2012 The SanTa Fe new Mexi can www. SanTaFenewMexi can.

coM
Native
treasures
2012 NATIVE TREASURES 3
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let every star shine
INSIDE
6 Museum-quality Native art on sale this weekend
8 Treasure boxes hold artists hopes, dreams, prayers
10 Tony Abeyta: 2012 MIAC Living Treasure
15 Exciting and new: Nine emerging artists at this years festival
18 Native Treasures purchases make museum exhibits possible
22 Booth locator map
24 Meet the artists
NATIVE
TREASURES
PUBLI SHED MAY 23, 2012
COVER PHOTO
Kitty Leaken
Tony Abeyta, MIAC Living Treasure 2012
COVER DESIGN
Deborah Villa
OWNER
Robin Martin
PUBLISHER
Ginny Sohn
EDITOR
Rob Dean
EDITORIAL
Creative director Deborah Villa
986-3027, dvilla@sfnewmexican.com
Copy editors Pat West-Barker, Sandy Nelson
ADVERTISING
Advertising director Tamara Hand,
986-3007
Art Department
Scott Fowler, manager
Rick Artiaga, Dale Deforest,
Elspeth Hilbert, Melyssa Holik
Advertising layout Christine Huffman
ADVERTISING SALES
Michael Brendel, 995-3825
Gary Brouse, 995-3861
Kaycee Cantor, 995-3844
Mike Flores, 995-3840
Margaret Henkels, 995-3820
Belinda Hoschar, 995-3844
Cristina Iverson, 995-3830
Stephanie Green, 995-3820
Art Trujillo, 995-3820
NATIONALS ACCOUNT MANAGER
Rob Newlin, 505-995-3841
nationals@sfnewmexican.com
SYSTEMS
Technology director Michael Campbell
PRODUCTION
Operations director Al Waldron
Assistant production director Tim Cramer
Prepress manager Dan Gomez
Press manager Larry Quintana
Packaging manager Brian Schultz
DISTRIBUTION
Circulation manager Michael Reichard
Distribution coordinator Casey Brewer
WEB
Digital development Geoff Grammer
www.santafenewmexican.com
ADDRESS
Office: 202 E. Marcy St.
Hours: 8 a.m.-5 p.m. Monday-Friday
Advertising information: 505-986-3082
Delivery: 505-984-0363, 800-873-3372
For copies of this magazine, call 428-7645
or email caseyb@sfnewmexican.com.
4 2012 NATIVE TREASURES
Tony Abeyta Nocona Burgess
2012 NATIVE TREASURES 5
Visitors and locals who want to buy museum-quality art this
holiday weekend need look no further than the invitational
Native Treasures Indian Arts Festival, which takes place
Saturday and Sunday, May 26 and 27, at the Santa Fe
Community Convention Center.
About 200artists representing 40tribes andpueblos will showtheir
work at the festival. Organizers have kept the event small so those who
attendcansee every artist showing work. As they didlast year, festival
organizers also have selectedstudent artists fromPojoaque Pueblos
PoehCenter for the Emerging Artist category.
We only invite people who are the best of the best, Native
Treasures co-chairwoman Ardith Eicher said. We try to keep the
quality of the showincredibly high.
Nowin its eighth year, the festival began in 2005 as a small art
showon MuseumHill to raise funds for the Museumof Indian Arts
&Culture. (The state of NewMexico pays for museummaintenance
and staff salaries, but MIACmust raise its own funds to pay for
exhibits and educational programs.)
Artists participating inNative Treasures donate 25 percent of what
they earnat the showto MIAC. Last year, the festival along witha fall
Collectors Sale raised$80,000for the museum.
The festival kicks off today (May 23) with a newevent a
breakfast with this years MIACLiving Treasure artist, Din (Navajo)
painter and jeweler Tony Abeyta.
Weekend events begin Friday night (May 25) with a Benefit Pre-
Sale Party. This year, festival artists were encouragedto create a
treasure box out of material of their choosing to be soldat the party;
25 percent of the proceeds fromthe sale of the boxes goes to MIAC.
Abeyta will be honoredat the benefit, withlast years Living Treasure,
Roxanne Swentzell (Santa Clara), making the presentation. Tickets
to the event are $100per person; admissionincludes hors doeuvres,
wine andchampagne, as well as the opportunity to meet artists and
purchase the treasure boxes. Tickets to Saturdays Early Birdmarket
are includedinthe party ticket price.
The Early Bird Market kicks off the Native Treasures Indian Arts
Festival from9 to 10 a.m. Saturday, May 26; tickets are $20 at the
door. The show, at the Santa Fe Community Convention Center, 201
W. Marcy St. in downtown Santa Fe, opens to the public from10 a.m.
until 4 p.m. on Saturday and Sunday, May 27. Tickets are $10 at the
door on Saturday; entrance to the showis free on Sunday.
For information, go to nativetreasures.org or call 982-7799, Ext.3.
NATIVE ART ONSALE THIS WEEKEND
Top artists from40 tribes and pueblos showwork
JANE PHILLIPS
Ed Archie NoiseCat sets up one of his pieces, Chiaroscuro Darkness to Light,
at the Santa Fe Convention Center last year.
COURTESY
Terrance Guardipee
6 2012 NATIVE TREASURES
Save the date
For the third year, Native Treasures Indian Arts Festival
organizers are holding a Collectors Sale September 15 and 16
in the MeemAuditoriumof the Laboratory of Anthropology,
708 Camino Lejo on MuseumHill. Because of its success in
2011, the Collectors Sale has been expanded fromone to two
days this year. Entry to the event is free; early birds can shop
from9 to 10 a.m. on Saturday for $10.
The Collectors Sale is an opportunity to purchase
Native art fromprivate collectors, with part of the proceeds
benefiting the Museumof Indian Arts &Culture. Last year,
more than 800 pieces of art were available for purchase,
raising $25,000 for MIAC.
2012 NATIVE TREASURES 7
INDIANMARKET2012
THE SWAI A OFFI CI AL GUI DE
Each year, more than 100,000 people from all over the world
travel to New Mexico to experience Indian Market. This annual
event brings an estimated $15 million to local businesses and
retailers, making it one of the most exciting and popular events
in the Southwestern United States.
