journal - Indian Arts and Crafts Association

the world’s leading american indian arts alliance
J O U R N A L
IACA Spring Wholesale Market
in Albuquerque
Journal Launch
May 2012
Pahponee Kickapoo Potter
honoring tradition defining contemporary
vol I
$5.00 US
•
Spring 2012
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WELCOME
•
A Labor of Love
Gail E. Chehak
Executive Director
Welcome to a new chapter in IACA's
history: the launch of the IACA Journal, a project of the IACA Education
Fund. IACA is changing with the
times, using social media and learning new technologies. In the past two
years we have moved into more electronic communication with our membership, and like Kindle, we have
learned many of our members still
enjoy print media. To satisfy everyone,
we are pleased to say our new Journal
will be both in print and online.
It’s been forty years since John Kennedy and a small group of founding members
came together to form the initial alliance of artists, wholesalers and retailers that
would work to protect the industry from the flood of fakes entering the market.
Today, IACA is “The World’s Leading American Indian Art Alliance” –with all
links in the industry sharing the same passion for high standards, ethics and authenticity.
Ind i an Arts
Native art is more than a business. It is a labor of love, an outlet for creativity, a
part of our history and a way of life. We honor the artists for their creativity and
have great respect for the cultures and traditions they represent. We admire the
small businesses around the country who travel to our shows each year to ensure
they are supporting Native artists and buying the real thing. And, we treasure
those artists and dealers who so generously share their knowledge.
IACA is still needed. Retailers need a place to buy art they know is authentic.
Artists want representation that is ethical. Collectors want to know what they
are buying.
Our industry is filled with fascinating people, places and history. It is our honor
to introduce them to the public. These pages will be filled with the diversity and
beauty of the arts being produced by Native Peoples in the United States and
Canada.
We want to thank everyone who helped the Journal get its start and for starting
a new IACA tradition. Special thanks to board member Christopher Cates, whose
vision and extraordinary energy guided the Journal Committee and made this
project a reality.
Gail E. Chehak
Klamath Tribes
&
Crafts Association
I A C A
Publisher - IACA Education Fund:
Managing Editor/Committee Chair - Christopher Cates, Creative & Graphic
Design by Aquila Designs, Inc., Photography by NativeStock.com/Marilyn
Angel Wynn & Amy Parish, Contributing Writers: John Kennedy, Anne
O'Brien, Colleen Reeks, Susan Pourian, Akee Bitsilly, Beth Hale; Printing by
Starline Printing; Mailing by SRFS & Rio Rancho Mailing
Journal Committee: Christopher Cates, Mike McNair, Colleen Reeks, Sam
School, Susan Pourian, Susan Malis, Anne O'Brein, Molly Brolin, Brian Lush,
Akee Bitsilly, Kathi Ouellet, and Rayne Hendren
We welcome your comments and look forward to hearing from you. The IACA
Journal will be published quarterly each year. Send us your ideas for stories, show
dates and important milestones for the calendar and member updates.
Be sure to visit our website to stay apprised of upcoming events and programs,
or to become a member of IACA. Our office in Albuquerque can answer questions
about advertising, membership and sponsorship opportunities.
Please contact us anytime.
IACA-Education Fund & The Indian Arts & Crafts Association
4010 Carlisle Blvd NE, Suite C • Albuquerque, New Mexico 87107
Phone: 505.265.9149, fax: 505.265.8251 • www.iaca.com
We do best to check all copy and images. If we have made an error or omission, please accept our apology and contact the office to let us know. All rights are reserved. Articles may be reprinted for educational,
non-commercial purposes with permission. Please credit "IACA Journal, issue" (such as Vol. I, Spring 2012). All rights to images and copy are reserved. Images of art are provided by IACA member artists and
cannot be used without their specific permission.
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I A C A - E F
President’s
Messa ge
I A C A
Preside nt’s
Me ssa ge
T h e Wo r l d ’ s L e a d i n g A m e r i c a n I n d i a n A r t A l l i a n c e
IACA-EF is dedicated to its mission: to build cultural preservation and appreciation for the arts of indigenous peoples of North America through education.
As an ally with IACA, we will accomplish our mission by continuing to promote, preserve and protect the rich traditions of Native American Arts.
Our active support through education in Seminars, Publishing, Retail Show
Production and other IACA-EF Fund Raising Initiatives is our responsibility.
