OCTOBER/NOVEMBER 2023 Native American Art

Citation preview

INSIDE: Museum Guide

Weavings & Textiles

Killers of the Flower Moon

Patrick Dean Hubbell

OCTOBER/NOVEMBER 2023

SANTA FE 130 LINCOLN AVE, STE D SANTA FE, NM . 480.440.3912 SCOTTSDALE 7077 EAST MAIN STREET SCOTTSDALE, AZ . 480.481.0187

DANIEL BEGAY (SANTA CLARA/DINÉ) 11” H

CELEBRATING 27 YEARS

EXPERIENCE EXCEPTIONAL ART IN CLAY

SUSAN FOLWELL (SANTA CLARA) “IT’S GOOD TO BE HOME” 16” H

Gerald Nailor (1917-1952) Toh Yah Diné of the Navajo Nation 13-1/4” x 9-1/4” image

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Letter from the Publishers

OCTOBER/NOVEMBER 2023 (BIMONTHLY)

Historic to Contemporary Welcome to the October/November issue of Native American Art magazine! As we usher in fall, we are presenting a very rich issue with special features that we can’t wait to introduce to you. This issue includes our annual museum guide, which will include the significant history that Native American art represents. We are excited to offer this robust guide for collectors and lovers of art history. Executive The staff of Native American Art magazine at the Santa Fe editor Michael Clawson writes about the importance of Indian Market in August 2023. museums in his editor’s letter on the next page. In addition, we bring you our annual Textiles & Weavings section. This category includes blankets, rugs, shawls, robes and other intricate textiles—some truly beautiful and popular works. This 26-page section starts by highlighting the new Martin Scorsese movie coming out this month, Killers of the Flower Moon. The movie stars Leonardo DiCaprio and Lily Gladstone and is set in 1920s Oklahoma. Julie O’Keefe (Osage) was one of the key researchers for the film and was brought on to make sure the items seen on the screen are authentic to the Osage Nation. She ensured that every aspect—from the Indian trading blankets and the wedding belts to the feathered hats and dinnerware—was true to the people, the places and the time period. Turn to Page 38 to learn more about this exciting project. Please be sure to also check out our Santa Fe Indian Market afterglow report. The 101st market was incredible, and SWAIA should be proud of its accomplishments as the organizer of the event. Our entire team bought items from the market—we couldn’t help ourselves with more than 1,000 artists on hand. It was overwhelming with the choices of beautiful jewelry, paintings, pottery so much more. Read our event report and see the award winners in our coverage, which starts on Page 116. Our advice: sneak off somewhere quiet and immerse yourself in this issue! It is a treat!

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PRODUCTION

0OUIFDPWFS Eugene Tapahe (Navajo (Diné)), Dignity and Grace, 2021, La Push Beach, WA, photograph, from the series, Art Heals: The Jingle Dress Project. Available at Modern West Fine Art, Salt Lake City, UT.

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SIGNATURE ANNUAL LIVE SALE November 10 – 11, 2023

PABLITA VELARDE [TSE TSAN] (Santa Clara, 1918–2006) Race in the Forest casein watercolor on paper, 14 x 19 in. Estimate: $4,000 - $8,000

ACCEPTING FINE CONSIGNMENTS Nov. 10 – 11 Feb. 8 – 9 Mar. 13 – 14 May 9 – 10 July 24 – 25 Aug. 9 – 10

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Consignments of individual items to large single owner collections invited year round. Contact us for your courtesy evaluation.

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Letter from the editor

Provoking Discussions The art market is a fascinating place that often begins with artists and galleries and ends with museums. Of course, that’s a vast oversimplification of how art moves through a market, changing owners as it goes, but it’s fair to say that many important Installation view of Painted: Our Bodies, Hearts, and works do eventually end up at Village, now open at the Colby College Museum of Art museums. In many cases, this is in Waterville, Maine. Photo by Stephen Davis Phillips. a great development for a piece of art because it means that the work will be protected and preserved, and it will also occasionally be displayed within the galleries of a museum. And it’s there where new visitors can view at it, learn about it and it can offer important context to larger stories about people, places and cultures. But museums are also supposed to challenge us. They are supposed to push us into new areas and provoke a response. Museums should not just be viewing galleries, but also places where visitors can learn, grow and expand their understanding of the world and its people. Museums have long done this, but there is a new element worth discussing as it relates to Native American art, and that is the element of inclusivity. American museums have long held Native American works in their collections, but in recent years there has been a renewed push to not only have those works, but also involve Indigenous people in their presentation. This involves Native American curators, researchers, label writers, artists, designers and many others. These voices add important context to the artwork that was often missing in other exhibitions. It’s been happening at large museums and Native American museums for many years, but now these practices are coming to smaller museums, regional museums and even museums that aren’t specifically devoted to Native American artwork. Consider Painted: Our Bodies, Hearts, and Village, now open at Colby College Museum of Art in Waterville, Maine (see Page 84). The museum is presenting a collection of material from the Southwest that will include paintings by Joseph Henry Sharp, Walter Ufer, E. Martin Hennings, Thomas Moran, Victor Higgins and others. These are artists, all of them white men, who painted Native American subjects almost exclusively. What the museum is doing is bringing in Native American artists, scholars, curators, community experts and others to contribute to the exhibition and add meaningful perspective and context. Their contributions are artwork, labels on the wall, lost bits of history or, in the case of Virgil Ortiz, the entire look of the exhibition. Expect to see more of these exhibitions in the coming years. And expect to see them covered in the pages of this magazine.

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OCTOBER/NOVEMBER 2023 BIMONTHLY

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OFFERS

ON VIEW OCT 20, 2023–APR 14, 2024 Major support for Kay WalkingStick / Hudson River School is provided by the Lily Auchincloss Foundation. Exhibitions at New-York Historical are made possible by Dr. Agnes Hsu-Tang and Oscar Tang, the Saunders Trust for American History, the Evelyn & Seymour Neuman Fund, the New York City Department of Cultural Affairs in partnership with the City Council, and the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature. WNET is the media sponsor.

Image: Kay WalkingStick (Cherokee, b.1935), Niagara (detail), 2022. Oil on panel in two parts. New-York Historical Society, Purchased through the generosity of Agnes Hsu-Tang and Oscar Tang; Nancy Newcomb; Anonymous; Barry Barnett; Helen Appel; Belinda and Charles Bralver; Dorothy Tapper Goldman; Margi and Andrew Hofer; Louise Mirrer; Jennifer and John Monsky; Suzanne Peck and Brian Friedman; Pam and Scott Schafler; Barbara and Elliott Wagner; and Linda Ferber, 2023.2ab

NYHISTORY.ORG

1 8 T H A N N UAL

CHEROKEE ART MARKET OC TO B ER 1 4 – 1 5, 2023

“Ancestral Duplication: Battle for our Language” Troy Jackson

HARD ROCK HOTEL AND CASINO TULSA SEQUOYAH CONVENTION CENTER Experience authentic Native art at one of the largest Native American art shows in Oklahoma. New work by accomplished Native artists from across the country will be on display. Discover and enjoy their exquisite work and add to your collection with beautiful jewelry, pottery, sculptures, paintings, textiles and much more.

cherokeeartmarket.com

PRE-COLUMBIAN & ETHNOGRAPHIC ART October 12 | Online

WESTERN & CONTEMPORARY NATIVE AMERICAN ART November 1-2 Live + Online | Denver

NATIVE AMERICAN & SOUTHWESTERN JEWELRY November 21 | Online

Inviting Consignments for 2024 Auctions

Danica Farnand | 513.666.4935 [email protected] HINDMANAUCTIONS.COM

Fritz Scholder (Luiseño, 1937-2005) Dancers at San Ildefonso Estimate: $100,000 - 150,000 Offered in Western & Contemporary Native American Art, November 1

EUGENE TAPAHE ART HEALS: THE JINGLE DRESS PROJECT 2&72%(5ȷ129(0%(5

Eugene Tapahe Remember Our Sisters MMIW, Bonneville Salt Flat, UT, 2020

Eiteljorg Contemporary Art Fellowship 2023 / Nov. 11, 2023–Feb. 25, 2024 / Community Celebration / Friday, Nov. 10

Celebrating, supporting and amplifying the voices of groundbreaking

Native contemporary artists. Ruth Cuthand (Plains Cree/Scottish/ Irish, b. 1954) Anxiety, 2022 Glass beads, thread, backing Museum Purchase from the Eiteljorg Contemporary Art Fellowship

Introducing The 2023 Eiteljorg Fellows

INVITED ARTIST

Ruth Cuthand

Sean Chandler

Raven Halfmoon

Natalie Ball

Mercedes Dorame

(Plains Cree) Saskatoon, Saskatchewan, Canada

(Aaniiih [Gros Ventre]) Harlem, Montana

(Caddo Nation / Choctaw / Delaware) Norman, Oklahoma

(Klamath Tribes [Klamath/Modoc]) Chiloquin, Oregon

(Gabrielino Tongva) Burbank, California

ContemporaryArtFellowship.Eiteljorg.org PRESENTED BY:

SPONSORED BY:

David Jacobs Ann W. King Fund, a fund of the Indianapolis Foundation; The Arthur Jordan Foundation; Anonymous

Indianapolis, IN

FEATURES / SPECIAL SECTIONS

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WEAVINGS & TEXTILES 38 BACK IN TIME: KILLERS OF THE FLOWER MOON By Michael Clawson

44 PATRICK DEAN HUBBELL: ON THE FRINGES By Gina Teichert

50 OBJECTS OF HEALING By John O’Hern

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MUSEUMS 2023/2024

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84

94

STORYTELLING

THE OTHER SIDE

COAST TO COAST

By John O’Hern

Maine’s Colby College Museum of Art brings in Native American voices to add context to non-Native artwork.

A sweeping exhibition of Canadian Indigenous art makes its international debut at the Heard Museum.

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COMPARE & CONTRAST

INTERFERENCE PATTERNS

A New York exhibition featuring Kay WalkingStick examines her work through the lens of the Hudson River School. By Chadd Scott

SITE Santa Fe hosts a powerful solo exhibition of Nicholas Galanin’s highly conceptional, contemporary works.

74 ROAD (MAP) WARRIOR Jaune Quick-to-See Smith brings her fascinating Memory Map exhibition from New York to Texas. By Sandra Hale Schulman

80 FUTURE SPACE In an exhibition at the Nevada Museum of Art, Cannupa Hanska Luger puts a futuristic spin on “cargo cults.” By Erin E. Rand

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92 MEANINGFUL REPRESENTATION The National Gallery of Art offers a survey of contemporary Native art. By Erin E. Rand

98 IMPLODE/EXPLODE The Bates College Museum of Art will feature 13 artists in a genre-bending exhibition in Maine.

IN THIS ISSUE

OCTOBER/NOVEMBER 2023

116

56 A WOVEN HISTORY

58 WEAVING BETWEEN THE LINES

60 ON THE LOOM A buyer’s guide of Native American weavings and textiles with advice from the experts.

Gallery Previews

Varied Work

Previews of upcoming shows of historic and contemporary Native American art at galleries across the country.

Works by prominent Native American painters and sculptors will be offered at Hindman’s Denver sale.

Art Heals

108

Modern West Fine Art presents works by Eugene Tapahe.

Dynamic Voices

110

Joseph and Sergio Lugo show together for the first time.

Etched in History

Notable Artifacts

122

124

Navajo weavings and Acoma pottery are expected to garner attention during Heritage Auction’s fall sale. Also in this issue:

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Pottery by Joseph Lonewolf is showcased at King Galleries.

20 CALENDAR 24 NEWS 26 ON THE MARKET

Events/Fairs Previews and reports of all the major art fairs and events taking place around the nation.

Immersive and Inclusive

114

Cherokee Art Market draws 150 Native American artists to Hard Rock Hotel & Casino Tulsa.

Back to the Basics

99 MUSEUM GUIDE 2023/2024

www.NativeAmericanArts.com

116

After the centennial celebration and rain, Santa Fe Indian Market returns in sunshine for its 101st year.

Auctions Major works coming up for sale at the most important auction houses dealing in Native American art, and results of recent auctions.

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Through June 2, 2024

Artist once known (Diné), women’s shoulder blanket, ca 1860–1890, handspun wool, vegetal dye, indigo dye, aniline dye, sinew, plant matter. Gift of Mrs. Philip B. Stewart, Museum of Indian Arts and Culture/Laboratory of Anthropology 9100/12. Rapheal Begay, Spider Rock (Tseyi—Canyon de Chelly, Chinle, AZ) (detail), 2021, digital photograph.

Horizons is made possible by Lead Sponsors France A. Córdova and Christian J. Foster, with additional support provided by the Terra Foundation for American Art; Tom and Mary James, founders of the James Museum of Western and Wildlife Art; Shiprock Santa Fe; and New Mexico Department of Cultural Affairs.

Λ̭Ά͠ʲ̥̭Ǯ΃Ά̳͋‫׎׌׊׌ةב‬

͖͔͠ΣΎ̊Σ͔ ̭̳̳͖͋͋Ύ˟͖Λ˟̤̊‫͖̊ة‬μ͔̊ρ̳˼͠ ̳͖Λ̊Ά͖˟Λ̳͖͠˟̤͇͋͋͠˟ΆΛ٦͠Ά̥‫׊׊׌׋ٌאב׎ف׏׊׏ـئ‬ St. Lawrence Island Yupik ancestor artist, SanightaaqࢎƃơɭơȟȶȥǫŔȍɽơŔȍnjʠʋɢŔɭȇŔ࢏ࢎƎơʋŔǫȍ࢏࡫ơŔɭȍˊࠋࠉʋǠƃơȥʋʠɭˊ࡫¡ʠɽơʠȟȶlj zȥʋơɭȥŔʋǫȶȥŔȍbȶȍȇɭʋ࡫njǫljʋȶlj•ȍȶˊƎFࡲ-ȶʋɽơȥ࡫¥ơʠʋɭȶnjơȥŔ-ȶɭɢࡲ࡫ࡲࠊࠒࠒࠎࡲࠒࠌࡲࠒࠑࠏࡲ áǠȶʋȶŹˊƎƎǫɽȶȥ7ȶʋˊࡲ GhhúunayúkataǫɽȟŔƎơɢȶɽɽǫŹȍơ ʋǠɭȶʠnjǠljʠȥƎǫȥnjljɭȶȟʋǠơþơɭɭŔࢱbȶʠȥƎŔʋǫȶȥljȶɭȟơɭǫƃŔȥɭʋࡲzʋǫɽŔȍɽȶɽʠɢɢȶɭʋơƎǫȥɢŔɭʋŹˊʋǠơ¥ŔʋǫȶȥŔȍFȥƎȶˁȟơȥʋljȶɭʋǠơɭʋɽ࡫ʋǠơ zȥʋơɭȥŔʋǫȶȥŔȍbȶȍȇࢱɭʋbȶʠȥƎŔʋǫȶȥ࡫þǠơ-zèzbȶʠȥƎŔʋǫȶȥ࡫ŔȥƎʋǠơ¡ʠɽơʠȟȶlj¥ơˁࢱ¡ơˉǫƃȶbȶʠȥƎŔʋǫȶȥࢫɽFˉǠǫŹǫʋǫȶȥ7ơʽơȍȶɢȟơȥʋbʠȥƎࡲ

ETHNOGRAPHIC ART:

AMERICAN INDIAN, PRE-COLUMBIAN AND TRIBAL Signature ® Auction | November 9

A Late Classic Navajo Serape c. 1875 Published in Walk in Beauty, plate 47 Estimate:  $20,000 – $30,000

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Calendar

Oct/Nov ONGOING PHOENIX, AZ Early Days: Indigenous Art from the McMichael

ONGOING TAOS, NM Art of Timeless Beauty, the Navajo Child’s Blanket

Heard Museum (602) 252-8840 www.heard.org

Taos Art Museum (575) 758-2690 www.taosartmuseum.org

1. Jaune Quick-to-See Smith (Confederated Salish and Kootenai Nation), War is Heck, 2002, collage of lithograph and photolithograph, 58/ x 57/”. Whitney Museum of American Art, New York; gift of Dorothee Peiper-Riegraf and Hinrich Peiper 2006.287. Printed by Catherine Chauvin, with Matt Ebert. Published by P.R.I.N.T. Press, Denton, Texas. © Jaune Quick-to-See Smith. Photo courtesy Whitney Museum of American Art, New York.

ONGOING WASHINGTON, D.C. The Land Carries Our Ancestors: Contemporary Art by Native Americans National Gallery of Art (202) 289-3360 www.nga.gov

2. Tony Abeyta (Navajo), Citadel, 2021, oil on linen, 40 x 60”. The Lunder Collection, 2021.246.

ONGOING SANTA FE, NM Horizons: Weaving Between the Lines with Diné Textiles Museum of Indian Arts & Culture (505) 476-1269 www.indianartsandculture.org

OCTOBER 15-JANUARY 21, 2024 FORT WORTH, TX

ONGOING DENVER, CO Northwest Coast and Alaska Native Art Galleries

Jaune Quick-to-See Smith: Memory Map

Denver Art Museum (720) 865-5000

Modern Art Museum of Fort Worth (817) 738-9215 www.themodern.org OCTOBER 6-FEBRUARY 5 SANTA FE, NM Nicholas Galanin: Interference Patterns SITE Santa Fe (505) 989-1199 sitesantafe.org

SANTA FE, NM Always in Relation: Artworks from the Schultz Collection Wheelwright Museum of the American Indian (505) 982-4636 www.wheelwright.org

THROUGH OCTOBER 29 RENO, NV The Art of Ben Aleck Nevada Museum of Art (775) 329-3333 www.nevadaart.org 1

In every issue of Native American Art magazine, we publish the only reliable guide to all major upcoming fairs and shows nationwide. Contact our editorial assistant, Chelsea Koressel, to discuss how your event can be included in this calendar at (480) 374-2187 or [email protected]. 20

ONGOING WATERVILLE, ME

Painted: Our Bodies, Hearts, and Village Colby College Museum of Art (207) 859-5600 museum.colby.edu

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ONGOING WASHINGTON, D.C. Sharing Honors and Burdens: Renwick Invitational 2023 Smithsonian American Art Museum (202) 633-7970 www.americanart.si.edu

OCTOBER 7-MARCH 10 RENO, NV Cannupa Hanska Luger: Speechless Nevada Museum of Art (775) 329-3333 www.nevadaart.org

ONGOING NEW YORK, NY Shelley Niro: 500-Year Itch National Museum of the American Indian www.americanindian.si.edu

OCTOBER 14-15 CATOOSA, OK Cherokee Art Market Hard Rock Hotel & Casino Tulsa (877) 779-6977 www.cherokeeartmarket.com

ONGOING DENVER, CO Indigenous Arts of North America Galleries

ONGOING INDIANAPOLIS, IN Native Art History Is Made Here

Denver Art Museum (720) 865-5000 www.denverartmuseum.org

Eiteljorg Museum (317) 636-9378

OCTOBER 20-NOVEMBER 18 SALT LAKE CITY, UT Art Heals: The Jingle Dress Project

OCTOBER 20-APRIL 14, 2024 NEW YORK, NY Kay WalkingStick / Hudson River School

Modern West Fine Art (801) 355-3383 www.modernwestfineart.com

(212) 873-3400 www.nyhistory.org

www.eiteljorg.org

THROUGH OCTOBER 21

OCTOBER 21-28 SANTA FE, NM Joseph Lugo and Sergio Lugo: Earthen Echos King Galleries (480) 440-3912 www.kinggalleries.com

THROUGH OCTOBER 22 SHELBURNE, VT Built From Earth: Pueblo Pottery from the Anthony and Teressa Perry Collection Shelburne Museum (802) 985-3346 www.shelburnemuseum.org

NOVEMBER 1-2 DENVER, CO Western & Contemporary Native American Art

NOVEMBER 4-18 SANTA FE, NM Joseph Lonewolf: Pottery Jewels 1970-2000

Hindman Auctions (303) 825 1855 www.hindmanauctions.com

King Galleries (480) 440-3912 www.kinggalleries.com

www.NativeAmericanArtMagazine.com

OCTOBER 27-MARCH 4 LEWISTON, ME Exploding Native Inevitable Bates College Museum of Art (207) 786-6158 www.bates.edu/museum

THROUGH OCTOBER 29 CATSKILL, NY Women Reframe American Landscape: Susie Barstow & Her Circle / Contemporary Practices Thomas Cole National Historic Site (518) 943-7465 www.thomascole.org

NOVEMBER 9 DALLAS, TX Ethnographic Art American Indian, Pre-Columbian and Tribal Art Heritage Auctions (214) 528-3500 www.ha.com

» Calendar

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News

Down the Runway

The two-day Kananesgi Fashion Show and Art Market returns with more than 50 artists in Cherokee, North Carolina. CHEROKEE, NC

On November 4 and 5, the world-class Kananesgi Art Market & Fashion Show will return to Harrah’s Cherokee Casino & Resort in Cherokee, North Carolina. The two-day show will feature a suite of events and activities. With more than 20 designers at the fashion show and more than 30 artists at the market, the events will feature more than 50 creators from the Eastern Band of Cherokee Indians. Last year’s shows were a huge hit, and organizers

are excited to bring back a new series of events and activities. The fashion show and market are a collaboration between the Sequoyah Fund and the Ray Kinsland Leadership Institute, which, the organization notes, “serves as a platform for artists and designers to express their creativity, receive professional and business development training, increase workforce development, and empower EBCI citizens to learn about and express their unique identity as Cherokee people.” Kananesgi is the Cherokee word for spider, notes Hope Huskey with the Sequoyah Fund. “In Cherokee culture, the spider represents creativity and dexterity,” Huskey says. “Traditionally, some Cherokees will even run their infant’s hands through spider webs to embed this creativity in their children.”

