american west trappings american west trappings

Nº 23
TRAPPINGS
AMERICAN
WEST
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Schedule of Events
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AMERICAN
WEST
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OCTOBER 28, NOVEMBER 4, 11, & 18
Expressive Arts Discovery: Cowboy Poet Tom
Weathers will lead a remarkable workshop for eight
patients from the Flagstaff Cancer Center. The group
will meet weekly in the Trappings exhibition, and
each patient will choose several pieces of artwork to
write about. Completed verse will be formatted with
images of the artwork and then installed in patient
waiting rooms of the Cancer Center.
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SEPTEMBER 27 - DECEMBER 7, 2014
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COVER IMAGE: Red Wall at Willow Creek Photograph by Adam Jahiel
THIS PAGE: Mesa Morning Oil Painting by Pete Plastow (photo credit Bill Godschalx)
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OCTOBER 19
Riding the Rim - 12th Annual Cowboy Poetry
Gathering: Poets from around the state will stir up
the air as only cowboys can with poetry, song, and
open-range entertainment. This gathering brings
the Arizona cowboy into perspective, looking at
stereotypes, the history of the cowboy in the state,
and also the living tradition.
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NOVEMBER 15
The Grandest Ride: Award-winning photographer
Tom Brownold will present documentary images
based on his recent work at the Grand Canyon. His
subjects are the sure-footed mules of the South Rim
and their important transportation of supplies and
visitors over the past century.
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SEPTEMBER 28
Healing the Range with Cowboys: Dan Dagget, one
of the original founders of Trappings, is returning
to the show this year. Dagget is an author of two
books on ranchers and environmentalists working
together, one of which was nominated for a Pulitzer
Prize. Lately, Dagget has been revealing the benefit
“Cowboying” can bring to the range via the process
of rephotography — comparing photos as much
as 120+ years old with photos of the exact same
place today.
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SEPTEMBER 28, OCTOBER 25 & 26,
NOVEMBER 29 & 30
Tricks of the Trade DCAF artists will demonstrate
their skilled trades in the exhibition gallery. This
will include tooled leather, sculpture, engraving, or
rawhide braiding.
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SEPTEMBER 28 – DECEMBER 7
Trappings Open to the Public:
Tuesday thru Saturday 10 AM – 5 PM
Sunday NOON – 5 PM
OCTOBER 25 & 26
The Wilbur-Cruce Colonial Spanish Horse Arizona’s 1st Horse:
Mark O’Hare, Padre Eusebio Kino historian, and
Maureen Kirk-Detberner, Wilbur-Cruce horse
expert, will present their documentary work on the
living legend, Arizona’s Wilbur-Cruce horse. They
are Padre Kino’s horses, the Arizona State Heritage
horse, and a strain of Colonial Spanish horse. Their
combination of great beauty, athleticism, and historic
importance makes this breed a major contributor to
Arizona’s Western heritage. This program will be a
part of the Museum’s 11th Annual Celebraciones de
la Gente Festival.
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SEPTEMBER 27
23rd Annual Trappings of the American West:
Opens with a Dry Creek Arts Fellowship and
Museum of Northern Arizona Member’s Preview
Sale and Artist Reception. Members and Artists will
enjoy lively conversation and the first opportunity
to purchase fine and functional art of contemporary
horse culture.
The Dry Creek Arts Fellowship
in partnership with the Museum of Northern Arizona
present
2014 Invited Artists
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elcome to The 23rd Annual Trappings of the American West Exhibition.
The Dry Creek Arts Fellowship invites you to take part in a celebration that honors the work of 80
artists from 14 Western states and Hawaii. They have each been chosen for their outstanding skills of
mastered artistic excellence. Trappings is a contemporary exhibition that combines fine and functional
art of the American West—on foot and horseback.
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With its collective presence, Trappings of the American West evokes the adventurous hero—the real
and imaginary cowboy, who lives not only in song and story, but from an artist’s pen and brush. From
beautifully tooled saddles to engraved spurs, the artwork found in Trappings is authentic, functional,
and contemporary.
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Over the years, Trappings has grown in scope and variety because of artistic opportunities that are
part of the exhibition’s history. This year we welcome seven new artists and welcome back one of the
co-founders of Trappings—Dan Dagget. Their work is highlighted in the catalog, and whether it is a
photograph or a miniature saddle, every piece has a story behind it—something that gives the viewer a
sense of place and time, as well as a sense of the artist.
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On behalf of the Board of Directors and Staff of the Dry Creek Arts Fellowship, it is a great honor to
dedicate this catalog to Dr. Robert G. Breunig and his wife Karen Enyedy for their gracious invitation for
Trappings to return to the Museum of Northern Arizona.