Attendees will be interested in our Exclusive Artist Directory
and Booth Locator Map to help navigate through this vast
event. 25,000 copies will be distributed in the Santa Fe New
Mexican on August 12, and an additional 20,000 copies will be
available on the Santa Fe Plaza during the event.
Take advantage this year by representing your business
in remarkable color and detail with a glossy page in the
SWAIA Ofcial Guide to Indian Market.
Call Art Trujillo at 505.995-3852 or email:
arttrujillo@sfnewmexican.com to reserve your glossy page now.
Deadline is Monday, July 16th.
You Turn To Us.
See more info at www.santafenewmexican.com/advertising To become a SWAIA
business member email: dkeron@swaia.org or call 505.983.5220 x223
DETAILS
The Native Treasures Indian Arts
Festival Benefit Pre-Sale Party takes
place Friday, May 25, from 5:30 to
7:30 p.m. at the Santa Fe Community
Convention Center, 201 W. Marcy St.
Tickets are $100 per person and
include an Early Bird ticket for
Saturdays show. Purchase tickets
online at www.ticketssantafe.org, at
the Lensic Performing Arts Center box
office, or call 988-1234.
BY KAY LOCKRIDGE
This year, artists participating in the
eighth annual Native Treasures Indian
Arts Festival were invited to create
special treasure boxes to be sold at the
Friday evening Benefit Pre-Sale Party.
The party offers artists and collectors
the opportunity to come together in a
festive atmosphere; the one-of-a-kind
boxes give collectors the opportunity to
share artists hopes, dreams and prayers;
and the money raised supports exhibits
at the Museumof Indian Arts &Culture.
Comanche painter Nocona Burgess said he
wanted to put the record straight with a
special set of two boxes that he calls Truth
and Lies. He said they represent the real
story of his great-great-grandfather, Quanah
Parker. The boxes look and open like books,
each with a latch.
Stories about Quanah Parker have
become clouded and just plain wrong down
through history, Burgess said. These boxes
tell whats true and whats not.
Quanah Parker, whose mother was a white
woman captured by the Comanches, grew
up to become a Comanche chief and traveled
to Washington, D.C., where he met with
President Theodore Roosevelt. In effect,
Parker lived two lives, and these boxes reflect
that: The portrait on one box shows Parker
in Anglo clothes of the time a suit, tie and
bowler hat; the second box displays a portrait
of Parker in his Indian chief attire.
Together, Burgess said, they represent the
real Quanah Parker.
Ojibway jeweler Wanesia Misquadace
said her box, titled My Sweet Grass Dancer,
honors her son and his first time dancing at a
powwowwhen he was 4 years old.
Misquadace, an Institute of American
Indian Arts graduate, works in a medium
called birch bark biting.
Folding the bark and separating the
pieces into thin layers, I vary the pressure of
each bite so that I can shade and texture my
designs, she said. I believe I amone of only
a handful of artists in North America who
create the bitings, an Ojibway tradition.
What I do is take the traditional birch
bark basket, incorporate silver [into the
design] and make it my own, she said.
These vessels represent stories of my
people, and they help preserve our prayers
and ceremonies, our experiences and our
people. The silver figure atop her treasure
box represents her son in dance.
Jeweler Loren Aragons box, Grant Me
This, reflects the traditions of the Din
(Navajo) people. Anything beautiful in this
world is accepted, and we inhale the essence
of it, Aragon said. Your wishes are your
prayers.
The box was created froma gourd, a
mediumAragon often uses. Other materials
include copper, aluminumand paint. He
achieved a dimpled effect by gouging out
the skin of the gourd with a rotary tool.
Working with the gourd gives you a feel for
it, Aragon said.
Aragon painted traditional floral designs
suggesting things being rooted that
often are drawn frompottery shards
he puts together to formlarger shapes.
Incorporating these designs in a circular
shape is his signature.
Acopper design attached to the top of the
gourd embodies four circles. Four is a sacred
number to us and represents many important
things the four seasons, four directions
and four stages of life, Aragon said. The
overall design of the box is a request to grant
ones wishes throughout ones life.
Kiowa jeweler Keri Ataumbi suggested her
treasure box, HowWe Got the Sun, is a piece
that encourages the beholder to consider one
of the mysteries of creation.
Using suchmaterials as rosewoodfrom
India, smokedbuckskin, sterling silver, yellow
diamonds, goldandmirrors, the multilayered
box follows the Kiowa tale of Uncle Sainday
andhis friends Fox, Hawk andDeer as
they finda way to bring the sunandits heat
to our side of the world, Ataumbi said. To
aidintheir quest, she also createdfour pairs
of uniquely designedaviator sunglasses
incorporating everything fromsterling silver
to deer antler andopal that canbe purchased
separately or withthe box.
The treasure boxes will be for sale at prices
set by the artists; 25 percent of the proceeds
fromthe sales go to the Museumof Indian
Arts &Culture.
Aspecial Best of Box award will be
announced and the 2012 Living Treasure
award will be presented to Tony Abeyta
during the party.
BOXES HOLD
DREAMS,
PRAYERS,
HOPES
Special pre-sale supports
Museumof Indian Arts &Culture
Jeweler Loren Aragons box, Grant Me This, reflects
the traditions of the Din (Navajo) people.
8 2012 NATIVE TREASURES
2012 Native treasures
Z-9
on the plaza in santa fe
NEW MEXI CO
MUSEUM OF ART
ITS ABOUT TIME:
14,000 YEARS OF
ART IN NEW MEXICO
505.476.5072
NEW MEXI CO
HI STORY MUSEUM/
PALACE OF
THE GOVERNORS
ILLUMINATING THE
WORD: THE SAINT
JOHNS BIBLE
505.476.5100
on museum hill
in santa fe
MUSEUM OF
I NDI AN ARTS
& CULTURE
THE BUCHSBAUM
GALLERY OF
SOUTHWESTERN POTTERY
505.476.1250
MUSEUM OF
I NTERNATI ONAL
FOLK ART
FOLK ART OF THE ANDES
505.476.1200
10 2012 NATIVE TREASURES
PORTRAITS BY KITTY LEAKEN
Tony Abeyta, a Din (Navajo) painter and jeweler,
is this years MIACLiving Treasure, an award given
annually to an artist during the Native Treasures Indian
Arts Festival in recognition of his or her work and
contributions to the community.