The November event is sponsored by the Cherokee Preservation Foundation, the Eastern Band of Cherokee Indians, Harrah’s Scholarship Fund, Harrah’s Cherokee Casinos, Cherokee Central Schools and The Center for Native Health. The market will take place November 4, from 1 to 6 p.m., while the Legendary Creatures of Cherokee art competition will take place from 1 to 7: 30 p.m. The competition will award more than $68,000 in prizes and money across 29 art categories. The fashion show will take place at 6:30 p.m. on November 4, with a VIP reception held an hour earlier at 5:30 p.m. On November 5, there will be a VIP trunk show from 10 to 11 a.m., after which it will open to the public until noon. For a full schedule and other information, visit www.kananesgi.com.

From Left: Kenneth Glass (Eastern Band of Cherokee Indian), traditional wool Cherokee wrap skirt made from Teton trade cloth, paired with a wool cape with dramatic lace. Paula Wojtkowski (Eastern Band of Cherokee Indian), custom-made hoodie, slim-fit pants and coordinating custom Vans inspired by water and its importance to everyday life. Faith Long-Presley (Eastern Band of Cherokee Indian), bright blue neon coat featuring the “man in a coffin” basketweave design, and lined in coordinating orange basketweave fabric and features shell buttons.

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Visit our changing exhibits of historic and contemporary Native art. See 700 works of Navajo and Pueblo Jewelry in our permanent gallery. Shop at the Case Trading Post. 0XVHXP+LOOŘ7XHŧ6DWDPŧSP Kenneth Begay, 1913–1977 (Navajo) Necklace of silver and Persian turquoise with large pendant, 1977; Detail Photo by Ben Calabaza

Wheelwright Museum

OF THE AMERICAN INDIAN 704 Camino Lejo, Santa Fe NM • wheelwright.org

On The

Market

Historic material now available from galleries and dealers from coast to coast. All of the items featured here are available now.

1. Jesse Robbins Jewelry Jewelry artist Jesse Robbins, fresh off his successful showing at this year’s Santa Fe Indian Market, is offering this Thomas Curtis ranger belt buckle set. “Curtis, one of the greatest and most talented silversmiths, set the bar high

for elegance, design, precision stamp and file work in jewelry,” Robbins says of the piece. “His legacy will live on forever through the incredible works of art that flowed from his hands and heart. A wellrounded collection cannot be complete without a piece of his jewelry front and

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center. His work inspires the collector and most smiths following in his footsteps.” For more information on the buckle set, contact Robbins for more information. www.jesserobbinsjewelry.com [email protected]

2. Antique N.A. Baskets Southern Arizona’s Antique N.A. Baskets, which specializes in baskets but also features a wide variety of artwork by Native American artists, is now offering this large original watercolor by Navajo painter Baje Whitethorne. The beautiful work was commissioned in 1995, during the peak of Baje’s period of large watercolors. It features wildly dancing Yei’s in the Red Rock cliffs of the Navajo Nation and his signature “easel” hidden near his childhood hogan. The work measures 26 by 49 inches and comes framed. Sonoita, AZ • www.antiquenabaskets.com [email protected]

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IN EVERY ROOM A STORY OF THE ART

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J.B. Moore Collection wearing blankets. Courtesy the Huntsman Cancer Institute.

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Lily Gladstone (Blackfeet/ Nez Perce) and Leonardo DiCaprio in Martin Scorsese’s Killers of the Flower Moon, based on a book by David Grann. Gladstone wears an Indian trade blanket in the scene and at various times throughout the movie.

BACK in TIME

Martin Scorsese’s Killers of the Flower Moon enlists artists and authentic objects to take viewers back to the Osage Nation in the 1920s. By Michael Clawson

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hen moviegoers slip into a dark theater this October to take in Martin Scorsese’s newest film, Killers of the Flower Moon, they will be transported back to Oklahoma in the 1920s. Guiding them on the journey will be a stunning display of objects, props, clothing items, accessories, vehicles, historical customs and much more—all of it placed in the film to help set the stage for Scorsese’s crime drama, and tell a more accurate story about the Osage Nation and one of the darkest chapters of its history. Guiding the Apple TV+ production on this jump back in time was Julie O’Keefe, an Osage researcher who was brought onto the film in March 2022 to

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help make sure the production got all the details right. “The dedication to authenticity on this film was simply incredible. I had a wonderful experience working with Martin Scorsese and his team from the very beginning,” O’Keefe says. “I was brought in after the film had started, but it was so nice to walk in on my first day and see that the production team was doing its due diligence in representing the Osage people in the most authentic way possible. From the textiles to the shirt material to the broadcloth to the blankets that were used…all of the clothing and all of our history was considered for this film.” O’Keefe says that she immediately started working

with costume designer Jacqueline West, who already had some experience dressing Native American actors and characters for film when she worked on Alejandro González Iñárritu’s survival thriller The Revenant in 2015. While The Revenant was set in the Dakotas in the early 19th century, Killers of the Flower Moon was set in Osage County in the 1920s. The later setting provided some help to the filmmakers because there was an abundance of history, including photography, of that period, which gave the filmmakers plenty of examples to draw from as they dressed sets and actors. “We were generally reviewing material a week before filming. On Sundays, I would get a packet of material in advance of the scenes, and I would just go over everything to see how the film could best represent the time and the people,” O’Keefe says. The film itself, and the true story it was based on, provided interesting challenges for West and O’Keefe. For starters, this wasn’t a historical epic in the vein of Dances with Wolves or The Last of the Mohicans—“leathers and feathers” is the phrase used often for these stories set primarily during westward expansion of the 18th and 19th centuries. Killers of the Flower Moon tells the story of the oil-rich Osage Nation and how a series of murders would threaten the vast wealth among its people. “A lot of things were

at play in the story that made it unique. We had these women who were perfect examples of what it was like to take someone off the prairie and then put them in government-mandated schools. In many cases, these were the first English speakers of their families, and then they move on to the reservation and then get this Kardashian-sized money dropped on them from the oil in the ground,” O’Keefe says. “These were people who traded for everything and now they have unimaginable wealth. We had to tell that story through clothing and other objects.” O’Keefe points to a wedding scene that was especially rewarding to plan because of the unique items needed for the sequence. “In an Osage wedding, a very particular outfit is worn and it is intricate and layered. Everything the bride had on, all of it given away during the ceremony, had a purpose. Under the skirt there were leggings, and then a set of pins under her shirt, a necklace and a choker. A beautiful finger-woven belt went under the skirt. On top of everything was a military coat and then a larger belt that would remain unfinished so it can be given away,” the researcher says, adding that there were also blankets and ornate feathered hats. “The clothing was so bulky that the brides were carried on a blanket by six women. This particular wedding custom isn’t

A wedding scene during Killers of the Flower Moon. Osage researcher Julie O’Keefe spent a great deal of time planning the materials and objects of this scene. Notice the military jackets, the finger-woven belts and the intricately feathered hats. All of these elements would have been common during an Osage wedding in the 1920s.

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Lily Gladstone, center left, and other Native American actors in Killers of the Flower Moon. The film chronicles the murders and thefts that were designed to steal oil money from the Osage people in the 1920s.

practiced anymore, so we had to research each piece.” The military coats, for instance, dated back to when Osage men would serve as delegates during treaty meetings in Washington, D.C. Some were given coats on the trips and because they were status symbols they were often used in wedding ceremonies. Other materials and art objects included in the picture were several styles of finger weavings and also ribbon work, for which Osage artists are well known. Not only were many of the items used in the movie authentic to Osage traditions, some were even the original objects from the 1920s. Other items were reproduced for key sequences in the film. O’Keefe says some of the wedding belts, for instance, were only half created since much of the belt was underneath the clothing, and only the ribbons would be seen on camera. Other This picture is captioned pieces were made in their entirety. “Mrs. Big Turtle and Sister.” “Some of the Native artisans that It was taken in El Reno, Oklahoma, circa 1910. worked on this film are in museums The Southern Cheyenne around the country. They are women are both wearing known for making traditional a design called the Pipe & Feather pattern. Image items that are museum-quality,” courtesy Barry Friedman. she adds. “These items that were

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Pendleton shawl with Harding pattern, circa 1920s. This blanket was sold by Barry Friedman for use in Killers of the Flower Moon. Photo by Frank Salle.

produced for the film are valuable in their own right because of who made them, not because of the film. The fact is Apple TV+ owns some very valuable pieces of art in their costume collection for Killers of the Flower Moon.” She estimates as many as 25 Native American artisans worked on the production. One area of the film that has already drawn considerable interest—thanks in part to an early picture released to promote the film way back in May 2021—is the area of Indian trade blankets. In the middle of the pandemic, when it was widely thought Killers of the Flower Moon would be stuck in development hell for the foreseeable future, an image

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of stars Leonardo DiCaprio and Lily Gladstone was released showing Gladstone, whose heritage includes Blackfeet and Nimiipuu, seated at a table wearing a brown striped blanket. Many assumed it was a blanket woven by a Native American weaver, but it’s actually an entirely other segment of the weaving market. “A lot of people see a blanket like that and think it’s probably a Navajo weaving, but there was an interesting thing that was happening starting in the late 1800s: Native American weavers basically made all their weavings for white people, but woolen mills like Pendleton were making all the blankets for the Indians,” says Arizona-based blanket dealer Barry Friedman, who owns Barry Friedman Indian Blankets. “When

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A Native American man named Chapman is photographed inside the Pendleton factory by Major Lee Moorhouse. This was strictly a publicity photo meant to imply Native Americans were involved in Pendleton blanket design and production. In reality, Native people were the mill’s primary customers and even today purchase half of the company's blankets. Image courtesy Barry Friedman.

the Indian Wars ended in 1890, federally licensed traders were given the power to set up on reservations. These trading posts were popular meetinghouses and hubs because they had everything everyone needed, including essential items like tools, tobacco, coffee, sugar and all the other staples required. It was basically a convenience store. These blankets, from companies like Pendleton and Racine, were always on the traders’ shelves—hence the name, Indian trade blankets.” Friedman says that these blankets were very common on the Osage Nation, particularly during the 1920s when the Osage could afford fine examples due to the wealth in the area from oil strikes. And even though the blankets were not made or even designed by Native Americans, the blankets are part of Native American culture all around the country. “The blankets are clothing, they’re bedding, they’re warmth, they’re status symbols. They were treasured. Some of the tribes, such as the Zuni and Brightly colored 1920s some of the Apache people, Pendleton shawl that will be use these blankets as burial used for Killers of the Flower blankets,” he adds. “Pendleton Moon. Photo by Frank Salle.

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Pendleton blanket, circa 1915, that will appear in the film. Photo by Frank Salle.

Blankets from Racine Woolen Mills of Wisconsin are especially prized by collectors. This vibrant example from around 1910 is owned by the elusive American novelist Thomas Pynchon. Photo by Frank Salle.

still makes a blanket called the Zuni. It’s not for sale to the public because it’s used for burial ceremonies.” The dealer was initially approached by Jacqueline West, the film’s costume designer, to rent some of the era-appropriate blankets he offers, but later the production relented and bought nearly 60 blankets that could be used on camera during the shoot. “They were looking for blankets from the early 1920s and ones that had a particularly dark color palette. Someone was here with me for two days going through all of them,” he says. “We spent a lot of time looking for the right ones. For instance, a man’s blanket is often called a robe and a woman’s blanket is called a shawl. Pendleton, the only pioneer woolen mill company still around, still to this day refers to them as robes and shawls. Another interesting part is that the Osage men were sort of flamboyant peacocks with these big bright colors and fancy designs. The women were more reserved with simpler colors and patterns, although they wore their blankets with tassles on the edges.” Today these blankets are valuable collector’s items,

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particularly ones that go back to 1900 and earlier, and others because they are from mills that are now closed. Racine Woolen Mills, for example, does not exist anymore, so those blankets are treasured by collectors. When the early photo with DiCaprio and Gladstone was released, Friedman was ecstatic because he sold the film the blanket that Gladstone wears in that scene at the dining table. “It was explained to me repeatedly how Martin Scorsese was a stickler for details and that the last thing he wanted was to make a mistake in his movies,” Friedman says. “The production found out that the Osage people preferred a certain type of China called Spode, and you can see those pieces in the pictures. They got a lot of stuff right, which is why it was exciting to see my blankets.” For O’Keefe, she can’t wait for the public and members of the Osafe Nation to view the film so they can see all the work that went into telling a more authentic story using art and history. “Everything was done to bring these characters and the events they experienced alive in this story,” O’Keefe says. “We had to be true at every step.” Killers of the Flower Moon opens in theaters this October.

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Patrick Dean Hubbell (Navajo (Diné)) in his studio. Photo courtesy the artist.

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On the FRINGES

Diné artist Patrick Dean Hubbell deconstructs art history with inventive works celebrating materiality and personal symbolism. By Gina Teichert

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ailing from Navajo, New Mexico, a small town in the Navajo Nation, Patrick Dean Hubbell brings an Indigenous perspective to the contemporary art world. Informed by life in reservation border towns and a couple hundred years of European expansion in his ancestral homelands, Hubbell’s work is poignant, cutting and clever. From blind contour drawings of “cowboys and Indians” to works that literally deconstruct classical paintings and the tropes that go with them, Hubbell’s physical practice is wide-ranging. Cotton canvas removed from stretcher bars, painted, cut into fringe and rehung. Distorted portraits aggressively breaching gilded frames. Drawings draped over saddle racks, creating forms that feel like blankets and the bodies they might keep warm. Knockoff “tribal” print textiles, their appropriated patterns obscured by action painting and gestural, wildly colored marks. Hubbell’s 2022 show Tack Room marked a breakthrough for the artist, Gerald Peters Contemporary director Evan Feldman says. “It’s been really terrific to watch him expand and diversify his practice,” she says, noting the artist’s move from

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conventional abstraction on stretched canvas. “Tack Room, I think, really accelerated his practice. He was cutting canvases from their boards and painting directly onto frames themselves and [it] was very much a powerful and strong response to sort of Eurocentric art history, and of course, representations of Indigenous peoples by painters of European descent.” “I began to really think about my position—as far as where I stand personally,” says Hubbell, who used the exhibition to continue concepts he explored as a graduate student at the School of the Art Institute of Chicago. “For a long time, I was making work that was speaking to different avenues around art history,” he adds, noting how the MFA program helped him incorporate those narratives together into one practice. “But then really putting myself into the work became a huge growth for me, and American Western art is one aspect that I’m really starting to tear down the layers, peel away the layers.” He cites the roles of American Western masters like Charles M. Russell, Frederic Remington and George Catlin in shaping the genre through romanticized imagery of Manifest Destiny and “conquering the

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West,” resulting in stereotypes that persist today. Titles like This Painting Will Diversify Your Collection and I Asked the Only Native I Knew to Sit for This: Western Art, reveal Hubbell’s feelings on Indigenous representation in the art world as well as his winking sense of humor. It’s not as simple as the “cowboys versus Indians” clichés for Hubbell, who lives and works on his family ranch. “I’m situated within not only Western lifestyle,” says Hubbell, noting his background caring for livestock. “And then also, you know, my Indigenous identity—the perspective of how we’re also raised as far as cultural knowledge, ceremonial, communal, family knowledge. That is part of our people’s lineage as well.” “The way we’re taught—as far as making something for somebody—is really a high significance and reverence for that person,” says Hubbell. “So I began to really think about that part of my work with the intent and the purpose of thinking about cotton canvas—the industrial strength that it has. It’s able to withstand a lot.”

He continues: “I was thinking about that as far as the substrate of holding a painting, holding the history of marks, the process of painting, the canon of art history—of how canvas has been used as a surface. And then really thinking about deconstructing that, away from conventional, two-dimensional substrates within art history. And then more so thinking about that canvas as a blanket and really taking that intent and that care to transform and transfigure…because it is a process, you know.” A lot of reverence and intention go into formulating his compositions, Hubbell says. Deciding which parts will be painted. Taking canvases off the wall. Cutting them into panels and sewing or collaging them back together. “Even the fringe is painted canvas and usually torn into strips,” says Hubbell, describing what he calls a meticulous, meditative process. You Embrace Us, Hubbell’s latest show at Gerald Peters Contemporary in Santa Fe (on view through October 28), takes on the legacy of the curio industry in the Southwest. Starting with tourist textiles sold in

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1. The Way We Talk to Nature Cannot Be Taken, 2023, oil, acrylic, enamel, oil stick, charcoal on paper on synthetic massmanufactured textile, 57 x 48”. © 2023 Patrick Dean Hubbell, courtesy of Gerald Peters Contemporary. 2. When All is Taken You Protect Our Spirit, 2022, oil, acrylic, enamel, charcoal, paper, polymer, canvas, mass-manufactured synthetic textile, 66 x 54”. © 2023 Patrick Dean Hubbell, courtesy of Gerald Peters Contemporary.

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competition with traditional Navajo weavers, Hubbell continues upturning modes of cultural appropriation and addressing their socio-economic impacts headon. “So, this body of work is kind of thinking about ceremonial goods, Indigenous art that’s also been appropriated and mass manufactured,” explains Hubbell. “Thinking about the poor quality of synthetic materials and then taking those and then having a sense of reclamation.” Using oil, acrylic, enamel, paper, charcoal— whatever medium serves him best—Hubbell covers the blankets with free-form mark-making and symbols of cultural significance like crosses and chevrons. “I don’t limit myself to just oil paint or just acrylic paint. That’s the part of my process that I really enjoy,” he says. “How is this tool gonna give me the mark that I’m looking for? Or how did this mark arrive and how can I keep going on that trajectory? “A lot of the work choices are centered around cultural philosophy—Diné way of thinking—the philosophy around the natural world and how we’re taught as far as humans within the natural world,” Hubbell continues. But also, more specifically myself—

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and then how I’m situated as far as thinking about things of importance within our culture. “Times of day. Certain orders of cosmology that we’re taught. The natural world as far as seasons, the sun, the moon, and stars—and then also the holistic thinking of how the natural environment is structured within our cultural philosophies [are all considered],” says Hubbell. “So that has a big part in how I’m actually translating and thinking about those. How it has similarities and then also how it could visually come into life. That’s also important to me because the way I’m translating some of this cultural knowledge [is] just my own personal way…and then someone else might have their own version of telling their own stories.” Feldman, at Gerald Peters Contemporary, agrees that Hubbell is tapping into a part of himself. “I do feel that, of course, Patrick’s work is unique unto itself, but it’s deeply personal as well,” says Feldman. “I guess in that way [he] could relate to some of the other artists in our stable. We are working closely with artists that are reflecting on their personal experiences and also are specifically rooted in the region.” With representation in Miami and New York and

3. The Movement of Your Spirit Protects Us, 2022, oil, acrylic, enamel, oil pastel, natural earth pigment, synthetic polymer on canvas, wood stretcher bar, 66 x 54”. Photo by Andrea Ashkie. 4. I Look to Your Your Spiritual Light in Moments of Need, 2023, oil, acrylic, enamel, acrylic dispersion on canvas, wood stretcher bar, 76 x 60”. Image courtesy Kunning Huang via Candice Madey Gallery.