We have, as our Members, people who hold an
abundance of experience, talent, and ideas. Working together, with and for our Membership, in
these educational settings is our priority.
I am grateful to be a member of our indigenous
Art community and those who understand the relevance of education utilizing both traditional and contemporary ways. I am
hopeful for 2012 and all that we can accomplish together.
Pahponee
IACA-EF President
IACA-EF BOARD OF DIRE CTORS
Pahponee, President
Kickapoo & Potawatomi
Elizabeth CO
Cliff Fragua, Vice President
Jemez Pueblo
Jemez NM
Susan Pourian, Secretary
The Indian Craft Shop
Washington DC
Kathi Ouellet, Treasurer
River Trading Post
Scottsdale AZ
Shane R. Hendren, Ex Officio
Navajo
Albuquerque NM
Christopher Cates
Christopher's
Albuquerque NM
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Spring 2012
Beth Hale
Albuquerque NM
Pam Lujan-Hauer
Taos Pueblo
Albuquerque NM
As an IACA member, you are a part of a very unique family that brings together
every aspect of the American Indian Art world … from the American Indian artist to
the American Indian art collector.
Yours is the only association that is dedicated to the preservation and protection of
artistic and cultural expression that stretches back into long ago times, and continues
through this day.
Yours is the only association to provide educational opportunities, through the Indian Arts and Crafts Association Education Fund, for artists, wholesale and retail establishments, and
for collectors to better understand and enjoy the complexities
of the arts and cultures of the American Indian art marketplace
today.
As we enter 2012, you will see many enhancements to our vibrant 37 year-old association, including the new quarterly
IACA Journal, a re-vitalized website, and a host of new educational materials, especially for you.
During the past year IACA grew faster than any year in our history. I personally
hope that trend continues as more and more people realize the purpose of IACA, and
the benefits of membership in IACA.
Joe Zeller IACA President
IACA BOARD OF DI RECTORS
Joseph Zeller, President
Retail Representative
River Trading Post
East Dundee IL, Santa Fe NM
& Scottsdale AZ
Don Standing Bear Forest
Metis
Fairbanks AK
Don Standing Bear Forest
Vice-President
Metis, Artist Representative
Fairbanks AK
Joseph Zeller
River Trading Post
East Dundee IL, Santa Fe NM
& Scottsdale AZ
Susan Pourian, Secretary
Retail Representative
The Indian Craft Shop
Washington DC
Kathi Ouellet, Treasurer
Retail Representative
River Trading Post
Scottsdale AZ
Christopher Cates
Christopher's
Wholesale Representative
Albuquerque NM
Cliff Fragua
Jemez Pueblo
Artist Representative
Jemez NM
Beth Hale
Collector Representative
Albuquerque NM
Pam Lujan-Hauer
Taos Pueblo
Artist Representative
Albuquerque NM
Shane R. Hendren
Navajo
Albuquerque NM
Pahponee
Kickapoo & Potawatomi
Artist Representative
Elizabeth CO
Welcome - from Executive Director . . . . . . . . . . . . . . . . . . . . . . . 2
Messages from IACA & IACA-EF Presidents . . . . . . . . . . . . . . . . 3
Perspective - The Founding of IACA . . . . . . . . . . . . . . . . . . . . 5-7
Member Updates - Building Alliances . . . . . . . . . . . . . . . . . . . . . 8
Wholesale Profile - Towayalane Trading Company . . . . . . . . . . . 9
IACA Artist of the Year - Earl Plummer . . . . . . . . . . . . . . . . . . . .11
Artist Profile - Pahponee . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13-14
Fashion Shoot at Hotel Albuquerque. . . . . . . . . . . . . . . . . . .15-16
Retail Profile - The Indian Craft Shop. . . . . . . . . . . . . . . . . . 17-18
Markets - New Heritage Market . . . . . . . . . . . . . . . . . . . . . . . . .20
Calendar of Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Book Review - American Indian Jewelry II . . . . . . . . . . . . . . . . .22
Special Thanks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25
Support the IACA Journal - Membership & Subscriptions . . . . 25
@NativeStock.com/Marilyn Angel Wynn
Be sure to see what’s new in jewelry
on pages 15 & 16.
