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2011 NATIVE TREASURES
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2011 NATIVE TREASURES
COVER PHOTO Kitty Leaken Roxanne Swentzell, shot on March 25, 2011 at Tower Gallery COVER DESIGN Deborah Villa EDITOR AND PUBLISHER Robin Martin ASSOCIATE PUBLISHER Ginny Sohn MANAGING EDITOR Rob Dean EDITORIAL Magazine editor Inez Russell 986-3093, email@example.com Magazine art director Deborah Villa 986-3027, firstname.lastname@example.org Copy editor Kristie Jones Director of photography Clyde Mueller ADVERTISING Marketing and design department manager David Del Mauro Advertising layout Christine Huffman DESIGNERS Elspeth Hilbert, Scott Fowler, Dale Deforest, Bill Jacobi, Enrique Figueredo RETAIL ADVERTISING SALES Michael Brendel, 995-3825 Gary Brouse, 995-3861 Cristina Iverson, 995-3830 Alex J. Martinez, 995-3841 Jan Montoya, 995-3838 Vincent Torres, 995-3835 Art Trujillo, 995-3820 Rick Wiegers, 995-3840 ONLINE SALES MANAGER Jim Keyes, 995-3819 Belinda Hoschar, 995-3844 RAIL RUNNER XPRESS ADVERTISING SALES/ COMMERCIAL PRINT SALES Rob Newlin, 505-670-1315 SYSTEMS Technology director Michael Campbell PRODUCTION Operations director Al Waldron Assistant production director Tim Cramer Prepress manager Dan Gomez Press manager Larry Quintana Packaging manager Brian Schultz COMMERCIAL PRINT SALES email@example.com WEB Web editor Henry M. Lopez www.santafenewmexican.com ADDRESS Office: 202 E. Marcy St. Hours: 8 a.m.-5 p.m. Monday-Friday Advertising information: 505-986-3082 Delivery: 505-984-0363, 800-873-3372 For copies, call 428-7645, or email firstname.lastname@example.org
P U B L I S H E D MAY 25, 2011
NATIVE TREASURES KICKS OFF SUMMER SEASON.
08 ROXANNE SWENTZELL’S PATH TO ARTISTRY 14 WHERE TO FIND EVERYTHING AT THE FESTIVAL 16 SAVE OUR TREASURES CAMPAIGN TAKES OFF. 18 COLLECTORS’ SALE RETURNS IN THE FALL. 20 EMERGING ARTISTS TAKE THEIR TURN IN SPOTLIGHT. 24 MEET THE ARTISTS
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Black Eagle (Shoshone Yokut) of California speaks with Don Young about his Iron Spirit mask at last year’s Native Treasures Indian Arts Festival at the Santa Fe Community Convention Center.
BY KAY LOCKRIDGE
The old is new again as Native Treasures Indian Arts Festival kicks off its seventh year and Santa Fe’s summer arts season at the Santa Fe Community Convention Center.
For one thing, the invitational show is back to its usual Memorial Day Weekend schedule after a scheduling conflict pushed it back last year. Best of all, organizers say that Native Treasures is booked at the convention center for Memorial Day for the next five years. “As always, we have invited a very strong group of artists, from established masters to the brightest
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emerging artists, all of whom are producing museumquality work,” said Jane Buchsbaum, artists chair. “Many of their pieces are in the permanent collection of MIAC. Native Treasures showcases excellent art, and it’s important to note that visitors will have an opportunity to purchase beautiful things in every price range.” While the show always has benefited the Museum of Indian Arts and Culture (MIAC), there’s a new twist this year as Native Treasures jump-starts a special fundraising campaign, Save Our Treasures. Construction on the new Center for New Mexico Archaeology (CNMA) is almost complete, and $2 million is needed to move and store more than 10 million artifacts that comprise New Mexico’s cultural patrimony over the past 11,500 years.