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Linda Cornell Stedman
Executive Director
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Dust – Fields Home Ranch Gather Photograph by Heather Hafleigh
Nancy Martiny – May, Idaho
Curt Mattson – Cave Creek, Arizona
Ron & Shoni Maulding – Saint Ignatius, Montana
Kathy McCraine – Prescott, Arizona
Gary & Clara McGlasson – Spokane, Washington
Lesley McKeown – Prescott, Arizona
Bob McLean – El Paso, Texas
Bruce Meier – Wickenburg, Arizona
Vel Miller – Atascadero, California
John Mincer – Fallon, Nevada
Bill Nebeker – Prescott, Arizona
Kyra Oellig – Flagstaff, Arizona
Whit Olsen – Canistota, South Dakota
Alex Pappas – Ignacio, Colorado
Bob Park – Phoenix, Arizona
Sharon Paulin – Pine Valley, California
Bev Pettit – Skull Valley, Arizona
Pete Plastow – Castle Valley, Utah
Howard Post – Queen Creek, Arizona
Bob Ray – Parowan, Utah
Cynthia Rigden – Kirkland, Arizona
John Running – Flagstaff, Arizona
Raechel Running – Tucson, Arizona
Allison Schmidt – Marble Canyon, Arizona
Tom Paul Schneider – Pearce, Arizona
Chessney Sevier – Glendo, Wyoming
Cathy Smith – Santa Fe, New Mexico
Jennifer Jesse Smith – Santa Fe, New Mexico
Jesse Smith – Pritchett, Colorado
Bob Stephens – Pine, Arizona
Carson Thomas – Wickenburg, Arizona
Paul VerBurg – Kingman, Arizona
Ricardo Vigil – Los Ranchos, New Mexico
Nate Wald – Lodge Grass, Montana
Rygh Westby – Sedona, Arizona
Logan Willemsma – Guthrie, Oklahoma
Star Liana York – Abiquiu, New Mexico
Len Yule – Sasakwa, Oklahoma
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Casey Backus – Ammon, Idaho
Joe Beeler – Sedona, Arizona
Teal Blake – McLeod, Montana
Lynn Brown – Bluff Dale, Texas
Tom Brownold – Flagstaff, Arizona
Bill Burke – Flagstaff, Arizona
Clay Christensen – Lehi, Utah
T.R. Chytka – Belle Fourche, South Dakota
Doug Cox – Gardnerville, Nevada
Dan Dagget – Sedona, Arizona
Judy Jones Dalton – Cottonwood, Arizona
Ray Dorwart – Guthrie, Oklahoma
David Edwards – Flagstaff, Arizona
Arne Esp – Hardin, Montana
Stephanie Ferguson – Millsap, Texas
Larry Fuegen – Prescott, Arizona
Jerry Galloway – Dumas, Texas
Jim Gilmore – Alamosa, Colorado
Heather Hafleigh – Berkeley, California
Gloria Hammond-Keys - Jordan Valley, Oregon
Jeff Hanson – Monticello, Utah
Jimmy Harrison – Wickenburg, Arizona
Tom Hirt – Penrose, Colorado
Brian Hochstrat – Midvale, Idaho
Harold Holden – Kremlin, Oklahoma
James Holmes – Santa Fe, New Mexico
Neil Hunt – Sedona, Arizona
Jennifer Inge – Creede, Colorado
Adam Jahiel – Story, Wyoming
Sam Jones – Flagstaff, Arizona
Alvin Kawamoto – Hawi, Hawaii
Susan Kliewer – Sedona, Arizona
Doug Krause – Red Bluff, California
Paul Krause – Prescott, Arizona
Peter Kretzmann – Prescott, Arizona
Mia Larocque – Tucson, Arizona
Mehl Lawson – Bonita, California
Thomas Lorimer – Sedona, Arizona
Ernie Marsh – Meeteetse, Wyoming
KNIFE
Cutting a Swell –
Dan Dagget’s Work is a Finishing Touch of Style
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No doubt any cowboy wearing a Dan Dagget knife has one that will not only look good but last him a lifetime of hard work. As
Diane McGee, the former director of the Coconino Center, noted about Trappings in 1986, “Art is any creation that’s elevated
to the status of an individual expression. To me that means every mother’s son who ever rode the range (not to mention his
hardware) was a work of art.” —Interview of Dan Dagget by Claudine Taillac
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“A cowboy without a knife is only partially equipped. He needs his knife
for saddle repair, veterinary work like picking a rock out of a horse’s hoof, for self-defense, and for cleaning a trout for dinner,”
said Dagget. “It needs to be sharp because it is a utility piece, but it also reflects the character of a particular cowboy, as does
his bits, spurs, and saddle, and it has to fit and be wearable.”