Casa Esencia & the fountain
outside the Chapel at
Hotel Albuquerque
4
P E R S P E C T I V E
•
The Founding of IACA in the 1970s
Excerpts and Commentary
by John D. Kennedy
In 1970, third generation Indian trader John D. Kennedy,
became concerned with the state of the Indian art business.
As Indian art gained in popularity, increased demand and
limited production opened the door to the importation of
foreign made knockoffs. He understood the threat to both
the Indian artists and to the reputable traders who worked
with these artists. His constant, immensely time-consuming and dedicated efforts to deal with this situation resulted in the founding of IACA in 1974. Here are some
excerpts from his book, A Good Trade: Three Generations of Life and Trading around the Indian Capital
Gallup, New Mexico followed by his comments about those involved in this historic
event.
“I was concerned by the lack of communication and coordination within the
Indian business and the overwhelming demand for inventory. An aura of greed
in the trade compounded matters, with many businesses disregarding ethics. I
talked with Dad about devoting time to creating an industry trade organization.
At a time when everyone was going to the bank with a wheelbarrow, I decided
to spend time to develop a trade organization. It proved to be extremely timeconsuming, expensive, and frustrating.
Two years later in 1972, I launched the first trade association in the Indian business since the United Indian Traders Association in the ‘40s. I named it the Indian Arts and Crafts Association (IACA). Trying to organize people during
prosperity was challenging. Typically, people are more receptive to organization
in times of adversity or perceived threat. Neither existed in the early 70s, but
deceptive advertising, inventory, and pricing were increasing . . . .
. . . Developing the IACA was made difficult by the immense distrust that had
developed within the trade. The Indian business became characterized by greed
and distrust of competitors. Many seemed to want all the business. Many newcomers to the trade did not understand the market from wholesale and retail perspectives. My mission was to get people in the business to acknowledge and
accept others of like mind to protect and enhance the market for American Indian
handcrafts.
Several evenings a week, I flew my plane to Taos, Santa Fe, Albuquerque,
Phoenix, Tucson, and Denver. I met with area dealers to discuss the concept of
a trade organization, and then flew back to Gallup late at night. Initially, two or
three people attended but eventually attendance reached twenty or thirty. The
major obstacle was getting people to recognize others in the trade. Some people
considered others as crooks, but not themselves. If the organization allowed
5
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Spring 2012
someone in, someone else refused to join. It was a never-ending cycle.
Frank Dressman, a Santa Fe dealer, came to see me about the IACA when it had
no name. He and his wife had attended several organizational sessions without
commitment. He gave me a check for $100 and said, "For the life of me I cannot
see how this is going to work or how you can rip me off doing it, so I am willing
to chip in $100 to find out." He was one of the charter members.
Aside from convincing people to join the organization (no name yet), the next
greatest task was to assemble a leadership team. There were people that expressed
interest in the organization but were not willing to work at it. For some there
was concern about tainting their reputation in the business if the organization
failed.
From the outset, Bob Allen of First State Bank in Gallup was both interested and
encouraging to see the organization come to fruition. Early on Bob recognized
the impact that the organization could have on the economy of the Gallup area.
The Indian craftspeople were a life-line to our economy. They were producing
a product that arguably was in limited supply because a handful of people could
not logically overproduce. He understood my concern that the popularity of the
market would invite knockoffs and manufactured goods. He felt that threat
would be from outside of Gallup.
I used Bob as a sounding board for much of what I was doing and planning.
First the organization needed a name and an identity. The name was pretty much
a no-brainer. Then we needed a logo. I went to our resident artist at Gallup Indian Trading, Paul Pendergast, and asked him to create a logo.
In order to protect the integrity of the logo I felt it needed to be copyrighted. I
heard of an attorney in Albuquerque who could probably do it for us. I went to
Albuquerque and met the young attorney, recently graduated from law school.
He became very interested and offered to provide counsel. That was Tim Sheehan. Tim became a dedicated and tireless worker for the IACA. He attended all
of our meetings and gave us good advice in our formative years and beyond.”
Once I had a name and a logo I felt there was more to sell on the IACA concept,
but it still needed some direction. I made a majority decision (1-0) to appoint
the first board of directors. I felt that with a proper pedigree, the core directors
could recruit and build an organization better than I could. I decided upon people that I knew or knew of in the trade that I thought were influential and committed to the Indian arts and crafts business. Following are those people that I
recall from memory. After forty years it was a challenge and I am apprehensive
that someone has been omitted. If so, I apologize now and hope that they can
be properly recognized.