FESTIVAL KICKS OFF SUMMER ARTS SEASON, BENEFITS MUSEUM
Helping with the fund-raising effort, more than 200 artists from more than 40 tribes and pueblos will showcase and sell their pottery, jewelry, paintings, sculptures, katsinas, textiles and glass pieces during the two-day show — all of it museum-quality work. Highlights during the show will include weaving demonstrations by Toadlena Trading Post, an eclectic mix of live Native and non-Native music, and food catered by the Cowgirl BBQ will be available. Plus, there will be a Native Treasures Shop to which artists have donated particular pieces for sale, with all the benefits for the museum. (Otherwise, artists receive 75 percent of their sales, while MIAC collects 25 percent of the proceeds. There are no booth fees, and minimal registration fees are returned to the artists at the end of the show.) Among the innovations at this year’s show will be a book booth featuring at least 50 books highlighting Indian arts and crafts, as well as New Mexico’s extensive history, drawn from the gift and book stores at the Museum of Indian Arts and Culture and the Palace of the Governors. Additionally, the book booth will offer appropriate small-gift items, such as greeting cards and CDs by Indian musicians. “Native Treasures is an opportunity for the (Museum of New Mexico) Foundation to support both the show and MIAC,” said John Stafford, director of retail operations for the Foundation Shops. “It’s also positive in financial terms for all the museums in Santa Fe, because the proceeds will be divided among them, as is the case with sales in all the museum shops.” The book booth will be in the hallway at the entrance to the show itself. “This will facilitate the opportunity for visitors to peruse the books and other items on the way into the show and make their purchases on their way out,” said Ardith Eicher, Native Treasures co-chair. As a way to “keep things fresh,” Eicher said, the Benefit Pre-Sale Gala will feature a variety of activities. For instance, a special sale of a piece donated by featured artist Roxanne Swentzell is scheduled during the evening. Each artist also is invited to bring two selected pieces for sale as visitors enjoy Champagne, wine, soda, hors d’oeuvres and live music. In another innovation, tickets for the Friday night Gala will be available through the Lensic Performing Arts Center. The $100-per-person tickets can be obtained by calling the Lensic (988-1234), visiting on-line at www. ticketssantafe.com or stopping by the lobby (211 W. San Francisco St.). Tickets for the Native Treasures show are available at the door. As usual, the Living Treasure Award will be presented at the Gala, this year to award-winning Santa Clara Pueblo sculptor Swentzell. Visitors to the convention center can see her work, including a huge clay relief on the wall, in the lobby. There will be a special exhibit of Swentzell’s work at the museum. The Gala itself will move from the lobby of the convention center and past the ballroom, where the show will be set up for the weekend, to rooms at the end of and on either side of the hallway. Guests may visit with artists and purchase their work, as well as enjoy refreshments, in both rooms. “This will enable visitors and artists to experience a more intimate and direct connection during the evening,” museum Director Shelby Tisdale said. In an entirely new effort to establish such a connection between MIAC and the Native Treasures show, Tisdale has planned a breakfast with Swentzell for today (Wednesday, May 25). Attendees are encouraged to visit MIAC after breakfast at the Museum Hill Café.
The seventh annual Native Treasures Indian Arts Festival, an invitational art show and sale featuring museumquality art by more than 200 artists and sponsored by the Museum of Indian Arts and Culture, will be held at the Santa Fe Community Convention Center during Memorial Day weekend. (The Community Convention Center is at the corner of Grant and Marcy streets, 201 W. Marcy, in downtown Santa Fe.) The weekend begins at 5:30 p.m. Friday with the Benefit Pre-Sale Gala. Tickets are $100 per person and include hors d’oeuvres, wine and an Early Bird ticket for Saturday morning, as well as the opportunity to buy selected artwork from each artist. Gala tickets can be purchased through the Lensic Performing Arts Center by calling 988-1234, visiting www. ticketssantafe.org, or stopping by the box office (211 W. San Francisco St.). Tickets also will be available that night at the door. The Early Bird Market opens at 9 a.m. Saturday and costs $15, which includes the entire day. Those who attended the Benefit Pre-Sale Gala will have their Early Bird tickets. The show opens to the public at 10 a.m. and continues until 4 p.m., with tickets on sale at the entrance for $10. Sunday, the show runs from 10 a.m.-4 p.m. and is free. For more information about the twoday sale, call 476-1250 or visit www.nativetreasuressantafe.org.
2011 NATIVE TREASURES
‘PEOPLE ALWAYS ASK ME HOW OLD I WAS WHEN I DECIDED TO BECOME AN ARTIST. BUT THERE WAS NO DECISION TO BECOME AN ARTIST. MAKING CLAY WAS THE WAY I SPOKE.’
Roxanne Swentzell will be honored on Friday (May 27) during the Benefit Pre-Sale Gala at the Santa Fe Community Convention Center. Tickets are $100 and can be purchased by calling 988-1234 or visiting www. ticketssantafe.org, or stopping by the Lensic Performing Arts Center box office, 211 W. San Francisco St.
STORY BY POLLY SUMMAR
PHOTOS BY KITTY LEAKEN
For Santa Clara artist Roxanne Swentzell, neither English nor Tewa was her first language: It was clay.