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You Balance All the Angst, 2021, oil pastel, acrylic, enamel, natural earth pigment on canvas, 84 x 72”. Image courtesy of Nina Johnson Gallery.

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The People Will Always Be of This Earth; And Connected the Stars, 2022, oil, acrylic, enamel, charcoal, paper, polymer, canvas, mass manufactured synthetic textile, 66 x 54”. © 2023 Patrick Dean Hubbell, courtesy of Gerald Peters Contemporary.

a recent residency at La Napoule Art Foundation in Southern France, Hubbell is taking the conversation beyond Santa Fe and the greater Southwest United States. This year he has exhibited at Expo Chicago and The Armory Show in New York. And while part of the NADA Miami art fair last December, the Pérez Art Museum acquired his 2022 work You Keep Our Spirit Safe Between All Within the Day to Night for its permanent collection. Constructed from cotton canvas draped over a stretcher bar, the blanket-like work employs commercially available materials as well as natural pigments gathered on Hubbell’s ranch—a material expression of an artist thinking about tradition while living in and responding to the modern age. A recipient of the Pollock-Krasner Foundation grant and a star on the rise in the contemporary art world, Hubbell’s thoughtfulness and interest in opening constructive dialog has not gone unnoticed. “Where are we headed?” He asks. “Not only within the art field, but you know, historically? And then also within museums, institutions, collections—how that looks as

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You Always Taught Us to Make Something Out of Nothing, 2022, oil, acrylic, charcoal, acrylic dispersion, sewn thread on canvas, wood stretcher bars, 72 x 24”. Image courtesy of Nina Johnson Gallery.

far as growing with more Indigenous inclusion. That’s where I think my work is most important—as far as opening the gates, as far as conversation—and then really developing a broader scope of perspective.” Learn more about Hubbell’s work at Gerald Peters Contemporary (Santa Fe), Nina Johnson Gallery (Miami), and Candice Madey Gallery (New York).

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HEALING Weavings and other artwork are on prominent display at the Huntsman Cancer Institute in Utah. By John O’Hern Photography by Emily Bade for Huntsman Cancer Institute

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hen Jon and Karen Huntsman were building their log cabin chalet in Deer Valley, Utah, Karen knew that she wanted it to be Western “to represent the beauty of the West. I love the beauty and what it brings to our heart and soul.” Karen was first attracted to Navajo wearing blankets, in which the artists had woven their love. “It just warmed my heart with each weaving. I felt so connected with the weavers.” Thus began a collecting

mission with the help of Joe and Cynthia Tanner of Tanner’s Indian Arts in Gallup, New Mexico. Joe’s family has been trading with Native American artists since the mid-1800s. “When we started displaying in the cabin,” Cynthia recalls, “Joe decided to look for J.B. Moore weavings. Moore was the first to recognize Navajo weaving as a fine art.” J.B. Moore had established the Crystal Trading Post in 1896 and, later, published a catalog of Navajo

Teec Nos Pos Storm Pattern (Artist Unknown, Diné (Navajo), ca. 1930) on display on the seventh floor of the Kathryn F. Kirk Center at Huntsman Cancer Institute. In the background, Plate XX (Hastin Kellie Esklinigi Bitsee, Diné (Navajo), J. B. Moore Collection, 1930) is visible.

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weaving styles and patterns available from the Navajo weavers at his post. “We collected over a period of years,” Cynthia continues. “People knew we were trying to put this together; we searched and we would go to auctions. It just snowballed.” After the death of her husband, Karen Huntsman considered what to do with the collection. In conversation with Mary Beckerle, CEO of the Huntsman Cancer Institute at the University of Utah—which John and Karen founded in 1993—Mary suggested the collection could go into the Kathryn F. Kirk Center for Comprehensive Cancer Care and Women’s Cancers, then in the planning stages. “That’s where this collection belongs,” Karen relates. “It belongs here to touch souls. As you walk into this building and feel the warmth of the weavings and the

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people who did them, I just hope it gives them hope, encouragement, love, because cancer can be so scary for so many people. I just think it’s going to make a huge difference.” Don Milligan, executive director of the cancer hospital, accompanied by Lisa Ramidan of Architectural Nexus, the principal architect, went to Deer Valley to look at the collection. The public areas of the Kirk building were designed around the artwork,” he says. “Every public space was designed with artwork in mind. The architect created an organized catalog of the collection and worked out the initial placement of the art on walls, in cabinets and niches. The Tanners were involved at every step.” Emerald Tanner, who had been a toddler when her parents were assembling the collection with the Huntsmans, played a principal role in the installation.

When patients and visitors enter the Kathryn F. Kirk Center at Huntsman Cancer Institute via the lobby, they are greeted with a twostory glass case housing a variety of art pieces. This case is designed to introduce the other pieces in the collection patients will see during their visit. The case includes weavings, pottery, a wearing blanket, baskets and katsina dolls.

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Plate XX (Hastin Kellie Esklinigi Bitsee, Diné (Navajo), J. B. Moore Collection, 1930) on the seventh floor of the Kathryn F. Kirk Center at Huntsman Cancer Institute. On the left, Crossroads Weaving (Artist Unknown, Diné (Navajo), ca. 19131919) is partially visible.

The area between each inpatient room at the Kathryn F. Kirk Center at Huntsman Cancer Institute houses an art case. The art at Huntsman Cancer Institute is intended to create a healing environment that surrounds patients in beauty. Pictured here, a polychrome pot (Crucita Gonzalez Calabaza “Blue Corn,” San Ildefonso Pueblo, ca. 1970), a Sunday saddle pad (Artist Unknown, Diné (Navajo), ca. 1930), and Early Dawn (Arnold Youvella, Hopi Pueblo, ca. 1985).

“Certain pieces were programmed to go in certain spots,” Don relates. “Emerald would consider and then say, ‘That’s not quite right.’ After some adjustment she would say, ‘That’s right! That’s better and that piece feels happy.’” Cynthia Tanner told her daughter, “The pieces know you and they’re telling you where they want to be.” Emerald says, “It’s just been an incredible honor to be able to handle them again and to ask them where they would like to be presented…to share these pieces with the patients and the staff. It’s beautiful. It’s a love story.” Joe Tanner relates, “Sixty percent of the time that is spent in the creation of any one of these single pieces of weaving is the preparation of the wool and each

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of those weavers has that song in their heart. That’s enormously important.” The song relates to the Navajo concept of Hózhó, harmony with the world. Emerald explains, “That song is ‘Beauty before me, below me, beside me and all around me.’ It’s the concept of Hózhó in the weave. It’s the spirit of the weaver, the enormous respect that the artist has not just for the culture but for the ancestors, for the land, giving that individual weaving—be it a wearing blanket, be it a wall piece—an identity and an inner spirit.” James Buck King (1951-2019, Navajo (Diné)) painted Portrait of Nellie, a portrait of his grandmother, which is now displayed prominently in the center. It is one of Karen Huntsman’s favorite paintings. The label reads, “The Diné are a matriarchal

Crystal Wearing Blanket (based on Plate II, J. B. Moore Collection) (Bessie Yazzie, Diné (Navajo), ca. 1950); Plate II (Artist Unknown, Diné (Navajo), J. B. Moore Collection, ca. 1910); and Plate II (Artist Unknown, Diné (Navajo), J. B. Moore Collection, ca. 1900) located in the center of the waiting area of an inpatient care floor at the Kathryn F. Kirk Center at Huntsman Cancer Institute.

Blue Bird Song (Cecil Miles, Diné (Navajo), 2023) was created by artist Cecil Miles specifically for the Kathryn F. Kirk Center at Huntsman Cancer Institute as a symbol of peace, healing and happiness. This piece, made of cottonwood and paint, is located in the third-floor surgical waiting area.

This Landscape Yé’ii Pictorial (Artist Unknown, Diné (Navajo), ca. 1938) is located in the staff workroom of the Blood and Marrow Transplant Unit. This space will be used to coordinate care for some of Huntsman Cancer Institute’s most medically fragile patients. This pictorial is made from natural homespun wool, with a mix of aniline and vegetal dyes.

society, where Naabeehó sáanii (Navajo women) are the center of the family, keepers of wisdom, and preservers of ancestral teachings.” The Kirk Center opened in May. Don Milligan relates, “One of the common things I see and which is just wonderful, is patients and their families being captivated by the Native artwork. I see them appreciating the work and spending time looking at it and reading the descriptions. Soon we will have QR codes on the labels that will lead people to even more information about the art and the artists. “The collection is complementary to the healing process. If people are unfortunate enough to have to

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Two Yé’ii cornstalk pictorials (Artists Unknown, Diné (Navajo), ca. 1930 and ca. 1935), located in the mammography waiting area in the Kathryn F. Kirk Center at Huntsman Cancer Institute.

Yé’ii Cornstalk Pictorial (Artist Unknown, Diné (Navajo), ca. 1935), is located in the mammography waiting area in the Kathryn F. Kirk Center at Huntsman Cancer Institute. This space, designed to feel relaxing and spa-like, is where patients wait in robes prior to mammogram screenings.

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A display of landscape portraits by photographer Leroy DeJolie on the sixthfloor skybridge of the Kathryn F. Kirk Center at Huntsman Cancer Institute provides a connection to the lands where many of the art pieces on display were created. This photo is part of a series called Images of Navajoland and features Monument Valley in Utah and Arizona.

Spanning a large wall in the waiting area of the Wellness and Integrative Health Center at the Kathryn F. Kirk Center, this case houses multiple vibrant weavings, as well as a painting by James Buck King. From left to right: Large Germantown Hubbell (Artist Unknown, Diné (Navajo), ca. 1890-1910), Portrait of Nellie (James Buck King, Diné (Navajo), ca. 1980), Germantown “Eye Dazzler” (Artist Unknown, Diné (Navajo), ca. 18751890), and Germantown Wearing Blanket (Artist Unknown, Diné (Navajo), ca. 1890).

This Corn Dancer Katsina (A. L. Sahme, Hopi Pueblo, ca. 1970) is featured in the two-story glass case that welcomes visitors to the Kathryn F. Kirk Center for Comprehensive Cancer Care and Women’s Cancers at Huntsman Cancer Institute.

This display, located in the waiting area of the Wellness and Integrative Health Center at the Kathryn F. Kirk Center, helps visitors learn more about the weaving process, as well as the work of fifth-generation Navajo weaver Barbara Jean Teller Ornelas. Included in this display are photographs of Teller Ornelas with multiple generations of her family, a display of weaving instruments, and Two Grey Hills Tapestry (Barbara Jean Teller Ornelas, Diné (Navajo), ca. 1980).

be in a cancer hospital, they ought to feel comfortable and peaceful. The Native American artwork lends itself to that.” All pieces are part of the Jon M. and Karen H. Huntsman Family Collection. One of the displays, “Weaving through Generations,” contains samples of churro wool and the tools used to prepare it for weaving. A photograph of the fifthgeneration weaver Jean Teller Ornelas (Diné/Navajo) is displayed next to her Two Grey Hills tapestry and is surrounded by photographs of multiple generations of her family.

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Jean says, “To me, weaving is healing. It is something that helps people by calming their gaze and helping them heal. I want viewers…to look at the weaving through the eyes of love. The spirit contained within the weaving will give the viewer peace.” MORE INFORMATION The Huntsman Cancer Institute’s website contains a wealth of information on the collection and resources for exploring Native American art. Visit it here: healthcare.utah.edu/huntsmancancerinstitute/about-us/art

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A WOVEN HISTORY Taos Art Museum presents an exhibition of illuminating 19th-century Navajo child’s blankets. TAOS, NM 1. Classic Navajo Child’s Blanket, ca 1865. Cochineal dyed bayeta, light indigo blue, dark indigo blue and handspun white, 30 x 48”

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Navajo, or Diné, are recognized as great masters of textile weaving, a skill rooted in the mythology of the Spider Woman who is credited with teaching them how to weave. According to legend, Spider Woman made her home atop Canyon de Chelly’s towering spire where, after weaving the web of the universe, she shared the gift—and the way of life it symbolizes—with the Navajo people. Given the significance of Spider Woman in the Diné origin story and her home’s relative proximity to Four Corners, it is no surprise that some

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of the most impressive weavings have emerged from the region. An upcoming exhibition at the Taos Art Museum will zoom in on a specific woven form—the Navajo child’s blanket. Art of Timeless Beauty, the Navajo Child’s Blanket, which will be on view in the historic Fechin House from September 19 through May 30, 2024, will showcase some of the finest examples of the weavings from the 19th century, a time period scholars agree that produced some of the most profound and balanced designs. The exhibit will explore the evolution of blanket design, from simple bands and stripes to more elaborate and complex patterns, and the historical context for how the Navajo adapted their weaving in response to changing and often challenging circumstances. “The Navajo Childs’ blankets are testaments of the prowess of Navajo weavers,” writes Navajo (Diné) artist Tony Abeyta in the exhibition catalog. “Proportionally they were to have all the elements of the larger wearing blankets that preceded them but within the manageable scale of a Navajo woman’s dress half. The idea of the child’s wearing blankets

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2. Classic Navajo Child’s Blanket, ca. 1860-1865. Lacdyed bayeta, indigo blue, and handspun white, 32 x 52” 3. Late Classic Navajo Child’s Blanket, ca.1870. Anilinedyed bayeta, cochinealdyed bayeta, indigo blue, indigo and vegetal green and handspun white, 31 x 53” 4. Classic Navajo Child’s Blanket, ca. 1865. Cochineal-dyed bayeta, indigo blue, indigo and vegetal green and handspun white, 43” x 31”

as being utilitarian is often argued; there are only a few photos of these fine blankets worn by the Navajo people, most of them adults. The earliest versions were perhaps used to wrap and cradle small children. Regardless of their intended purpose, these smaller format blankets prevailed as some of the finest achievements from the Navajo loom.” Navajo weavings contain the stories and the history of the Diné experience—their encounters and interactions with people and places, of ritual and ceremony, the early trading days with the Spanish, Utes and Anglos; colonialism, the years of conflict, dislocation, trauma and later assimilations. “Experiences of these cultures are interwoven with a story of each encounter, marking the widths of indigo and dark brown bands from the nearby pueblos,” continues Abeyta. “Images of complex

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terraces forming central diamond motifs came from the Spanish. Pictorial elements woven in newfound colors of aniline dyes traded from the Anglos inevitably dictated directions that Diné weavers were to take into the century ahead. “The Navajo experiences are woven into each of the blankets in this exhibit, each weft woven with songs and a sense of place where they were woven in a home with their own sheep’s wool. This tradition continues today with newfound directions, all informed by our past. The evolution is always returning to the original source of tradition and the teachings of Spider Woman, as well as the earlier weavers who lived these lives of survival and assimilation. The Navajo weaver often rubs a spider’s web into her hands to bless herself before beginning a weaving. A child also received the blessing of the web so that one day she may grow to be a fine weaver as well; a blanket woven by a child of Spiderwoman for a child.” An exhibition reception for Art of Timeless Beauty, the Navajo Child’s Blanket will be held at Taos Art Museum on Saturday, September 23, from 5 to 7 p.m.

Sept. 19, 2023-May 30, 2024 Art of Timeless Beauty, the Navajo Child’s Blanket Taos Art Museum, 227 Paseo Del Pueblo Norte, Taos, NM 87571 (575) 758-2690, www.taosartmuseum.org

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1. Darby Raymond-Overstreet (Diné), Woven LandscapeMonument Valley, digital print. Courtesy of the artist. 2 Artist once known (Diné), Wearing Blanket with Spider Design, 1860-1880. Handspun wool, commercial wool yarn, indigo dye, vegetal dye. Gift of Mrs. Philip B. Stewart, Courtesy of John and Linda Comstock and the Abigail Van Vleck Charitable Trust. Museum of Indian Arts and Culture, 9124/12. 3. Rapheal Begay (Diné, b. 1991), Spider Rock (Tséyi’ Canyon de Chelly, AZ), 2021. Archival inkjet print. Courtesy of the artist. 4. Artist once known (Diné), Women’s Shoulder Blanket, ca. 1860-1890. Handspun wool, vegetal dye, indigo dye, aniline dye, sinew and plant matter. Gift of Mrs. Philip B. Stewart. Museum of Indian Arts and Culture, 9100/12. 1

WEAVING BETWEEN THE LINES An exhibition explores the correlations between Diné textiles and photography, and the insights they provide into the Navajo homeland and the American Southwest.

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SANTA FE, NM

In an unexpected juxtaposition, the Museum of Indian Arts & Culture (MIAC) presents Horizons: Weaving Between the Lines with Diné Textiles, an exhibition that explores the connections between weaving and photography as modes of engagement with place in the American Southwest. By situating these two media in conversation, and thinking of the horizon as both a point of connection—between sky and earth—and a line of separation, the exhibition examines each as a way of seeing and knowing Dinétah, the Navajo homeland. “As Horizons took shape, we began to have conversations about land, space and light,” says Dr. Hadley Jensen, co-curator of the exhibit with Rapheal Begay (Diné) in collaboration with an advisory committee of Diné artists, educators, and scholars Lynda Teller Pete, Kevin Aspaas, Larissa Nez, Tyrrell Tapaha and Darby Raymond-Overstreet. “We became interested in creating connections between weaving and photography as different ways of seeing and relating to place. Throughout the exhibition, these media function as an index of place and as a mode of storytelling to establish the connection between art, land and identity.” Horizons: Weaving Between the Lines with Diné Textiles showcases over 30 textiles and related items from MIAC’s extensive collection. Historical

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and contemporary weavings will be displayed alongside materials, tools, digital prints, photographs and other immersive media. “Weaving and photography—seen as both process and product—express the reciprocal relationships that guide Diné cultural practices, values and lifeways,” continues Jensen. “By placing these two media in conversation, we aim to provide cultural context for the textiles on view while also highlighting how each expresses an ongoing connection to place. This connection is both conceptual and material—it is made evident through the localized and land-based knowledge systems embedded in Navajo weaving and through the representational qualities of photography.” For instance, the textile Wearing Blanket with Spider Design references Navajo cosmologies and creation narratives, specifically the story of Spider Woman who gifted the knowledge of weaving to the Diné. It will hang in dialogue with Spider Rock, a photograph of the mythological home of Spider Woman in Canyon de Chelly National Monument taken by co-curator Rapheal Begay. “The representational elements in this [textile] convey the ongoing connection to these origin stories, which are intertwined with culturally specific understandings of place,” says Jensen. “It also speaks to the intergenerational transmission of weaving knowledge, songs and stories, which have given meaning and value to Navajo weaving over time.” Through five key themes, the cultural items and artworks on view tell multiple stories with the aim to highlight Diné weaving and photography as place-based visual forms of storytelling and how people engage with the landscape, specifically the Navajo homeland, through making art. “In bringing textiles from MIAC’s collection out of storage and placing them in dialogue with contemporary works, Horizons will also provide an opportunity for Diné communities to reconnect with this collection,” says Jensen. “In doing so, we aim to emphasize how creative exchange is visible in historical textiles but also resonates through contemporary art.”