The heart of the history of the American West was
formed after the Civil War, when large
herds of wild longhorns were gathered in Mexico and
Texas and driven north to what are
now Wyoming, Montana, and other western states. This “Longhorn Legacy” of the American
Cowboy is commemorated by a boxed set of an inlaid spear point bowie and handy utility knife
originally made by Dan Dagget for the Second Annual Trappings of the American West in 1987.
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Each cowboy employs an individual style to show the pride for what he
does through his clothing and trappings. There is a beauty and purpose
in every trapping that is chosen, and that includes the knife he carries.
Folklorist Elaine Thatcher summed it up in the first Trappings catalog,
“I can see by your outfit that you are a cowboy.” Dan Dagget, who
started his craft as a banjo maker, keeps this in mind when creating his
knives. Inspired by knifemaker Dwight Towell, he refined his own style
and became one of the first knifemakers to do inlay in the wood. He also
prefers Desert Ironwood because “it’s the best for knives.” A simple but
solid statement that a cowboy would appreciate. The grain is also striking
in its variety and richness, a deep-souled wood. Perfect for a cowboy’s knife.
The Longhorn Legacy
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“There is so much colorful stuff that goes in the cowboy paintings and
with the mystique of the West—the landscape, the cowboys’ clothing,
saddles, hats, boots. These things are colorful and show the pride of
what cowboys did, the spirit of it. There were already cowboy shows
with paintings and sculptures, but to show the trappings of the cowboy
brought out the color and spirit of the cowboy, and that is why the show
really caught on.”
Dan Dagget – Sedona, AZ
David Edwards – Flagstaff, AZ
Larry Fuegen – Prescott, AZ
Peter Kretzmann – Prescott, AZ
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Not every artist paints a cowboy, but those who do mean it. Paintings
and sculptures depicting the life and traditions of a working cowboy
are almost as old as the cowboy, for the very image of the West and
the cowboy as the symbol were irresistible to any frontier artist with a
blank canvas and palette of colors. In 1955, the Cowboy Hall of Fame and
Museum was established (now the National Cowboy & Western Heritage
Museum) to showcase this enormous body of unique art. Works by
Frederic Remington and William Herbert Dunton, both born before 1900,
are prime examples of the glorification on canvas of the cowboy’s intrepid
life—living in the saddle, on the range, by the campfire, a horse and a dog
for companionship, and maybe a knife for whittling or a harmonica or
guitar for entertainment. Long before Trappings of the American West
came on the art scene, there were Western art shows being exhibited
around the world, for the lure of this mysterious lifestyle has always had
global appeal. Dan Dagget, knifemaker and bronze sculptor who was a
featured artist in the first Trappings exhibition in 1986, has an insightful
perspective on the different flavor of this show and why it was special
and continues on, some twenty-eight years after its inception.
Handforged Damascus Steel blade with carved Damascus guard,
Bloody Basin plume agate from Arizona, carved 14K gold handle wrap.
A custom leather sheath with Sterling silver throat and tip accompany
the knife. All work by Larry Fuegen (photo credit Point Seven Studio)
CARSON THOMAS is a second-generation saddlemaker, being raised in saddle shops and cow
camps from the Wolf Mountains in Montana to the Sonoran Desert in Arizona. As a new artist in
Trappings, Carson is known throughout the Western United States and 36 foreign countries for
his custom saddles. His work is in strong demand by the working cowboy and horseman, as well
as collectors and many well-known personalities.
He has become well-known in the art world for his masterful work in scale saddles and gear.
Over the past 36 years he has created one-of-a-kind works of art including one scale saddle
that sold for $33,500.00. Sculpting in clay and wax, Carson has taken another step in creating
saddles with works of art in bronze.
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The Arizona Brush Popper.
This ½ size or scale saddle is
on a Will James tree. It is full
basket stamped with matching
tapaderos, nylon rope, and a
stylistic saddle stand made
of Arizona Native Mesquite.
Saddle by Carson Thomas
(photo credit Laura Bovee)
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This saddle has a 15 ½”
Wade tree, with a four
button seat. It features
leather tooled California
poppies - part flower
carved and basket
stamped, with a Carlos
border. The exposed
stirrup leathers have
a 7⁄8” flat plate rig with
4” Monel stirrups. The
saddle has Sterling
silver conchos and a
Guadalajara horn.