Because of a severe speech impediment, Swentzell said, “I really couldn’t speak as a child.” But where words weren’t available, clay was everywhere. Swentzell grew up among famed Santa Clara Pueblo potters such as her mother, Rina Naranjo Swentzell, and her aunt, Nora Naranjo-Morse, just two of the many artists in the extended Naranjo clan. Instead, Swentzell would communicate through clay figures. “When I started first grade, it was really difficult, but how do you tell your mom that? So I made a little figure with her head down on the desk, crying.” Today, that ability to communicate emotion so empathetically has made Swentzell an internationally renowned artist, famous for her life-size figures sometimes depicting a single emotion, such as trust or joy, and other times, the struggles of living in community. Her work is in permanent installations at the Smithsonian’s National Museum of the American Indian, the Heard Museum in Phoenix, Cartier in Paris and
2011 NATIVE TREASURES
SPEAKING WITH CLAY
2011 NATIVE TREASURES 9
Family, in the lobby of the Santa Fe Community Convention Center the Museum of Wellington in New Zealand. It has also been featured at the White House in Washington, D.C. This year’s recipient of the Native Treasures Living Treasure Award, Swentzell was surprised at receiving the award so early in her life — she won’t turn 50 until next year. “I feel tickled I would be thought of as a treasure,” said Swentzell recently, sitting in her Tower Gallery in Pojoaque, wearing work pants, a worn shirt and fleece vest, her hair pulled back in a loose braid. This year’s seventh annual Native Treasures Indian Arts Festival will be the first time Swentzell will show her work at the event, taking place Memorial Day weekend at the Santa Fe Community Convention Center. But her sculpture, Family, a 14-by-14-foot ceramic relief mandala — with a baby at its center surrounded and caressed by the hands and bodies of multigenerational family members — has held a prominent place at the convention center since its installation in 2009. The Native Treasures Living Treasure Award acknowledges both the body of work by an artist and the participation of that artist in the community at large. “Not only does she create fabulous, thoughtful works, but she also gives back to her community,” said Jane Buchsbaum, artist chairman of the festival. “Roxanne protects heirloom seeds,
builds houses and runs a nonprofit organization devoted to sustainable living methods.” Swentzell’s selection also emphasizes Native Treasures’ commitment to preserving heritage. In previous years, all proceeds from the festival have gone toward supporting exhibits and outreach at the Museum of Indian Arts and Culture. Artists also donate a portion of their sales to the museum. This year the show also will help support a new project called, Save Our Treasures, to preserve Native art in the collections of the museum and the Department of Archaeology in New Mexico. “People always ask me how old I was when I decided to become an artist,” Swentzell said. “But there was no decision to become an artist. Making clay was the way I spoke.” Those early days of struggling with speech were very much on Swentzell’s mind, as she had just seen The King’s Speech, the Oscar-winning film in which a dedicated speech therapist worked with the soon-to-be King George VI and his stammer. “I went to a speech therapist all through elementary school,” Swentzell said. “By high school, it was still hard. By the end of high school, my speech was getting clearer. I remember them recording me. I was so angry with them. They played it back to me and I thought it was a joke. I couldn’t understand the
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Swentzell with Bathing Beauty, a ceramic sculpture, 16” x 9”x 11” person on the tape.” As an artist, Swentzell has continued speaking through her clay figures. “It’s a human language that crosses all races and ethnicities,” she said. “I learned my own language in this process.” She said she learned to simplify what she wanted to communicate about to one feeling. The nudity of her figures was something that also started when she was young. “As a child, it was pure communication,” she said. “You’re just trying to get basic messages across.” But sculpting nude figures has continued in her work. “I’m trying to just talk, not make a design outfit.” Swentzell credited her high school art teacher, Phil Karshis, with challenging her to become a better artist. Karshis was on her mind because he paid a visit to her gallery as she was being interviewed. Karshis now does photography for Swentzell and works as the art training coordinator for the Poeh Cultural Center and Museum “When I was a scared young teenager, he had a wonderful way of making you feel you are special,” she said. “He did that for many people. And he made me step up to the plate.” For his part, Karshis said, “From the first day in class, I knew I couldn’t teach her anything. I could teach her how to use this particular clay or this tool or something about the kiln.” Even
so, Swentzell said she started making larger figures in Karshis’ class in response to a challenge to see what she could do with clay. “He’d say, ‘OK, make that and don’t let it crack.’” He would also say, ‘What are you doing?’ an open-ranged question which could mean, ‘Why are you needing to make this piece? What is it about for you?’” With other teachers, she was not as fortunate. “In school, they’d say, ‘What are you making? Why are you making those things?’ It wasn’t a pretty picture or ‘Indian art.’ At times I was hurt and confused. I would think, ‘This is what I make.’” Sometimes teachers would say she couldn’t make her figures because they weren’t Indian art. “I said, ‘This is Indian art if I’m an Indian.’” Swentzell starts each figure by coiling the clay for the torso and smoothing it using her fingers and her favorite knife. “I’m on my third knife from Safeway,” she said. After the torso is formed, Swentzell cuts holes in it for the figure’s arms and legs. Then she begins coiling clay ropes outward from those holes for the arms and legs. It takes from two to four days until she reaches the feet and hands. Then she’s ready to make the face. She uses her hands and fingers to form the eye sockets and facial planes, and her Safeway knife to do the finishing work. The entire hollow,
2011 NATIVE TREASURES
coiled sculpture sits for a couple of weeks until it’s very dry. Then it goes into the kiln where it’s fired until it’s brick-hard. The firing takes an entire day, and then the figure has to cool overnight. Sometimes the figure is too large for the kiln and it has to be cut into sections, then attached with epoxy when the firing stage is completed. Swentzell then uses Bondo, something often used in automobile repair, to fill in the cracks. The Bondo can then be sanded so that there are no
“IF I COULD, I’D WRAP ALL ARTISTS IN A PROTECTIVE SHELL. I WOULD TELL THEM: ‘J UST KEEP EXPRESSING YOU HAVE TO.
IF YOU LET THEM TELL YOU WHAT TO DO, YOU’RE GOING TO DIE INSIDE. SO DON’T LET THEM KILL YOU.’”
Swentzell’s figures at Tower Gallery.