Doug Allard (St. Ignatius, MT). Doug was a prominent
auctioneer that plied his trade throughout the western US.
He knew most prominent collectors and many dealers. He
was a very personable and likeable guy.
Bob Allen (First State Bank, Gallup, NM). Bob hung in
with me for the long haul and hosted the first official meeting of the IACA.
Mark Bahti (Tucson, AZ). After several “recruiting” trips
I was ready to give up on Tucson. Mark called me to say
that if I would come back again, he could get about twenty
people to attend. From that time on, Mark was a tireless
ambassador of the IACA and later served as president. He
is a respected dealer, author, and authority on Native American handcrafts.
Leo Calac (Escondido, CA). Leo and his wife, Monte, had
a retail store. Leo was the business manager for the county
school system. Both he and Monte were among the nicest
people I ever met. Leo brought good sense and stability to
our group.
Bill Connelly (Arcadia, CA). Bill and his wife, Thea, were
long-time reputable and respected dealers in California.
Early on they saw the coming onslaught to the handmade
Indian arts and crafts market. I was glad that he lent his
reputation and integrity to the IACA.
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Fannie Ettsity (Window Rock, AZ). Fannie was the general manager of the Navajo Arts & Crafts Guild. She had
an uncanny eye for quality that attracted many dealers and
collectors. She, too, was very grounded and contributed a
great deal.
Mike Hoeck (Reno, NV). Mike was a very likeable guy
who retired from corporate America, moved to Reno, and
opened an Indian shop. He had good organizational sense
and traveled throughout the southwest. His good sense and
contacts were important to the IACA.
Fred Kabotie (Second Mesa, AZ). Like Fannie, Fred was
the prime force behind his tribe’s arts and craft cooperative,
the Hopi Arts & Crafts Guild. He was a prominent artist
and lent his reputation and people skills to building the
IACA.
Theresa Lonewolf (Santa Clara, NM). Theresa was Joseph
Lonewolf ’s wife. She ran the business aspect of his pottery
enterprise that allowed him to devote his quality time to
creating pottery. Theresa was influential with many prominent people in the trade. She was never hesitant to speak
her mind on anything that pertained to the betterment of
the IACA.
Doug Murphy (Clines Corners, NM). Doug was a wellknown and respected dealer with years in the business. He
understood organizations and was influential in the IACA
formation.
Al Packard (Santa Fe). Al owned a longtime business on
the plaza in Santa Fe. Right away he saw and understood
the mission of the IACA and never wavered in efforts to
build and sustain the IACA. He was influential with New
Mexico dealers and collectors the world over.
Rod Savageau (California). I did not come to know Rod
until after the IACA was formed. However, as an auctioneer, I recognized his influence in the trade and among collectors. We had never met, but he agreed to come on
board.
Roger Tsebethsaye (Zuni, NM). Roger was the director
of the Zuni Arts & Crafts Cooperative. Of all the Native
American artisans, the Zunis arguably had the greatest skin
in the game for a protective and market-conscious organization like the IACA.
Tom Wheeler (Hogback, NM). Tom is a fourth-generation trader in Navajo country. Very personable and levelheaded, he had good dealer contacts and great energy for
the IACA for many years. I think that he initially came on
board as a favor and then provided great leadership. He
served as the third president during which time the IACA
launched its first trade show.
Tom Woodard (Gallup, NM). Tom was the first Gallup
trader to commit to the IACA. He was well-connected and
respected among dealers and collectors. He was influential
in bringing Al Packard into the IACA. From the outset he
was a tireless worker. He understood the quality and integrity of handmade Indian arts and crafts. He served as
the second president.
Barton Wright (Flagstaff, AZ). Barton was the director of
the Northern Arizona Museum. He was a highly-respected
artist and authority on the Hopi culture. He never wavered
in his work and support for the IACA. He brought a good
measure of prestige to the early IACA pedigree.