While this is Abeytas first year participating in the weekend show,
he has long been considered an innovative painter who continuously
uses newmedia and employs fresh techniques in his work.
If you look at Tonys work, he is not formulaic at all, said Native
Treasures co-chairwoman Ardith Eicher. Hes a real student of art
history. Theres a real sophistication to his style.
TRAILBLAZING
JENNIFER ESPERANZA
2012 NATIVE TREASURES 11
TREASURE
12 2012 NATIVE TREASURES
Abeytas pieces range fromabstracts and landscapes in oil to
drawings in charcoal, ink and crayon. He has recently delved into
making jewelry, using many of the same themes and imagery fromhis
paintings, Eicher said.
Abeyta grewup in Gallup, near the Zuni and Navajo reservations,
the son of Sylvia and Narciso Abeyta. His mother was Anglo and his
father was a Navajo painter.
TAI was never raised on the reservation like some. I wouldnt do well
there either. Id always be driving into town for a double espresso with
a splash of coconut milk. My father was full-blooded Navajo, went to
boarding school, fought in World War II as a code talker and spoke
his own language beautifully. I was raised for the most part in urban
surroundings. I amthe next chapter in my fathers journey, as is my
son in mine. I will always be Navajo; its an imprint on the deepest
cellular level. Imalso part white, and I honor that. Its the part of me
that enjoys eating sushi and grants me permission to be a tourist on
my own lands.
His parents encouragedhimto followhis dreams. So, at age 16, Abeyta
movedto Santa Fe to study at the Institute of AmericanIndianArts.
TAI remember entering the dorms of the Institute of American
Indian Arts, and I knewthat I didnt want to be a painter. After all,
my father was a painter but struggled as a weekend artist who traded
art for his supplies. I was just glad to leave home, find independence
and had some vague ideas that I could go into advertising and graphic
design whatever that meant at the time. I was lucky I was in Santa
Fe at the right time. The Native art world was on fire, and I sold my
first painting for $75, then $400 and so on. Many fine artisans had
paved the way ahead of me, and collectors were already in place. I
couldnt have imagined that there was a support systembuilt into this
community, and school helped guide me and facilitated a great many
adventures.
Early on, [Tony] was one of those young artists you could see was
going to take his art and be somebody, said Marita Hinds, an art
consultant who, as an art history major, enrolled at IAIAjust before
Abeyta some 30 years ago. She later worked at IAIAfor more than a
decade.
I could definitely see himblazing his own trail, she said. He
took his whole creative interpretation of his Navajo culture, his
connection with Taos, and really incorporated the masters that he
learned from[abroad].
Abeytas studies did not end at IAIA. He earned a Bachelor of Fine
Arts degree at the Maryland Institute College of Art and went on to
study in Florence, Italy, the south of France and NewYork University,
where he earned a Master of Fine Arts degree.
Said Hinds: You can go to an art school here in Santa Fe, but I
think for Tony, studying at a different art school and going out of the
country played a huge role in who he is.
TAI define myself as a contemporary Native American painter. I say
that with the same pride as if I were to say an abstract expressionist
or a French impressionist. I amalso a Navajo, a father, a teacher,
a jeweler, a collector and an extremely grateful man. The nature of
what I do as an artist is to create images fromthin air and see them
realized as art, which never existed before. I aman abstract painter,
a monochromatic modernist with traditionalist undertones and a
memory of the sacred. I ama chameleon with a range of subjects that
can confuse any viewer who came to see whatever it was they expected
I should be.
While Abeyta has been able to make a very good living as an artist for
many years, he said he has never measured his own success by what
he has earned for his work.
TAI became successful when I was content. But money had nothing
to do with the equation. There was a long period where I felt mediocre,
banal and uninformed of the vast possibilities of what art can be. I
was selling well commercially but miserable. I had a beautiful family,
galleries and art supplies all the stuff that defines a successful
career. But I dreaded going into my studio. Most artists knowthe
feeling
What happened to change that? I moved out of a big house with a
viewof a magic mountain in Taos, sold all my cars and packed up my
family and moved to Venice, Italy, for two and a half years, then New
York. I quit drinking and later divorced. I studied contemporary art
theories and criticism. I explored things like installation art, video,
dance, performance, modern architecture and design. I devoured the
ideas of artists like Bill Viola, Andy Goldsworthy, Maurizio Cattelan,
Agnes Martin and Joseph Beuys.
Abeytas artistic range can be seen in all the unfinished pieces sitting
in his second-floor, multiroomstudio on Palace Avenue.
TAI knowwhen a painting is done when I just cant paint anymore
on the work and its ready for that illegible signature. In a years time,
I work on about 25 paintings in the studio. Some have been in there
for years. I wait for that muse to come and work quickly to capture
the idea, the moment without a prior sketch or study. Then as time
passes, I finish each one carefully. It is easy to lose track of howmany
get done ... Nowthat I have been making jewelry, its taken a bite out of
the paintings, but I always will be a painter and look forward to holding
that brush back in my hand.
Abeyta counts Robert Harcourt among those who have supported
Tony Abeyta wanted to include his own self interview as a
complement to the story about his MIAC Living Treasure award.
His responses are incorporated into this story in italics.
2012 NATIVE TREASURES 13
himand his work throughout the years. Harcourt spent 47 years
working at IAIAin various capacities and met Abeyta when the artist
was a newstudent at the school.
It was hard for himto sit still, which made me wonder howin the
world he got his paintings done, Harcourt joked.
Harcourt recalled that Abeyta was driven even as a young man.
When Abeyta was planning to study in Europe, he sold a number
of paintings to help offset the costs. I thought that was terrific and
showed a lot of initiative, Harcourt said.
He also recalled Abeytas generosity. One year, Harcourt ran into
the artist after Santa Fe Indian Market, and Abeyta gave Harcourt a
large painting. It was too large for himto carry to his car, Harcourt
said. He said, This one didnt sell, so Id like you to have something
of mine.
