii pottery
Padilla, Marcia
santa clara pueblo
702 lin-e
ii pottery
Padilla, Patricia
santa clara pueblo
534 sF-e
ii pottery
Padilla, Terrence
santa clara pueblo
534 sF-e
ii pottery
Padilla, Tony
santa clara pueblo
534 sF-e
ii pottery
V sculpture
Pajarito, Cordell
santo domingo pueblo
629 plZ
i Jewelry
Pajarito, Florence
santo domingo pueblo
628 plZ
ii pottery
Pajarito, Joel
santo domingo pueblo
629 plZ
i Jewelry
Paloma, Gabriel
Zuni pueblo
636 plZ
ii pottery
Panana, Matthew
Jemez pueblo
770 lin-e
V sculpture
Panana, Rufina
Zia pueblo
718 lin-e
ii pottery
Panteah, Loren
Zuni pueblo
229 pal-s
i Jewelry
Panteah, Myron
navajo (diné)/
Zuni pueblo
213 pal-s
i Jewelry
Pappan, Chris
kaw nation
774 lin-W
iii paintings/drawings/
Graphics/photography
Paquin, Allen
Jicarilla apache/
Zuni pueblo
410 Wa-e
i Jewelry
Paquin, Gladys
laguna pueblo/
Zuni pueblo
310 Fr-s
ii pottery
Paquin, Isabel
isleta puebo
711 lin-W
i Jewelry
Paquin, Sherman P.
Zuni pueblo
711 lin-W
i Jewelry
Parrish, Rain
navajo (diné)
754 lin-W
i Jewelry
Paschall, Sallyann
cherokee
105 pOG
iii paintings/drawings/
Graphics/photography
Pate, Elena
choctaw
231 pal-n
Viii beadwork/Quillwork
Patricio, Robert
acoma pueblo
756 lin-e
ii pottery
Patterson, Earl
hopi
775 lin-W
iV pueblo Wooden
carvings
V sculpture
Peacock, Etta
navajo (diné)
202 pal-s
Vi textiles
Pecos, Carol
Jemez pueblo
266 pal-n
ii pottery
Poblano, Dylan
Zuni pueblo
604 plZ
i Jewelry
Poblano, Jovanna
Zuni pueblo
604 plZ
i Jewelry
V sculpture
Viii beadwork/
Quillwork
Poblano, Veronica
Zuni pueblo
604 plZ
i Jewelry
Polacca, Delmar
hopi/tewa
404 Wa-W
ii pottery
Polacca, Vernida
hopi
417 Wa-W
ii pottery
Polacca III, Starlie
havasupai/hopi
660 plZ
i Jewelry
Poolheco, Theresa
santo domingo pueblo/
laguna pueblo
749 lin-W
Vii diverse arts
Poolheco Sr., Frank
hopi
749 lin-W
Vii diverse arts
Pourier, Kevin
Oglala lakota
322 Fr-n
Vii diverse arts
i Jewelry
Pruitt, Christopher
laguna pueblo
314 Fr-s
i Jewelry
Pruitt, Pat
laguna pueblo
708 lin-p
i Jewelry
Q
Quam, Jayne
navajo (diné)
229 pal-s
V sculpture
Quam, Lynn
Zuni pueblo
229 pal-s
V sculpture
Quetawki, Alesia
Zuni pueblo
646 plZ
Viii beadwork/
Quillwork
Quigno, Jason
saginaw chippewa
778 lin-e
V sculpture
Quintana, Evelyn
Ohkay Owingeh pueblo
260 pal-s
Vi textiles
Quotskuyva, Gerry
hopi
234 pal-s
iii paintings/drawings/
Graphics/photography
iV pueblo Wooden
carvings
R
Rafael, Tonya June
navajo (diné)
217 pal-n
i Jewelry
Ramone, Dennis
navajo (diné)
707 lin-p
i Jewelry
Ramos, Tim
pomo
X moving images
Ray, Marilyn
acoma pueblo
741 lin-e
ii pottery
Real Rider, Austin
pawnee
211 pal-n
ii pottery
Reano, Angie P.
santo domingo pueblo
249 pal-n
i Jewelry
Reano, Arnold
santo domingo pueblo
311 Fr-s
i Jewelry
Reano, Charlotte J.
san Felipe pueblo
250 pal-s
i Jewelry
Reano, Daisy
santo domingo pueblo
252 pal-n
i Jewelry
Reano, Debra
santo domingo pueblo
311 Fr-s
i Jewelry
Reano, Denise
santo domingo pueblo
250 pal-s
i Jewelry
Reano, Frank
santo domingo pueblo
527 sF-W
i Jewelry
Reano, Harlan
santo domingo pueblo
228 pal-n
ii pottery
Reano, Janalee
Frances
san Felipe pueblo
527 sF-W
i Jewelry
Reano, Joe
santo domingo pueblo
703 lin-W
i Jewelry
Reano, Joe L.