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seams in the sculpture. Just as Swentzell figured out the best way to make her large sculptures, she also likes to look around and figure out what isn’t working and why, and if there’s something she can do to fix it. That’s how her interest in sustainability evolved. “I’ve always been caught up with nature and family,” she said. “We had turkeys and chickens, and they were my best friends.” Swentzell found that using a bicycle-powered mill to grind corn and grain was simple compared to driving a backhoe and using a chainsaw, which she also does. In 1987 she helped found a nonprofit organization called the Flowering Tree Permaculture Institute, which works in areas from seed-saving to alternative building techniques and water catchment. Swentzell also helped with starting seed banks with Santa Clara Pueblo, Pojoaque Pueblo and Tesuque Pueblo. “When I started looking for the traditional crops, they were hard to find,” she said. “I have a studio at home and gardens scattered here and there and just built a solar and geothermal house in Española,” said Swentzell, who had recently taken off a month to work on the house. She usually works on her art in the evening from 6 to 10 or 11 p.m. “Because it’s quiet,” she said. “During the day I have the grandchildren, gardens and houses to build.” Her adobe Tower Studio sits by the Poeh Museum on Pojoaque Pueblo land. The tower sat empty for a decade, until Swentzell and her family worked to turn it into a refined space with pine floors and beautifully plastered walls. In looking at her own family’s next generation of artists, she mentions her daughter, Rose Simpson. “Rose is really taking off,” Swentzell said. “She grew up doing this thing with me. She ‘speaks clay’ too. I taught her my language.” Sometimes, Swentzell said, she tells her daughter, “We can sit around and argue or we can make a piece of us talking to each other.” The two did a joint piece three years ago for the Mothers & Daughters: Stories in Clay show at the Heard Museum in Phoenix. “She was blaming me … and I was trying to explain, ‘I love you even if you hate me right now.’ Generations of Pueblo women are dealing with the same issue.” As for her future plans, Swentzell said, “Nothing’s set in stone.” But she definitely knows she hasn’t made art about all the emotions she feels. “No,” she said, “because I’m still alive and I’m still experiencing. I’m a spectator of my own art, watching it unfold.” If she had a particular goal, she said she would say, “It’s when I feel like what I wanted to say came through the piece really well — when the shoe fits. As I evolve as a person, it’s still a challenge: Can I speak through these pieces? I’m dealing with issues that are more subtle, beyond race, sex, into ‘Who are we? Who am I?’” For Swentzell, the driving force is simple. “I want to be in that space where the shoe fits, always.” As she thought about advice she might want to give the next generation of artists, Swentzell said the hardest part was that “you’re putting a piece of yourself out there to be viewed and that’s a really frightening thing. If I could, I’d wrap all artists in a protective shell. I would tell them: ‘Just keep expressing — you have to. If you let them tell you what to do, you’re going to die inside. So don’t let them kill you.’”
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INSIDE NATIVE TREASURES
May 28-29, 2011
139 140 141 142 GRANT STREET WEST 143 144
Living Treasures Award Winner
Santa Fe Community Convention Center 4.3
145 146 147 148 149
10 9 8
11 12 13 14 15
30 29 28 27 26
31 32 33 34 35
50 49 48 47 46
51 52 53 54 55 Cashier 56 57 58 59 60
70 69 68 67 66
71 72 73 74 75
90 89 88 87 86
91 92 93 94 95
110 109 108 107 106
111 112 113 114 115 152 153 116 117 118 119 120
SOUTH 135 5 134 4 3 2 1
16 17 18 19 20 25 24 23 22 21 36 37 38 39 40 45 44 43 42 41
65 64 63 62 61 76 77 78 79 80 85 84 83 82 81 96 97 98 99 100 105 104 103 102 101
at Pruitt aranjo, P , Jody N nderson Cody Sa
131 To Parking Elevators # 2 & #3 & Marcy Street
Door to AV Room
New Mexican & New York Times
NT Merchandise Booth
David an d
Wayne N e z Ga
To Court Yard: Food & Entertainment
2011 NATIVE TREASURES
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Larry Humetewa, assistant conservator at the Museum of Indian Arts and Culture, examines a collection of Tularosa black-on-white pots. The artifacts will be transported to a new home at the Center for New Mexico Archaeology once a $2 million fundraising campaign is completed.
Campaign seeks to preserve cultural heritage
STORY BY KAY LOCKRIDGE PHOTOS BY LUIS SÁNCHEZ SATURNO
that’s where the seventh annual Native Treasures Indian Arts Festival on Memorial Day weekend will come in. Proceeds from the show always have gone to support MIAC exhibits and educational programs. This year, Native Treasures will kick off the new campaign, Save Our Treasures. “The goal of the campaign is to raise the money necessary to move these important historical collections into one safe environment where they can be preserved and forever available to historians and New Mexicans alike,” Tisdale said. The Center for New Mexico Archaeology sits on approximately 25 acres provided by the Bureau of Land Management on Caja del Rio Road near the Santa Fe Humane Society and Animal Shelter, as well as the city/ county sports complex. While the center is the initial occupant of the land parcel, it is anticipated that the campus some day will include collections curation, research and services facilities for the State Department of Cultural Affairs’ museum divisions in Santa Fe. Besides the Indian arts and culture museum, the division
New Mexico has a rich cultural heritage spanning more than 11,500 years and a treasure trove of 10 million historical artifacts, many of which are stored in numerous basements and storerooms around Santa Fe.