(photo credit
Heidi Stevens)
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SADDLE
Doug Cox – Garnersville, NV
Jeff Hanson – Monticello, UT
Brian Hochstrat – Midvale, ID
Alvin Kawamoto – Hawi, HI
Nancy Martiny – May, Idaho
Bruce Meier – Wickenburg, AZ
Bob Ray – Parowan, UT
Carson Thomas – Wickenburg, AZ
Ricardo Vigil – Los Ranchos, NM
Logan Willemsma – Guthrie, OK
LOGAN WILLEMSMA
“For eight years following high school, I traveled as a bareback bronc competitor with the Professional Rodeo
Cowboys Association (PRCA), the Texas Rodeo Cowboys Association (TRCA), and the Colorado Pro Rodeo
Association (CPRA). After my rodeo career, I spent time working in South Dakota and Colorado. Last October,
I returned to my home town of Guthrie, Oklahoma, to work full-time in my father's shop – LJ’s Saddlery. With his
help, he is teaching me how to have a strict eye for detail to produce fine-quality cowboy horse gear. I am also
influenced by saddlemakers Rick Bean and Monty Reedy.”
SAM JONES is a new Trappings
artist and has been painting plein
air watercolor landscapes for over
twenty-five years. Originally from
Salt Lake City, Utah, he grew up in
a household of artists where he was
inspired and encouraged to paint at an
early age.
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“My paintings usually begin on
location. When I start a painting, I try
not to have too many expectations
about where it might lead me. I try
to paint as directly as possible and
not to labor over any one part of
the painting, especially early in the
process. As humans we tend to see
things quickly and easily. We see
the big picture first then the details
emerge. My paintings progress from
the general to specific as well.”
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ABOVE: Scorups Remuda Oil Painting by Pete Plastow (photo credit Bill Godschalx)
BELOW: Rodeo Joe Oil Painting by Paul VerBurg
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LEFT: Bench Marker Watercolor by Sam Jones
BELOW: Would-Be Maverick Oil Painting by
Rygh Westby (photo credit Paul Berg)
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PAINTING
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There are a good number
of unbranded or “Maverick”
cattle left in Arizona, due to the
difficulty of the terrain. Cattle
can easily elude the roundup, and
ownership of the unbranded stock
comes into question. In addition,
such feral cattle will “spoil” their
more domestic cousins, teaching
them their wild and woolly ways.
Periodically, ranchers may employ
“contractors” to come in and
clean the wild cattle off their
range. These men often work for
a percentage of the cattle caught.
They are the cowboy’s cowboy.
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Teal Blake – McLeod, MT
Lynn Brown – Bluffdale, TX
Harold Holden – Kremlin, OK
Sam Jones – Flagstaff, AZ
Thomas Lorimer – Sedona, AZ
Curt Mattson – Cave Creek, AZ
Vel Miller – Atascadero, CA
Pete Plastow – Castle Valley, UT
Howard Post – Queen Creek, AZ
Cynthia Rigden – Kirkland, AZ
Chessney Sevier – Buffalo, WY
Cathy Smith – Santa Fe, NM
Paul VerBurg – Kingman, AZ
Rygh Westby – Sedona, AZ
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RYGH WESTBY
WOULD-BE MAVERICK
BRONZE
Mi Corazon Sculpture by
Susan Kliewer (photo credit
Michael Thompson)
“This piece is for all the
sweethearts in the world.
Rebecca is a Mexican-Indian
woman I love to use as a
model. When she and her
husband took that pose
naturally, I knew this was
my next sculpture. All my life
I’ve heard ‘Mi Corazon’ (my
heart) in Latin love songs
and loved the words. The title
really came before the piece.”
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Handforged one-piece Chihuahua
Style spurs with carved heelbands
and shanks, 2.5-inch handmade
steel rowels, with custom straps
with engraved 2-inch Sterling silver
conchos. Made by Larry Feugen
(photo credit marchettiphoto.com)
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T.R. Chytka – Belle Fourche, SD
Jim Gilmore – Alamosa, CO
Harold Holden – Kremlin, OK
Susan Kliewer – Sedona, AZ
Curt Mattson – Cave Creek, AZ
Vel Miller – Atascadero, CA
Bill Nebeker – Prescott, AZ
Cynthia Rigden – Kirkland, AZ
Carson Thomas – Wickenburg, AZ
Rygh Westby – Sedona, AZ
Star Liana York – Abiquiu, NM
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BIT & SPUR
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“I’ve always loved functional
art - what a better purpose
than holding a great collection
of books! This set of bronze
bookends portrays the classic
cowboy horse with all the
trappings of ranch life
and the classic Native
American horse, featuring a shield,
pipe and a medicine bag.”