Through July 16, 2024 Horizons: Weaving Between the Lines with Diné Textiles Museum of Indian Arts & Culture, 710 Camino Lejo, Santa Fe, NM 87505 (505) 476-1269, www.indianartsandculture.org 4

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ike many Native American traditions and art forms, weaving and textile creations carry a great deal of history and significance. Often tied to place and tribal affiliation, these works that were once utilitarian became celebrations of heritage and another means of storytelling. For the Navajo, symbol and motif are used in reference to the teachings of Spider Woman—believed to have “weaved the web of the universe.” Throughout this section of weavings and textiles, all of them available for purchase, you’ll witness impressive blankets and rugs that are shining examples of elaborate skill and deep cultural connection. Also learn from galleries, museums and artists about an array of design, technique and narrative.

Heard Museum Shop The Heard Museum Shop ensures the integrity and authenticity of its many offerings by dealing directly with Native American artists. As a major supplier of significant rugs and weavings, the shop features work like that of Navajo artist Janice Vanwinkle and her third phase chief’s blanket measuring 26 by 46½ inches. Representatives at the Heard Museum Shop share that the “Chief’s blanket is the earliest-known pattern…Third phase blankets tend to be even more complex and traditionally were composed of stripes with diamond and half-diamond shapes. Weavers frequently added other elements such as zigzags, crosses, thin lines and triangles inside these diamond shapes…” 2301 N. Central Avenue » Phoenix, AZ 85004 (602) 252-8344 » www.heardmuseumshop.com

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James Compton Gallery “I strive to represent the earliest material I can find,” says James Compton, owner of James Compton Gallery. “The early material is more related to the tribe’s original work, hopefully before too much influence from the Euro-American world.” With this 47-by-34inch Navajo single dress panel, pictured here, we see the simplest of designs, of only banding, from circa 1850 or earlier. “The ravelled bayeta is a trade item that came available with the advent of outsiders coming into the Southwest,” Compton explains. 131 W. San Francisco Street » Santa Fe, NM 87501 (505) 699-0323 » www.jamescomptongallery.com

Antique Native American Baskets This prize-winning, vegetal-dyed Burntwater Navajo rug, offered by Antique Native American Baskets, was woven by master weaver Rose Yazzie. Note the fantastic vegetal dye colors and the artist’s use of a salt and pepper blended color. In addition, this 72-by-48-inch rug has a winning ribbon from the 2002 Gallup Inter-tribal Indian Ceremonial show. Sonoita, AZ » www.antiquenabaskets.com

Garland’s Sarah Paul Begay’s masterpiece, Millennium, pictured here, took more than two years to create, and measures at 123 by 59 inches. Named for its creation around the year 2000, the piece portrays a Navajo healing ceremony. Three-dimensional Yei figures with lifelike movement are created using more than 100 unique dyes. The artist’s design uses curves to create incredibly realistic images in wool. “Begay weaves like other artists can paint,” says representatives at Garland’s in Sedona, Arizona. Begay won the best of show award at the 85th annual Santa Fe Indian Market in 2006. 411 AZ-179, Sedona, AZ 86336 (928) 282-4070 » www.shopgarlands.com

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Sorrel Sky Gallery

Tanner’s Indian Arts

Navajo weaver Geanita John, from Many Farms, Arizona, has been creating pictorials for more than 40 years. Her weavings depict Navajo life as it was, prior to satellite dishes, trailers and pickups. The “Iron Horse,” or steam engine trains, were a popular theme in Navajo pictorials in the early 1900s. Her work was recently featured in a New York City exhibition of weavings from the American Museum of Natural History. Find more weavings at Sorrel Sky Gallery, online or in person.

This J.B. Moore Storm Pattern blanket carries an incredibly bold and stylistic motif, created around 1900s in Crystal, New Mexico. The oversized Navajo weaving measuring at 69 by 126 inches is all homespun wool with natural greys, natural whites, overdyed black and aniline dye red, and is an adaptation of J.B. Moore Plate XXVIII. JB Moore was an important trader and marketed Navajo weavings around the turn of the 20th century, popularizing these brilliant designs and creating an industry for hundreds of weavers in the area.

Durango, CO » (970) 247-3555 » Santa Fe, NM » (505) 501-6555 [email protected] » www.sorrelsky.com

237 W. Coal » Gallup, NM 87301 » (505) 863-6017 [email protected] » www.tannersindianarts.com

Zefren-M Navajo artist Zefren-M (Ephraim Anderson) works with techniques conjecturally reconstructed from images, oral story, archaeology and language, as seen in this double-weave piece titled Bad Moon Rising – The End is a New Beginning. “This gives me the penchant to recreate historical revivals from any era while allowing the freedom to create avant-garde, one-of-a-kind pieces that play with classifications, gender, sexuality and sensibilities,” says the artist. “Weaving and its application is the beginning of a stoic philosophy that has lived through the entire rise and fall of countless human systems since the beginning of time and somehow, it forever endures.” (505) 320-1115 » [email protected] » www.zefren-m.com

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Museums 2023/2024

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t’s been said many times before that no one really owns art. We might display art in our homes and we might devote our lives to collecting it and enjoying it, but we are but a blip in the lifespan of a piece of art—it will almost certainly outlive all of us. This is why museums are so wonderful. They take on the responsibility of being stewards of art and culture for a longer period of time than we are physically capable. Museums are the safeguards to guarantee that our children and grandchildren will have access to these great objects. Museums also help us learn. They add context. They reshape ideas or sprout new ones. They challenge us. They enhance our understanding of the world. They give us reason to reflect on our past and cheer on our future. We hope you enjoy our 2023/2024 Museum Guide in this issue, and we hope you support these and many other museums.

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Museums 2023/2024

Museums around the country are presenting exhibitions that allow Native Americans to tell their own stories.

BY JOHN O’HERN

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ast year, the Field Museum in Chicago replaced its Native North America Hall with a permanent exhibition four years in the making, Native Truths: Our Voices, Our Stories. Debra Yepa-Pappan (Jemez Pueblo/Korean), community engagement coordinator for the project, said at the time, “For Native visitors, I also hope there is an instant connection. I hope they see themselves, see their relatives, their grandparents, and aunties and uncles. For non-Native visitors, we’ve been working to make this an immersive experience that allows them to come into our home—learning from us, not just about us.”

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The museum explains, “The exhibition was created with the guidance of an advisory council of 11 Native American scholars and museum professionals, and in partnership with 130 collaborators representing over 105 tribes. Visitors can experience stories told by Native people of self-determination, resilience, continuity, and the future that come to life through historic and contemporary beadworks, ceramics, murals, music, dance and more.” “I think visitors will be blown away by the way in which the items from our collection and the contemporary pieces we have borrowed, commissioned

Below: Denise Wallace (Chugach Aleut), Craftsperson Belt, 1992, ivory, gemstones, silver. AT-58; IAIA Museum Purchase, 1993. Courtesy of the IAIA Museum of Contemporary Native Arts, Santa Fe, NM. © Denise Wallace. Photograph by Jason S. Ordaz. From The Stories We Carry at the IAIA’s Museum of Contemporary Indian Art, Santa Fe, New Mexico.

or purchased especially for this exhibition seamlessly work together to tell a vibrant story of resilience and innovation in the face of trauma and continuity of knowledge traditions across generations,” says Alaka Wali, curator emeritus of North American anthropology. “This is not a chronology of events, but rather a new and completely different perspective on Native American and First Nations experiences, world views and aspirations.” Storytelling has been a sustaining tradition for Native Americans for generations. Through storytelling, they have passed on their cultural

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history, legends, language and rituals to subsequent generations. Their intimate connection with the earth and its other living creatures has been kept alive in the process. When they were dispossessed of their ancestral lands, the lands from which they had emerged, they kept their legacy alive through storytelling. Native oral traditions are the subject of several museum exhibitions across the country in the coming months. Stories Artists Tell: Art of the Americas, the 20th Century is an ongoing exhibition at the Museum

Above: Shaun Peterson (Qwalsius), Grandmother, 2009, inkjet print, 24 x 30½”. Tacoma Art Museum. Gift of Sandy and Laura Desner in honor of Tacoma Art Museum’s 75th Anniversary, 2011.12. Photo credit: Richard Nicol. From On Native Land: Landscapes from the Haub Family Collection at the Tacoma Art Museum, Tacoma, Washington.

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of Fine Arts, Boston. One of the themed galleries is A Little Bit of the Southwest. The museum explains, “The American Southwest is vast and diverse. Artistic practices in intricate weaving, pottery and jewelry making stretch back to ancient times…This gallery showcases the work of a few Southwest Native artists from the 19th-century to today. Imaginative drawings, watercolors, and oil paintings point to the Southwest’s significance as a center of learning for Native artists since the early 20th-century.” Among the artists are Maria Martinez and her husband Julian from San Ildefonso Pueblo. An early, circa 1919-1920, polished black pot features the figure of Avanyu (the water serpent). Avanyu is a Tewa deity, the guardian of water, its curving body suggesting a flowing river. The earliest representations of Avanyu date from about the 11th century. The full story of the place and displacement of

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Native peoples in North America is being told in many ways. The recent proclamation of the designation of the Baaj Nwaavjo I’tah Kukveni Grand Canyon National Monument in Arizona, states, “The history of the lands and resources in the Grand Canyon region also tells a painful story about the forced removal and dispossession of Tribal Nations and Indigenous peoples. The Federal Government used the establishment of Grand Canyon National Park to justify denying Indigenous peoples access to their homelands, preventing them from engaging in traditional cultural and religious practices within the boundaries of the park.” Secretary of the Interior Deb Haaland (Laguna) said, “This land is sacred to the many tribal nations who have long advocated for its protection, and establishing a national monument demonstrates the importance of recognizing the original stewards of our public lands.”

Student body of the Indian Industrial School at Carlisle, Pennsylvania, on the parade ground with school buildings in the background. Photo taken in March 1892, attributed to John Choate. Courtesy of the Cumberland County Historical Society, Carlisle, Pa. From Away From Home: American Indian Boarding School Stories at the Heard Museum, Phoenix, Arizona.

Maria Martinez (Powhogeh Owingeh (San Ildefonso Pueblo), 1887-1980), Blackware with polished matte decoration, ca. 1919-20. Museum of Fine Arts, Boston. Museum purchase with funds donated by Independence Investment Associates Inc. Reproduced with permission. Photograph © Museum of Fine Arts, Boston. From Stories Artists Tell: Art of the Americas, the 20th Century at the Museum of Fine Arts, Boston, Massachusetts.

On Native Land: Landscapes from the Haub Family Collection is on extended view at the Tacoma Art Museum in Washington. The museum explains, “This exhibition features 14 landscapes paired with land acknowledgments to recognize more than 75 Native American communities whose homelands are pictured in the paintings. View artworks from notable locations across the country and explore the cultural history of these special places.” The powerful exhibition on the Indian boarding school experience at the Heard Museum in Phoenix has been updated with recent scholarship as Away From Home: American Indian Boarding School Stories. The museum notes, “Away From Home examines an important and often unknown period of American history. Beginning in the 1870s the U.S. government

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aimed to assimilate American Indians into ‘civilized’ society by placing them in government-operated boarding schools. Children were taken from families and transported to far-away schools where all signs of ‘Indian-ness’ were stripped away. Students were trained for servitude and many went for years without familial contact—events that still have an impact on Native communities today. “Much of the content in the current exhibition remains relevant and continues to offer a profound and powerful visitor experience. However, after two decades, the exhibition needed to be refreshed and augmented to tell this complex story. We will present new works of art, archival material, first-person interviews and interactive elements in an immersive setting to encourage visitors to have a personal and

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visceral connection to the topics explored.” The Indian school story is explored further at the Autry Museum of the American West in Los Angeles in its exhibition Sherman Indian School: 100+ Years of Education and Resilience continuing through May 2024. The museum comments, “Explore the complex legacy of Native American boarding schools, with a specific focus on Sherman Indian School. Discover the stories of resilience, strength and the pursuit of education that unfolded within these institutions. Join us as we honor the students’ journeys and reflect on a pivotal era in Native American history.”

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Storytelling in Native American Art continues in programs such as the Eiteljorg Museum’s Contemporary Native Art Fellowship which began in 1999. The exhibition, Native Art History is Made Here, continues at the Indianapolis museum through March 31, 2024. The exhibition presents the fellowship’s first two iterations in 1999 and 2001. Rick Rivet (Sahtu-Métis) explores and reinterprets the historical iconography of many Indigenous peoples. His Beothuk Mound No. 11, refers to the genocide of the aboriginal Beothuk who once inhabited Newfoundland.

The class of 1909 at the Sherman Indian School. From Sherman Indian School: 100+ Years of Education and Resilience at the Autry Museum of the American West, Los Angeles, California.

Rick Rivet (Sahtu/Métis), Beothuck Mound No. 11, 1997, acrylic with collaged pieces of canvas and string on canvas, 54/ x 55”. Museum purchase from the Eiteljorg Fellowship for Native American Fine Art with funds provided by E. Andrew Steffen 1999.8.2. From Native Art History is Made Here at the Eiteljorg Museum, Indianapolis, Indiana.

Since its founding, the Institute of American Indian Arts (IAIA) has encouraged students to tell their stories in their own way. It’s Museum of Contemporary Indian Art in Santa Fe, New Mexico, is hosting the exhibition, The Stories We Carry, through September 29, 2025. The museum explains, “The unique format of jewelry has played a large role in storytelling as it is a deeply human practice that gives people the tools to carry their histories and identities—a powerful reminder to ourselves and

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to others who we are. The Stories We Carry features contemporary jewelry created by more than 100 Indigenous artists across decades stewarded by the IAIA Museum of Contemporary Native Arts (MoCNA) permanent collection.” Denise Wallace (Chugach Aleut) is represented by an elaborate belt featuring representations of various Indigenous craftspeople. Her jewelry depicts the people, animals, symbols and folk tales of her native culture.

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Road (Map) Warrior

Jaune Quick-to-See Smith brings her fascinating Memory Map exhibition from New York to Texas. By Sandra Hale Schulman (Cherokee descent)

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ow does an artist know who they are? Poet John Trudell once said to “follow the lines.” Jaune Quick-to-See Smith has been doing just that for 50 years. Her lines are maps. After a ground-shaking, blockbuster show at the Whitney Museum of American Art in New York City, Smith, a citizen of the Confederated Salish and Kootenai Nation, was the first Native American woman to have a solo show there and will see the retrospective exhibit, Jaune Quick-to-See Smith: Memory Map, travel to the Modern Art Museum of Fort Worth. It will be on view from October 15 through January 21, 2024. Smith has had a nearly five-decade career as an artist, she is also an activist, curator, educator and advocate. Organized by the Whitney, the show is a recognition of this groundbreaking artist’s work of drawings, prints, paintings and sculptures that twist mainstream historical narratives about Natives and culture. Memory Map is the largest and most comprehensive showcase of Smith’s career, with more than 100 works. It is organized thematically, offers a new way to consider contemporary Native American art and shows how Smith initiated and then led some of the most pressing dialogues on land, racism and cultural preservation. Her humble beginnings and struggle to be taken seriously has emerged in triumph as she brings along her cultural iconography of trade canoes, horses, bison and flags that co-exist with newspaper, textiles and commercial objects. Those images allude to ecological disaster, the misreading of Native and colonial history, and the genocide of Indigenous people. This exhibition is organized by Laura Phipps, assistant curator at the Whitney Museum of American Art, with Caitlin Chaisson, curatorial project assistant. “Through her sophisticated use of color, materials and humor, Smith’s work prompts important conversations about history and education—and ultimately about the obligations we have to each

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October 15, 2023January 21, 2024 Jaune Quick-to-See Smith: Memory Map Modern Art Museum of Fort Worth, 3200 Darnell Street, Fort Worth, TX 76107 (817) 738-9215 www.themodern.org

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1. Survival Suite: Nature/Medicine, 1996, lithograph with chine-collé, 36⁄ x 24⁄". Whitney Museum of American Art, New York. Gift of Joe and Barb Zanatta Family in honor of Jaune Quick-to-See Smith 2003.28.3. Printed by Lawrence Lithography Workshop, Kansas City, Missouri. Published by Zanatta Editions, Shawnee Kansas. © Jaune Quick-toSee Smith. Photo courtesy Whitney Museum of American Art, New York.

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2. The Vanishing American, 1994, acrylic, newspaper, paper, cotton, printing ink, fabricated chalk and graphite pencil on canvas, 601/8 x 501/8”. Whitney Museum of American Art, New York. Gift of Dorothee Peiper-Riegraf and Hinrich Peiper in memory of Arlene LewAllen 2007.88. © Jaune Quick-to-See Smith. Photo courtesy Whitney Museum of American Art, New York.

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3. McFlag, 1996, oil, paper, and newspaper on canvas with speakers and electrical cord, three parts, 60 x 100” overall. Tia Collection. Fabricated by Neal Ambrose-Smith. © Jaune Quick-to-See Smith. Photograph courtesy the artist and Garth Greenan Gallery, New York. 4. Genesis, 1993, oil, paper, newspaper, fabric, and charcoal on canvas, two panels, 60 x 100”. High Museum of Art, Atlanta. Purchase with funds provided by AT&T NEW ART/NEW VISIONS and with funds from Alfred Austell Thornton in memory of Leila Austell Thornton and Albert Edward Thornton, Sr., and Sarah Miller Venable and William Hoyt Venable 1995.54. © Jaune Quick-to-See Smith. Photograph courtesy the artist and Garth Greenan Gallery, New York.

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other and the world around us,” says Phipps. “From the inception of Memory Map, Smith and I had hoped for her messages and her art to reach audiences across the country, and we are so thrilled to see them in the context of the Modern Art Museum of Fort Worth.” “The Modern is honored to host Jaune Quick-to-See Smith: Memory Map. We are grateful to collaborate with the artist and the Whitney Museum on this important exhibition,” says Dr. Marla Price, director, Modern Art Museum of Fort Worth. “This is the first large-scale presentation of Jaune Quick-to-See Smith’s work in our region, giving our community and visitors the opportunity to experience the important stories she tells throughout her groundbreaking career.” But don’t look for meaning in her moniker, Quickto-See Smith says her name is not visual art related.

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5. Grasp Tight the Old Ways, 2011, oil, acrylic, paper, fabric and charcoal on canvas, 72 x 48". Sheldon Museum of Art, University of Nebraska-Lincoln; Robert E. Schweser and Fern Beardsley Schweser Acquisition Fund through the University of Nebraska Foundation U-6293.2013. © Jaune Quick-toSee Smith. Photograph courtesy the artist and Garth Greenan Gallery, New York. 6. Celebrate 40,000 Years of American Art, 1995, collagraph, 76½ x 53". Whitney Museum of American Art, New York; purchase with funds from The Horace W. Goldsmith Foundation 2000.191. Printed by Kevin Garber. Published by Island Press Collaborative Print Workshop, Saint Louis. © Jaune Quick-to-See Smith. Photo courtesy Whitney Museum of American Art, New York.