“Not only do these storage ‘solutions’ put the pieces at risk in non-climate-controlled environments (where) they also have been victim to fire and flood, but they make the collection inaccessible to scholars and Native Americans who want to study their own cultural history,” said Shelby Tisdale, director of the Museum of Indian Arts and Culture. To remedy this, a 33,300-square-foot building — the Center for New Mexico Archaeology — southwest of Santa Fe, off State Highway 599, is being built. Still, upward of $2 million must be raised to both move and store the antiquities, and
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Miniature pots from 500 to 1400 A.D. (above); right, Humetewa looks more closely at one of the miniature pots in advance of the move. Pots that are particularly fragile, or cracked, will be packed with extra precautions to prevent further damage.
Blanket fragments from Northern Mexico, circa 1000 A.D.; Anasazi sandals from Four Corners from 300 to 700 A.D.; and a Tularosa black-on-white pot are all part of New Mexico’s cultural patrimony the Save Our Treasures Campaign is seeking to preserve.
includes the Laboratory of Anthropology, the New Mexico History Museum/Palace of the Governors, the New Mexico Museum of Art, the Museum of International Folk Art, the Office of Archaeological Studies and the Museum Resources Division focusing on conservation and exhibitions for all the museums. The overall cost of the archaeology center is $11 million, with the state providing almost $6 million and another $3 million from the federal government, including a matching grant from the National Park Service in partnership with the National Endowment for the Arts, the National Endowment for the Humanities, the Institute of Museum and Library Services and the President’s Committee on the Arts and the Humanities. MIAC was the only museum in New Mexico to receive a grant from this consortium. The remaining $2 million must come from private fund-raising, Tisdale
said, adding that Native Treasures is expected to provide a powerful send-off for the Save Our Treasures campaign. The Indian arts and culture museum and the anthropology laboratory are the official repository for archaeological objects collected from state lands, according to state statute — underscoring the need for the new center. In addition, the museum and lab are one of only a few qualifying repositories in the country for archaeological materials from federal and tribal lands. More than 10 million archaeological artifacts, of which more than 5 million are tribally or federally owned, are held in trust by the museum for the citizens of both New Mexico and the nation. “This makes us the Smithsonian of the West, according to Smithsonian officials in Washington,” Tisdale said. “It’s quite an honor for the museum and for New Mexico.”
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COLLECTORS’ SALE RETURNS FOR A SECOND TIME AROUND
BY KAY LOCKRIDGE
After last fall’s initial successful event, treasure hunters once more will have the opportunity to buy Indian art and jewelry from noted collectors selling pieces from their collections. The Museum of Indian Arts and Culture uses these proceeds and those from the Native Treasures show and sale to fund exhibits and educational programming.
“This was a wonderful event last year,” said Native Treasures Co-Chair Karen Freeman. “Collectors were able to make room for new art by selling the pieces that no longer fit DETAILS into their collections, and the community was able to Save the date: Sunday, snap up real finds. And, all Sept. 18, marks the second of it benefited a real cultural annual Collectors’ Sale resource in the community, sponsored by the Museum MIAC.” of Indian Arts and Culture The museum has and hosted by Native contacted its collectors and Treasures Indian Arts donors, requesting selected Festival. The sale will run pieces from their collections. “This way, we are sure of from 9 a.m.-4 p.m. the authenticity and quality For information of the artwork,” said Coconcerning the Chair Ardith Eicher. “Native submission of Indian art Treasures is an invitational for the sale, contact show, which guarantees museum-quality work, Jane Buchsbaum at and we know our museum 505-982-3133 or aficionados collect only the email@example.com. best-of-the-best Indian art.” As before, it will be a small, select sale at the Laboratory of Anthropology in the Meem Auditorium on Museum Hill. Admission is free, as is nearby parking. Special brunch and lunch menus will be available during the day at the Museum Hill Café. Reservations are not necessary. The sale will feature a wide variety of Indian art, including jewelry, pottery, katsinas, baskets, painting, sculpture, beadwork, textiles and small pieces of furniture. Items will range from historic pieces to contemporary, all by accomplished artists. “Come find a wonderful treasure, and help support the museum at the same time,” Eicher said.
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For more than 35 years, American Indian Art Magazine has been the premier magazine devoted exclusively to the great variety of American Indian art. This beautifully illustrated quarterly features articles by leading experts, the latest information about current auction results, publications, legal issues, museum and gallery exhibitions and events. American Indian Art Magazine, continuing to bring you the best in American Indian Art.
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2011 Native treasures
EMERGING ARTIST EMPHASIS GIVES NEW TALENT A SHOWCASE
BY KAY LOCKRIDGE
It doesn’t matter at what age an artist begins to share her art with the public — think Grandma Moses.
