De­fined, Re­fined

Con­tem­po­rary works with tra­di­tional roots are on view at King Gal­leries.

Native American Art - - IN THIS ISSUE -


De­fined: Re­fined is an apt ti­tle for any ex­hi­bi­tion of tra­di­tional and con­tem­po­rary Na­tive art, es­pe­cially one pre­ced­ing and dur­ing the 2018 Santa Fe In­dian Mar­ket which be­gan in 1922.

King Gal­leries in Santa Fe will host the ex­hi­bi­tion be­gin­ning Au­gust 17. Charles King ex­plains, “While the art may be de­fined as pot­tery, paint­ings or bronze, it is the artists who have re­fined it with their in­di­vid­ual and cul­tural back­ground to cre­ate works of art that sur­prise, in­spire and defy our ex­pec­ta­tions. It is a unique op­por­tu­nity to look beyond just the tech­niques to the sto­ries each artist is telling and a look into the ex­tra­or­di­nary fu­ture of Na­tive arts.”

Pre­ced­ing the ex­hi­bi­tion, on Au­gust 16, the gallery will fea­ture new paint­ings by Jar­rod Da and Marla Al­li­son as well as bronzes by Tammy Gar­cia and Au­tumn Borts.

The clay artists are Nathan Young­blood, Tammy Gar­cia, Les Nam­ingha, Su­san Fol­well, Juan de la Cruz, Al Qoy­awayma, Vir­gil Or­tiz, Steve Lu­cas and Daniel Be­gay. King notes. “The gallery is pleased to in­clude younger artists Juan de la Cruz and Daniel Be­gay for the first time.”

Daniel Be­gay (Diné/santa Clara) was brought up at Santa Clara Pue­blo where he learned pot­tery mak­ing from his Diné father, Har­ri­son Be­gay Jr., and his Santa Clara mother Marie. He ex­pe­ri­enced the rich tra­di­tions of Santa Clara and com­bines that with the in­flu­ences

1. Vir­gil Or­tiz (Co­chiti), Tahu 2180 Tile Set, 2018, na­tive clay, na­tive slips and wild spinach

of his Diné her­itage. His deeply cut pots are coil built and tra­di­tion­ally fired. They are a fine ex­am­ple of the re­fin­ing of tra­di­tion.

Juan de la Cruz fol­lows an­other, ear­lier, Santa Clara tra­di­tion, that of poly­chrome pot­tery. He is the son of Lois Gu­tier­rez and Derek de la Cruz whose work is in the col­lec­tion of the Smith­so­nian In­sti­tu­tion. Juan gath­ers col­ored clays from around the South­west to cre­ate the dec­o­ra­tion of his pic­to­rial pots. The dec­o­ra­tion in­cludes tra­di­tional representational hunt­ing scenes, styl­ized an­i­mals and geo­met­ric de­signs.

Across the Rio Grande Val­ley at Co­chiti Pue­blo, Vir­gil Or­tiz grew up in a cre­ative en­vi­ron­ment, the son of noted pot­ter Se­fe­rina Or­tiz and the grand­son of Lau­rencita Her­rera. The sto­ry­telling tra­di­tion of Co­chiti has in­flu­enced his work in clay as well as his highly ac­claimed fash­ion de­sign.

The Pue­blo Re­volt of 1680 which he calls “the First Amer­i­can Revo­lu­tion—had never been taught in Amer­i­can schools nor is it in our his­tory books. My mis­sion is, and has been for nearly two decades, to con­tinue to cre­ate a nar­ra­tive of the re­volt by uti­liz­ing the var­i­ous medi­ums I work with, and make it more in­ter­est­ing and rel­e­vant to the next gen­er­a­tion. It re­flects the im­pact I want to have on the world around me through art and education.”

Tahu 2180, Tile Set, 2018, presents a char­ac­ter from his own story of the 1680 re­volt, “Blind Archers: Tahu’s Jour­ney.” “Tahu” is a name of re­spect for older Pue­blo women in Keres and other Pue­blo lan­guages. In his story “she is pur­pose­fully blinded by the in­vaders for her com­bat skills and spir­i­tual vi­sions. Un­will­ing to ac­cept this un­just pun­ish­ment, she acumi­nates her skills with a bow and arrow and en­lists an army of Blind Archers.”

Tra­di­tion and in­no­va­tion are de­fined and re­de­fined in this ex­hi­bi­tion of con­tem­po­rary Pue­blo art.

2. Daniel Be­gay (Diné/Santa Clara), 2018, na­tive clay, na­tive clay slips, tra­di­tion­ally fired pot

3. Tammy Gar­cia (SantaClara), Seeded Woman II, 2018, bronze, ed. of 35

4. Juan de la Cruz (Santa Clara), Moun­tain Lions, 2018, na­tive clay, na­tive clay slips, tra­di­tion­ally fired stor­age jar

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