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“My name is an old family name. It doesn’t have anything to do with art. It is not about seeing art, it is about insight,” the artist says. “I’ve been making art as far back as I can remember. When I was in the first grade, I didn’t know the word ‘artist.’ I had never heard that word. I didn’t know anything about it. I just knew that it was my zone—I wanted to be where I could use those materials.” “The maps that I’ve been doing,” she continues, “I see them as landscapes, and they all tell stories. My art practice has grown over the years. I always see my works as inhabited landscapes. From early pastel abstract swaths of color to where we are now, even figures, to me it is still landscape.” Smith lives in Corrales, New Mexico, north of Albuquerque, in a small farm community of about 15,000 people. “Given” to Spanish people, it once belonged to the Pueblo People. Digs reveal doubloons and tin cups and pottery shards and house foundations. An archeological kind of map of time. Smith says that “Native peoples have always studied

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the flora, fauna and land here. It is a culmination of figuring out where we came from. All of the origin stories are about that. These stories go back 15,000 years and they match what the scientists are saying about the movement of glaciers. And that is extraordinary, it blows my mind to think that our oral history goes back that far.” Smith adds, “Our Indian elders studied it so well. Their knowledge of it is so complete. They are always looking back and asking what would the ancestors do? What would they say? And so how can we get some of these messages out there? Part of it is in the work that I do.” In such a long life, Smith has the luxury to look back and learn. “Being Indigenous and making art means that you are looking at the world through lenses that are curved or changed by your upbringing and by your worldview as an Indigenous person. We get together and talk among ourselves about how we can change things or make things better—how we can put messages out

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there that have a relationship to the Indigenous world. Indigenous peoples believe that we live in harmony with all of the plants, animals, fishes and cosmos. We really do believe that. So that’s the first thing that is really distinct in our work and in what we present to the public.” With a history of dislocation and current Land Back issues at the forefront, Smith sees geography in perspective. “Who has a better reason to paint a map?” she says. “Me, a Native person who is all about the land and the history that’s taken place here. How can I tell it all in a way that is different from what you learned in school? I’m showing you an American map; I’m putting my heritage in there. “I take newspaper clippings and put them in every single state just to prove that there are Indians doing things there. Yes, there is Indian life there. Yes, they live everywhere all over the United States. When I started using text, it seemed like a way to say something directly instead of just alluding to it—whether it be text from old Indian speeches or headlines from the New York Times or Albuquerque Journal.”

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The exhibit is broken into sections: » Early Work Pieces from when she drew and painted places with personal significance, including Wallowa, Oregon, and her tribe’s reservation in Montana. Many of the early works like Indian Madonna Enthroned, 1974, have rarely been exhibited. » Dedication to Land Between 1985 and 1989, Smith concentrated on two series that highlighted her role as an activist and artist: Petroglyph Park is the first series in which Smith responded directly to news media; Chief Seattle (C.S.) series continued the artist’s critique of industrialization and global environmental concerns. » Depictions of a Postcolonial World In response to the 1992 quincentennial celebration of Christopher Columbus landing in the Americas, Smith brought attention to the largest genocide in human history. » Reflections on Invasion Throughout the 1990s and 2000s, in response

7. War Horse in Babylon, 2005, oil and acrylic on canvas, two panels, 60 x 100” overall. Forge Project Collection, traditional lands of the Muh-he-con-ne-ok. © Jaune Quickto-See Smith. Photograph courtesy the artist and Garth Greenan Gallery, New York. 8. Survival Suite: Tribe/Community, 1996, lithograph with chine-collé, 36⁄ x 24⁄". Whitney Museum of American Art, New York; gift of Joe and Barb Zanatta Family in honor of Jaune Quick-to-See Smith 2003.28.2. Printed by Lawrence Lithography Workshop, Kansas City, Missouri. Published by Zanatta Editions, Shawnee Kansas. © Jaune Quick-to-See Smith. Photo courtesy Whitney Museum of American Art, New York. 9. Jaune Quick-to-See Smith (Confederated Salish and Kootenai Nation). Image courtesy Modern Art Museum of Fort Worth.

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to U.S.-led invasions at home and abroad, Smith’s work considers the conflicts in a series of prints and drawings that depict General George Armstrong Custer, the U.S. Army officer known for his deadly campaigns against Lakota, Arapaho and Northern Cheyenne people in the late 1860s. » Critiques of Capitalism and Consumerism In recent decades, Smith’s work employs satire and humor, targeting the imported concepts of owning property and commodity goods as wealth, which decimated Indigenous economies, diets and medicinal practices. In works like The Rancher, 2002, Smith draws connections between visual stereotypes of the Wild West, such as the cowboys and Indians seen in advertising and entertainment. » Legacy and Matriarchy Smith says, “My existence is a miracle.” Surviving genocide, decades of war, forced assimilation and systemic oppression, she is still here to practice and share culture. Smith has represented matriarchal leaders across many works and decades, saluting women who juggle family and community in the face of prejudice and discrimination. » U.S. Maps The map of the United States is her most central and recognizable image throughout Smith’s paintings, drawings and prints. In her redrawn plans, the land transgresses and overruns borders, moves the populations and notions of citizenship. » Environment and Intervention Of this section Smith says, “ecology is a science that has been practiced by the Native peoples on this continent for thousands of years. For instance, in my tribe, after harvesting the bitterroot for the spring feast, there is the specific act of cleaning the bitterroot plants to ensure next year’s crop. This is giving back. This has been our way of survival.” » Trickster Smith heard the creation stories of the Salish people from her grandmothers and aunts. Coyote plays an important role in these stories. Coyote is a teacher but also a trickster. “The creator, inventor, satirist must show the flip side of things,” she says. “What makes us do this is a good question. We can’t help ourselves. We have to do this. Coyote makes us do it.” The exhibition continues in Forth Worth through January 21, 2024.

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Future Space

In an exhibition at the Nevada Museum of Art, Cannupa Hanska Luger puts a futuristic spin on “cargo cults.” By Erin E. Rand

1. Displaced, SITE Santa Fe, Santa Fe, NM (installation view). 2. Greed, 2021, ceramic and mixed media, 15 x 26 x 19” 1

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annupa Hanska Luger doesn’t create an installation and then decide where to put it, he figures out where it’s going and uses the space to inform the installation. He says, “You can either lean into the existing flow and movements or you can disrupt it, and I’ve always found that it’s a lot easier to find the natural movement of the space and adapt to the environment.” The artist—who is an enrolled member of the Three Affiliated Tribes of Fort Berthold and is of Mandan, Hidatsa, Arikara and Lakota heritage—has a new

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October 7, 2023March 10, 2024 Speechless Nevada Museum of Art, 160 W. Liberty Street, Reno, NV 89501 (775) 329-3333, www.nevadaart.org

3. Joint Chiefs of Staff, 2023, ceramic, steel, leather, fur, fir, repurposed speaker boxes, repurposed military lockers, synthetic hair, hand-blown glass and paint, 11 x 4 x 3’ 4. Influence, 2023, radio interface, repurposed industrial felt and yarn, 10 x 15 x 8”

installation that comes in the form of Speechless, an exhibition at the Nevada Museum of Art that opens October 7. “I arrived at the Nevada Museum of Art in the fall of 2021, and Cannupa was one of the first people I knew I wanted to work with,” says senior curator of contemporary art Apsara DiQuinzio. She’d recently seen his New Myth show at Garth Greenan Gallery and was blown away. “It was very sci-fi, and very beautiful, and I could immediately sense his ambition and knew that he was somebody I wanted to work with.” In Speechless, Luger examines the idea of a “cargo cult” through a modern, Indigenous lens. A cargo cult is a phenomenon that occurred in the South Pacific after World War II. The United States and Europe built infrastructure and dropped cargo on the small islands to shore up their resources in the Pacific Theater, and when the war was over, they left, often leaving their cargo behind.

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In their wake, small cults sprang up around the infrastructure that remained. “The Indigenous people started building their own versions of things like refrigerators, radio towers and airstrips using the materials they had available,” DiQuinzio says. “They incorporated what they saw into their own rituals. The cargo cult is a result of domination and colonization and the encounter between two cultures that were previously unfamiliar with each other.” The most famous example was documented in David Attenborough’s series The People of Paradise, which depicts the people of Tanna who worship a mythic figure known as “John Frum.” But as Luger points out, “These cargo cults are almost always described from a Western perspective. I’m trying to recontextualize the narrative by presenting the work in a contemporary—and potentially future—space. What is the advancement of technology actually for?” DiQuinzio says, “Cannupa has really flipped the Western gaze back on itself and pointed out that we’re all essentially living in a cargo cult.” The Indigenous people of the South Pacific worshipped the foreign objects left behind, and now, many of us have created rituals around technology and consumption.

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5. Bureau of Land Management, 2023, media ceramic, perforated steel, repurposed industrial felt, repurposed speaker box, fir and synthetic hair, 10 x 3 x 2’ 6. Wealth, 2023, ceramic, synthetic hair, ammunition can, steel and artificial sinew, 24 x 14 x 12”

visiting the space are going to experience the work as a shole. So I’m thinking a lot about the rhythm. How do these pieces relate to each other? What’s the story in between the work? Where is there visual silence?” He’s cognizant of the fact that when he’s working in museums, he’s dealing with some of the most expensive real estate on the planet, and he wants to use the opportunity to take up physical space. “I don’t see the museum as being a pedestal for the work. I think of the work existing in that space long before the museum ever existed. The museum is built around and on top of our stories, so we need to think about how we can bring those stories to life and make them visible,” he says. “I think that has a lot to do with why I chose to use those high-visibility teepees as part of the structure of the show. I’m not putting the teepee up in a museum— they built a museum around where we had teepees.”

The exhibition space at the Nevada Museum of Art will be an aesthetic reproduction of a cargo cult with a special focus on technology. Luger says, “Rather than communicating to each other through radio waves, I’m thinking about what it looks like to communicate to something greater using those same forms and how communication has changed over time in relationship to technological development.” Central to the exhibition is a large “radio tower” built out of a lodgepole pine, which will be surrounded by a series of repurposed and reproduced speakers. While none of the speakers make a sound, presented together, they speak volumes to viewers. Luger has also created a series of teepees made out of the same high-visibility reflective material that’s often seen on construction vests. “Those will be presented along the wall, open, but also closed,” he says. Luger sees his installations as double-edged experiences. “I do build them with the knowledge that they will eventually become compartmental. There are individual pieces that, when they are in proximity to one another, become immersive, but on their own, they still have a story to tell,” he says. “But I am also aware that the vast majority of people who are

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7. Department of the Interior, 2023, ceramic, steel, synthetic hair, hand-blown glass, repurposed speakers, repurposed industrial felt and paint, 7 x 8 x 3’

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The Other Side

Maine’s Colby College Museum of Art brings in Native American voices to add context to non-Native artwork.

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ndigenous art and culture in museum settings over the past 100-plus years have typically been interpreted by Anglos—outsiders to the art forms on display. Art history has silenced Indigenous perspectives, instead speaking for and about Native people, whether those Native people were the makers or the subject of an artwork. While Native viewpoints are increasingly being included in museum displays of Indigenous art, what if those perspectives were taken a giant step further

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Through July 28, 2024 Painted: Our Bodies, Hearts, and Village Colby College Museum of Art, 5600 Mayflower Hill Drive, Waterville, ME 04901 (207) 859-5600, museum.colby.edu

and also applied to the Anglo artwork on view, creating a groundbreaking museological role reversal? What would art history look like then? Colby College Museum of Art in Waterville, Maine, has achieved such a shakeup through its collection reinstallation, Painted: Our Bodies, Hearts, and Village, on view through July 28, 2024. Here, Pueblo perspectives are central not only when considering historic and contemporary Native American art, but also when considering the work of the Taos Society of Artists, the famed group of Anglo-American painters

A work by Virgil Ortiz (Cochiti Pueblo) is flanked by paintings from Ernest L. Blumenschein, left, and Tony Abeyta (Navajo (Diné)). Installation view courtesy Colby College Museum of Art. Photo by Stephen Davis Phillips.

Jody Naranjo Folwell (Santa Clara Pueblo), Ghost Hunters, ca. 2015, redware, 16 x 6½ x 6½”

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active in Taos, New Mexico from 1915 to 1927. The members of the group often featured Pueblo people in their art. The exhibition features paintings by TSA artists from Colby’s Lunder Collection—widely recognized as one of the most important collections of American art ever assembled by private hands—in dialogue with works by 20th- and 21st-century Native American artists. Leading that dialogue are Native voices. Jody Folwell (Santa Clara Pueblo), Michael Namingha (Ohkay Owingeh and Hopi) and Cara Romero (Chemehuevi) are among the contemporary artists providing firsthand exhibition wall text. A curatorial advisory council made up of Pueblo and Wabanaki artists and stakeholders helped guide the project throughout. Their perspectives are also featured in wall text, along with that of the reinstallation’s co-curators, 2021-22 Lunder Institute research fellows Juan Lucero (Isleta Pueblo) and Jill Ahlberg Yohe. They describe not only the work of Native artists, but the TSA paintings as well. Together, their insights offer fresh, intimate interpretations of the works. Rich details relating to the meaning and backstories of objects are shared. Centering the Pueblo perspective animates the items in ways outsiders have never been able to. “The beauty of this exhibition is that it showcases art made in the Southwest in radically new ways and includes extraordinary works of art by legendary figures in American art, both of the past and present, Native and non-Native,” Yohe says. “It also presents this work together, which is very rare, if ever, exhibited at the same time, and the interpretation for the reinstallation is one of multivocality highlighting Pueblo voices over non-Pueblo ones.” Additionally, Virgil Ortiz (Cochiti Pueblo) served as the project’s exhibition designer, an element both curators credit for greatly elevating the presentation. “Virgil Ortiz established space by placing welcoming iconography using his ‘Rez Spine’ design that draws viewers into the space,” Lucero explains. “The quality of Virgil’s design has been a powerful tool in utilizing space to establish identity and narrative, giving the impression that the exhibit is housed in a Pueblo pottery vessel.” All of these considerations come together in creating a museum display of Southwestern art unlike anything experienced previously.

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1. Dan Namingha (Hopi), August Moon, 2022, acrylic on canvas, 33 x 36" 2. Jessa Rae Growing Thunder (Fort Peck Dakota/Nakoda), Assiniboine (Nakoda) Pipe Bag, 2022, smoked braintanned buckskin, antique seed beads, wool, brass bells, brass beads, 27½ x 5½"

“There are no instances to my knowledge in which TSA paintings are situated within a context of an exhibition design by a Pueblo designer. Virgil Ortiz sets the stage for all of the work in the reinstallation to look better and more alive,” Yohe says. “Having Taos Pueblo and other Pueblos and Wabanaki advisors help us to create the exhibition and write interpretation presents this work in an entirely different way. Honestly, TSA paintings have never looked this great.”

At Colby College, the Pueblo-centric curation elevates even the work of the Anglo artists, a favor seldom returned over the years when the shoe was on the other foot. “In conversation with Virgil Ortiz, he mentioned that while walking through the exhibit he forgot he was looking at non-Native art,” Lucero recalls. “To me, this is one of the more powerful statements I heard of this exhibit.” Among the standout pieces are Through the Eyes that Capture Us, a video specially commissioned for this reinstallation featuring commentary from Taos Pueblo community members Gilbert Suazo, Robert Mirabal and Jonathan Warm Day, all of whose grandparents posed for the Taos Society of Artists. They discuss aspects of social, cultural and political life in Taos Pueblo when the TSA was active. Also significant are Juan Pino’s (Tesuque Pueblo, 18961950) woodblocks. In the 1920s and 1930s he worked exclusively with woodblock prints and is recognized as the only Native artist to use this medium during this era. “As a Pueblo person growing up in New Mexico, making museum visits, whether historical or art, I found myself lost in the dialogue that was written by non-Native academics, which were very ethnographic viewpoints,” Lucero says. “To me, this exhibit helps establish Pueblo presence and perspective in the American museum field and demonstrates we have the ability to control and share our own narrative and art. The energy created in the gallery by design and stories shared is immense. This is the same feeling you experience when visiting the Southwest. Alive is the only way I can describe it, and I think that’s most appropriate word for both the Pueblos and the exhibit.”

3. Cara Romero (Chemehuevi), Crickett, 2014, archival inkjet print, 40 x 27" 4. Madeline Naranjo (Santa Clara Pueblo), Human connections, sometimes all we need is a hug, 2022, blackware, 5⁄ x 4½ x 4½" 5. Michael Namingha (Ohkay Owingeh/Hopi), Altered Landscape 15, 2022, chromogenic print on shaped acrylic mount, 25 x 50 x 1" 5

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Compare & Contrast

A New york exhibition featuring Kay WalkingStick examines her work through the lens of the Hudson River School. By Chadd Scott

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andscape paintings are rarely just that—trees and mountains. Consciously or subconsciously, they’re imbued with meaning, subtext. Such is the case for Kay WalkingStick (Cherokee) as it was for the Hudson River School painters of the 19th century. The two come together this fall at the NewYork Historical Society for Kay WalkingStick / Hudson River School, an exhibition placing landscape paintings by WalkingStick in conversation with highlights from NYHS’ esteemed collection of Hudson River School paintings. Landscapes, yes, but more than that. Founded in the mid-19th century along the Hudson River in New York by Thomas Cole, the Hudson River School was a loose community of landscape painters exalting America’s natural beauty. Frederic Edwin Church, Albert Bierstadt and George Inness are also associated with the group. Asher B. Durand is WalkingStick’s favorite Hudson River School painter due to his loose brushwork and vivid, fresh colors by 19th-century standards.

October 20, 2023April 14, 2024 Kay WalkingStick / Hudson River School New-York Historical Society, 170 Central Park West, New York, NY 10024 (212) 873-3400, www.nyhistory.org

In portraying the American landscape as a paradise, an Eden, the Hudson River School painters were making a then-progressive statement in the face of the nation’s rapid development and industrialization that these wonderfully scenic places should be protected and revered. In a way, they were early environmentalists. In another way, they were in the long line promoting Manifest Destiny and colonization. The dramatic waterfalls and sweeping vistas of the Hudson River School painters were mostly unpopulated. The Indigenous people who had called these lands home for millennia were erased by the artists. Hudson River School paintings promoted the fallacy of America beyond its East Coast cities as an unpopulated wilderness, wide open, free for the taking. Determine for yourself why America looked at these paintings and chose to see the settler message while ignoring the conservation message, but understand, there’s more at work here than picturesque topography. WalkingStick’s contemporary message is simple. “I hope viewers will leave the museum with a

1. Kay WalkingStick (Cherokee), Niagara, 2022, oil on panel in two parts. New-York Historical Society. Purchased through the generosity of Agnes Hsu-Tang and Oscar Tang; Nancy Newcomb; Anonymous; Barry Barnett; Helen Appel; Belinda and Charles Bralver; Dorothy Tapper Goldman; Margi and Andrew Hofer; Louise Mirrer; Jennifer and John Monsky; Suzanne Peck and Brian Friedman; Pam and Scott Schafler; Barbara and Elliott Wagner; and Linda Ferber, 2023.2ab. 2. Louisa Davis Minot (1788-1858), Niagara Falls, 1818, oil on linen. NewYork Historical Society. Gift of Mrs. Waldron Phoenix Belknap Sr. to the Waldron Phoenix Belknap Jr. Collection, 1956.4. 3. Kay WalkingStick (Cherokee), Farewell to the Smokies (Trail of Tears), 2007, oil on wood panel. Denver Art Museum. William Sr. and Dorothy Harmsen Collection at the Denver Art Museum, by exchange, 2008.14A-B.

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4. Albert Bierstadt (1830-1902), Indian Encampment, Shoshone Village, 1860, oil on millboard. New-York Historical Society. The Robert L. Stuart Collection, the gift of his widow Mrs. Mary Stuart, S-52. 5. Kay WalkingStick (Cherokee), Wampanoag Coast, Variation II, 2018, oil on panel in two parts. Collection of Agnes HsuTang, Ph.D., and Oscar Tang.