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Leading the West Sculpture
by Susan Kliewer (photo credit
marchettiphoto.com)
Arne Esp – Hardin, MT
Larry Fuegen – Prescott, AZ
Jerry Galloway – Dumas, TX
Brian Hochstrat – Midvale, ID
Ernie Marsh – Meeteetse, WY
John Mincer – Fallon, NV
Tom Paul Schneider – Pearce, AZ
Ricardo Vigil – Los Ranchos, NM
THE WILBUR-CRUCE COLONIAL SPANISH
HORSE - ARIZONA’S 1ST HORSE
THE GRANDEST RIDE: TOM BROWNOLD
These two images are part of a captivating body of
work by award-winning photographer Tom Brownold,
based on his recent documentary at the Grand
Canyon. His subjects are the sure-footed mules of
the South Rim and their important transportation
service of supplies and visitors over the past century.
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“The Spanish horse was made to build
the West, and that he did. They were
brought here from Rancho Dolores in
Mexico, the headquarters of Father
Kino, who brought them from Spain
– a fine breed of Barbs that were
brought to Spain by the Moors. The
Spanish horses thrived in the desert
and were horses of the day. They
had speed, stamina, intelligence, and
companionship for their rider.”
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Eva Antonia Wilbur-Cruce
“A Beautiful, Cruel Country”
U of A Press-1987
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TOP RIGHT: Packers at First light at the top of The South Kaibab Trail
ABOVE: Packers on the return trip to the rim on The South Kaibab Trail Photographs by Tom Brownold
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HEALING THE RANGE WITH COWBOYS: DAN DAGGET
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“In our society, it’s not hard to figure out why we have turned to compliance to deal with land management issues in the West.
Our society defines what is ‘natural’ as that which is not created by humans, i.e., not artificial. From this definition arises the
almost universally held assumption that the way to heal nature is to reduce the impact of humans.”
My name could be Caiden, Braden, or Trace
you need to put a name to my face.
I’m a cowboy you see from my clothes & my hat,
it don’t git much better than that.
Then my Pa came along he gave me this rope,
I figured he thought I’d act like a dope.
I practiced and practiced and pretty soon,
my Ma called me in and said it was noon.
They got me a cow it was made out of wood,
I threw and I threw and I got pretty good.
Then one day I practiced and caught me the cat.
Ma said “No son you shouldn’t do that”.
So I went out to the barn and caught me the dog.
“No No!! Son you practice on the log”.
I moved onto the livestock the rope in my hand.
I threw hard & true I knew how to stand.
The pig ran & hid, that didn’t matter.
The chickens ran fast and really did scatter.
I knew better than to go after the horse,
he bigger than me and I might get tossed.
Then came the dog. Pa said, “I’m sorry,
you are being a brat”.
It was gonna hurt him more than me,
do you believe that?
He paddled, he spanked, he gave me a blister.
That was the day I lassoed my sister.
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Cowboy poetry comes from a long tradition of oral lore that consists of traditional
stories, narrative poetry recited from memory and poems sung to simple tunes. Subject
matters are diverse, using metaphors of the range, a wry sense of humor, and a rich
vocabulary unique to the cowboy. Nika Nordbrock will lead this year’s Gathering with
seven Arizona poets, three of whom are also musicians. One such creative fellow is
Flagstaff resident Tom Weathers. As part of the Expressive Arts Discovery Program,
Tom will lead a poetry workshop for eight patients of the Flagstaff Cancer Center.
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12TH ANNUAL COWBOY POETRY GATHERING & EXPRESSIVE ARTS DISCOVERY PROGRAM
ABOVE: Dragoon Mountain Spanish Barbs
Hacienda San Gabriel, Dragoon Mountains, AZ
RIGHT: Spanish Barb Horse, Hildalgo Hacienda
San Gabriel, Dragoon Mountains, AZ Photographs by Raechel Running
Mark O’Hare, Padre Eusebio Kino
historian, and Maureen Kirk-Detberner,
Wilbur-Cruce horse expert, will
present their documentary work on the
living legend, Arizona’s Wilbur-Cruce
horse. Coming from the lineage of
Father Kino’s horses, the Arizona State
Heritage horse is a descendant of the
Colonial Spanish horse.
By Deirdre Moran, Cancer Survivor
Hashknife Colt Sale
Photograph by John Running © 2007
Expressive Arts Discovery Program
An eroding area on which protection from grazing had been used as the best
land management practice. (photo credit Dan Dagget)
The same eroded area healed using cattle and restoration grazing practices—
seeds, hay for mulch, and a herd of cows. (photo credit Dan Dagget)
PHOTOGRAPHY
"A Flagstaff native, privy to the exploration
of light and the natural world, my camera
is my compass…The photographic work I
enjoy is a fusion of my love for nature, travel,
relationships and visual communication.
Since 1996, I have enriched my life with
the power of imagery from the classic
photographic style of film and darkrooms to
the digital realm of cameras and computers.