santo domingo pueblo
249 pal-n
i Jewelry
Reano, Percy
santo domingo pueblo
250 pal-s
i Jewelry
Reano, Rose
santo domingo pueblo
248 pal-n
i Jewelry
Reano-Yepa, Dena
santo domingo pueblo
232 pal-n
i Jewelry
ii pottery
RedCorn, Jeri
caddo
201 pal-s
ii pottery
Reeves, Daniel
“Sunshine”
navajo (diné)
227 pal-n
i Jewelry
Reid, Ulysses
Zia pueblo
533 sF-W
ii pottery
Reyna, Sharon Dry
Flower
taos pueblo
270 pal
V sculpture
Reynolds-White
Hawk, Dyani
rosebud sioux
608 plZ-Fellowship
iii paintings/drawings/
Graphics/photography
Richards, Rueben
navajo (diné)
767 lin-e
iii paintings/drawings/
Graphics/photography
Rizal, Clarissa
tlingit
283 pal
iii paintings/drawings/
Graphics/photography
Vi textiles
Roanhorse, Mark
navajo (diné)
717 lin-e
i Jewelry
Roanhorse, Michael
navajo (diné)
717 lin-e
i Jewelry
Rodriguez, Andrew
laguna pueblo
904 cat
ii pottery
V sculpture
Rogers, Kay
navajo (diné)
710 lin-p
i Jewelry
Rogers, Michael
paiute
745 lin-W
i Jewelry
Roller, Jeff
santa clara pueblo
531 sF-e
ii pottery
V sculpture
2012 I NDI AN MARKET 149
“Bear Tracks” • Acrylic on canvas • 24” x 36”
KEVIN RED STAR
SAT. • AUGUST 18 • 4-7
25TH INDIAN MARKET SHOW
FOR THE LEGENDARY CROW ARTIST
143 LINCOLN @ MARCY
505.820.1234
windsorbetts.com
WINDSOR BETTS
KEVIN WILL BE PRESENTING A NEW BODY
OF WORK & SIGNING HIS BOOKS.
Proud to be Part of the Process
foralmost a decade,
bernardand melinda ewell
conGratulations
to swaia
bernard ewell
art aPPraisals
954-4113
150 2012 i ndi an market
Simplicio, Margia
Zuni Pueblo
240 PaL-n
Viii Beadwork/Quillwork
Simplicio, Noreen
Zuni Pueblo
240 PaL-n
ii Pottery
Singer, Jeremy
navajo (diné)
784 Lin-W
iii Paintings/drawings/
Graphics/Photography
Singer, Penny
navajo (diné)
739 Lin-W
Vi textiles
Viii Beadwork/
Quillwork
Singer, Ryan
navajo (diné)
317 Fr-n
ii Pottery
iii Paintings/drawings/
Graphics/Photography
Sioui-Durand, Yves
Huron-Wendat
X moving images
Skenandore, Olivia
Oglala Lakota
742 Lin-W
iii Paintings/drawings/
Graphics/Photography
Vii diverse arts
Slim, Darrell
navajo (diné)
779 Lin-e
i Jewelry
Slim, Marvin
navajo (diné)
720 Lin-e
i Jewelry
Slim, Michael
navajo (diné)
720 Lin-e
i Jewelry
Slim, Michelle
navajo (diné)
720 Lin-e
i Jewelry
Sloan, David-
Alexander
navajo (diné)
342 Fr-n
iii Paintings/drawings/
Graphics/Photography
i Jewelry
Small, Mary
Jemez Pueblo/
San Felipe Pueblo
318 Fr-n
ii Pottery
Smith, Elijah Naranjo
Santa Clara Pueblo
304 Fr-S
ii Pottery
Smith, Patrick
navajo (diné)
665 PLZ
i Jewelry
Smith, Ryan Lee
Cherokee
773 Lin-e
iii Paintings/drawings/
Graphics/Photography
Roller, Ryan
Santa Clara Pueblo
531 SF-e
ii Pottery
Roller, Toni
Santa Clara Pueblo
531 SF-e
ii Pottery
Romero, Cara
Chemehuevi
777 Lin-W
iii Paintings/drawings/
Graphics/Photography
Romero, Diego
Cochiti Pueblo
509 SF
ii Pottery
Romero, Edna
Santa Clara Pueblo
706 Lin-e
ii Pottery
Romero, Ken