The Native Treasures Indian Arts Festival provides the opportunity for emerging artists of any age to share their work with the world. “Last year was the first time we had an official ‘Emerging Artists’ section,” said Ardith Eicher, Native Treasures co-chair. “We like that term because it doesn’t imply a certain age range — such as ‘Youth Artists’ — it just (says) these are artists who are just getting started. “In this way, (the show) can accomplish two goals: 1) give new artists the opportunity to introduce their work to a larger community, and 2) give collectors access to new artists and their artwork. It’s a win-win proposition for all concerned … including the show’s sponsor, the Museum of Indian Arts and Culture.” Two such emerging artists are jeweler Mary Irene of the Muscogee Creek Nation and Dawning Pollen Shorty, a Taos Pueblo potter. Irene is in her early 20s, while Shorty is in her late 30s. Irene was discovered at the Pojoaque Pueblo’s Poeh Arts Center, where she had taken a jewelry-making class. Because Native Treasures is designed to feature museum-quality art, Irene and other emerging artists must meet that standard. Each artist designated as an emerging artist receives that distinction only once, so there will be a different group each year. “Once an artist is so designated, they may be invited back to the show as a regular artist in later years,” Eicher added. “All show participants go into an overall pool and are evaluated each year. Invitations then are based on the same criteria that all of the artists must maintain: quality of work, diversity of art forms and tribal representation and demand by collectors.” Irene said she began creating jewelry less than two years ago when she took the Poeh class with her mother, Linda Irene. The elder Irene is a social worker for the Indian Health Service in Santa Fe, and both mother and daughter thought the class would be fun. Once she began making jewelry, Mary Irene said she was “hooked” and decided to pursue it. Irene said her work is “very contemporary, very sculptural
Dawning Pollen Shorty
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and contextual; it has a different feel,” much like the jewelry created by the Gaussoin brothers, David and Wayne Nez. “I take two or more pieces of metal and sculpt them until they fit together,” Irene said. “Then, I add natural stones, such as turquoise and fossil coral.” She also may add small details in 14k and 18k gold. Each piece is handcrafted. Irene is a graduate of Santa Fe High School and has attended the Santa Fe Community College, majoring in fashion design. She said she took the past year off to concentrate on creating jewelry but plans to return to the community college in the fall, at which time she will “merge jewelry and fashion design, my two loves.” Shorty took a different route to Native Treasures. While she began creating individualistic pottery when she was a child, her interests as she grew up focused on archaeology and science. At the same time, she could not ignore the artistic and musical influences that abound in her home. Her mother, Bernadette Track, had been a ballet dancer, studying at Julliard in New York City. Track also modeled for the late R.C. Gorman, created pottery and taught the art to others, including her daughter. Shorty’s maternal great-grandmother, Tonita Suazo, and her grandmother, Jeri Track, also were master pottery makers. Other artistic members of Pollen’s mother’s family include uncles, Jim and John, and great-uncle Ralph Suazo. Of her father, sculptor Robert Shorty, Pollen said he is “the true artist’s artist” and a major inspiration for her work. “I’m like my Dad, except I create in clay, while he works in wood and bronze. He critiques my work and inspires me to create more,” she said.
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‘ I TEACH STUDENTS HOW TO MAKE THEIR OWN CLAY, AS I DO, AND TRY TO INSTILL A RELATIONSHIP WITH THE CLAY. IT’S SO IMPORTANT, THE WHOLE EXPERIENCE OF BEING IN NATURE, LIVING UNDER THE SKY AND WORKING WITH THE EARTH. EVERYTHING STARTS WITH THE CLAY.’
DAWNING POLLEN SHORTY
Shorty’s paternal grandfather, Dooley Shorty, was a master jeweler and Code Talker during World War II. Other members of the Shorty family are educators and marine biologists, “so I come by my interests in science and art naturally,” Shorty said. Her micaceous clay figures include masks and figures, what she calls Models based on people in her life. Shorty said she will be unveiling new work at Native Treasures, tentatively called, Rugs in the Wind. Pollen attended the Institute of American Indian Art, where she studied drawing, and The University of New Mexico, where she studied photography, and now teaches art at the university’s Taos campus. She plans to return to the university in Albuquerque this fall and will study Spanish. In the meantime, Pollen also works with students in the Taos Public Schools. “I teach students how to make their own clay, as I do, and try to instill a relationship with the clay. It’s so important, the whole experience of being in nature, living under the sky and working with the earth. Everything starts with the clay,” Pollen said. When asked whether she considers herself an educator or artist, Pollen suggested she is both at the same time. She also considers herself a cultural ambassador on behalf of Native Americans as she demonstrates her work both in the United States and abroad, noting that she spent almost two years traveling overseas to pursue her love of art history. One of her favorite jobs was serving as a Taos Pueblo “life” guide during which she shared her history in growing up at the pueblo. “Visitors did not learn the pueblo’s official history from me,” she said. “I shared my stories, my memories. They seemed to enjoy that perspective.” Pollen noted that she still is an active member of Taos Pueblo and participates in religious and dance ceremonies. “It keeps me grounded,” she said. “I tend to get lost in my work.”