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renewed sense of how beautiful and precious our planet is,” she says. “Also, that they leave with the realization that those of us living in the western hemisphere are all living on Indian Territory. These are certainly straightforward, even obvious, thoughts, but I believe they are concepts easily forgotten.” In several of her most recent paintings, WalkingStick overlays geographically specific abstract Indigenous patterns onto representational landscapes as a device, re-asserting the Indigenous presence long removed by European settlers’ depictions of North America. WalkingStick puts an Indigenous stamp on the “unpopulated wilderness” reminding viewers these landscapes were populated; not wilderness, rather homelands. Why does she forgo placing Native figures in her landscapes to reinforce this message? “Because we’re humans,” she explains. “If we see a human in a painting, they become the focal point of the painting. That’s what you see first. That’s what you focus on. I don’t want that. I want these to be about the landscape, the land itself. To get people to focus on the land itself, you can’t put people in it.” Highlights of the exhibition’s more than 40 works include two of WalkingStick’s paintings directly inspired by Hudson River School artists. One of these, Niagara (2022), was recently purchased by the NewYork Historical Society. The acquisition stirred senior curator of American art Wendy Nālani E. Ikemoto’s (Native Hawaiian) desire to showcase WalkingStick. Niagara is grouped with two paintings of the iconic waterfalls by Louisa Davis Minot, which are among the few known works by her hand and rare examples of early 19th-century landscape paintings by a Euro-

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American woman. These works position WalkingStick within a lineage of women landscape painters in the Hudson River region (WalkingStick is from Syracuse, New York), while also considering the critical differences between the two artists: Minot’s work includes generic Indigenous figures to distinguish the site as North American; WalkingStick uses a culturally specific Haudenosaunee pattern to mark the land as Indigenous. “I’m so pleased that we’re integrating the two bodies of work together,” Ikemoto says. “Instead of separating Kay’s work into one room and Hudson River School work into the other, it’s about this conversation. It’s about seeing the Hudson River School through Kay’s paintings, through her eyes, and looking at what’s missing, or who is missing, looking at what is untold. This juxtaposition is able to shift the way American art and American history are typically told.” Kay WalkingStick / Hudson River School is on view from October 20, 2023, through April 14, 2024.

6. John Frederick Kensett (1816-1872), Pulpit Rock, Nahant (Nahant Rock and Seashore), 1859, oil on canvas. New-York Historical Society. The Robert L. Stuart Collection, the gift of his widow Mrs. Mary Stuart, S-84.

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Meaningful Representation

The National Gallery of Art exhibits an unprecedented survey of contemporary Native art. By Erin E. Rand

September 22, 2023January 15, 2024 The Land Carries Our Ancestors: Contemporary Art by Native Americans National Gallery of Art, Constitution Avenue NW & Seventh Street NW, Washington, D.C. 20408 (202) 737-4215, www.nga.gov

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new exhibition at the National Gallery of Art in Washington, D.C., reflects the diversity of contemporary Native art, underscoring the right of self-representation by Indigenous artists. The Land Carries Our Ancestors: Contemporary Art by Native Americans includes artwork by 50 living Native artists and was assembled by guest curator Jaune Quick-to-See Smith, an artist and citizen of the Confederated Salish and Kootenai Nation of Montana. The National Gallery of Art has recently made several new acquisitions of work by Native American artists, including Emmi Whitehorse, G. Peter Jemison and Marie Watt, which will be featured in the exhibition. Fog Bank will be the first piece by Whitehorse to join the National Gallery of Art’s permanent collection. She says that when she first began painting, she knew she didn’t want to create stereotypical images of Indians riding on horses in full regalia. Instead, she looked inward and contemplated what she knew best so that she could create work that actually represented her. “Landscape is what I knew best. My backyard. I’ve observed it, painted it and it provides an endless source of inspiration to me,” Whitehorse writes in her artist statement. Fog Bank is an atmospheric piece inspired by the desert landscape

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1. Cara Romero (Chemehuevi), Indian Canyon, 2019, archival pigment print. Courtesy of the artist. © Cara Romero. 2. Marie Watt (Seneca Nation of Indians), Antipodes, 2020, vintage Italian beads, industrial felt, and thread, 64”. National Gallery of Art, Washington, D.C. Gift of Funds from Sharon Percy Rockefeller and Senator John Davison Rockefeller IV, 2022.32.1. Image courtesy of the artist. Photograph by Kevin McConnell. 3. Emmi Whitehorse (Navajo (Diné)), Fog Bank, 2020, mixed media on paper on canvas, 51 x 78”. National Gallery of Art, Washington, D.C., William A. Clark Fund, 2022.41.1.

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near Whitehorse’s home in Santa Fe, New Mexico. To create the rich blue backdrop, she used her hands and brushes to rub pastel into the paper, and the collection of colorful symbols are a shorthand for specific plants, people and experiences meaningful to the artist. Jemison’s Sentinels (Large Yellow) is a 2006 work that visualizes the role of Native people as stewards of the land. Along the top of the piece, viewers can see winter progressing into summer, and the dried, drooping sunflowers are foregrounded against a sunny yellow background. Sunflowers are of particular importance in the Seneca creation story, representing first light. “This painting was created at Ganondagan, where we are taking back our original homeland and bringing it back to life through growing traditional medicine and foods,” Jemison writes. “That’s what this painting is about. There is a season for growing and a season for resting and returning to the earth.” Watt’s Antipodes is a two-part beaded sculpture that incorporates pre-1920s Venetian glass beads sewn onto felt backings. On each of the hangings, she incorporates a word of significance. “Skywalker” on the upper hanging is meant to honor the Khanawake Mohawk ironworkers who helped build bridges and buildings in New York City at the turn of the 20th-century, as well as referencing the famed Star Wars franchise. “Skyscraper” on the lower hanging references the structures Native ironworkers helped create, and how the buildings separated them from the

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ground and brought them closer to celestial heights. Watt writes, “Antipodes is defined as ‘the exact opposite or contrary,’ yet it is a mistake to think of opposites as merely being oppositional. In this work, I explore the possibilities that arise in the dynamic spaces between opposites, on both a physical and metaphysical level.” After closing at the National Gallery of Art in January, The Land Carries Our Ancestors will travel to the New Britain Museum of American Art in Connecticut.

4. G. Peter Jemison (Seneca Nation of Indians), Sentinels (Large Yellow), 2006, acrylic, oil and collage on canvas, 36 x 40”. National Gallery of Art, Washington, D.C. Gift of Funds from Sharon Percy Rockefeller and Senator John Davison Rockefeller IV, 2022.22.1.

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Coast to Coast

A sweeping exhibition of Canadian Indigenous art makes its international debut at the Heard Museum.

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arly Days: Indigenous Art from the McMichael Collection is the first exhibition of Canadian Indigenous art of this scope to be presented internationally. Organized by the McMichael Canadian Art Collection in collaboration with Indigenous scholars, traditional knowledge keepers and living artists, the exhibition includes 112 works by 61 artists, representing roughly 25 nations from coast to coast. Showcasing the diversity and vitality of Indigenous art in Canada, Early Days makes its United States debut at the Heard Museum in Phoenix, where it will remain on view through January 2, 2024. The exhibition features objects ranging from 18th-century ceremonial regalia to the work of vanguard artists of the 1960s, ’70s and ’80s such as Norval Morrisseau, Carl Beam and Alex Janvier, as well as leading contemporary Indigenous artists like Kent Monkman, Meryl McMaster and Rebecca Belmore. “Our intent was to use the collection to tell the stories of the myriad Indigenous cultures that have historically inhabited what we now call Canada, attempting wherever possible to leave the explaining to those Indigenous cultural stakeholders who know these works best,” says Sarah Milroy, chief curator at the McMichael Canadian Art Collection. “The preparations for this exhibition and the publication that accompanies it, provided a framework for our museum’s deepening engagement with Indigenous artists, writers and scholars across the country.” Through painting, sculpture, photography, beadwork, porcupine quillwork, wood carving, textile, argillite carving, collage, silver work, printmaking and ceremonial objects, Early Days explores the tensions and ties between the past and the present; and the relationship to the land, ancestors, and each other among tribal nations. As a state known for its many Indigenous communities and their celebrated art forms, Arizona and the Heard Museum—which, with nearly 45,000

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Through January 2, 2024 Early Days: Indigenous Art from the McMichael Heard Museum, 2301 N. Central Avenur, Phoenix, AZ 85004 (602) 252-8840, www.heard.org

1. Bob Harris (Kwakwaka´wakw, 1870-1930), Chief Xi’xa’niyus, “Gives All His Blankets Away” and Johnny Davis, Chief Lalakinx’idi, “The One Who Always Went Too Far” (1867-70-ca. 1921), Kύmugwe, “Wealthy One,” Chief Of The Undersea Kingdom Mask, ca. 1890, western red cedar, paint. Purchase 1977. 1977.2.1.A-.B

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objects, has one of the most extensive collections of Native American art in the country—made for a natural choice to launch the exhibit’s international tour. This will be the first time that many of the living artists in the exhibition have had their work shown in the state and invites a deep connection with the issues at the heart of the Indigenous experience. “We are honored to be the first stop on this world tour,” says David M. Roche, Heard Museum director and CEO. “The exhibition allows us to share the magnificence of Indigenous art from coast to coast to coast in Canada with the people of Arizona.” Milroy adds, “This exhibition makes clear that contemporary Indigenous art has deep roots in the past, but is a vital and evolving discipline. It is alive. These artists and makers have been engaging with all the key issues of our day: environmentalism, feminism and gender fluidity, land use, spirituality, tolerance, strategies for remembrance, and resistance and survival in a changing world. This is an exhibition to be mined for its lessons for the present and the future.” After its time at the Heard, the exhibition travels to the Albuquerque Museum, the Chrysler Museum in Norfolk, Virgina, and back to Canada at the Musée national des beaux arts du Quebec.

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2. Norval Morrisseau (Bingwi Neyaashi Anishinaabek First Nation, 1932-2007), Artist’s Wife and Daughter, 1975, acrylic on hardboard. Purchase 1975, 1981.87.1.

3. Charles Edenshaw (Haida, 1838-1924), Wasco bracelet, ca. 1910, silver. Purchase 1974. 1981.108.1

4. Great Lakes First Nation, pair of moccasins, ca. 1770-80, black-dyed deerskin sewn with sinew, decorated with porcupine quillwork and fringed with red-dyed deer-hair tassels inserted in tinned iron cones. Gift of Dr. Phil Nuytten. 2013.7.2.A-.B

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Museums 2023/2024

Interference Patterns

October 6, 2023February 5, 2024 Nicholas Galanin: Interference Patterns SITE SANTA FE, 1606 Paseo De Peralta, Santa Fe, NM 87501 (505) 989-1199, sitesantafe.org

SITE Santa Fe hosts a powerful solo exhibition of Nicholas Galanin’s highly conceptional, contemporary works.

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pening on October 6, SITE Santa Fe presents a thrilling look at 25 new and existing works by multidisciplinary Tlingit and Unangaxˆ artist Nicholas Galanin. Titled Interference Patterns, the exhibition will feature a selection of works made between 2006 through 2023, including video installation, sculpture, performance art, works on paper and installation. SITE Santa Fe representatives share that this comprehensive collection is “celebrating Indigenous knowledge and reenvisioning legacies and consequences of colonization and occupation. Boldly and intentionally disrupting colonial narratives and fiction by centering Indigenous perspectives, Galanin’s varied works touch on the intersection of land and water, cultural erasure, forced assimilation, natural and forced migration, environmental violence and climate crisis with settler-colonial capitalism.”

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Galanin succinctly adds that the exhibition reflects the way “natural patterns” are being interfered with. “These works connect  to past, present and future generations in voice, experience and envisioned  futures,” says the artist. “Many pieces offer multiple layers of entrance and engagement. This allows for different perspectives to join the conversation depending on willingness to experience and understand the context of the work. There are many things to access by engaging with my practice and work. There are no incorrect ways to get there.” In bold works like Infinite Weight, 2022, an installation and film that also includes a taxidermized wolf posed upside down from the ceiling, Galanin explains his message: “The absence of the living wolf is mirrored between image and object. It’s marginalized to exist only on the ceiling, while its inability to move is confirmed by time-

1. Signal Disruption, American Prayer Rug, 2020, wool and cotton. Courtesy of the artist and Peter Blum Gallery, New York. 2. Loom, 2022, prefabricated children’s school desks and chairs with graphite and pencil carving. Courtesy of Forge Project Public Collection.

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lapse. The work itself is also a mirror, reflecting the extent to which colonization and settlement of [my] homeland has sought to capture and control what is determined valuable and to destroy or marginalize what is not…Wolves are inherently important to the survival of all life and healthy ecosystems in the lands to which they are Indigenous, yet their survival continues to be endangered by extractive practices stemming from unsustainable anthropocentric ideologies. The wolf in the work carries more than its own weight; it carries the weight and the waiting of all life determined less-than-valuable, critiquing the practice of devaluing and destroying life in favor of control and artifice.” Other significant works include a wool and cotton American prayer rug titled Signal Disruption, created in 2020, which “calls for disrupting the sources of

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American political power and media supporting xenophobia and obliterating voices and rights of land, water and cultures throughout the world,” says Galanin. Exhibition attendees will also see White Flag, 2022, featuring a trimmed polar bear rug attached to a wooden pole, representing the global effects of human driven climate change; and the brand-new, participatory performance piece Neon American Anthem, that invites visitors to “‘scream until you can’t breathe’ in response to legislated violence and oppression by the United States on those inside and outside its borders,” explains SITE reps. A celebration for the exhibition will be held on Friday, October 6, from 5 to 9 p.m., kicking off the opening day. The public is invited to view and engage with the exhibition through its closing date on February 5, 2024.

3. Infinite Weight, 2022, installation, film, video, taxidermized wolf with monitor and video loop. Courtesy of the artist and Peter Blum Gallery, New York. 4. White Flag, 2022, trimmed polar bear rug and wood. Courtesy of the Forge Project Public Collection.

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Museums 2023/2024

Implode/ Explode

The Bates College Museum of Art will feature 13 artists in a genre-bending exhibition in Maine.

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nspired by Andy Warhol’s multimedia series of events, Exploding Plastic Inevitable, the Bates College Museum of Art will be hosting a similar exhibition that will feature a wide range of art and artists all under one roof. Exploding Native Inevitable will be on view starting October 27 at the museum in Lewiston, Maine. Co-curated by Indigenous artist Brad Kahlhamer and Bates Museum’s director and chief curator Dan Mills, the exhibition will go “beyond the museum, across campus and into the community with collaborations that bring in performers, filmmakers and writers from the surrounding region and throughout the nation,” the museum notes.

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October 27, 2023March 4, 2024 Exploding Native Inevitable Bates College Museum of Art 75 Russell Street, Lewiston, ME 04240 (207) 786-6158, www.bates.edu/museum

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Fourteen artists works will be featured: Norman Akers, Nizhonniya Austin, Alison Bremner, Jaque Fragua, Raven Halfmoon, Elisa Harkins, Sky Hopinka, Terran Last Gun, Fox Maxy, New Red Order, Mali Obomsawin, Sarah Rowe, Duane Slick and Tyrrell Tapaha. “They are amazing voices, make compelling art and have important things to say,” says Kahlhamer. “The artists build on traditions, push creative boundaries and represent some extraordinary work being created by Indigenous artists across the land.” Additionally, the museum will also be concurrently hosting Brad Kahlhamer: Nomadic Studio, Maine Camp, which will include many of Kahlhamer’s sketchbooks and related material.

1. Norman Akers (Osage Nation), Watchful Eye, 2023, oil on canvas, 78 x 68". Bates College Museum of Art Purchase, 2023. 2. Alison Bremner (Tlingit), Infatuation, 2022, acrylic, wallpaper on canvas, 36 x 24". courtesy of the artist.

Museum Guide

2023/2024

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Eiteljorg Museum of American Indians and Western Art White River State Park • 500 W. Washington Street • Indianapolis, IN 46204 (317) 636-9378 • [email protected] • www.eiteljorg.org

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he Eiteljorg Museum’s mission is to inspire an appreciation and understanding of the arts, histories and cultures of the Indigenous peoples of North America and all the diverse peoples of the American West. The Eiteljorg serves the public through engaging exhibitions, educational programs and special events that emphasize cultural diversity. Located in downtown Indianapolis, the Eiteljorg is the only museum of its kind in the Midwest. The museum’s newly redesigned Native American Galleries opened to the public in June 2022 and feature the permanent exhibition, Expressions of Life: Native Art in North America. The Eiteljorg has a special focus on artworks and cultural items by the Native peoples of the Great Lakes region, of which Indiana is a part. Well-known Native artists whose works are on view include Kay WalkingStick (Cherokee Nation), Allan Houser (Warm Springs Chiricahua Apache), Karen Ann Hoffman (Oneida of Wisconsin/Haudenosaunee), Joe Feddersen (Colville Confederated Tribes), Truman

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Lowe (Ho-Chunk) and Katrina Mitten (Miami Tribe of Oklahoma), among many others. The Eiteljorg no longer has any Covid restrictions. Those interested in the Eiteljorg Museum can connect in several ways, through all major social media platforms, the museum’s main website, the Education Hub webpage (education.eiteljorg.org), the Eiteljorg Contemporary Art Fellowship webpage (contemporaryartfellowship.eiteljorg.org) and the Quest for the West Art Show and Sale webpage at quest.eiteljorg.org.

Major Upcoming Exhibitions UNSETTLE/Converge: The Eiteljorg Contemporary Art Fellowship 2023 Nov. 11, 2023-Feb. 25, 2024 Acts of Faith: Religion in the American West April 20, 2024-Aug. 4, 2024

1. The front entrance of the Eiteljorg Museum in downtown Indianapolis. Image courtesy the Eiteljorg Museum. 2. Eiteljorg Museum of American Indians and Western Art, Blue Eyed Chief, 2008, oil on canvas, by Jim Denomie (Lac Courte Oreilles Ojibwe, 1955-2022). Collection of Eiteljorg Museum of American Indians and Western Art. Museum purchase from the Eiteljorg Fellowship for Native American Fine Art. 2009.10.1. Image courtesy the Eiteljorg Museum.

Native Art History is Made Here Through March 31, 2024

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Museum Guide

2023/2024

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Heard Museum

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2301 N. Central Avenue • Phoenix, AZ 85004 • (602) 252-8840 [email protected] • www.heard.org

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ince its founding in 1929, the Heard Museum has grown in size and stature, gaining international recognition for the quality of its collections, world class exhibitions, educational programming and unparalleled festivals. Dedicated to advancing American Indian art, the Heard successfully presents the stories of American Indian people from a first-person perspective, along with exhibitions showcasing the beauty and vitality of both traditional and contemporary art. The Heard Museum sets the standard for collaboration with American Indian artists and tribal communities, offering visitors a distinctive perspective on the art of Native people, particularly those from the Southwest. One of Arizona’s largest cultural organizations, the Heard seeks to inspire and educate visitors about Indigenous art and culture by presenting exhibitions, managing a library and archival resource collection and providing impactful public programs. Through original exhibitions, each accompanied by an array of educational programs, the Heard Museum aims to elevate public awareness of the vitality and oftenoverlooked influence of Indigenous art. Located in

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the heart of downtown Phoenix, the fifth-largest city in the nation, the Heard reaches a broad and diverse audience of residents and tourists from around the world. The museum occupies an 8-acre campus and features an outstanding collection of fine art and cultural objects, an extensive library and archives, a renowned shop that significantly supports American Indian artists economically, a unique café, as well as a wide range of public events that surprise and delight the community.

Major Upcoming Exhibitions Substance of Stars Open Now Early Days: Indigenous Art from the McMichael Through Jan. 2, 2024 Maria & Modernism Opens March 24, 2023 Admissions & Membership » Adults $25 at the door, $22.50 online » Seniors (65+) $20 at the door, $18 online » Students with valid ID $10 at the door, $9 online » Children (6-17) $10 at the door, $9 online » All children 5 and under, American Indians (with Tribal ID or CIB) and Heard Museum Members Free

1. A view of artwork on display at the Heard Museum. Photo courtesy Heard Museum, 2023. 2. The Heard Museum courtyard in downtown Phoenix. Photo courtesy Heard Museum, 2023.

