Chero­kee Art Mar­ket

Tulsa, OK

Western Art Collector - - CONTENTS -

Re­turn­ing to Tulsa, Ok­la­homa, for its 13th year, the an­nual Chero­kee Art Mar­ket is a time for cul­tural cel­e­bra­tion and con­nec­tion. The mar­ket brings to­gether more than 50 di­verse tribes, fea­tur­ing over 150 of the nation’s most re­spected artists and in­flu­encers in the Na­tive art com­mu­nity. The mar­ket will be open from 10 a.m. to 5 p.m. on Oc­to­ber 13 and 14 at the Se­quoyah Con­ven­tion Cen­ter in the Hard Rock Ho­tel & Casino Tulsa. Ad­mis­sion is $5 per per­son. An open­ing re­cep­tion wel­com­ing artists will take place Fri­day, Oc­to­ber 12, at 7 p.m.

“The Chero­kee Art Mar­ket is one of the most pres­ti­gious art shows in Ok­la­homa. Not only does the show of­fer a venue for the artists to gather and dis­play their work, it metic­u­lously sets the bar for some of the most ad­vanced Na­tive Amer­i­can Art in and around the United States,” says Chero­kee ce­ram­i­cist and sculp­tor Troy Jack­son. Artists will com­pete for their share of $75,000 worth of prize money span­ning 27 cat­e­gories. Last year, Jack­son won best of class in the pot­tery cat­e­gory for his piece Bird Ef­figy.

Chero­kee Art Mar­ket co­or­di­na­tor Deb­o­rah Fritts says that the year­long prepa­ra­tions for this event come from a place of gen­uine pas­sion for art and for the cre­ative in­di­vid­u­als who make up this vi­brant com­mu­nity. “We are al­ways look­ing for ways to keep our event fresh and ex­cit­ing,” says Fritts. “This year, I am pleased to say that we will be adding a new cul­tural demon­stra­tion to our sched­ule and will be wel­com­ing Lane Jen­son and fam­ily to the Se­quoyah Stage to per­form hoop danc­ing.”

Over the two-day event, at­ten­dees can browse a va­ri­ety of art­work, from paint­ings and photography to bas­ketry and bead­work to di­verse art forms like mu­si­cal in­stru­ments. Guests can also ob­serve artists as they demon­strate their craft in jew­elry, pot­tery, hand and loom weav­ing, and Katsina doll mak­ing.

Artists par­tic­i­pat­ing in the 2018 mar­ket in­clude Tammy Gar­cia, Ron Honyouti, Emil Her Many Horses, Vi­vian Gar­ner Cottrell, Alvin Mar­shall, Jane Osti, Dallin Maybee and many oth­ers. And among all artists, one theme re­mains cen­tral to their cre­ative spir­its—the de­sire to honor and rep­re­sent their her­itage.

“As an artist, my work is fo­cused on the work­ing class his­tory of my fam­ily. My grand­par­ents were a prod­uct of the Great De­pres­sion era, and be­ing both Chero­kee and Euro­pean, each were sim­i­larly af­fected by the eco­nomics of the United States. The re­silience of these two very dif­fer­ent fam­i­lies have now be­come my in­spi­ra­tion,” says Jack­son, who cre­ates sculp­tures with elab­o­rate and or­nate carv­ings.

“My pieces are a lit­tle un­ortho­dox in com­par­i­son to ear­lier styles and forms of Na­tive Art, but they cer­tainly re­late to the so­cial iden­tity of to­day’s Chero­kee Peo­ple. Es­pe­cially when I can in­cor­po­rate the many the many dif­fer­ent ma­te­ri­als that are avail­able to­day,” Jack­son ex­plains. “The clay is a more tra­di­tional rep­re­sen­ta­tion of the past and its indige­nous qual­i­ties while steel and iron struc­tures take on a more mod­ern rep­re­sen­ta­tion of the progress that has oc­curred within our im­me­di­ate cul­ture.”

Self-taught artist and Ok­la­homa na­tive Linda Kukuk spe­cial­izes in scratch­board art, em­ploy­ing “var­i­ous scratch­ing to re­move the In­dia ink creat­ing var­i­ous textures and

val­ues.” Ex­plain­ing her artis­tic process, she says, “Then I add wa­ter­color to the places where I’ve scratched, in lay­ers, scratch­ing and adding wa­ter­color, un­til I am sat­is­fied with the out­come.” For Kukuk art is sim­ple, and rules only im­pede the flow of cre­ativ­ity. “Some­one might say, ‘You should never al­low such and such to go off the cor­ner of your paint­ing.’ My ques­tion was, ‘Why?’ and ‘Will I get sent to jail if I do it?’ Hav­ing no rules in art al­lows an artist to ex­per­i­ment and try new ideas and pro­cesses,” says the Choctaw artist.

An­other artist of Choctaw her­itage, David Mcel­roy ex­plains his artis­tic vi­sion for both his bas­ketry and jew­elry: “My jew­elry is a blend of Na­tive-look­ing pieces and Euro­pean re­poussé tech­niques.” Be­cause the Choctaw don’t have a par­tic­u­larly strong tra­di­tion in jew­elry, Mcel­roy ex­plains, this al­lows him a greater sense of free­dom in ex­plor­ing his artistry. He con­tin­ues, “The Choctaw are renowned for their river­cane bas­kets. But grow­ing up in Bartlesville, Ok­la­homa, in the Tall Grass Prairie re­gion, I’ve adapted tra­di­tional bas­ket forms, and I cre­ate them with horse­hair. For me the bas­kets rep­re­sent a blend­ing of my back­ground.”

Last year’s Best of Show was awarded to es­teemed Navajo jew­eler Ric Char­lie for his Navajo Bling bracelet and neck­lace set, which in­cludes more than 1,700 in­di­vid­u­ally set di­a­monds. “The Chero­kee Art Mar­ket pro­vides a na­tional stage for these artists to show­case their work and ex­pand their mar­ket­place,” says Fritts. “As we head into our 13th year, we hope that our event con­tin­ues to serve Na­tive Amer­i­can art and the tal­ented, ded­i­cated and in­no­va­tive artists lead­ing this cul­tural re­nais­sance.”

Eric Kayquaptewa (Hopi), An­gry Crow Mother, Hopi Katsina

Alvin Mar­shall (Navajo), The War­rior, gray al­abaster, 13 x 8 x 7½”

Vi­vian Gar­ner Cottrell (Chero­kee Na­tional Trea­sure), Sun Ris­ing Over Our Peo­ple, nat­u­ral river­cane and blood­root dyed river­cane splints, 7 x 8 x 8”

Chase Kah­win­hut Ear­les (Caddo), Batah Kuhu Al­li­ga­tor Gar Ef­figy Bot­tle, hand-coiled clay mixed with mus­sel shell, 12 x 42”

nat­u­ral clay, turquoise, par­rot feath­ers, 7 x 5½ x 9” Tammy Gar­cia (Santa Clara Pue­blo), Fish and Game, bronze, 8 x 8 x 4”

Au­tumn Bortsmed­lock (Santa Clara Pue­blo), Par­rot Par­adise,

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