2011 NATIVE TREASURES
2011 NATIVE TREASURES
Ed Archie NoiseCat
A R T I S T S F O R NATIVE TREASURES 2011
LuAnne Aragon Laguna Booth 121 Lawrence Atencio Ohkay Owingeh Booth 29 Romaine Begay Diné Booth 131 Helen Bird* Kewa Booth 129 Caroline Carpio Isleta Booth 126 Larry Chino Acoma Booth 4 Preston & Debra Duwyenie Hopi/Santa Clara Booth 79 Max Early* Laguna Booth 47 Glendora Fragua Jemez Booth 104 Jason Garcia* Santa Clara Booth 97 Sharon Naranjo Garcia Santa Clara Booth 29 Goldenrod* Pojoaque Booth 97 Cavan Gonzales San Ildefonso Booth 77 Lisa Holt & Harlan Reano Cochiti/Kewa Booth 69 Lorraine Lewis* Laguna/Taos/Hopi Booth 103 Fran Loretto* Jemez Booth 36 Jeralyn Lujan-Lucero* Taos Booth 115 Elizabeth Manygoats Diné Booth 38 Samuel Manymules Diné Booth 53 Geri & Kevin Naranjo Santa Clara Booth 24 Jody Naranjo Santa Clara Booth 59 Joseph Naranjo Santa Clara Booth 87 Janice Ortiz Cochiti Booth 69 Pahponee Kickapoo/Potawatomi Booth 155 Robert Patricio Acoma Booth 22 Marilyn Ray Acoma Booth 81 Monica Romero Santa Clara Booth 24 Rachel Sahmie Hopi Booth 27 Judy & Sarah Tafoya Santa Clara Booth 42 LuAnn Tafoya Pojoaque/Santa Clara Booth 101 Robert Tenorio Kewa Booth 63 Camilla Toya Jemez Booth 65 Dominique Toya Jemez Booth 65 Maxine Toya Jemez Booth 65 LaDonna Victoriano Acoma Booth 113 Lonnie Vigil Nambe Booth 57 Daryl Whitegeese Pojoaque/Santa Clara Booth 101 Eddie Begay Diné Booth 28 Larry Begay* Diné Booth 14 Leroy Begay Diné Booth 102 Ernest & Veronica Benally Diné Booth 68 Fernando Benally* Diné Booth 118 Heidi BigKnife Shawnee Booth 116 Dwayne Bird* Kewa Booth 129 Mike Bird-Romero* Ohkay Owingeh/Taos Booth 60 Aaron Brokeshoulder Choctaw/Shawnee Booth 71 Althea Cajero Kewa/Acoma Booth 135 Fritz Casuse Diné Booth 143 Jared & Richard Chavez* San Felipe Booth 54 Frank & Evelyn Chee Diné Booth 21 Marian Denipah Diné/Tewa Booth 70 Terrence & Dorothy Emery Ojibway/Jemez Booth 76 Venus Etsitty Diné Booth 68 Jacqueline Gala Taos Booth 50 Michael NaNaPing Garcia Pascua/Yaqui Booth 80 Ray Garcia San Felipe Booth 121 Phil Loretto* Jemez/Cochiti Booth 86 Anthony Lovato Kewa Booth 96 Benson Manygoats Diné Booth 23 Michael Martinez Tewa/San Ildefonso Booth 5
Wayne Nez Gaussoin Diné/Picuris Booth 41
Jennifer Medina Connie Tsosie Gaussoin Kewa Diné/Picuris Booth 26 Booth 41 Wanesia Misquadace David Gaussoin Fond du Lac Diné/Picuris Booth 143 Booth 41 Ehren & Edward Natay Diné/Kewa Booth 46
NatashaPeshlakaiHaley Diné Booth 52 Patrick Haley* Diné Booth 52 Ivan Howard* Diné Booth 48 Mary Irene* Muscogee Creek Nation Booth 19 Al Joe Diné Booth 17 Kenna Yaqui/Tarasca/Huichol Booth 83 Steve LaRance Hopi/Assiniboine Booth 70 Gerald Lomaventema* Hopi Booth 12 Glenda Loretto Jemez Booth 104
Betty Padilla Diné Booth 88 Joel & Cordell Pajarito Kewa Booth 96 Brad Panteah Zuni/Diné Booth 35 Aaron Peshlakai Diné Booth 52 Norbert & Linda Peshlakai Diné Booth 52 Veronica Poblano* Zuni Booth 37 Pat & Chris Pruitt Laguna Booth 62 Tonya June Rafael Diné Booth 3 Michael Roanhorse Diné Booth 75
Andrew Redhorse Alvarez Colville/Apache Booth 43 Allen Aragon Diné Booth 18 Keri Ataumbi Kiowa Booth 58 Fidel Bahe Diné Booth 114
Dawning Pollen Shorty* Abraham Begay Diné Taos Booth 78 Booth 34 Darryl & Rebecca Begay Anita Suazo Joseph & Nona Latoma Diné Santa Clara San Felipe Booth 73 Booth 117 Booth 84 24 2011 NATIVE TREASURES
Ken Romero Laguna/Taos Booth 45 Nick Rosetta Kewa Booth 90 Maria Samora Taos Booth 64 Alex Sanchez Diné Booth 1 Cody Sanderson Diné Booth 66 David-Alexander Hubbard Sloan Diné Booth 99 Mark Stevens Laguna Booth 120 Mary Tom Diné Booth 111 Olin Tsingine Hopi/Diné Booth 39 Liz Wallace Diné Booth 7 Matthew White* Diné Booth 142 Wilbert Yazzie Diné Booth 114