Laguna Pueblo/
taos Pueblo
504 SF
i Jewelry
Romero, Leona
tohono O’odham
413 Wa-W
Xi Basketry
Romero, Mateo
Cochiti Pueblo
735 Lin-W
iii Paintings/drawings/
Graphics/Photography
Romero, Pauline
Jemez Pueblo
309 Fr-S
ii Pottery
Romero, Priscilla
Cochiti Pueblo
238 PaL-n
ii Pottery
Viii Beadwork/
Quillwork
Romero, Santiago
Cochiti Pueblo/
taos Pueblo
735 Lin-W
V Sculpture
Rosetta, Arnell
kewa Pueblo
302 Fr-P
i Jewelry
Rosetta, Eileen
Santo domingo Pueblo
526 SF-P
i Jewelry
Rosetta, Jeremy
Santo domingo Pueblo
526 SF-P
i Jewelry
Rosetta, Jessie
Santo domingo Pueblo
302 Fr-P
i Jewelry
Rosetta, Paul
kewa Pueblo
302 Fr-P
i Jewelry
Rosetta, Reyes
Santo domingo Pueblo
246 PaL-S
i Jewelry
Roybal, Gary
San ildefonso Pueblo
732 Lin-e
Vii diverse arts
Roybal, Timothy
San ildefonso Pueblo
732 Lin-e
iii Paintings/drawings/
Graphics/Photography
Ryan, Loa
tsimshian
739 Lin-e
Xi Basketry
S
Sahmie, Rachel
Hopi
221 PaL-S
ii Pottery
Sahmie, V. Jean
Hopi/tewa
329 Fr-S
ii Pottery
Salcido Comes
Charging, Frank
navajo (diné)
330 Fr-S
iii Paintings/drawings/
Graphics/Photography
Salvador, Maria
acoma Pueblo
258 PaL-S
ii Pottery
Samora, Maria
taos Pueblo
311 Fr-n
i Jewelry
Sanchez, Alex
navajo (diné)
235 PaL-n
i Jewelry
Sanchez, Corrine
San ildefonso Pueblo
662 PLZ
ii Pottery
Sanchez, Eugene
Santo domingo Pueblo
312 Fr-P
i Jewelry
Sanchez, Gerti Mapoo
isleta Pueblo
264 PaL-S
ii Pottery
Sanchez, Gilbert
San ildefonso Pueblo
700 Lin-W
ii Pottery
Sanchez, Kathleen
“Wan Povi”
San ildefonso Pueblo
662 PLZ
ii Pottery
Sanchez, Ramos
San ildefonso Pueblo
701 Lin-W
iii Paintings/drawings/
Graphics/Photography
Sanchez, Russell
San ildefonso Pueblo
701 Lin-W
ii Pottery
Sanchez-Reano,
Charlene
San Felipe Pueblo
527 SF-W
i Jewelry
Sanderson, Cody
navajo (diné)
674 PLZ
i Jewelry
Sando, Caroline
Jemez Pueblo
740 Lin-W
ii Pottery
Sandoval, Lester
navajo (diné)
326 Fr-S
i Jewelry
Sandoval, Ramoncita
Ohkay Owingeh Pueblo
117 POG
Vi textiles
Santiago, Lawrence
Coushatta
341 Fr-n
iii Paintings/drawings/
Graphics/Photography
V Sculpture
Sarracino, Anna
Zuni Pueblo
310 Fr-P
Viii Beadwork/
Quillwork
Saufkie, Griselda
Hopi
704 Lin-e
Xi Basketry
i Jewelry
Schrupp, Nelda
Oglala Lakota
222 PaL-S
i Jewelry
Vii diverse arts
Schultz, Marilou
navajo (diné)
732 Lin-W
Vi textiles
Schultz, Martha G.
navajo (diné)
732 Lin-W
Vi textiles
Secord, Theresa
Penobscot
112 POG
Xi Basketry
Seechoma, Edward
Hopi
675 PLZ
iV Pueblo Wooden
Carvings
Sehringer, Korinna
X moving images
Sekakuku, Gilbert
Hopi
245 PaL-S
iV Pueblo Wooden
Carvings
Vii diverse arts
Sequaptewa Sr.,
Raymond
Hopi
335 Fr-S
i Jewelry
Setalla, Dee
Hopi
614 PLZ
ii Pottery
Setalla, Gwen
Hopi
651 PLZ
ii Pottery
Sevier, Chessney
northern arapaho
236 PaL-S
iii Paintings/drawings/
Graphics/Photography
Sevier, Jackie
northern arapaho
715 Lin-W
iii Paintings/drawings/
Graphics/Photography
Seymour, Mary A.