The broad spectrum of my style comes
from my true passion and appreciation of
light; its rich and powerful energy carried
by time, space, and emotional appeal. For
me, photography is not just a record of a
physical presence but also a documentation
of the encounter between the subject’s
energy and myself. We live in a world of
idealism and what draws me to a subject is
something more cosmic...it’s a feeling that I
have to explore where words don’t come as
easily. I am a recorder of truth."
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ABOVE: Winged Messenger
Photographs by Kyra Oellig
BELOW: Going Home
Photograph by Bev Pettit
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Tom Brownold – Flagstaff, AZ
David Edwards – Flagstaff, AZ
Heather Hafleigh – Berkeley, CA
Adam Jahiel – Story, WY
Mia Larocque – Tucson, AZ
Kathy McCraine – Prescott, AZ
Kyra Oellig – Flagstaff, AZ
Bev Pettit – Skull Valley, AZ
John Running – Flagstaff, AZ
Raechel Running – Tucson, AZ
KYRA OELLIG
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KATHY MCCRAINE
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Photographer Kathy McCraine is a new
artist to Trappings this year. She grew up
on a ranch south of Prescott, Arizona, and
has been photographing for magazines and
advertising for more than 40 years.
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“Through my photography, I am dedicated to
documenting and preserving the ongoing
heritage of the American cowboy, ranching,
and the West. As a rancher, I am privileged
to know my subjects personally, to ride with
them, and to spend time in their world. Thus,
I am able to photograph them naturally,
without staging or posing the shot. With
minimal post-processing, I use light and
shadow in sepia tones to invoke mood and a
timeless quality to the print.”
TOP: Cataract Sentinel
Photograph by Kathy McCraine
MIDDLE: The Calm Before the Storm
Photograph by Kathy McCraine
BOTTOM: Windy Day on the Cataract
Photograph by Kathy McCraine
HITCHED HORSEHAIR
Gloria Hammond-Keys grew up on
a cattle ranch in very rural northern
Nevada. Her artistic inspiration
comes from four generations of
family tradition, the environment,
and a fascination with design. After
graduating from high school, she
went to college and moved around
the West to Reno, San Diego, and
the Salem/Portland area. Living
in these various cities, Gloria
experienced different cultures,
architecture, style, fashion, art,
and food. In combination, these
influential elements can be seen
in her horsehair mecates – the
co-existence and interaction
of natural colors, textures, and
un-natural colors.
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Casey Backus – Ammon, ID
Clay Christensen – Lehi, UT
Gloria Hammond-Keys – Jordan Valley, OR
Jennifer Inge – Creede, CO
(Worked Horsehair)
Doug Krause – Red Bluff, CA
Shoni & Ron Maulding – San Ignatius, MT
Alex Pappas – Ignacio, CO
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TOOLED LEATHER
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A tribute to the horse and buffalo culture,
it is a fully beaded buffalo scrotum.
They were traditionally Lakota women’s
tobacco bags (or small pipe bag for a woman).
It is brain-tanned deerskin, antique Venetian
seed beads, a running horse and rider
on each of the four sides. It took two
months to complete the beadwork.
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CATHY SMITH
Beaded Buffalo Scrotum Bag
(photo credit Pete Weidenfeller)
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LEFT: Tooled Purse by Bob Park
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Doug Cox – Gardnersville, NV
Judy Jones Dalton – Cottonwood, AZ
Doug Krause – Red Bluff, CA
Nancy Martiny – May, ID
Alex Pappas – Ignacio, CO
Bob Park – Phoenix, AZ
Sharon Paulin – Pine Valley, CA
Cathy Smith – Santa Fe, NM
ABOVE: Mecate by Gloria Hammond-Keys
(photo credit Heidi Stevens)
As a new artist in the Trappings
exhibition, Gloria’s masterful
work has evolved from traditions
passed down from her greatgrandmother, grandmother, and
mother. Using both natural and
dyed colors of horse mane hair,
her mecates are innovative and
visually different. The Dry Creek Arts
Fellowship encourages this kind of
artistic exploration.
“My fascination with twisting original
color and design patterns together
inspire spontaneous ideas. I seek to
capture and expand the depth of a
functional piece of traditional art – to
catch a glimpse, and then to reveal
its accompanying emotional weight;
its anticipation, reflection, isolation,
longing and transcendence.”