Abeyta has donated pieces of his work year after year for the IAIA
gala. He has also served as an adjunct faculty member, on the board
of the foundation for IAIAand the development committee for the
Museumof Indian Arts &Culture. In 2000, he painted a large mural
in MIACs gathering space in the lower lobby.
Tony knows its important to look at the rest of the community and
to give back, said Gov. George Rivera of Pojoaque Pueblo, a friend of
Abeyta and a collector of his work.
Rivera, who is also a well-known artist, met the painter when
Abeyta was studying in France. Rivera was a visiting art teacher and
Abeyta was his student. Anumber of Abeytas pieces nowgrace the
hallways of the Buffalo Thunder Resort &Casino, where Rivera has
an office.
Rivera said that while he has met many talented artists over the
years, Abeyta stands out as a success because of his ability and
work ethic. Tony is an outstanding artist, Rivera said. Hes been
consistent all these years, producing art with almost no break at all.
Tony Abeyta, Untitled, 64 x 40, oil on canvas
DETAILS
Tony Abeyta will be recognized as 2012s MIAC Living
Treasure at 6 p.m. Friday, May 25, during the Benefit Pre-
Sale Party. Sculptor Roxanne Swentzell (Santa Clara), the
2011 MIAC Living Treasure award recipient, makes the
presentation.
Tickets to the event are $100 per person and include an
Early Bird ticket for the opening of the Native Treasures
Indian Arts Festival on Saturday morning. For more
information about the Benefit Pre-Sale Party, call 982-7799,
Ext. 3, or visit nativetreasures.org. To purchase tickets, call
988-1234, visit www.ticketssantafe.org, or stop by the Lensic
Performing Arts Box Office (225 W. San Francisco St.).
PHOTOS COURTESY OF BLUE RAIN GALLERY
Tony Abeyta, Trio in Song, 60 x 80, oil & sand on canvas
14 2012 NATIVE TREASURES
2012 NATIVE TREASURES 15
BY ADELE MELANDER-DAYTON
Lynda Romero took a red clay pot fromthe shelf in the pottery
studio at the Poeh Center in Pojoaque Pueblo. Cradling the bowl
in her hands, she pointed to a chip on the lip of the drying piece.
See, air bubbles, she said, shrugging. Lesson learned.
Romero started taking classes at the center (where she also works)
18 months ago, though shes had pottery classes elsewhere in the past.
I like working with clay, she said. Its really forgiving. If you mess
up, you can break it down and start again. Romero draws inspiration
fromold pottery shards, as with the geometric corn design she painted
on a bowl.
On a recent evening, the pottery studio was closed for the day and
empty. In-progress pieces were carefully wrapped in plastic, neat
stacks of Tupperware containing earth-toned glazes lined one wall and
the sinks were clean and dry. Though the studio was silent, Romero had
no trouble conjuring the image of her classes there.
Its like a sewing circle: We talk, we laugh, we eat, she said. In
addition to working full time, Romero has two teenagers at home.
Weekly pottery classes are a refuge and give her peace of mind.
Romero, who is fromPojoaque Pueblo, is one of nine emerging artists
to be featured at this years Native Treasures Indian Arts Festival.
Every year, representatives fromthe Museumof Indian Arts &
Culture, which benefits fromthe event, visit Poehs winter student art
showto select newartists. The emerging artist category gives brand-
newstudent artists the experience of participating in a show, and the
exposure, said Karen Freeman, Native Treasures co-chairwoman.
Collectors always want to see newartists; theyre interested in whats
exciting and new.
This year, Poeh is the official sponsor of the emerging artist category,
which means the center makes a financial contribution to MIAC. The
partnership between Poeh and the museumbegan several years ago,
growing out of Poeh director Vernon Lujans involvement with MIACs
Indian Advisory Panel.
The Poeh Centers mission is to preserve Pueblo culture and history
through its programs. The arts offerings include classes in jewelry
making, pottery and sculpture and are open to all Native peoples,
though a majority of the students are fromNewMexico.
Participating in Native Treasures helps build newartists
confidence, Lujan said. Its so intimidating, in this economy, to think
EXCITING
AND
NEW
Nine emerging artists
featured at this years festival
Lynda Romero
Melbourne Pesata Jr.
Genevieve Waquie
16 2012 NATIVE TREASURES
about making a living as an artist. The opportunity
to be an emerging artist is a way to succeed.
Romero also appreciates the vocational training
Poeh provides newartists. Were required to do
portfolios and get business cards, she said. The
thing about Poeh thats really great and different is
that its the tribes all coming together. We become
like a big family the younger people looking up to
the older people.
Finding identity and direction
On a Wednesday night in early April, spring winds
howled along U.S. 84/285, which runs beside the
Poeh complex, but inside the jewelry studio it was
quiet and warm. Students bent over blowtorches
and little pieces of metal, surrounded by their
wares sheets of silver, rough and polished pieces
of turquoise, small tools, sketches for bracelets
and bolos.
Fritz Casuse, the instructor of this and two other
classes, has taught at Poeh for 12 years. Casuse
wears matching silver hoops with turquoise beads
in his ears; hes an experienced jeweler and a
participating Native Treasures artist.
This class is about finding your identity and
your direction, said Casuse, who is Din (Navajo).
Alot of times students come here to find peace.
I find the same thing when Imcreating. ... I love
teaching at Poeh because theyve helped me
with my career, and Imable to give back to the
community.
I always tell my students that Imjust their
guide. [When I was learning] there was no one for
me to call, no one for me to hang out with. But my
students will call me when theyre at the jewelry
store with questions about what to buy.
At a nearby table, another emerging artist,
Melbourne Pesata Jr., peered closely at his in-
progress piece, a ring with a bezel setting. The
metal he used is mokeme, he explained, a Japanese
termthat translates roughly to wood grain. The
tiny sheet of metal, about to be shaped into a ring,
featured an easy swirl of copper, silver and brass.