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At the Shalimar Inn in Gallup we all met each other collectively for the first time in 1973. We held our first
meeting, created bylaws, elected officers and set the course for the IACA in one day. It was the most dedicated,
energetic group of people with which I ever associated. We were on a mission
to which everyone was committed. By the end of that first day, we had also
determined classifications of membership and gathered names of potential
people that could become members and possibly agree to serve on the board
of directors. First we recruited them into the IACA and then we roped them
in as potential board members. In 1974 the first unofficial board of the IACA
was replaced with a duly elected board from the membership classifications
that were initially determined. Other events followed such as the selection
of the first director, Fran Pawlowski, and lobbying efforts to create protective
legislation in several states. In 1974 the National Park Service adopted the
guidelines of the IACA for its concessionaires.
article continued on next page
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I was young, energetic, focused, and fortunate to be a part of what has proven to
be a highlight in my life.
In the early years the annual IACA meeting and trade shows were really an
event. Hundreds of members regularly came to the annual meetings that were
held from Kansas City to Tucson.
For years Fred Kabotie from Hopi made his annual suggestion at our board
meeting that we meet in Hawaii. He wanted to get to Hawaii in the worst way!
Perhaps the most fun that I had was in 1978 (I think!) when Tom Wheeler of
Hogback Trading became the new President. The meeting was being held in
Scottsdale with another great turnout. When Tom accepted the gavel, I paraded
out a small pig wearing an imprinted shirt with “Hogback Trading” and the IACA
logo. Everyone cheered and Tom was perplexed. He was staying in the hotel for
another two days!
I applaud the IACA and its membership that has been sustained for forty years.
The cause and ideals are no less significant today than they were in the early 70s.
Keep fighting the good fight!
John D. Kennedy
IACA President - 1974
!
Economic
Development
Through
Arts & Tourism
Join our Session on sunday
sunda
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Gail
Ga
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Executiv
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re
r, Ind
dian
ia
Art
rts & Crafts
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Associat
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Leslie A. Kedelt
Kedelty
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Executiv
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American
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Nat
ative Tourism
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Associa
ation
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J.T.
T. Willie
Director
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of Marketing
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Nav
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Nina
na C. Alexander
Al xa
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Indian
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rts & Crafts
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Bo
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U.S. Depa
part
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Interior
ri
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Spring 2012
How to Fi le A Co mp lai nt
Under the Indian Arts and Crafts Act of 1990 (P.L. 101-644), all products must
be marketed truthfully regarding the heritage and tribal affiliation of the artist
or craftsperson. The law prohibits misrepresentation of Indian arts and crafts
within the United States. It covers all arts and crafts produced after 1935 and is
a truth-in-advertising law. Under the act, “Indian” is defined as a person who: 1)
is an enrolled member of a State or Federally recognized Tribe, or 2) has been
certified as an Indian artisan by a governing body of an Indian Tribe. For a Copy
of the Law and information about how to file a complaint, write or call:
Indian Arts and Crafts Board at the U.S. Department of Interior
1849 C. Street, N.W., MS 2528-MIB, Washington, DC 20240
(888) ART-FAKE
[email protected]
www.iacab.doi.gov
•
Pahponee
U P DAT E S
•
IACA is an amazing alliance
representing all parts of our
community – artists, wholesalers, retailers, museums, educators, suppliers, collectors and
more - all working together to
strengthen our industry and to
promote, preserve and protect
authentic American Indian arts
and crafts.
The IACA Education Fund works closely with IACA, working hand-in-hand
when programs are educational and open to the public. With limited resources,
these partnerships are critical to our impact.
Building Alliances that Make a Difference
The National Park Hospitality Association (NPHA) shares member concessionaires who are also members of IACA. We have discussed working more closely
together as the Parks renew their commitment to providing visitors a "genuine
experience." A panel was held at the Fall 2011 Market, led by Xanterra, a NPHA
and IACA member which explored potential partnerships.
IACA was invited to present at the Alaska Native Tourism Association (AIANTA)
in 2011. Since then, we have joined forces to seek funding to develop art tours
for buyers who want to see how the art is made and to find ways to support artist
participation at international trade shows. IACA, AIANTA, Navajo Nation and
the Indian Arts and Crafts Board present a session on economic development
through arts and tourism at the New Mexico Economic Summit in May 2012.
Together, we are making a difference!
Business of Art seminars are held at each market, focusing on topics recommended by our members. The next session includes the power of a good
brand, using social media and technology effectively, potential health hazards for artists, legal and legislative issue, marketing and other issues of the
day.