Museum Guide

2023/2024

Museum of Indian Arts & Culture

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710 Camino Lejo • Santa Fe, NM 87505 • (505) 476-1269 [email protected] • www.miaclab.org

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he Museum of Indian Arts & Culture in Santa Fe, New Mexico, tells the stories of the Native American people of the Southwest from pre-historic through contemporary times. Its changing exhibitions draw from an unparalleled collection of Native American art and material culture

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representing the Pueblo, Navajo, Apache and other Indigenous cultures of the Southwest. Located on Museum Hill, the Museum of Indian Arts & Culture shares the beautiful Milner Plaza with the Museum of International Folk Art. Here, Now and Always, a major permanent exhibition at the Museum of Indian Arts and Culture, combines the voices of living Native Americans with ancient and contemporary artifacts and interactive multimedia to tell the complex stories of the Southwest. The Buchsbaum Gallery displays works from the region’s pueblos. Five changing galleries present exhibits on subjects ranging from archaeological excavations to contemporary art. In addition, an outdoor sculpture garden offers rotating exhibits of works by Native American sculptors.

1. An exterior view of the Museum of Indian Arts & Culture. Photo by NM True. 2. Museum of Indian Arts & Culture, Santo Domingo Pueblo necklace. Gift of Grace Bowman, Museum of Indian Arts and Culture/Laboratory of Anthropology. HNA Section: Trade and Exchange. Credit: Photograph by Addison Doty.

Admissions & Membership New Mexico Residents $7 (First Sundays free; every Wednesday free for NM senior residents) Non-residents $12

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Museum Guide

2023/2024

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New-York Historical Society

170 Central Park West • New York, NY 10024 • (212) 873-3400 • www.nyhistory.org

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xperience 400 years of history through groundbreaking exhibitions, outstanding collections, immersive films and thoughtprovoking conversations among renowned historians and public figures at the New-York Historical Society, New York’s first museum. A great destination for history since 1804, the museum and the Patricia D. Klingenstein Library convey the stories of the city and nation’s diverse populations, expanding our understanding of who we are as Americans and how we came to be. Among the museum’s highlights are the Gallery of Tiffany Lamps, Picasso’s Le Tricorne, Nari Ward’s We the People, an Oval Office recreation, Thomas Cole’s The Course of Empire and Keith Haring’s Pop Shop ceiling.

1. A view of the façade of the New-York Historical Society in New York City. 2. New-York Historical Society, Thom, Where are the Pocumtucks (The Oxbow), 2020, oil on panel, 24 x 28”, by Kay WalkingStick (Cherokee). Photo by JSP Art Photography crop.

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Major Upcoming Exhibitions The Collection: New Conversations Ongoing Acts of Faith: Religion and the American West Sept. 22, 2023-Feb. 25, 2024 Enchanting Imagination: The Objets d’Art of André Chervin and Carvin French Jewelers Through Jan. 28, 2024

Museum Guide

2023/2024

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1. Western Spirit: Scottsdale’s Museum of the West, Polychrome Storage Jar with Appliqué, ca. 1905, ceramic, by Nampeyo of Hano (Hopi/ Tewa, ca. 1860-1942). Gift of The Allan and Judith Cooke Collection. 2. Western Spirit: Scottsdale’s Museum of the West, Bracelet, silver, turquoise, lapis, coral, jet, jade and mother-of-pearl, by Carl and Irene Clark (Diné/Navajo). Gift to Western Spirit, Collection of Richard A. Gates.

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Western Spirit: Scottsdale’s Museum of the West 3830 N. Marshall Way • Scottsdale, AZ 85251 • (480) 686-9539 www.scottsdalemuseumwest.org

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estern Spirit: Scottsdale’s Museum of the West is a premier cultural institution situated in Old Town Scottsdale, Arizona. Opened in January 2015, the museum resides on the historic grounds of the Loloma Transit Station (N. Marshall Way and E. 1st Street). With a sprawling twostory layout encompassing 43,000 square feet, the museum showcases the art, culture and rich history spanning 19 states in the American West, Western Canada and Mexico. Former Scottsdale mayor Herb Drinkwater (1936-1997), who served from 1980 to

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1996, envisioned the museum, which became a reality through the City of Scottsdale’s ownership and the dedicated operation by the Scottsdale Museum of the West, a non-profit organization established in 2007.

Major Upcoming Exhibitions Decades: Willy Matthews Oct.10, 2023-April 28, 2024 Inner Light: The Art of Tom Gilleon Jan. 16, 2024-Aug. 2024 Carl Roters/Winold Reiss June 11, 2024-Jan. 2025

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Museum Guide

2023/2024

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Wheelwright Museum of the American Indian

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704 Camino Lejo • Santa Fe, NM 87505 • (505) 982-4636 (800) 607-4636 • [email protected] • www.wheelwright.org

he Wheelwright Museum of the American Indian is New Mexico’s oldest non-profit museum, and the first in the city of Santa Fe to present contemporary Native American art. Founded in 1937, it has built a rich collection that spans historic and contemporary Native American art. Its collections are strong in Navajo and Pueblo jewelry, works on paper, sculpture, weaving, folk art and ceramics. The museum’s archives are extensive and include documents and records that reflect its history and founding, in addition to works by artists, researchers and photographers. With the support of the Mellon Foundation, the Wheelwright is working to digitize this significant archive and make it more accessible. The museum has a rich history of solo works by contemporary Native artists, though in its permanent gallery—which features more 700 pieces of Navajo and Pueblo jewelry—the Wheelwright also honors those artists whose names have not yet been recorded. Since the 1970s, the museum has embarked on an ambitious series of exhibitions by emerging artists including substantial one-person exhibitions featuring

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Tony Abeyta (Navajo/Diné), Arthur Amiotte (Lakota), Clifford Beck (Navajo/Diné), T. C. Cannon (Kiowa/ Caddo), Darren Vigil Gray (Jicarilla Apache/Kiowa Apache), Benjamin Harjo Jr. (Absentee Shawnee/ Seminole), Fritz Scholder (Luiseño), Pablita Velarde (Santa Clara Pueblo) and many others. Current exhibitions California Stars: Huivaniūs Pütsiv and Always in Relation feature constellations of artists important to the field of fine art and jewelry making including: Kenneth Begay (Navajo/Diné), Charles Loloma (Hopi), Jamie Okuma (Luiseño/ShoshoneBannock), Cara Romero (Chemehuevi Indian Tribe), Rick Bartow (Mad River band of the Wiyot Tribe), Frank Day (Maidu/Konkaw) and Norbert Peshlakai (Navajo/Diné), to name a few.

Major Upcoming Exhibitions Master Glass: The Collaborative Spirit of Tony Jojola November 2023 Fear No Art – The Works of Marcus Amerman February 2024

1. A view of the exhibition California Stars: Huivaniūs Pütsiv at the Wheelwright Museum. Credit: Tia collection. Photo by Addison Doty. 2. Wheelwright Museum of the American Indian, stamped spiral silver bracelet set with turquoise, 1970, by Kenneth Begay (Navajo, 1912-1977). 2022.03.020. Courtesy the Wheelwright Museum. Photo by Ben Calabaza.

Museum Guide

Maryhill Museum of Art 35 Maryhill Museum Drive • Goldendale, WA 98620 (509) 773-3733 • www.maryhillmuseum.org aryhill Museum of Art is housed in an historic Beaux Arts mansion situated high above the Columbia River in south central Washington state. The museum’s Indigenous Peoples of North America Gallery contains material from throughout Native North America, with a particular emphasis on Indigenous basketry and the Columbia River Plateau region. Recent changing exhibitions have featured the work of American classical realist (Boston School) painters and contemporary Indigenous artists. The museum collections contain works by Rick Bartow, Joe Feddersen, Lillian Pitt, Cara Romero, Jackie Larson Bread and Maynard Lavadour. These periodically rotate onto view. Diverse Columbia River Plateau aspects of the museum collection— maker, Man’s Beaded Vest, ca. 1910, glass beads, including the Théâtre de la Mode, American cloth and thread, classical realist art and Orthodox icons— 22 x 17”. Collection of are profiled in online exhibitions on the Maryhill Museum of Art. museum’s website. Maryhill’s outdoor William and Catherine Dickson Sculpture Park features more than a dozen large works by Northwest artists. The museum’s Stonehenge Memorial—a concrete replica of the original on Salisbury Plain—is located nearby. It was built by institutional founder Sam Hill to memorialize local men who died in World War I. The museum’s 5,300-acre property is located about 100 miles east of Portland, Oregon, at the eastern end of the Columbia River Gorge and within hailing distance of multiple vineyards and wineries.

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Major Upcoming Exhibitions The Columbia River: Wallula to the Sea March 15-Nov. 15, 2024 King Salmon: Contemporary Relief Prints March 15-Nov. 15, 2024

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2023/2024

Oklahoma City Museum of Art, Gagaan Awutáawu Yéil (Raven Steals the Sun), blown, hot-sculpted and sand-carved glass, 9½ x 26 x 9½”, by Preston Singletary (Tlingit). Made at the Museum of Glass in 2008. Collection of Museum of Glass, Tacoma, gift of the artist. Photo by Russell Johnson.

Oklahoma City Museum of Art 415 Couch Drive • Oklahoma City, OK 73102 • (405) 236-3100 [email protected] • www.okcmoa.com

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he Oklahoma City Museum of Art is one of the leading arts institutions in the region. It presents a dynamic range of exhibitions organized from prestigious museums around the world. The museum’s own diverse collection features highlights from North America, Europe and Asia, with particular strengths in American art and post-war abstraction. The permanent collection also boasts one of the world’s largest public collections of Dale Chihuly glass, a major collection of photography by Brett Weston and the definitive museum collection of works by the Washington Color painter Paul Reed. The museum’s renowned Samuel Roberts Noble Theater screens the finest international, independent, documentary and classic films. Amenities include the Museum Store and the Roof Terrace. The Oklahoma City Museum of Art is accredited by the American Alliance of Museums and is a member of the Association of Art Museum Directors. The museum serves more than 125,000 visitors annually from all 50 states and 30 foreign countries.

Major Upcoming Exhibitions

Admissions & Membership

Chihuly Then and Now: The Collection at Twenty Through June 23, 2024 Preston Singletary: Raven and the Box of Daylight Nov. 11, 2023-April 28, 2024 Edith Head: The Golden Age of Hollywood Costume Design June 22, 2024-Sept. 29, 2024

Members Free Children (17 and under) Free Adults $21.95 Seniors (62 and up), College students $19.95 Active-duty Military Free

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JOIN US FOR THIS IMMERSIVE AND INTERACTIVE STORYTELLING EXPERIENCE. Preston Singletary (American Tlingit, born 1963). Gagaan Awutáawu Yéil (Raven Steals the Sun), 2008. Blown, hot-sculptued, and sand-carved glass; 9 1/2 x 26 x 9 1/2 in. Collection of Museum of Glass, Tacoma, gift of the artist. Photo by Russell Johnson.

Maryhill Museum of Art

35 Maryhill Museum Drive, Goldendale, WA 98620 509-773-3733 | www.maryhillmuseum.org Open Annually from

March 15 - November 15

Maryhill Museum of Art is housed in an historic Beaux Arts mansion that is situated high above the Columbia River in south-central Washington state.

Yakama or Nez Perce maker, Double-Sided Beaded Bag, c. 1920, glass beads, cloth, hide, and thread, 15¾” x 12½”

Left: Lucy Cayuse Thomas (Klikitat, 1884–1969), Cedar-Root Berry Basket (“Lucille”), 1937, western red cedar and bear grass, 15” x 12¾” x 11¾” Center: Sally Wahkiacus (Klikitat, c. 1825–1931), Cedar-Root Berry Basket (deer and butterflies), 1930s, western red cedar and bear grass, 8¾” x 7¾” Right: Lucy Cayuse Thomas (Klikitat, 1884–1969), Cedar-Root Berry Basket (horses), 1930s, western red cedar and bear grass, 11” x 10” x 9½”

Gallery Preview: MODERN WEST FINE ART

Art Heals Eugene Tapahe (Navajo (Diné)) SALT LAKE CITY, UT

Artist Eugene Tapahe’s early years on the Navajo Nation, living off the land with his grandmother, were pivotal in understanding the importance of “respecting, preserving and protecting that which is sacred—the land, water and nature,” he says. In his thrilling show of new work for Art Heals: The Jingle Dress Project, hosted at Modern West Fine Art, Tapahe combines his love for nature and culture with

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approximately 16 photographic images—balancing past and present. “Tapahe has a distinct ability to capture the essence of his subject matter, using natural light as a means of documenting the spiritual exchange of the Ojibwe jingle dress dance and the grounds his ancestors once walked,” says Shalee Cooper, gallery director and curator. Together, the photographs in Art Heals; The Jingle Dress Project create a profound viewing experience and bring global awareness to Native American issues.” Tapahe explains that the concept behind the show originated from a dream to combine the beauty of the land with the healing power of the jingle dress dance during uncertain times due to the Covid pandemic. “The project itself is healing. It started from a dream— dreams are sacred and spiritual to Native Americans,” shares Tapahe. “They are our ancestors speaking to us, to give us insight to what we need and what we should do to better ourselves, our communities or our world.” Dreams continue to be a strong theme throughout Tapahe’s project, beginning with the origin of the Ojibwa jingle dress. The artist explains, “The origin… happened during the influenza pandemic of 1918 to 1

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1 Four Worlds, Grand Teton National Park, WY, photograph, Art Heals: The Jingle Dress Project. 2 We Have a Dream, Lincoln Memorial, D.C., photograph, Art Heals: The Jingle Dress Project. 3. Nizhoni (Beautiful), Monument Valley, AZ, photograph, Art Heals: The Jingle Dress Project.

19. It came as a dream to a father whose daughter was sick with the virus. His dream revealed the new dress and dance that had the power to heal. When the dresses were made, they were given to four women to perform the dance. When the sick little girl heard the sound of the jingles, she became stronger. By the end of the night, she was healed and danced too.” In show piece Four Worlds, Grand Teton National Park, WY, an image that Tapahe considers to be the most iconic of the project, he shares, “This trip was very special for us all, but it didn’t start that way. It rained all day as we searched for a location. As we came to the end of the day, I had a feeling the rain would clear right before sunset, and it did. The sun came out, the tall, green grass and Teton mountains were vibrant from the moisture. What made it so special was when the girls danced on the land...what a spiritual moment it was for all of us. As we finished our photo session, it started to rain again. A blessing for all of us (culturally, rain is a blessing from above).” In another significant photograph, Nizhoni (Beautiful), Monument Valley, AZ, it was the group’s first time since the pandemic when they were able

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to return to their traditional homeland. “The Navajo Nation, like most Native communities were hit hard by Covid,” Tapahe says, “which led the Navajo Nation to close their borders to the outside world. This was the first time this project became personal for us, and the first time the girls were able to dance on their homeland. It was a spiritual moment to be home again.” Tapahe’s hope for viewers of the show, is that they garner a sense of it being bigger than themselves, as it has felt for him—“That we are all blessed to be in the presence of such beauty,” he says. Experience the healing power of Tapahe’s art at Modern West Fine Art from October 20 through November 18, with a reception on opening day from 6 to 8 p.m.

Modern West Fine Art October 20-November 18, 2023 412 S. Seventh West, Salt Lake City, UT 84104 (801) 355-3383, www.modernwestfineart.com

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Gallery Preview: KING GALLERIES

Dynamic Voices Joseph Lugo (Santa Clara) and Sergio Lugo (Santa Clara) SANTA FE, NM

A new show opening at King Galleries’ Santa Fe location pairs the artwork of brothers Joseph and Sergio Lugo for the very first time. As the sons of esteemed potter Nancy Youngblood, art truly runs in their blood. Featuring smooth, sleek forms and intricate designs, both Joseph and Sergio’s pottery carry notes of their mother’s work but with a uniqueness all their own. Their new work for the upcoming exhibition, Earthen Echos, takes inspiration from traditional Santa Clara carved and painted pottery, imbued with their own distinctive styles and interpretations. “I’m really happy and excited about [Sergio and I] being able to work together because growing up, we

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had the opportunity to be surrounded by all of this art, and we both learned a lot from our family,” says Joseph. “Since we were kids, ever since I can remember, everything traditional was shown to us, and [it was] emphasized that that’s what we should do and what we should follow. So looking back at all the pottery I did as a kid up to 18, it was as traditional as I could possibly be,” he reflects. “Every piece was some traditional design, and there wasn’t quite room for experimentation outside of that. So after taking nearly 10 years off and coming back to the art world with a clearer perspective and understanding of our own traditions, I’ve finally been able to experiment outside of purely traditional while [still] holding onto all of those lessons. I still think of my work as extremely traditional, 2

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1. Sergio Lugo (Santa Clara Pueblo), Polychrome Skulls, native clay, native fired 2. Sergio Lugo (Santa Clara Pueblo), Avanyu, native clay, native fired 3. Joseph Lugo (Santa Clara Pueblo), MMIW Handprint and Buffalo and Elk Skulls, native clay, native fired 4. Joseph Lugo (Santa Clara Pueblo), Birds in the Mist, native clay, native fired

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but I like to think of my designs as based on the meaning I see and the things that I wish to honor from my tribe and family. So instead of just purely traditional, it’s the things I’ve come to understand as being important.” King Galleries owner Charles S. King adds, “Joseph and Sergio are dynamic young voices in pueblo pottery. Using traditional clay materials and firing, their work speaks to the continuing evolution of Native pottery.” Earthen Echos opens October 21 with a reception from 1 to 3 p.m.

King Galleries October 21-28, 2023 130 Lincoln Avenue, Suite D, Santa Fe, NM 87501 (480) 440-3912, www.kinggalleries.com 4

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» Gallery Preview

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Gallery Preview: KING GALLERIES

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Etched in History Joseph Lonewolf (Santa Clara Pueblo) SANTA FE, NM

Joseph Lonewolf—son of prominent potters Camilio and Agapita Tafoya and the brother of Grace Medicine Flower—revolutionized the world of Santa Clara pottery in the early 1970s by incorporating his sgraffito and incised designs in his work. This November, King Galleries in Santa Fe will host a solo exhibition titled Joseph Lonewolf: Pottery Jewels 19702000 showcasing nearly 50 pieces by Lonewolf (1932-2014) spanning three decades. Sgraffito, meaning “to scratch,” refers to the practice of lightly etching the surface of the clay, resulting in beautiful, often astoundingly ornate designs upon the vessels. Incised designs, on the other hand, cut deeper into the clay, almost to the point of carving. Lonewolf employed both techniques in

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1. Joseph Lonewolf, The Call (left) 1995, and Myriad, 1991/96, 3” each 2. Wings of Beauty, 1974/5, 12” (with lid) 3. Eternity Bowl II, 1970, native clay, 7” 4. Avanyu and Sun jar, 1991/2000, 8” (with lid) 5. Black-and-red pottery, 1972-3, native clay

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his work, a blend of dynamic, tactile and multi-textured pottery, depicting traditional Native stories, symbols and other imagery—even mythology from other cultures. In many circles, Lonewolf is considered one of the great masters of the technique of sgraffito pottery. His 1991/2000 piece Avanyu and Sun, for instance, depicts the water serpent deity Avanyu, an important figure within the pueblo tribes of Arizona and New Mexico. “This show is a rare opportunity to see a depth and range of pottery by Joseph Lonewolf. There are miniatures under half an inch to large vessels featured in his 1976 book The Pottery Jewels of Joseph Lonewolf,” says King Galleries owner Charles S. King. “Many of the larger pieces took him years to finish. The imagery ranges from Mimbres inspired figures to realism of animals around the world and even Greek mythology. Nothing was ‘off limits’ to his imagination.” Joseph Lonewolf: Pottery Jewels 1970-2000 opens on November 4 with an opening reception that afternoon from 1 to 3 p.m. The exhibition will remain on view through November 18.

King Galleries November 4-18, 2023 130 Lincoln Avenue, Suite D, Santa Fe, NM 87501 (480) 440-3912, www.kinggalleries.com 5

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» Gallery Preview 113

Event preview

Immersive and Inclusive Cherokee Art Market draws 150 Native American artists to Hard Rock Hotel & Casino Tulsa.