Pesata is a large manwithbig hands, which
made the precise jewelers tools he was using look
especially tiny. Hes concernedwithdetails, like the
delicate patterns andinlays onhis jewelry. Pesata
scrolledthroughdozens of pictures of his work on
his phone, pointing out beadedhair ties, polished
elk ivory bracelets andanantler motif usedin
several different designs. He pausedto look at a
large silver disc bearing animpressionof a Jicarilla
basket design. Pesata is Jicarilla Apache and, like
many of the emerging artists, he is deliberate inthe
applicationof his heritage to his work.
Pesata lives in Dulce, a two-hour drive north of
Poeh. He commutes to the studio twice a week.
The jewelry class is the first hes taken at Poeh,
though hes been beading for years. I do beadwork
at home powwowregalia, he said. My kids and
my wife dance, and I make their stuff so I dont
have to buy it.
Genevieve Waquie, a third-semester student
at Poeh, is the only emerging artist who will have
pieces in three different media jewelry, pottery
and woodworking at Native Treasures.
I used to see my grandmother making pottery,
Waquie said in a phone interview. When I was a
teenager I started making stuff, but I put it aside
for so many years. I hadnt touched [clay] until I
decided to go back to class.
InMarch, Waquie lost her home (andher beloved
Chihuahua) ina fire. She also lost muchof her
inventory; because her supplies were destroyed,
its beenespecially difficult to make jewelry anddo
woodworking. At least I cando pottery, because we
get our clay fromMother Earth, Waquie said. But
eachandevery day has beena struggle. There are
days whenits goodanddays whenits so rough. I
wonder where Imgoing to live.
In the face of devastating loss, Waquie manages
to find solace in her work.
Imhappiest when I go to class, she said.
Thats where I do my healing. I can always put
my feelings into my pieces. Imable to express
my inner thoughts, my soul. I still look at life as a
beauty. Lynda Romero
Melbourne Pesata Jr.
Genevieve Waquie
EMERGI NG ARTI STS 2012
Emerging Artists 2012
Johnny Cruz (San Ildefonso) pottery
TimHerrera (Cochit) jewelry
Daniel Jim(Din) jewelry, sculpture
Melbourne Pesata Jr. (Jicarilla Apache)
silversmith, beadwork
Arnold and Scarlett Reano (father and daughter,
Santo Domingo) jewelry
Lynda Romero (Pojoaque) pottery
Genevieve Waquie (Jemez/Cochit) jewelry,
pottery, woodwork
CalvinWoods (Tesuque) pottery
2012 NATIVE TREASURES 17
18 2012 NATIVE TREASURES
BY ARIN MCKENNA
PHOTOS BY KITTY LEAKEN
After being immersed in the work of incredible artists at
Saturday and Sundays Native Treasures showand sale,
viewing more artwork may feel excessive. But a visit to the
Museumof Indian Arts &Culture provides a direct experience
of the benefits derived fromthe event.
[Funding for] every single newexhibit, as well as the changes we did
for the Buchsbaum[Gallery of Southwestern Pottery], all came from
Native Treasures, museumdirector Shelby Tisdale said.
Twenty-five percent of artist sales fromNative Treasures are
donated to the museum. Last year, the event raised $55,000 for MIAC.
Proceeds fromthe showalso provided a $50,000 match for a Save
Americas Treasures grant to purchase storage units for the new
Center for NewMexico Archaeology under construction southwest
of Santa Fe.
While museumexhibits are also funded by individual donors
and a basket exhibit received additional funding fromthe National
Endowment for the Arts major funding comes fromNative
Treasures.
For example, Woven Identities: Basketry Art Fromthe Collection,
an exhibit running through April, 1, 2014. includes work from60
cultural groups in North America. Most of the baskets were collected
between 1900 and 1930, a time when even the finest basketry was
viewed as craft rather than art. The unfortunate repercussion is
that only 44 of the 221 artists are identified, and some of those are
referred to as Young Bobs Woman or Mrs. Jonny Jack.
Instead of using the typical anthropological approach of grouping
by region, the skill and ingenuity of the artists is highlighted by
grouping baskets according to function, with labels identifying style
of construction, materials and design. Traditional utility items, gift
baskets and clothing are included, as are items created for Anglo
customers, such as flask covers and cigarette cases.
Contributions appreciated
Fromits inception, the arts festival was designed as a fundraiser
for MIAC. I think both collectors as well as artists should feel good
about what theyre doing, Tisdale said. And I think a lot of the artists
do. I think they feel theyre doing something for the museum, even
during these really difficult times. And we certainly appreciate it.
Contributing a portion of her proceeds has a very personal
connection for Din (Navajo) jeweler Liz Wallace. For me, museums
are magical, she said. I grewup in an abusive home, and one of
the fewbright points for me was going to museums. Museums are
incredible institutions.
MIACpurchases a piece for its permanent collection every year,
and the collection holds work from29 artists showing at Native
Treasures this year.
What we try to do is find an artist we dont have represented
or a piece of artwork that we feel is really important to have in the
collection, Tisdale said.
Participating Native Treasures artists whose work is in the
collection include Upton Ethelbah Jr., David Gaussoin, Connie Tsosie
Gaussoin, Cavan Gonzales, Samuel Manymules, Roxanne Swentzell,
Robert Tenorio, Preston Duwyenie and Jody Naranjo.
Adisplay of paintings and jewelry fromDin artist Tony Abeyta
this years MIACLiving Treasure award recipient is featured in
the museumfoyer.
MORE THAN JUST AN ART SHOW
Native Treasures purchases make museum exhibits possible
Jar, 1905, Tubatulabal, artist known as Lucy Exhibitions staff Jamie Hascall installing material case
2012 NATIVE TREASURES 19
Creativity across the centuries
MIACexhibits extol American Indian creativity across the centuries.
Margarete Bagshaw: Breaking the Rules, is a 30-year retrospective
of the artists work. Walking into the exhibit feels like walking into
the artists soul. The complex, brilliant designs a mix of cubism,
modernismand transcendentalismdrawthe viewer into their
vortex, especially in the Fibonacci spiral series she created by
drawing a mathematically exact grid. Titles such as Out There From
in Here and Pages FromMy Life a piece shaped like an open book
suggest that is exactly what the artist hopes to do.