acoma Pueblo
339 Fr-S
ii Pottery
Shabi, Geneva
navajo (diné)
635 PLZ
Vi textiles
Shakespeare, Lindsey
apache (mescalero)
779 Lin-W
iii Paintings/drawings/
Graphics/Photography
Vii diverse arts
Shannon, Louann
tohono O’odham
788 Lin-W
Xi Basketry
Shelton III, Peter
Hopi
119 POG
iii Paintings/drawings/
Graphics/Photography
iV Pueblo Wooden
Carvings
Shetima, Jeff
Zuni Pueblo
213 PaL-S
V Sculpture
Shields, Ethel
acoma Pueblo
522 SF-P
ii Pottery
Shields, Judy
acoma Pueblo
326 Fr-n
ii Pottery
Shirley, Lorenzo
Edward
navajo (diné)
775 Lin-W
i Jewelry
Shorty, Perry
navajo (diné)
210 PaL-S
i Jewelry
Sice, Howard
Laguna Pueblo/Hopi
331 Fr-S
i Jewelry
Sice, Troy
Zuni Pueblo
203 PaL-S
i Jewelry
V Sculpture
Silversmith, Mark
navajo (diné)
104 POG
iii Paintings/drawings/
Graphics/Photography
Smith, Timothy
“Coyote”
Hopi/Laguna Pueblo
305 Fr-P
ii Pottery
Vi textiles
Soohafyah, Eddison
Hopi
308 Fr-P
i Jewelry
Spry-Misquadace,
Wanesia
Ojibwa519 SF
i Jewelry
Vii diverse arts
(Stephen LaBoueff)
Black Bear
Blackfeet
228 PaL-S
ii Pottery
Stevens, Mark
Laguna Pueblo
760 Lin-e
i Jewelry
Stevens, Shannon
Laguna Pueblo
760 Lin-e
iii Paintings/drawings/
Graphics/Photography
i Jewelry
Stewart, Maya
Chickasaw/muscogee
(Creek)
757 Lin-W
Vii diverse arts
Suazo, Anita
Santa Clara Pueblo
529 SF-e
ii Pottery
Suazo, David
taos Pueblo
783 Lin-W
iii Paintings/drawings/
Graphics/Photography
Suazo, Marie
Santa Clara Pueblo
230 PaL-S
ii Pottery
Suazo-Naranjo,
Bernice
taos Pueblo
317 Fr-S
ii Pottery
Suina, Ada
Cochiti Pueblo
530 SF-W
ii Pottery
Suina, Dena
Cochiti Pueblo
531 SF-P
ii Pottery
Suina, Joseph E.
Cochiti Pueblo
531 SF-P
Vii diverse arts
Susunkewa, Manfred
Hopi
262 PaL-S
iV Pueblo Wooden
Carvings
Susunkewa, Norma
Hopi
262 PaL-S
Xi Basketry
Susunkewa, Sheryl
Hopi
262 PaL-S
iii Paintings/drawings/
Graphics/Photography
Swaney, Brooke
Blackfeet
X moving images
Swentzell, Roxanne
Santa Clara Pueblo
400 Wa-W
T
Tafoya, Forrest
Santa Clara Pueblo
263 PaL-S
ii Pottery
Tafoya, Francis
Santa Clara Pueblo
107 POG
Vii diverse arts
Tafoya, Harriet
Santa Clara Pueblo
314 Fr-n
ii Pottery
Vi textiles
Tafoya, Judy
Santa Clara Pueblo
661 PLZ
ii Pottery
Tafoya, Laura
Santa Clara Pueblo
314 Fr-P
ii Pottery
Tafoya, Lorenzo
Santo domingo Pueblo
741 Lin-W
i Jewelry
Tafoya, Lu Ann
Pojoaque Pueblo/
Santa Clara Pueblo
251 PaL-S
ii Pottery
Tafoya, Mary Louise
Santo domingo Pueblo
741 Lin-W
i Jewelry
Tafoya, Sarah
Santa Clara Pueblo
661 PLZ
ii Pottery
Tafoya, Starr
Santa Clara Pueblo
301 Fr-P
ii Pottery
Tafoya-Sanchez,
Linda
Santa Clara Pueblo
265 PaL-S
ii Pottery
Takala Sr., Jason
Hopi
412 Wa-W
i Jewelry
Talachy, Pearl
nambe Pueblo/tewa
676 PLZ
ii Pottery
Talahaftewa, Roy
Hopi
649 PLZ
i Jewelry
Tapia, Sue
Laguna Pueblo
255 PaL-S
ii Pottery
Tapia, Thomas
Ohkay Owingeh Pueblo
255 PaL-S
ii Pottery
Tapia, Thomas V.
tesuque Pueblo
122 POG
ii Pottery
iii Paintings/drawings/
Graphics/Photography
Tapia-Browning,
Michele
Pojoaque Pueblo/
Santa Clara Pueblo
251 PaL-S
ii Pottery iii Paintings/
drawings/Graphics/
Photography
iV Pueblo Wooden
Carvings
Taylor, Eli
Hopi
759 Lin-W
iV Pueblo Wooden
Carvings
Taylor, Lillie
navajo (diné)
206 PaL-S
Vi textiles
Taylor, Rosie
navajo (diné)
658 PLZ
Vi textiles
Taylor, Tsosie
navajo (diné)
524 SF-P
i Jewelry
Vii diverse arts
Teller, Stella
isleta Pueblo
312 Fr-n
ii Pottery
Teller Velardez, Robin
isleta Pueblo
312 Fr-n
ii Pottery
Teller-Pete, Lynda
navajo (diné)
780 Lin-W
Vi textiles
Tenakhongva, Clark
Hopi
657 PLZ
iV Pueblo Wooden
Carvings
Tenorio, Deanna
Santo domingo Pueblo
123 POG
i Jewelry
Tenorio, Doris
Santa Clara Pueblo
230 PaL-S
ii Pottery
Tenorio, George
kewa
628 PLZ
i Jewelry
Tenorio, Margaret Ann
Santo domingo Pueblo/
Cochiti Pueblo
309 Fr-n
i Jewelry
aLPHaBetiCaL artiSt LiSt
2012 I NDI AN MARKET 151
Indian Market Events
CLASSIC TO CONTEMPORARY, pueblo pottery by master artists from King Galleries of scottsdale.