Engraving
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Arne Esp – Hardin, MT
Brian Hochstrat – Midvale, ID
Neil Hunt – Sedona, AZ
Peter Kretzmann – Prescott, AZ
Ernie Marsh – Meeteetse, WY
Lesley McKeown – Prescott, AZ
John Mincer – Fallon, NV
Allison Schmidt – Marble Canyon, AZ
Tom Paul Schneider – Pearce, AZ
Jennifer Jesse Smith – Santa Fe, NM
Ricardo Vigil – Los Ranchos, NM
Len Yule – Sasakwa, OK
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Jimmy Harrison – Wickenburg, AZ
Tom Hirt – Penrose, CO
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ABOVE: Pawnee Skull Buckle: Engraved by Jennifer Jesse Smith (photo credit Peter Weidenfeller)
BELOW: 1851 Trophy Buckle: Sterling silver, Shuibichi, Shakudo and 24K Gold Engraved by Neil Hunt (photo credit Tori Hunt)
TOP: The burgundy hat is 100% beaver with a hand-beaded to
match hatband and whip stitched with Sworovski Crystals.: Hat by Jimmy Harrison (photo credit Eric Elander)
MIDDLE: The bone colored hat has a real shorn calf hide over a
50% beaver brim that is cross laced with dark brown leather lace.
The hatband is hand beaded and the longhorn cut outs on each
side are backed with the same calf hide. Hat by Jimmy Harrison
(photo credit Eric Elander)
RIGHT: The Carlsbad Hat by Tom Hirt
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William Burke – Flagstaff, AZ
James Holmes – Santa Fe, NM
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Other Sculpture
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Mehl Lawson – Bonita, CA
Whit Olsen - Canistota, SD
Bob Stephens – Pine, AZ
Nate Wald – Lodge Grass, MT
Len Yule – Sasakwa, OK
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LEFT: Cross Quirt: This 16 plait California-style quirt was made by
Whit W. Olson and is adorned with calf hide handle and buttons
which have been accented with Walnut dyed interweaves. The quirt
is built over a rawhide core and balanced with a lined leather popper.
The 12 plait wrist strap is crowned with a cross motif that represents
the importance of religion in many of the early settlers of the
American West. (photo credit Heidi Stevens)
BELOW: Banjo: a conversion of a 4-string Whyte Laydie,
with a neck of curly maple and ebony, embellished with
bright engraving by Peter Kretzmann.
RIGHT: Mandocello: a unique design by luthier William
Burke, is made of an ebony fingerboard, a spruce top,
with curly maple on the sides and back.
FAR RIGHT: Guitar: patterned after a Martin D size. The
back is made of curly mesquite, the top is red spruce,
and ebony is used for the fingerboard and bridge.
(photo credit Paul Berg)
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“Only God and a Rawhide Braider can bring a dead cow back to life.”
– Whit W. Olson, Ranch & Reata Magazine, January 2013.
BRAIDED RAWHIDE
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in South Dakota. After moving to Montana, he began to
improve after meeting fellow braider and friend Hial Steele.
What started out as a part-time job quickly turned into a
passion. With the help of Nate Wald, Leland Hensley, and
other members of the Traditional Cowboy Arts Association,
Whit’s abilities grew even further. Whit’s work can be seen
in several exhibitions including Trapping of the American
West, Trappings of Texas, Elko Cowboy Poetry Gathering,
as well as in many private collections. Today Whit farms
and ranches near Canistota, South Dakota, with his wife
Megan and their four young children.
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Whit W. Olson began braiding in 2001, while in college
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ABOVE: Shadow of a Trout: “As a life-long fly fisherman (and advocate of ‘Catch & Release’), this
piece is to recognize the over-killing of fish; specifically trout. Globally, there are more trout fishermen
than there are fish. We are losing trout fisheries because of climate change – water must be cooler
then 70 degrees.” Materials used are linoleum, Ponderosa wood, lead, copper, antler, and vintage
photographs. Sculpture by James Holmes (photo credit James Hart)
BOOT
Ray Dorwart – Guthrie, OK
Stephanie Ferguson – Millsap, TX
Paul Krause – Prescott, AZ
Gary & Clara McGlasson – Spokane, WA
Bob McLean – El Paso, TX
The Bootstrap Award was
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created in 2011, to honor the life of
the late Margo Nuanez-Walker, a
longstanding Board Member of the
Dry Creek Arts Fellowship, and the
work she wanted to see continue in
Trappings of the American West. The
award is given to an artist who has
worked as diligently as she did, to
advance their chosen field.
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Kenneth R. Trapp, former Curator-inCharge of the Renwick Gallery of the
Smithsonian Museum of American
Art, is the juror for the award. Mr.
Trapp is an Advisory Board Member
of the Dry Creek Arts Fellowship and
became friends with Margo when
DCAF was set for an exhibition in
Washington, DC.
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Trappings artist, Jimmy “The Hat
Man” Harrison donated a custom
built hat to be awarded to the first
recipient. Of that year’s exhibition, Mr.