When I go into my paintings, its like being inside my dreams,
said Bagshaw, who carries on the legacy of two acclaimed artists, her
grandmother Pablita Velarde and her mother, Helen Hardin. The
exhibit includes three pieces fromher Mother Line series, which
pay homage to the two women.
Avideo, produced by Bagshaws husband, Dan McGuinness, is
included with the exhibit and provides a glimpse into the woman who
created the work. The video highlights Bagshaws artistic perspective,
such as her reaction to people telling her she should paint in earth
tones, the colors of your people.
I find that amazing, because the colors I use are bigger than that;
they are the colors of my world, Bagshawsays in the video. The
artist, who spent several years living in the U.S. Virgin Islands, points
out that any color can be natural, depending on where you are. The
exhibit runs through December 30, 2013.
Weaving cultures
Another exhibit, They Wove for Horses: Din Saddle Blankets, is up
through August 25. Although the frequently overlooked saddle
blankets are the focal point of the exhibit, curator Joyce Begay-Foss
took a more expansive approach, Tisdale said.
Instead of just focusing on the weaving, she really wanted to bring
in the importance of the horse to the Din, especially the importance
Jar, 1990, Hopi (Second Mesa), Elizabeth Nuvayouma Exhibit curator Valerie Verzuh. All baskets are the collection of The Museum
of Indian Arts & Culture/Laboratory of Anthropology.
20 2012 NATIVE TREASURES
of the horse to herding sheep, and the relationship of the sheep to the
horse in terms of things like the wool, Tisdale said.
The exhibit highlights blankets made between 1860 and 2002, as
well as silver and turquoise headstalls created by Din silversmiths.
Videos provide a glimpse into Din culture and the peoples
relationships to their horses, their weaving and the Churro sheep.
The museumis experimenting with less sequestering behind glass,
so blankets are displayed on rounded stands, with fragile older pieces
in cabinets with pullout drawers.
We wanted our visitors as well as the weavers who come to the
museumto really be able to look at these close up, Tisdale added.
Two looms are set up to illustrate the weaves, augmented by a display
of tools and technology.
F F F
The museumis our museum, said sculptor Upton Ethelbah Jr.
(Santa Clara/White Mountain Apache). We have ownership in the
museumas Indian people. Were very proud that the facility even
exists.
The museumhelps educate people about Native art and history,
he added. It is only right that we try to support that. This is more
than just an art show; its an opportunity to support the museum
through a portion of our earnings.
A Navajo Indian and His Mount, Wyatt Davis, ca. July 1939
Courtesy Palace of the Governors
Photo Archives (NMHM/DCA), negative number 132451
DETAILS
MUSEUM OF INDIAN ARTS & CULTURE
710 Camino Lejo, MuseumHill
505-476-1250
For hours, exhibits and other information, visit
www.indianartsandculture.org.
Tapestry-weave double saddle blanket, 18901910
Gift of Florence Dibell Bartlett (36407/12)
Courtesy Museum of Indian Arts & Culture
Photo Blair Clark
Multi-Dimensional Personality, 2005
Oil on constructed panel (12.5 x 12.5 x 6)
Margarete Bagshaw
Collection of Pat and James Hagan
Courtesy Museum of Indian Arts & Culture
2012 Native treasures 21
Z-21
Native Treasures Cool Stu!
Booth at the entrance to the show
T-shirts (Adults & Kids) Latte Mugs Visors
Baseball Caps Bookmarks Notepads
Thank you to our other
2012 Lead Sponsor
T O N Y A B E Y T A
Untitled
oil on canvas
64" h x 40" w
Proud SPonSor of nati ve treaSureS
125 LI NCOLN AVENUE I SANTA FE NEW MEXI CO 87501 I 505 983 5639 I LEGENDSSANTAFE.COM
BEN WRI GHT ( CHEROKEE) BUFFALO TR ACKS MI XED MEDI A 54 x 40
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22 2012 NATIVE TREASURES
2012 Native treasures 23
Z-23
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A unique sale of Native American art
from the homes of top collectors!
Expanding to two days in 2012
September 1516, 2012
Early Birds 910amSaturday ($10)
General Admission 10am-4pmboth days (free)
Museum Hill
Laboratory of Anthropology - Meem Auditorium
Benets the Museum of Indian Arts & Culture
www.nativetreasures.org
Collectors

Sale
Win a 7-Night Alaskan Celebrity Cruise
for two in ocean view stateroom*
Retail value: $5,850
Tickets for sale at the show see poster for details
Drawing will be held Sunday, May 27, 2012; need not be present to win
*Winner may choose Bermuda or Caribbean destination instead
N
E
W
!