Alvin John Diné Booth 137 Vincent Kaydahzinne Mescalero Apache Booth 149 Carol Lujan Diné Booth 124 Ed Archie NoiseCat Salish Booth 132-133 William Rogers* Diné Booth 72 Wayne Snowbird Shields* Santa Clara Booth 36 Mark Swazo-Hinds* Tesuque Booth 11 Roxanne Swentzell* Santa Clara 2011 MIAC Living Treasure Award Booth 144 Kathleen Wall Jemez Booth 147 Kathy Whitman— ElkWoman Mandan/Hidatsa/Arikara Booth 15
Ronald Chee Diné Booth 25 Dolores Purdy Corcoran Caddo Booth 154 Mary Duwyenie* Hopi Booth 79
Sharon Naranjo Garcia Wanesia Misquadace
Michelle Tsosie Sisneros Santa Clara Booth 127 Peterson Yazzie Diné Booth 134 Yellowman Diné Booth 20
Wayne Snowbird Shields
David Pino* Diné Booth 122 (gourd art) Therese TohtsoniPrudencio Picuris/Diné Booth 153 (woodwork, furniture, pottery)
Carol Naranjo Laguna Booth 33 Everett Pikyavit Southern Paiute Booth 89 Loa Ryan* Tsimshian/Tlingit Booth 98
Anthony Chee Emerson* Diné Booth 85 Joseph Begay Diné Aaron Freeland Booth 82 Diné Booth 30 Delbridge Honanie Hopi Benjamin Harjo, Jr. Booth 74 Absentee Shawnee/ Seminole Wayland Namingha* Booth 140 Hopi Booth 110 D.G. House* Diné Spencer Nutima Booth 125 Hopi Patrick Dean Hubbell* Booth 100 Diné Lynn & Jayne Quam* Booth 106 Zuni/Diné Booth 49 Melvin John Diné Elmer Yungotsuna Booth 105 Tewa/Hopi Tulane & Myleka John* Booth 44 Diné Booth 137
Orlando Dugi Diné Booth 67 Craig Kelly Diné Booth 112 Kenneth Williams Arapaho/Seneca Booth 67
EMERGING/ STUDENT ARTISTS POEH CENTER
Rachele Agoyo Cochiti/Kewa Booth 108 (jewelry) Carl Archuleta* Inuit Booth 108 (jewelry) Katt Arquero* Ohkay Owingeh/Cochiti Booth 94 (pottery) Isaiah Bailon* Kewa Booth 95 (jewelry)
Walter BigBee Comanche Iverson & Cora Lee Booth 146 (photography) Bailon* Kewa Black Eagle Booth 95 (jewelry) Shoshone/Yokut Booth 150 (warrior art) Debra Box Southern Ute Booth 40 (rawhide containers, beadwork) Center for New Mexico Archaeology Booth 8 Sean Benally* Diné Booth 107 (jewelry)
Sheridan MacKnight Chippewa/Lakota Booth 148 Stan Natchez Tataviam/Shoshone Booth 128 Ben Nelson Diné Booth 20 Sallyann Paschall Cherokee Booth 123 Amado Pena* Pascua/Yaqui Booth 151 Mateo Romero Cochiti Booth 2
Marla Allison Laguna Booth 130 Thomas Begay Diné Booth 31-32 Nocona Burgess Comanche Booth 145 Avis Charley* Dakota/Diné Booth 136
Rena Begay* Diné Booth 102 Dorothy Grant Haida Booth 55 Mona & Charlene Laughing* Diné Booth 56 Jhane Myers-NoiseCat Comanche/Blackfeet Booth 132-133 Penny Singer Diné Booth 6 Toadlena Trading Post Diné Booth 138-139
Brandon Cata* Ohkay Owingeh Booth 92 (jewelry) Samuel Catanach* Pojoaque Booth 92 (jewelry)
Fred Begay* Diné Booth 11 Joe Cajero Jemez Booth 135 Upton Ethelbah, Jr., Santa Clara/White Mountain Apache Booth 152 Oreland Joe Ute Booth 142
Charlene HolyBear* Standing Rock Sioux Jason & Marion Booth 61 (dolls, beadwork) Lovato* Kewa Brenda Lampman* Booth 109 (jewelry) Red Cliff Chippewa Booth 141 (leatherwork) Ira Lujan* Taos Booth 112 (glass) Wanda Morrison* Muscogee Creek Booth 93 (jewelry)
Walter Torres* Robert Spooner Marcus Acoma Booth 91 (sculpture) Ohkay Owingeh Booth 51 (glass) * = New to Native Native Treasures Shop Treasures in 2011 (multiple artists) Booth 9-10 2011 NATIVE TREASURES 25
2011 NATIVE TREASURES
Is proud to honor our 2011 MIAC Living Treasure Award winner
Santa Clara sculptor
Roxanne joins a wonderful group of past honorees:
2010 Lonnie Vigil Nambe
2009 Upton Ethelbah, Jr. Santa Clara/White Mountain Apache
2008 Connie Tsosie Gaussoin Picuris/ Diné (Navajo)
2007 Mike Bird-Romero Ohkay Owingeh/Taos
2006 Robert Tenorio Kewa (Santo Domingo)
Thank you to all of our wonderful artists who generously donate a portion of their sales to the Museum of Indian Arts and Culture.
2/12/07 7:31:40 AM