We have partnered locally with the Downtown Merchants Association in
Santa Fe, the Old Town Merchants Association in Albuquerque and the
American Indian Chamber of Commerce to combat misrepresentation and
find ways to build tourism and “Buy Indian.”
The American Made Alliance is a natural partnership. Both organizations share
the goals of opening new market opportunities for American made products,
preserving the authenticity of American Made, preventing fraud regarding country of origin and informing legislators and consumers about the importance of
the economic impact of supporting American Made products. “The pendulum
is moving quickly from a throw-away society of the past to sustainable and ethical
consumerism,” stated Wendy Rosen, guest speaker at the IACA Fall 2011 Market.
“Smart consumers are demanding authenticity and transparency about where
and how something is made . . .”
Amelia Joe Chandler
Cliff Fragua
IACA-EF and Heritage Hotels & Resorts teamed up to host the first Heritage
Art Market at Hotel Albuquerque on Thanksgiving Day weekend in 2011. This
market features artists in a two day retail show. The next Market takes place on
Thanksgiving Day weekend, November 24th and 25th, 2012.
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•
To w a y a l a n e Tr a d i n g C o m p a n y
Joe Douthitt
by Annie O’Brien
My husband, Ron, and I purchased Indian Village in Palo
Alto, California in 1991.
Growing up in Oklahoma, we
had developed an appreciation
of American Indian culture and
art. However, we had much to
learn about selecting, purchasing and selling authentic Native
Art. We were fortunate to attend our first IACA market in
October of 1991 where we met
many wonderful people who
were willing to share their expertise. One of those people was
Joe Douthitt., the founder of
Towayalayne Trading. Joe was extremely generous with both his time and knowledge.
He talked to us about turquoise and the importance of natural stones. He described
the difficult and delicate process of making the various styles of Native American jewelry. He talked to us about the artists from various tribes, their creativity and their
dedication to their craft. The most important thing he communicated to us was his
passion for teaching the public about authenticity and the beauty of American Indian
Art. Thank you, Joe!
Beth Hale
Joe Douthitt, IACA president in 1992 and board member for 12 years, found
himself in the business of selling Indian jewelry back in the late 1960s. His plan
had been to teach for a while on the Navajo reservation in Ft. Defiance, Arizona,
but while teaching remained his primary occupation for many years, life moved
him in the direction of trading.
At first, Navajo kids would come to school with a ring or a bracelet that Mom
or Dad made and Joe would buy it for a few dollars to give to friends and relatives
in Tucson. Acquaintances of these friends and relations expanded his market and
people began paying for the jewelry. He formalized this avocation after his interest, his reputation, and the demand for jewelry grew. When Mark Bahti, who
had recently taken over Bahti Indian Arts in Tucson, bought Joe’s entire stock in
about 1973, Joe founded Towayalayne Trading, a wholesale enterprise that has
been in business ever since.
Although Joe’s interest blossomed in Navajoland, where he studied silversmithing
along with some of his students and their relatives, he found it difficult doing
business on the 27,000+-square mile Navajo reservation. “You had to drive all
over to find the artists,” he recalls. He branched out to Zuni, where the artists all
lived in one place. Besides convenience, he discovered that “in terms of variety,
numbers of artists, and craftsmanship, it was all there.” He continues today to
work with jewelers from both tribal communities, meeting artists monthly in
Flagstaff and Gallup now, as well as visiting Zuni.
As a trader and IACA member, Joe began to notice during the late 1970s that
inauthentic pieces were beginning to appear for sale. His first experience was with
a bracelet that he bought from a Native woman, assuming she had made it. He
grew suspicious when he saw several more just like it. When he did some
sleuthing, he discovered that the silver piece was inlaid with “block” (plastic),
which had been purchased in Gallup. He switched it out for an authentic piece
and bought up all the plastic material he could find.
That incident began a passionate effort on Joe’s part to educate the buying public—collector, wholesaler, or retailer—about how to avoid fakes and frauds. He
developed a presentation that includes a “fraud kit.” It holds real and fake pieces
that demonstrate the difficulty of recognizing knock-offs. “I can’t make people
into experts,” he declares, “but at least I can make them suspicious.” Joe even
participated—voice changed, face blurred—in some “undercover operations,”
one of which was shown on Dateline. Today, he is training National Park Service
employees, using the same kit.