24 2012 NATIVE TREASURES
POTTERY
LawrenceThunder
Atencio,
Ohkay Owingeh
Booth 84
Romaine Begay
Din
Booth 131
Caroline Carpio
Isleta
Booth 126
Larry Chino
Acoma
Booth 4
Alice Cling*
Din
Booth 94
Ione Coriz*
Kewa
Booth 141
Clarence Cruz*
Tewa/Ohkay Owingeh
Booth 8
Preston &Debra
Duwyenie
Hopi/Santa Clara
Booth 2
Lorraine Gala-Lewis
Laguna/Taos/Hopi
Booth 64
Jason Garcia
Santa Clara
Booth 27
Sharon Naranjo Garcia
Santa Clara
Booth 84
Goldenrod
Pojoaque
Booth 27
Cavan Gonzales
San Ildefonso
Booth 82
Lisa Holt &Harlan
Reano
Cochiti/Kewa
Booth 40
Marietta &Melvin
Juanico*
Acoma
Booth 114
ElizabethManygoats
Din
Booth 29
Samuel Manymules
Din
Booth 23
Valerie Namoki*
Hopi-Tewa
Booth 98
Geri &Kevin Naranjo
Santa Clara
Booth 21
Jody Naranjo
Santa Clara
Booth 59
Joseph &Eunice
Naranjo
Santa Clara
Booth 112
Dolly Naranjo-
Neikrug*
Santa Clara
Booth 42
Elijah Naranjo-Smith*
Santa Clara
Booth 42
Shelden Nunez-
Velarde*
Jicarilla Apache
Booth 34
Janice Ortiz
Cochiti
Booth 40
Pahponee
Kickapoo/Potawatomi
Booth 152
Robert Patricio
Acoma
Booth 69
Monica Romero
Santa Clara
Booth 21
Anita Suazo
Santa Clara
Booth 118
Robert Tenorio
Kewa
Booth 141
Dominique &Maxine
Toya
Jemez
Booth 54
LaDonnaVictoriano
Acoma
Booth 86
JEWELRY
Tony Abeyta*
Din
2012 MIAC Living
Treasure Award
Booth 144
Rachele Agoyo
Cochiti/Kewa
Booth 73
AndrewRedhorse
Alvarez
Colville/Apache
Booth 63
Allen Aragon
Din
Booth 78
Loren Aragon*
Acoma
Booth 3
Keri Ataumbi
Kiowa
Booth 66
Fidel Bahe
Din
Booth 13
Victor &Eleanor Beck*
Din
Booth 35
Darryl &Rebecca
Begay
Din
Booth 80
Larry Begay
Din
Booth 35
Leroy Begay
Din
Booth 104
Ernest &Veronica
Benally
Din
Booth 58
Fernando Benally
Din
Booth 113
Heidi BigKnife
Shawnee
Booth 45
Jolene Bird*
Kewa
Booth 9
Aaron Brokeshoulder
Choctaw/Shawnee
Booth 43
Althea Cajero
Kewa/Acoma
Booth 135
Franklin Carrillo*
Laguna/Choctaw
Booth 97
Fritz Casuse
Din
Booth 55
Ed Charlie*
Din
Booth 111
Richard &Jared Chavez
San Felipe
Booth 61
Frank &Evelyn Chee
Din
Booth 74
Carl &Irene Clark*
Din
Booth 38
Marian Denipah
Din/Tewa
Booth 117
Orlando Dugi
Din
Booth 57
Terrence &Dorothy
Emery
Ojibway/Jemez
Booth 76
Venus Etsitty
Din
Booth 58
Jacqueline Gala
Taos
Booth 117
Michael NaNaPing
Garcia
Pascua/Yaqui
Booth 120
Michael Horse*
Yaqui
Booth 140
Mary Irene
Muscogee Creek
Booth 113
Al Joe
Din
Booth 70
Kenna
Yaqui/Tarasca/Huichol
Booth 99
Anderson Koinva*
Hopi
Booth 36
Steve La Rance
Hopi/Assiniboine
Booth 117
Glenda Loretto
Jemez
Booth 107
Anthony Lovato
Kewa
Booth 68
Duane Maktima*
Laguna/Hopi
Booth 101
Wanesia Misquadace
Fond du Lac
Booth 55
Wanda Morrison
Muscogee Creek
Booth 28
Ehren &Edward Natay
Din
Booth 17
Christopher Nieto*
Kewa
Booth 33
Sage Nunez*
Din
Booth 13
Joel &Cordell Pajarito
Kewa
Booth 68
Brad Panteah
Zuni/Din
Booth 85
Norbert Peshlakai &
family
Din
Booth 7
Chris Pruitt
Laguna
Booth 100
Tonya June Rafael
Din
Booth 19
Mark Roanhorse*
Din
Booth 111
ARTI STS FOR NATI VE TREASURES 2012
Anita Suazo Nocona Burgess D.G. House Veronica Benally Loren Aragon Roxanne Swentzell
ARTISTS FOR NATIVE TREASURES 2012
2012 NATIVE TREASURES 25
Michael Roanhorse
Din
Booth 111
Ken Romero
Laguna/Taos
Booth 41
Nick &Me-Wee Rosetta
Kewa
Booth 15
Maria Samora
Taos
Booth 60
Alex Sanchez
Din
Booth 83
Jamie Sandoval*
Din
Booth 11
Lorenzo Shirley*
Din
Booth 22
David Sloan
Din
Booth 149
RoyTenorio*
San Felipe
Booth 87
OlinTsingine
Hopi/Din
Booth 24
Alois Wagner*
Kewa
Booth 26
Liz Wallace
Din
Booth 53
Wilbert Yazzie
Din
Booth 13
SCULPTURE
Joe Cajero
Jemez
Booth 135
Upton Ethelbah, Jr.,
Santa Clara/White
Mountain Apache
Booth 125
Cliff Fragua*
Jemez
Booth 52
Oreland Joe
Ute
Booth 49
Alvin John
Din
Booth 5
Vincent Kaydahzinne
Mescalero Apache
Booth 123
Estella Loretto
Jemez
Booth 65
Carol Chiago Lujan
Din
Booth 148
Ed Archie NoiseCat
Salish
Booth 155
WilliamRogers
Din
Booth 137
Roxanne Swentzell
Santa Clara
Booth 145
Walter Torres
Acoma
Booth 90
KathleenWall
Jemez
Booth 133
KathyWhitman
ElkWoman
Mandan/Hidatsa/Arikara
Booth 129
PAI NTI NG
DRAWI NG
Tony Abeyta*
Din
2012 MIAC Living
Treasure Award
Booth 144
Marla Allison
Laguna
Booth 81
Thomas Begay
Din
Booth 88
Roger Broer*
Oglala Lakota
Booth 130
Nocona Burgess
Comanche
Booth 132
DeHaven Solimon
Chaffins*
Laguna/Zuni
Booth 25
Avis Charley
Dakota/Din
Booth 12
Ronald Chee
Din
Booth 1
Dolores Purdy
Corcoran
Caddo
Booth 151
Ishkoten Dougi*
Jicarilla Apache/Din
Booth 96
Aaron Freeland
Din
Booth 96
Terrance Guardipee*
Blackfeet
Booth 146
Benjamin Harjo, Jr.