Wednesday, august 15, visit with charles King, 2:00 pm – 4:30 pm
NATIVE MODERN, works in clay by diego romero, Glen nipshank and alan e. Lasiloo
thursday, august 16, reception 4 – 7 pm
419 Canyon Road, Santa Fe, NM 87501 | 505.982.2145 | www.robertnicholsgallery.com | gallery@robertnicholsgallery.com
ROBERT NICHOLS GALLERY
nati ve ameri can cerami c arts
tradition l craftsmanship l innovation
152 2012 i ndi an market
alphabetical artist list
Tenorio, Marilyn
navajo (diné)
319 Fr-s
i Jewelry
Tenorio, Matilda
santo domingo pueblo
308 Fr-s
i Jewelry
Tenorio, Robert
santo domingo pueblo
526 sF-W
ii pottery
Tenorio, Robert Lewis
santo domingo pueblo
656 plZ
i Jewelry
Tenorio, Roderick
santo domingo pueblo/
navajo (diné)
319 Fr-s
i Jewelry
Tenorio, Sidelio
santo domingo pueblo
308 Fr-s
i Jewelry
Tenorio, Thomas
santo domingo pueblo
726 lin-e
ii pottery
Tenorio, Veronica
santo domingo pueblo
411 Wa-W
i Jewelry
Tenoso, Donald
cheyenne river sioux
753 lin-W
Vii diverse arts
Tenoso, Paul
cheyenne river sioux
753 lin-W
Vii diverse arts
Tewa, Bobbie
Ohkay Owingeh pueblo/
hopi
532 sF-W
i Jewelry
Tewa, Dennis
hopi
672 plZ
iV pueblo Wooden
carvings
Thomas, Kathleen
Oneida
906 cat
Xi basketry
Tiger, Dana
muscogee (creek)/
seminole
409 Wa-W
iii paintings/drawings/
Graphics/photography
Tiger, Jon
creek
633 plZ
iii paintings/drawings/
Graphics/photography
Tippeconnie,
Lynnderra
navajo (diné)
406 Wa-e
Vi textiles
Todacheene, Alvin
navajo (diné)
417 Wa-W
i Jewelry
Velarde-Brewer, Carol
santa clara pueblo
707 lin-W
ii pottery
Vicenti, Jennie
Zuni pueblo
762 lin-e
i Jewelry
Victorino, Sandra
acoma pueblo
234 pal-n
ii pottery
Vigil, Charlotte
san ildefonso pueblo
730 lin-W
ii pottery
Vigil, Felix
apache (Jicarilla)
723 lin-e
iii paintings/drawings/
Graphics/photography
V sculpture
Vigil, James
Jemez pueblo
272 pal
V sculpture
Vigil, Lonnie
nambe pueblo
273 pal
ii pottery
Vigil, Vanessa
san ildefonso pueblo
730 lin-W
ii pottery
Vigil, Victor
Jemez pueblo
761 lin-e
V sculpture
Vigil, Virgil
tesuque pueblo/
navajo (diné)
128 pOG
iii paintings/drawings/
Graphics/photography
W
Wall, adrian
Jemez pueblo
612 plZ
V sculpture
Wall, Kathleen
Jemez pueblo
224 pal
ii pottery
V sculpture
Wall, Marcus
Jemez pueblo
612 plZ
V sculpture
Wall, Stephen
chippewa
724 lin-e
i Jewelry
V sculpture
Wallace, Dawn
aleut
241 pal-n
i Jewelry
Wallace, Liz
navajo (diné)
333 Fr-n
i Jewelry
X moving images
Toehe, Rosemary
navajo (diné)
705 lin-p
Vii diverse arts
Viii beadwork/Quillwork
Tohtsoni Prudencio,
Therese
picuris pueblo/
navajo (diné)
618 plZ
ii pottery
Vii diverse arts
Toledo, Ethel
navajo (diné)
701 lin-p
iii paintings/drawings/
Graphics/photography
Toledo, Helen
navajo (diné)
307 Fr-p
Vi textiles
Vii diverse arts
Viii beadwork/Quillwork
Toledo, Joe
Jemez pueblo
115 pOG
iii paintings/drawings/
Graphics/photography
Toledo, Yolanda
Jemez pueblo
712 lin-W
ii pottery
Toledo-Moore, Lena
navajo (diné)
730 lin-e
iii paintings/drawings/
Graphics/photography
Tom, Mary Lou
navajo (diné)
301 Fr-s
i Jewelry
Tomeo, James
colville/Yakima
727 lin-e
i Jewelry
V sculpture
Tonips, Gordon
comanche
719 lin-W
iii paintings/drawings/
Graphics/photography
V sculpture
Torres, Elvis
san ildefonso pueblo
710 lin-W
ii pottery
Tortalita, Vickie
santo domingo pueblo
603 plZ
i Jewelry
Vii diverse arts
Tosa, Phyllis
Jemez pueblo
514 sF
ii pottery
Toya, Camilla Mariam
Jemez pueblo
256 pal-n
ii pottery
Toya, Dominique
Jemez pueblo
256 pal-n
ii pottery
Toya, Judy
Jemez pueblo
714 lin-W
ii pottery
Toya, Marie
Jemez pueblo
714 lin-W
ii pottery
Toya, Mary Ellen
Jemez pueblo
714 lin-W
ii pottery
Toya, Mary Rose
Jemez pueblo
305 Fr-n
ii pottery
Toya, Maxine
Jemez pueblo
256 pal-n
ii pottery
Trujillo, Elizabeth
cochiti pueblo
719 lin-e
ii pottery
Viii beadwork/Quillwork
Trujillo, Geraldine
cochiti pueblo/
Ohkay Owingeh pueblo
255 pal-s
ii pottery
Trujillo, Joseph
cochiti pueblo
255 pal-s
ii pottery
Trujillo, Mary T.