CATOOSA, OK

Over the past 18 years, Cherokee Art Market has grown to become one of the largest juried markets in Oklahoma. This year’s event, taking place October 14 and 15 at Hard Rock Hotel & Casino Tulsa in Catoosa, Oklahoma, features more than 150 Native American artists representing nearly 50 tribal nations from the United States and Canada. Attendees can enjoy Native American artwork in categories that include beadwork, quillwork, pottery, paintings, drawings, basketry, sculptures, textiles, photography, graphics and diverse art forms; and meet the artists to learn about their work firsthand. A youth competition showcases the creativity of the next generation of Native American talent. “Cherokee Art Market has built a reputation for excellence,” says Donna Tinnin, senior manager of museums and events for Cherokee Nation Cultural Tourism. “We pride ourselves on showcasing quality, authentic Native American art and the immersive and inclusive environment that our artists, buyers and community have come to know and love. Cherokee Art Market is truly a celebration of our thriving Native cultures.” In addition to art, Cherokee Art Market will present cultural demonstrations and artist presentations

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showcasing traditions and practices like storytelling, basket weaving and flint knapping. Renowned for his clay, steel and bronze sculptures, this year’s featured artist is Cherokee National Treasure Troy Jackson. In addition to many prestigious awards, including accolades at the Santa Fe Indian Market, Jackson won the Anna Mitchell Excellence in Southeastern Pottery Award, and best of class and best of show during the 2022 Cherokee Art Market. Nearly 60 winning artists will be recognized across eight classes at the 2023 event.

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1. Bryan Waytula (Cherokee), The Grass Dancer, colored pencil on matboard, 40 x 33” 2. Crystal Hanna (Cherokee), Water Serpent, coiled, red slip, scraffito from hand dug clay, 10 x 14” 3. Cherokee National Treasure Troy Jackson won the Anna Mitchell Excellence in Southeastern Pottery Award, Best of Class and Best of Show at the 2022 Cherokee Art Market, and is this year’s featured artist. 4. Courtney Biggs (Cherokee/Anishinaabe), Woodland Summer, beechwood bowl, 9”

The market kicks off with an opening reception on Friday, October 13, at 7 p.m., when more than $75,000 in prize money will be awarded across nearly 30 categories. The public is welcome to attend the reception for $35 per person, tickets for which will be available for purchase at the door. “The Native art community is incredible,” says Tinnin. “It is so inspiring to see these artists come together, not in competition with one another, but in celebration of their work. They continually push each other to reach new heights and explore new ways of sharing our history and culture with the world. Our artists have also done a phenomenal job of making their work accessible for all buyers. It’s impossible to leave this market without feeling like you’re part of it.”

October 14-15, 2023 Cherokee Art Market

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Hard Rock Hotel & Casino Tulsa, 777 W. Cherokee Street, Catoosa, OK 74015 (877) 779-6977, www.cherokeeartmarket.com

» Event preview 115

2023 EVENT REPORT Visitors walk past booths near the Palace of Governors in Santa Fe.

Back to the Basics After the centennial celebration and rain, Santa Fe Indian Market returns in sunshine for its 101st year. SANTA FE, NM

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ajor anniversaries can be wonderful and stressful all at the same time, especially when the weather is determined to make its presence known. That was the story of the remarkable 2022 Santa Fe Indian Market, which was the waterlogged centennial of the famous market. Fast forward a year to August 2023, and the pressure was off the artists, the organizers and the market’s fervent supporters. And, best of all, the weather held for nearly the entire weekend. SWAIA couldn’t have asked for a better set of conditions as collectors turned up in droves to buy artwork and support some of the most talented artists in the country. Events kicked off Friday, August 18, during the Best of Show Ceremony, where Santa Clara Pueblo potter Jennifer Tafoya was given the top honor, the best of show award, for her dinosaur pot Caught by Surprise.

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She struggled to speak during her speech, and was still struggling later on that day. “I’m speechless,” she said. Later, during an interview with our podcast, the American Art Collective, she admitted to being overcome with emotion and elaborated, “This means I should write something up in case that happens again. I was totally unprepared. And normally, for me I want to be prepared.” She later described the award as a huge honor to her work and career. Considerable attention was also paid to the two fashion shows, one during the annual gala on Saturday night and another on Sunday afternoon that featured a sold-out crowd. Amber-Dawn Bear Robe, the curator and organizer of the show, was excited to announce the upcoming Indigenous Fashion Week that will take place in May 2024. In addition to the designers’ new pieces, the show also saw considerable attention from Hollywood

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1. Jennifer Tafoya (Santa Clara Pueblo) reacts in shock and surprise as she is named the winner of the Best of Show on August 18. Photo by Gabriella Marks. 2. Navajo weaver Barbara Teller Ornelas holds up a decorated Barbie doll in her artist booth. Photo by Gabriella Marks. 3. Carver Mark Taho holds up one of his katsina carvings near the Santa Fe Plaza. 4. Models walk the runway during the SWAIA gala and fashion show on August 19. Photo by Kitty Leaken.

filmmakers, including actors and directors. Regular attendees of the show include actor and Academy Award winner Wes Studi and director Chris Eyre. This year’s show also saw other famous attendees: Amber Midthunder (Prey), Cara Jade Myers (Killers of the Flower Moon), Eugene Brave Rock (Dark Winds, Wonder Woman) and Kiowa Gordon (Twilight Saga, Dark Winds). SWAIA executive director Jamie Schulze, the

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ringmaster for all of this year’s Santa Fe Indian Market, was experiencing her first market as the director and could be seen all around the Santa Fe Plaza working with artists, SWAIA staff and loyal volunteers. “It’s going to be a great day,” she told booths as she popped in to say hello. Thousands of artists, visitors and SWAIA supporters would agree with her.

» Swaia Santa Fe Indian Market 117

2023 EVENT REPORT

BEST OF CLASS I: JEWELRY

BEST OF SHOW / BEST OF CLASS II: POTTERY

Lyndon Tsosie (Navajo), Untitled, silver sea turtle pendant with movable flippers, sterling stamped silver, inlay with coral, turquoise, lapis and Boulder opal, all hand-fabricated, 4½ x 3”

Jennifer Tafoya (Santa Clara Pueblo), Caught by Surprise, etched black pot with dinosaurs, hand-dug Santa Clara Clay, coil method, stone polished, etched and then painted with hand-dug natural clay paint, 4¼ x 4¼”

CLASS IV: WOODEN PUEBLO FIGURATIVE CARVING & SCULPTURE  Arthur Holmes Jr. (Hopi), Talavi Morning Katsina, root of cottonwood tree, fine wood burner, knives and oil paint, 18½ x 9½”

CLASS V: SCULPTURE  Ryan Benally (Navajo), Dreamscapes of Love, calcite onyx, black Indian granite, hand-carved stone with electric and hand tools, 68 x 22 x 12”

CLASS IX: YOUTH Aydrian Day (HoChunk/Anishinaabe/ Lakota), Father’s Love (Ate Iyocicila), Lakotastyle cradle board, size 11 true-cut sterling silver beads, 24-karat beads, smoked hide, brass sequins, pine and cotton, 24 x 9”

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CLASS VI: TEXTILES  TahNibaa Naataanii (Navajo), Autumn Rose Carnival, Navajo shawl and purse, sheep wool with 26 aniline acid dyes in different colors, 16½ x 62”

BEST OF CLASS III: PAINTING, DRAWING, GRAPHICS & PHOTOGRAPHY 

CLASS XI: BASKETRY

Dan HorseChief (Pawnee/Cherokee), Judgement Day Manifest, The Greasy Grass 1976 Keough’s Stand, water-based oil on canvas, 24 x 36”

Carol Emarthle Douglas (Northern Arapaho/Seminole), Skywoman Watches, coiled basket, waxed linen, thread, hemp and beads, 7 x 9½ x 9½”

NATIVE AMERICAN ART AWARD OF EXCELLENCE Jason Garcia (Santa Clara Pueblo), Tewa Tales of Suspense! #110, clay tile

CLASS VII: DIVERSE ARTS  Victoria G. Adams (Southern Cheyenne/Arapaho), Sundance on Muddy Creek, tripod with glass containers, copper, deerskin, American Indian-head pennies (dating from 1878 to 1910), glass, steel chain, wrought-iron, wood, acrylic paint, cotton fabric, sweet grass, snake root, Big Medicine, bee balm, sweet pine, sage, yellow ochre pigment, red ochre pigment, Ammonite fossils, sterling silver, mother-of-pearl beads, photographs, Edward S. Curtis photogravures, 64 x 36 x 32”

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CLASS VIII: BEADWORK & QUILLWORK  Jackie Larson Bread (Blackfeet), We Are Fierce, Blackfeet horse mask, wool, seed beads, brass beads and bells, wood, plexiglass, satin, lane stitch, applique stitch and edge stitch, 18 x 15 x 23”

» Swaia Santa Fe Indian Market 119

2023 EVENT REPORT

Around Market More images from around the 2023 Santa Fe Indian Market

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1. Eugene Brave Rock, left, and other models wear designs by Lauren Good Day. Photo by Tira Howard. 2. Lena Schulze walks in a design by Jontay Kahm. Photo by Tira Howard. 3. Painter Nocona Burgess, right, with Native American Art co-publisher Adolfo Castillo. 4. Everton Tsosie in his market booth. Tsosie was featured in the August/September issue.

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5. Designers Melanie Rose, Jamie Okuma, Orlando Dugi, Jontay Kahm, Lauren Good Day, Jason Baerg and Himikalas Pamela Baker during the Sunday fashion show. 6. Rykelle Kemp with some of her jewelry work. 7. A design by Orlando Dugi. Photo by Tira Howard. 8. Peshawn Bread wearing designs by Elias Not Afraid. Photo by Tira Howard. 9. Killers of the Flower Moon actress Tantoo Cardinal wears a design by Patricia Michaels. Photo by Tira Howard. 10. Potters Melody Gutierrez and Sammy Naranjo in their booth on Sunday. 11. Shane Hendren, left, and a family member in his jewelry booth. 12. Nolan Hall wears a design by Himikalas Pamela Baker. Photo by Tira Howard. 13. A model wears a design by Jason Baerg in collaboration with Melanie Rose. Photo by Tira Howard.

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» Swaia Santa Fe Indian Market 121

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Auction preview

Varied Work

Works by prominent Native American painters and sculptors XJMMCFPôFSFEBU)JOENBOT%FOWFSTBMF DENVER, CO

On November 1 and 2, Hindman will offer a variety of Western artwork to bidders in the two-session Western & Contemporary Native American Art sale in Denver. Within the large selection of lots are a number of major pieces from Native American painters and sculptors. Among some of the top offerings are works from a private collection curated by Janet and Daniel Hidding, who started acquiring artwork in the 1980s. Many of those materials will be offered on

November 1. Artists represented in the sale include Dan Namingha, John Nieto and Fritz Scholder. The Scholder painting, Dancers at San Ildefonso, should expect considerable attention since the Luiseño artist’s market is continuously gaining strength as more collectors explore his modern compositions and fields of bright colors. Dancers at San Ildefonso is expected to sell for $100,000 to $150,000. Scholder’s top nine auction records have all been set in the last two years, with his record of

1. Fritz Scholder (Luiseño, 1937-2005), Dancers at San Ildefonso, oil on canvas, 46 x 72” Estimate: $100/150,000 2. Earl Biss (Apsáalooke, 19471998), Autumn Pass, oil on canvas Estimate: $20/30,000 3. Tony Abeyta (Navajo (Diné)), Wind’s Gentle Breeze, acrylic and sand on canvas, 72 x 110” Estimate: $6/8,000

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$500,000 coming from a Hindman sale in May 2022. The artist’s top 27 auction records have all been set in 2018 or later, proving that interest has been very high in his work. John Nieto, the Mescalero Apache painter who also created modern figurative works with intense colors, will be represented in the sale with Rancho de Taos Church, estimated at $15,000 to $20,000. Two Allan Houser sculptural works, both in bronze, will be offered: War Pony (est. $15/25,000) and Acorn Harvest (est. $15/25,000). Like Nieto and Scholder, Houser was also working in a very modern style, as is Tony Abeyta, whose Wind’s Gentle Breeze will be offered with estimates of $6,000 to $8,000. The two November sales in Denver are follow-ups to a September 22 sale held in Cincinnati, which also contained portions of the Hidding collection. Many of those materials in the earlier sale were more historic in nature, while the items in the November sales are more contemporary paintings and bronzes.

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November 1-2, 2023 Hindman’s Western & Contemporary Native American Art 2737 Larimer Street, Denver, CO 80205 (303) 825 1855, www.hindmanauctions.com

» Auction preview 123

Auction preview

Notable Artifacts Navajo weavings and Acoma pottery are expected to garner attention during Heritage Auction’s fall sale. DALLAS, TX 1

Heritage Auctions’ Ethnographic Art American Indian, Pre-Columbian and Tribal Art Signature Auction will bring an array of treasures to the market this fall, including an impressive selection of Navajo weavings, a beautiful Sioux girl’s beaded hide dress, as well as numerous Hopi, Acoma, Zuni and San Ildefonso polychrome bowls—and that’s only naming a few. The November 9 sale is expected to have nearly 400 lots on offer. Bidding opens on October 19.

“I have big beautiful historic pots as well jewelry ranging from the turn of the century to contemporary times, [both] silver and gold,” says Delia E. Sullivan, Heritage Auctions’ director of ethnographic art. “Collectors of weavings will be impressed by the number of classic and late classic Navajo weavings in the sale. We have chief’s blankets, serapes and women’s wearing blankets.” Sullivan cites a diamond-patterned Navajo woman’s wearing blanket, expected to have been created around 1875, as a highlight in the sale to keep an eye out for. “This is a beautiful, well-balanced Navajo woman’s wearing blanket. The colors are soft but still rich. The maker added a ticked band throughout the elements, creating dimension.” This particular weaving is expected to fetch between $15,000 and $25,000. Another lot collectors should keep in their sights is 2

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1. Acoma Polychrome Jar, ca. 1890 Estimate: $7/10,000 2. Navajo Third Phase Chief’s Style Weaving, native handspun wool, aniline dyes, 80 x 61” Estimate: $2.5/3,500 3. Late Classic Navajo Woman’s Wearing Blanket, ca. 1875 Estimate: $15/25,000 4. Margaret Tafoya (Santa Clara Pueblo, 1904-2001), Large Santa Clara Carved Blackware Jar, clay, paint, 13¼”, signed on bottom: ‘Margaret Tafoya’. Estimate: $6/8,000

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a 19th-century Acoma jar, pictured here, which has a presale estimate of $7,000 to $10,000. “The design on the Acoma jar, circa 1890, is intricate and captivating. I love the painted flourishes. It’s in very good condition for its age,” says Sullivan. Among other highlights in the upcoming auction are a large Santa Clara carved blackware jar by Margaret Tafoya, estimated at $6,000 to $8,000; a Navajo Third Phase Chief ’s Style weaving with native handspun wool, estimated at $2,500 to $3,500; a Navajo Yei rug, also with native handspun wool and estimated to sell for $2,500 to $3,500; as well as a large Acoma polychrome jar (est. $2/3,000). The live auction takes place November 9.

November 9, 2023 Ethnographic Art American Indian, Pre-Columbian and Tribal Art Signature Auction

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Heritage Auctions 2801 W. Airport Freeway Dallas, TX 75261 (877)437-4824, www.ha.com

» Auction preview 125

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Index October/November 2023

Artists in this issue Abeyta, Tony Adams, Victoria G.

21, 123 119

Akers, Norman

98

Begay, Kenneth

104

Begay, Rapheal

59

Begay, Sarah Paul

61

Benally, Ryan Bierstadt, Albert

118 90

Biggs, Courtney

115

Biss, Earl

123

Bread, Jackie Larson Bremner, Alison

119

Clark, Irene

103

Curtis, Thomas

26

Davis, Johnny

94

Day, Aydrian

118

Denomie, Jim

87

24

Ortiz, Virgil

84

Growing Thunder, Jessa Rae

86

Peterson, Shaun

69

Raymond-Overstreet, Darby

58

Rivet, Rick

73

Hanna, Crystal Harris, Bob

114 94

Holmes, Arthur Jr.

118

HorseChief, Dan

119

Hubbell, Patrick Dean

44

Jemison, G. Peter

93

John, Geanita

62

Kensett, John Frederick

91

Lonewolf, Joseph

112

Long-Presley, Faith

24

Luger, Cannupa Hanska

80

98 103

Naranjo, Madeline

Glass, Kenneth

119

Clark, Carl

Douglas, Carol Emarthle

Garcia, Jason

Lugo, Joseph

111

Lugo, Sergio

110

Romero, Cara

86, 92

Scholder, Fritz

122

Singletary, Preston

105

Smith, Jaune Quick-to-See

20, 74

Tafoya, Jennifer

118

Tafoya, Margaret

125

Tapahe, Eugene

108

Tsosie, Lyndon B.

118

Vanwinkle, Janice

60

WalkingStick, Kay

88, 102

Wallace, Denise

68

Watt, Marie

92

Martinez, Maria

71

Minot, Louisa Davis

89

99

Morrisseau, Norval

95

119

Naataanii, TahNibaa

119

Whitehorse, Emmi

93

Waytula, Bryan

114

Edenshaw, Charles

95

Namingha, Dan

86

Whitethorne, Baje

26

Folwell, Jody Naranjo

85

Namingha, Michael

87

Wojtkowski, Paula

24

Galanin, Nicholas

96

Nampeyo

Yazzie, Rose

61

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Index October/November 2023

Advertisers in this issue Adobe Gallery (Santa Fe, NM) Adopt-A-Native-Elder (Deer Valley, UT) Antique Attic, The (Patagonia, AZ) Blackburn, Art (Honolulu, HI) Blue Rain Gallery (Santa Fe, NM)

2 10 106 32 Cover 4

Buffalo Barry’s Indian Art (Holden, MA)

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Cherokee Art Market (Henderson, NV)

9

King Galleries (Scottsdale, AZ) La Fonda on the Plaza (Santa Fe, NM)

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Long Ago & Far Away (Manchester Center, VT)

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Maryhill Museum of Art (Goldendale, WA)

65

Modern West Fine Art (Salt Lake City, UT)

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Museum of Indian Arts & Culture (Santa Fe, NM)

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36

Native American Art Appraisals, Inc. (Santa Fe, NM)

Eiteljorg Museum (Indianapolis, IN)

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New York Historical Society (New York, NY)

& Restoration (Sheridan, CO)

Notah Dineh Trading Company & Museum (Cortez, CO)

65 107 28

33 Santa Fe Art Auction (Santa Fe, NM)

Heard Museum Shop (Phoenix, AZ)

8

126 Romero, Mateo (Santa Fe, NM)

Garland’s Navajo Rugs (Sedona, AZ)

106

126 Oklahoma City Museum of Art (Oklahoma City, OK)

First Peoples Fund (Rapid City, SD)

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Miles & Miles Trading (Pacifica, CA)

Chimayo Trading Del Norte (Ranchos de Taos, NM)

Enver from Denver’s Fine Rugs

Cover 2, 1

5

Cover 3

Heritage Auctions (Dallas, TX)

17

Hindman (Chicago, IL)

11

Home & Away (Kennebunkport, ME)

66

Inspired by LCR (Minot, ND)

63

Jack’s Antique (Flagstaff, AZ)

106

Sissel’s (Santa Fe, NM)

30

Sorrel Sky Gallery (Durango, CO)

23

Studio GL (Albuquerque, NM)

29

Sunwest Silver Co. Inc. (Albuquerque, NM) Tanner’s Indian Art (Gallup, NM)

7 27

Western Spirit: Scottsdale’s James Compton Gallery (Santa Fe, NM)

31

Jesse Robbins Jewelry (Prescott, AZ)

35

John C. Hill Antique Indian Art (Scottsdale, AZ) John Moran Auctioneers, Inc. (Monrovia, CA) Kachina House (Sedona, AZ)

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106 3 18

Museum of the West (Scottsdale, AZ)

22

Western Trading Post (Casa Grande, AZ)

19

Wheelwright Museum of the American Indian (Santa Fe, NM)

25

ZefrenM Textiles & Jewelry (Shiprock, NM)

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