Absentee Shawnee/
Seminole
Booth 142
D.G. House
Cherokee
Booth 134
Patrick Dean Hubbell
Din
Booth 127
David K. John*
Din
Booth 47
Melvin John
Din
Booth 116
Tulane &Myleka John
Din
Booth 5
Brent Learned*
Arapaho/Cheyenne
Booth 122
Sheridan MacKnight
Chippewa/Lakota
Booth 136
Ben Nelson
Din
Booth 75
Amado Pena
Pascua/Yaqui
Booth 147
MichelleTsosie
Sisneros
Santa Clara
Booth 153
JohnWell-Off-Man*
Chippewa-Cree
Booth 72
PetersonYazzie
Din
Booth 124
Yellowman
Din
Booth 75
CARVI NG
Joseph Begay
Din
Booth 44
Delbridge Honanie
Hopi
Booth 32
Wayland Namingha
Hopi
Booth 39
Spencer Nutima
Hopi
Booth 62
Lynn &Jayne Quam
Zuni/Din
Booth 119
Elmer Yungotsuna
Tewa/Hopi
Booth 79
TEXTI LES
Nanabah Aragon*
Din
Booth 77
Rena Begay
Din
Booth 104
Catherine BlackHorse*
Seminole
Booth 146
Dorothy Grant
Haida
Booth 143
Mona &Charlene
Laughing
Din
Booth 56
Jhane Myers-NoiseCat
Comanche/Blackfeet
Booth 154
Penny Singer
Din
Booth 6
ToadlenaTrading Post
Din
Booth 138-139
BASKETRY
Sally &Lorraine Black*
Din
Demonstrators
Booth 95
Carol Naranjo
Laguna
Booth 37
Everett Pikyavit
Southern Paiute
Booth 67
BEADWORK
Jerry Ingram*
Choctaw/Cherokee
Booth 121
Craig Kelly
Din
Booth 18
DI VERSE
Walter BigBee
Comanche
Booth 128
(photography)
Black Eagle
Shoshone/Yokut
Booth 150
(warrior art)
Debra Box
Southern Ute
Booth 14
(rawhide, beadwork)
Lisa Chavez-Thomas*
Isleta
Booth 115
(gourd sculpture)
Amber Gauthier*
Ho-Chunk/Menominee
Booth 121
(painting/beadwork)
Charlene HolyBear
Standing Rock Sioux
Booth 103
(dolls, beadwork)
Melissa Lewis-Barnes*
Din
Booth 31 (hats)
Robert Spooner
Marcus
Ohkay Owingeh
Booth 102 (glass)
NativeTreasures Shop
(multiple artists)
Booth 10
EMERGI NG/
STUDENT ARTISTS
SPONSORED BY
POEH CULTURAL CENTER
Johnny Cruz*
San Ildefonso
Booth 109
(pottery)
TimHerrera*
Cochiti
Booth 93
(jewelry)
Daniel Jim*
Din
Booth 91
(jewelry/sculpture)
Melbourne Pesata, Jr.*
Jicarilla Apache
Booth 91
(jewelry)
Arnold &Scarlett
Reano*
Kewa
Booth 110
(jewelry)
Lynda Romero*
Pojoaque
Booth 92
(pottery)
GenevieveWaquie*
Jemez/Cochiti
Booth 108
(jewelry/pottery/
woodwork)
CalvinWoods*
Tesuque
Booth 92 (pottery)
* = Newto Native
Treasures in 2012
Patrick Dean Hubbell Charlene HolyBear
26 2012 NATIVE TREASURES
MUSEUM OF NEW MEXICO FOUNDATION
*as of May 1st
THANK YOUTOALL OUR WONDERFUL 2012 SPONSORS!*
GOLD TREASURES
Dobkin Family Foundation
SILVER TREASURES
Diane & Peter Doniger Charles M. & Ann H. Smith
BRONZE TREASURES
Charmay Allred Ardith Eicher & Dave Rashin
Karen Freeman Don Pierce
TURQUOISE TREASURES
Ben Crane Mr. & Mrs. Charles Diker Ruth & Scott Hamilton
Sandy Nachman Frauke & Keith Roth Lyn Schmidt
Sharon Curran-Wescott & Earle F. Wescott
CORAL TREASURES
JoAnn &Bob Balzer James H. Duncan, Jr. John &Mary Easley
Lassie &Mike Eicher Claudia &David Grayson Patricia &James Hagan
Cynthia &Scott Hale David &Sue Halpern Valerie &Bud Hamilton Patricia &Richard Hawkins
Olga &JimHutson-Wiley Impact Printing Sherry &Adel Kheir-Eldin Ricki &Scott Kresan
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Jenny Auger Maw&Gilbert Maw Susan McGreevy &Herb Beenhouwer Don &Marilyn Miller
William&Susan Ouren Yara &Gerald Pitchford Bob Reddington &John OMalley
Max &Janet Ragsdale Elizabeth Raspolic Sandra Russ &TomBrugger
Ellie Schrader &Stu Patterson Carol Warren
And . . . John &Anabel Konwiser Barbara &Gene Sanger
Pak Mail
othe Plaza
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\uscun o| lncian Arts c Cu|turc
Museum Hill off Old Santa Fe Trail | (505) 476-1250 | indianartsandculture.org |
They Wove For Horses:
Din Saddle Blankets
Through March 4, 2013
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acorning thcir horscs is rcca|cc in this
cis|ay o| wcaings |oth ccrycay anc |anci|u|
The Buchsbaum Gallery
of Southwestern Pottery
Ongoing
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Arizona arc rcscntcc hcrc, rcrcscnting thc
co|ution o| connunity tracitions
Woven Identities
Through April 1, 2014
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6o cu|tura| grous in six cu|tura| arcas o|
wcstcrn North Ancrica thc :outhwcst,
Crcat lasin, l|atcau, Ca|i|ornia, thc
Northwcst Coast, anc thc Arctic
Top: Margarete Bagshaw, Ancestral Procession, 2010. Bottom, left to right: Din tapestry- and diagonal twill-weave single saddle blanket, 18809, photo by Blair Clark. Western Apache jar, c. 1900, photo by Addison Doty. Tesuque polychrome jar, 1890, photo by Blair Clark.
Margarete Bagshaw:
Breaking the Rules
Through December 30, 2012
laintings, |ronzcs anc o|ychronc ccranic
cssc|s ccnonstratc thc nu|ticincnsiona|ity
o| thc artists cazz|ing work