Ohkay Owingeh pueblo/
cochiti pueblo
255 pal-s
ii pottery
Tsabetsaye, Edith
Zuni pueblo
251 pal-n
i Jewelry
Tsabetsaye Jr., Roger
Zuni pueblo
210 pal-n
i Jewelry
Tsabetsaye Sr., Roger
Zuni pueblo
210 pal-n
i Jewelry
Tsalabutie, Loren
Zuni pueblo
786 lin-W
V sculpture
Tsalate, Raymond
Zuni pueblo
203 pal-s
i Jewelry
V sculpture
Tse Pe, Dora
san ildefonso pueblo
605 plZ
ii pottery
Tse Pe, Irene V.
san ildefonso pueblo
605 plZ
ii pottery
Tsethlikai, Ray
Zuni pueblo
714 lin-p
V sculpture
Tsingine, Olin
navajo (diné)/hopi
671 plZ
i Jewelry
Tsinnie, Orville
navajo (diné)
667 plZ
i Jewelry
Tso, Geraldine
navajo (diné)
281 pal
iii paintings/drawings/
Graphics/photography
Tsosie, Darrick
Jemez pueblo
313 Fr-p
ii pottery
Tsosie, Emily
Jemez pueblo
313 Fr-p
ii pottery
Tsosie, J’shen
navajo (diné)
775 lin-e
Vi textiles
Viii beadwork/Quillwork
Tsosie, Jacinta A.
navajo (diné)
775 lin-e
Viii beadwork/Quillwork
Tsosie, Leonard
Jemez pueblo
313 Fr-p
ii pottery
Tsosie, Lyndon
navajo (diné)
620 plZ
i Jewelry
Tsosie, Nelson
navajo (diné)
789 lin-W
iii paintings/drawings/
Graphics/photography
V sculpture
Tsosie, Raymond
navajo (diné)
770 lin-W
i Jewelry
Vii diverse arts
Tsosie, Richard
navajo (diné)
300 Fr-n
i Jewelry
Tsosie-Sisneros,
Michelle
santa clara pueblo/
navajo (diné)
301 Fr-n
iii paintings/drawings/
Graphics/photography
Tully, Carey
navajo (diné)
X moving images
Tyler, Keeaero
navajo (diné)
901 cat
iii paintings/drawings/
Graphics/photography
Tyler, Keetahni
navajo (diné)
901 cat
iii paintings/drawings/
Graphics/photography
V
Van Fleet, Pauline
navajo (diné)
625 plZ
Viii beadwork/Quillwork
Velarde, Dina
Jicarilla apache
740 lin-e
iii paintings/drawings/
Graphics/photography
ii pottery
Walters, Daniel
navajo (diné)/pawnee
328 Fr-n
iii paintings/drawings/
Graphics/photography
Walters, Gertrude
Ann
navajo (diné)
328 Fr-n
iii paintings/drawings/
Graphics/photography
Walters Jr., Roy
navajo (diné)
745 lin-e
iii paintings/drawings/
Graphics/photography
V sculpture
Waquie, Marie L.
Jemez pueblo
533 sF-p
ii pottery
Washburn, Tim
navajo (diné)
754 lin-e
V sculpture
Waynee, Robin
saginaw chippewa
250 pal-n
i Jewelry
Weahkee, Daniel
Zuni pueblo/
navajo (diné)
503 sF
V sculpture
Weahkee, Danielle
navajo (diné)/
Zuni pueblo
503 sF
V sculpture
Weahkee, Manuel
Zuni pueblo
503 sF
V sculpture
Weahkee, Sharon
navajo (diné)
503 sF
i Jewelry
Wesaw, Jason
potawatomi
415 Wa-W
ii pottery
Westika, Gaylon
Zuni pueblo
303 Fr-p
ii pottery
Wheeler, Margaret
choctaw/chickasaw
285 pal
Vi textiles
White Dove, Shyatesa
acoma pueblo
907 cat
ii pottery
White-Country, Mary
sisseton-Wahpeton
201 pal-n
Vii diverse arts
Viii beadwork/Quillwork
Whitegeese, Daryl
pojoaque pueblo/
santa clara pueblo
251 pal-s
ii pottery
Whitman-Elk
Woman, Kathy
mandan/hidatsa
742 lin-e
i Jewelry
iii paintings/drawings/
Graphics/photography
V sculpture
Wilcox, Dwayne C.