While he remains vigilant, Joe says that the problem of fakes, particularly online,
has declined somewhat since the 1990s. Still, he suggests that buyers stay alert,
particularly at swap meets, flea markets, and places where real and fraudulent
pieces are mixed together. Douthitt, the voice of experience, learned to appreciate
the real thing from a lifetime in the business. “I’ve always been a one-horse operation,” he observes, “and I’m the horse.”
Joe Douthitt developed his own guidelines for protecting authenticity:
1. Ask: Who made it?
2. Ask: How it is made?
3. Ask: What it is made of?
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Crow’s Nest Art Gallery
230 Jefferson • La Porte TX 77571
281- 471- 4371 • www.crowsnestar tg aller y.com
flyung @aol.com
• Established 1970 •
I A C A
•
A r t i s t o f t h e Ye a r •
When Earl Plummer was
named IACA's 2011 Artist of
the Year, he took it as a sign his
luck was turning around for the
better. Earl suffered a severe injury to his hand, costing him
the ability to make a living in
2010. He has won numerous
awards over the years, including
prizes at the Gallup Inter-tribal
Ceremonial, the Santa Fe Indian Market and the Heard
Museum Guild Indian Fair and
Market.
Earl is of the Salt Clan and Edge of the Water Clan. Originally from Gallup,
today he lives in Thoreau, New Mexico, with his wife Jennifer and their four
children. After learning how to work with silver from his family, he started
making simple stamp work jewelry. He says his designs are inspired by nature
and he enjoys working with natural stones. His jewelry has a contemporary
elegance and showcases his master lapidary skills -- resulting in finely sculpted,
cobble, mosaic, channel inlay pieces of natural turquoise and other precious
and semi-precious gemstones set in silver or gold. His award-winning necklace is a testament to his one-of-a-kind craftsmanship. He takes the classic
Squash Blossom necklace and gives it a contemporary look with high grade
Morenci turquoise in an elegant cobblestone inlay design inspired by the
ketoh (bow guard).
Earl's work is featured in many fine galleries throughout the United States,
including the Home and Away Gallery (ME), Wright's Indian Art Gallery
(NM), Nanibah Gallery (AZ), The Indian Craft Shop (DC), Danny's Jewelry
(AZ), Hoels Indian Shop (AZ) and
Arches Trading Post (UT) and more.
He used his term as Artist of the Year
to attend shows and make special presentations at many IACA member
galleries, encouraging the public to
support authenticity and join IACA.
11
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EARL
PLUMMER
•
Navajo
!"#$%&#'(
)*&+,*+%
-%*"#./
0isit Qualla Arts & Crafts in Cherokee
and you can bring home more than memories.
Return with authentic, affordable Cherokee
arts and crafts. Qualla Arts and Crafts
represents over 350 enrolled tribal members
whose work expresses Cherokee spirit with the
highest artistry and skill.
645 Tsali Blvd | Cherokee, NC 28719
828.497.3103 | quallaartsandcrafts.com
•
Envisioning the Earth through Clay
E xce rpt s f rom K are n Pe n n i ng ton
Indian Arts and Crafts Association
Education Fund (IACA-EF) President Pahponee is a dynamic, multitalented woman. As we are gearing
up to make the Education Fund into
a powerful force for supporting Indian
arts and artists, galleries and wholesalers, educators and collectors, Pahponee not only brings her own vast
experience, knowledge and perception,
she also wants all the members to be
a part of this process. Under her leadership, a new dialogue has begun to
discuss the direction that the IACAEF should take. While her pivotal
role in this process is key, Pahponee
also continues to create the beautiful
pottery for which she is known. Below are excerpts from a paper based on an interview with contemporary Kickapoo potter Pahponee, and written by Karen
Pennington (ARS498).
“While doing research on contemporary Native American women artists, I came
across several examples of Pahponee’s work in Native American galleries. ...Her
pottery is consistently individualized; the appearance of one piece makes an extreme departure from that of another. Her work contains aspects of pottery from
cultures all over the world, both ancient and contemporary. One technique may
be repeated on a group of three or four pots, only to drastically change to something which appears completely different and unrelated. Despite such variations,
her work has a distinct stylistic signature which is immediately recognizable. ...
13
museums to find some guidance in her new journey to create Kickapoo pottery.
In the end, very little information could be found. ...