Trapp chose Bob Park’s Hand Tooled
Briefcase for its decorative tooling,
silverwork, design, and exquisite
craftsmanship. In turn, Bob Park
tooled a beautiful floral patterned
leather notebook with the DCAF
logo, for the next recipient. Last
year, Mr. Trapp chose an exceptional
photograph by Shane Knight. In
keeping to the spirit of the Bootstrap
Award, a signed print will be given to
this year’s recipient.
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ABOVE: Hillbilly Hollywood: Boots by Paul Krause
Inspired by the fashions of the same name
from the 1940s-50s. Vamps and heels are
kangaroo; red goat suede tops feature
hand-tooled leather appliqués.
(photo credit marchettiphoto.com)
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LEFT: The Phoenix: Boots by Bob McLean
Classic Roy Rogers Eagle design, made from black Calf
skin for the main part for the Eagle & trim accents.
Dry Creek Arts Fellowship 2014 Members
$100
$300
Shoni & Ron Maulding
Alienor McCracken
Pete Plastow
Dana & Sandi Schmidt
Richard & Sandy Seehusen
Paul Berg & Jen Saunders
Lisa Brackin
Drs. Robert & Sheila Edgar
Patrice Horstman
Robert & Barbara Hunter Jr.
Byron & Deanne McKeown
Jimmie Miyakawa
The Framing Department
at Hidden Light
Nora Mandel & Stewart Carlough
$200
$1,000
$1,500
Jan Musial Navajo Arts
Board of Directors
have been possible without the generous assistance
of many individuals and organizations. The Dry Creek
Arts Fellowship would like to acknowledge this support
that has been essential to the successful production of
our exhibition and public programs.
Jody Beeler • Henry C. Lockett – President • Beverly
Miller • Jan Musial
All of the 2014 Artists of the 23rd Annual Trappings
of the American West Exhibition
Museum of Northern Arizona
Catalog Team
Arizona Commission on the Arts
Cowboys & Indians Magazine
Christine Henry
Great Circle Media/KAFF Radio
Fairfield Inn Marriott
KNAU – Arizona Public Radio
Jan Musial Navajo Arts
National Endowment for the Arts
Nika Nordbrock & Poets of the
12th Annual Cowboy Poetry Gathering
Jen Saunders Design
Bradley C. Scott, CPA
Karen Sorenson & Staff of Thornager’s
Splendid Graphics
Richard & Carrie Tucker
Western Folklife Center
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Horse Round-Up Photograph by John Running
Special Advisors
Mei Ling Chun • Larry Fuegen • Kathy Hard • Alvin
Kawamoto • Susan Kliewer • Nora Mandel • Karin
Offield • Thomas Olsen • Homana Pawiki • Kenneth R.
Trapp
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Lee deRham
Derek & Amory Stedman
TRAPPINGS OF THE AMERICAN WEST would not
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$2,000
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Suzanne Romero & Faith Walker
Gayle Potter Basso (In Memory
of Keith Basso)
Jose & Judy Cruz
Roy & Lauri Gardner
Jeffrey & Angela Glosser
Ed & Betty Marcus
Cynthia R. Perin
Keith Schaafsma
Bill Smith
Betty Van Denburgh
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$60
$250
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Peter Bloomer
Clay Christensen
Terrell Dockter
Richard Gozzi
Kathy Munro
Bob Stephens
Walt & Nancy Taylor
Michael & Kathy Hard
Tom & Dianne Mathias
George Masek (In Memory of
Clay & Florence Lockett)
The Joshua Walker Family
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$50
Phil & Kay Shuper
Kim Zanti
Gwen Krause
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Denny & Dianne Dickover
$750
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$35
Paul & Joann Delaney
Suzanne Nuanez
Zia Trust, Inc.
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Jerome & Selma Targovnik
$500
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$30
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$25
Acknowledgments
Design & Style: Paul Berg/Splendid Graphics
Jen Saunders Design • Linda Stedman
Photographers: Paul Berg • Laura Bovee • Dan
Dagget • Eric Elander • Bill Godschalx • James
Hart • Christopher Marchetti • Heidi Stevens
Peter Weidenfeller
Printer: SmartPress
Text Scribes: Claudine Taillac • Linda Stedman
Dry Creek Arts Fellowship Staff
Jason Hasenbank • Kyra Oellig • Linda Stedman
Kristie Trotter
Event Support
Amory • Cristen • David • Henry • Howdy • Jodi • Judge
Judy • Mary • Sat • Shannon • Throttle • and other
willing staff members and volunteers of The Museum
of Northern Arizona.
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DRY CREEK ARTS FELLOWSHIP
P.O. Box 23439 • Flagstaff, AZ 86002
9 2 8 . 7 74 . 8 8 6 1 • d r y c r e e k a r t s . c o m
© 2014