Oglala sioux
526 sF-e
iii paintings/drawings/
Graphics/photography
Willard, Gianna
tlingit/haida
241 pal-s
Xi basketry
Williams, Antonio
(Toni)
arapaho, northern
242 pal-s
Vi textiles
Williams, Brandon
navajo (diné)
212 pal-n
iii paintings/drawings/
Graphics/photography
Williams, Kenneth
arapaho/seneca
237 pal-s
Viii beadwork/Quillwork
Williams, Lena
navajo (diné)
732 lin-W
Vi textiles
Willie, JT
navajo (diné)
344 Fr-s
Viii beadwork/Quillwork
i Jewelry
Vi textiles
Willie, Wesley
navajo (diné)
330 Fr-n
i Jewelry
Wong-Whitebear,
Laura
colville
516 sF
Xi basketry
Worcester II, Daniel
chickasaw
329 Fr-n
Vii diverse arts
Y
Yatsayte, Mike
Zuni pueblo
523 sF-p
V sculpture
Yawakia, Jimmy
Zuni pueblo
786 lin-W
V sculpture
Yazzie, Alice
navajo (diné)
239 pal-s
iii paintings/drawings/
Graphics/photography
Yazzie, Cody
navajo (diné)
781 lin-W
V sculpture
Yazzie, Gary
navajo (diné)
124 pOG
iii paintings/drawings/
Graphics/photography
Yazzie, Lance
navajo (diné)
781 lin-W
V sculpture
Yazzie, Larry
navajo (diné)
781 lin-W
V sculpture
Yazzie, Leo
navajo (diné)
791 lin-W
i Jewelry
Yazzie, Peterson
navajo (diné)
750 lin-e
iii paintings/drawings/
Graphics/photography
V sculpture
Yazzie, Raymond C.
navajo (diné)
210 pal-s
i Jewelry
Yazzie Ballenger,
Virginia
navajo (diné)
276 pal
Vi textiles
Yazzie Jr., Kee
navajo (diné)
402 Wa-W
i Jewelry
Yepa, Alvina
Jemez pueblo
647 plZ
ii pottery
Yepa, Elston
Jemez pueblo
232 pal-n
ii pottery
Yepa, Marcella
Jemez pueblo/
chickasaw
647 plZ
ii pottery
Young, Brian
navajo (diné)
X moving images
Youngblood, Nancy
santa clara pueblo
255 pal-n
ii pottery
Youngblood Cutler,
Christopher
santa clara pueblo
255 pal-n
ii pottery
Youngblood Lugo,
Sergio
santa clara pueblo
255 pal-n
ii pottery
Yungotsuna, Elmer
hopi/tewa
769 lin-W
iV pueblo Wooden
carvings
Yazzie Johnson
+
Gail Bird
A SPECIAL EXHIBITION
during Indian Market week featuring
Yazzie Johnson and Gail Bird’s acclaimed
contemporary jewelry
ARTIST RECEPTION:
Friday, August 17, 4–6 pm
Artists will be present
435 South Guadalupe Street, Santa Fe Tel: 505 982-8111 www.zanebennettgallery.com
Monday–Saturday 10–5, Sunday Noon–4 Railyard Arts District Walk last Friday of every month C O N T E MP O R A R Y A R T
ZANEBENNETT
SHIPROCK
SANTA FE
REPRESENTS
THE TOP NAMES
I N NATI VE
AMERICAN ART
MASTERWORKS OF
THE PAST AND PRESENT
ALICE CORIZ
KENNETH BEGAY
LEEKYA DEYUSE
DAN SIMPLICIO
CHARLES LOLOMA
MARK CHEE
JOHN GORDON LEAK
AUSTIN WILSON
JULIAN LOVATO
DENNIS EDAAKIE
LAMBERT HOMER
MORRIS ROBINSON
LEO POBLANO
We will have
special selections
by these artists
available through
Indian Market
Weekend and
ongoing
PERRY SHORTY
HEIDI BIGKNIFE
TERI GREEVES
JARED CHAVEZ
JESSE MONONGYE
SONWAI
NORBERT PESHLAKAI
CODY SANDERSON
REBECCA BEGAY
RICHARD CHAVEZ
RAY LOVATO
DENISE &
SAMUEL WALLACE
KERI ATAUMBI
53 Old Santa Fe Trail
Upstairs on the Plaza
505.982.8478
shiprocksantafe.com
Gateway to the 19 Pueblos of New Mexico
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Cultural Center & Museum:
Mon-Sun, 9am-5pm, Closed major holidays
Shumakolowa Gifts:
Mon-Sun, 9am-5pm, Closed major holidays
Shop Online: Shumakolowa.com
Pueblo Harvest Cafe:
Open Daily: Breakfast - Lunch - Dinner
Indian Pueblo Cultural Center
1-866-855-7902 | IndianPueblo.org
2401 12th Street Northwest
Albuquerque NM 87104
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Presents
Native Treasures Native Treasures
FINE ART SHOW
Joe E. Tanner
Cindy Tanner
Since 1872
joeandcindytanner@ymail.com
505.863.6723
480.991.2598 • monongye@cox.net
www.leotasindianart.com • 713.898.4315
Ancestor’s Song
carlartromero@hotmail.com
505.326.7427
toll free: 800.225.8340
helen@arroyotrading.com 505.225.4054
cowboysandindiansnm.com
AUGUST 17-19 • 1-6PM DAILY
EARLY OPENING: AUGUST 16TH 1-6PM
El Dorado Hotel Pavilion • 309 W. San Francisco St., Santa Fe, NM • 928.688.2777 • www.rbburnhamtrading.com
OVER 35 VENDORS
Russell Sanchez (San Ildefonso) and
Jill Giller of Native American Collections of Denver
Invite you to
BEST OF CLASS….fne Native American Art
Friday, August 17, 2012 • Noon to 5 PM
NAC will be exhibiting other fne works of art by many
of the top Pueblo potters.
RSVP and any questions:
Jill Giller: 303 321 1071
jillspots@aol.com
www.nativepots.com
Please join us at the pottery studio of
Russell Sanchez (5 Buu Pin Gae Po)
at San Ildefonso for a Pueblo Feast of
traditional foods, dancing, and fne art.
In attendance will be potters Rus-
sell Sanchez, Jennifer Moquino, Jody
Naranjo and Nancy Youngblood. Also
joining us with new works will be
contemporary San Ildefonso painter,
Jarrod Da.
Come preview throughout the day the
collaborative pot that SWAIA will auc-
tion at their Saturday night gala. Silent
bids will be accepted.
Russell’s studio is located at the San Ildefonso
Pueblo – just 25 Miles north of Santa Fe.North
on US 285 and then West on NM502 (the
turn of for Los Alamos) Turn Right at the
frst sign saying SAN ILDEFONSO PUEBLO
His studio is directly in front of the famous
cottonwood tree in the middle of the Plaza
Wearable Art from Award-winning Silversmiths
Tom Taylor CusTom C r e a t i n g a n u n f o r g e t t a b l e m y s t i q u e
www.TomTaylorBuckles.com
108 East San Francisco Street Santa Fe, New Mexico 505.984.2232
TT.07.12 SWAIA Ad_2012.indd 1 6/30/12 7:14:29 PM
505.986.1234 www.andreasherpottery.com
5 Matriarchs
4 Generations
3 Days Only
2 Much Fun
1 Fantastic Show
August 17-19, 2012

Andrea
Fisher
Fine Pottery
Andrea Fisher Fine Pottery 100 West San Francisco Street, Santa Fe, NM 87501
From Matriarch to Modern
211 Old Santa Fe Trail, Santa Fe, NM 87501
Tel: 505-820-7413 • Fax: 505-820-7414 • www.kivaindianart.com • info@kivaindianart.com
LITTLE BIRD AT LORETTO
Specializing in Contemporary Western, Native American Paintings, Sculpture, pottery, and Glass
Receptions, Demonstrations & Live Music
Join us for events and artist receptions, for more information go to www.kivaindianart.com
Thursday, August 16, 3pm-6pm
Tufa casting and jewelry making demonstration by Ray Tracey and Michael Horse
Friday through Sunday, August 17-19, Events until 7pm
Artists in attendance: Denny Wainscott, Mary Hunt, David Copher, Roark Griffin, Spencer Nutima,
John Bennett, Marie Barbera, Sharon Butler, and Connie Sanchez.
ANNUAL I NDI AN MARKET SHOW
mi cha e l hors e r ay t r a ce y
Specializing in High grade Turquoise and coral
Lone Mountain, Bisbee Blue, Morenci,
Blue Gem, Candaleria, # 8, Lander Blue,
Nevada Blue, Indian Mountain,
Red Mountain, Carico Lake, Apache Blue
Phoenix, Arizona
602-821-7894
OlinTsingine@me.com
Olintsingine.com
Booth #671 PLZ
Hopi-Navajo Silversmith
Olin Tsingine
324 LOMAS NW ALB., NM 800.771.3781 • 505.243.3781 •SUNWESTSILVER.COM
Come & see us in
Santa Fe
August 16 - 19, 2012
Eldorado Hotel & Spa
Anasazi Grand Ballroom
309 W. San Francisco
Santa Fe, New Mexico
CO. InC.
Made in America.
Jennifer Curtis
Sunshine Reeves
Arnold Blackgoat
Vincent Platero
Daryll Cadman
SUNWEST_IMGUIDE12.indd 1 7/6/2012 9:23:45 AM
Featuring designs by Tasha Polizzi, Vintage Collection Design, Rios of Mercedes Boots, Kippys, Coreen Cordova, and many more.
80 East San Francisco Street, Santa Fe NM 87501 505. 995. 8484
mavericksofsantafe@gmail.com
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On the Plaza

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