Pahponee, having no particular mentor to guide her, is self taught. Her interest
in art from all over the world has motivated her to draw upon multiple sources,
from ancient cultures to contemporary artworks, for inspiration. Other sources
of inspiration are shapes found in nature. “I really like form; I like to look at the
shape of things. I get a lot of inspiration from nature, like how plants are shaped,
leaf shapes, even fruits and vegetables. The shape of a blueberry is really neat, or
the shape of an acorn. They have these beautiful forms to me.” ...
Texture is another prominent aspect of Pahponee’s work. Some pots appear like
a contemporary version of early corded pottery. Some textures also resemble the
incising, cross-hatching, and stamping also found in ancient Woodland period
pottery.
In some cases she uses design motifs to create the texture variations on her pots.
Low-relief images of animals and foliage come together to create a sense of movement and natural chaos. The forms completely fill the surface of the pot, composing a definite foreground and background.
Pahponee has experimented with many traditional and nontraditional methods
of pottery making. She uses imported materials, as well as those gathered locally....
She makes Woodland outdoor fired pots, but also kiln fired pots. “If I had been
trained classically by another member of my tribe, I really think I would feel a
certain amount of pressure to make sure that I emulated a style of pottery that
my people are known for....”
Pahponee is a member of the Kansas Kickapoo tribe. Her paternal ancestral background is Kickapoo and Potawatomi. She is also German and English, with some
Powhattan and Cherokee descent on her mother’s side. ...She was given her name,
which means “Snow Woman,” by tribal elders when she was 21 years old.
Among her list of experiments are her “Primitive Fired” pots. The clay is excavated by hand, coil-built, and outdoor fired with buffalo dung. “It’s a long slow
fire process and the pot, literally, is touched by the flame and the smoke. Clay is
a lot like skin. The carbon is absorbed into the pores of the pot. It becomes
trapped, you might say. And that is what makes the random patterns or the variegation throughout the pot....”
...When Pahponee began to research the pottery traditions of her native culture,
she discovered that very little pottery work had been done over the last century.
She explains, “The women made pottery for purposes that would be primarily
utilitarian and ceremonial… but that happened many years ago.”
The collective features of red clay, black scorch marks, incised or sculpted images,
and a nontraditionally shaped vessel combine to create a work of art which conceptually exists in two different ages. Like much of her work, the Woodland fired
pots contain an interesting balance between the old and the new.
...Pahponee discovered that not a single person on her reservation worked with
clay. She spoke with family members and elders in her tribe, and she visited
Pahponee’s pottery skills have evolved over time.... Her work shows independence
and a fearless ability to change from one direction to its extreme opposite. An
example of this can be found in her white clay pots. They are kiln fired and
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possess a well formed, classical shape. Instead of rustic scorch marks, the exterior
of this pottery has a soft white glow. These works tend to focus on the low relief
carvings which compose the pot’s theme. The clean look of the white clay allows
for a clear view of the carved images. ...
Her nontraditional methods and contemporary characteristics left some collectors
puzzled during her early years working with the Indian market. Since then she
has developed a large following and won many awards, including Best of Show
and Best of Division awards at Santa Fe Indian Market and the Heard Museum
Indian Market, ...and Artist of the Year from the Indian Arts and Crafts Association. ...
...When she looks back at her family history, she feels a sense of gratitude to be
the first generation of her people to live in a time when she is not forcibly constrained by prejudice. “I’ve noticed that in the generations of women before me,
there [have] been some remarkable women in my tribe that the world will never
know. My grandmother didn’t get the opportunity to be asked by the public, a
museum, or any organization to show up and talk about what she knew. So a lot
of what she did went unknown by the world at large. I live in a time where I am
asked to do that. And so, I recognize that I’m probably the first generation of my
people who has [that] freedom. My grandmother didn’t get those opportunities,
and I don’t want to squander that.”
As Pahponee’s pottery skills continue to evolve, the long term vision for her work
becomes clearer. She has created a design theme which appears on several of her
pots. She calls it “All My Relations.” This design represents the many people, animals, plants, and symbols which have come together to inspire her work and
impact her life. “All My Relations” is part of an indigenous North American
prayer. It acknowledges and honors all creatures, spirits, ancestors, and people
who share our world with us. It is a prayer of welcome which states that we are
all relatives. Pahponee is continually discovering new ‘relations’ which impact
her art on a spiritual level and always find a place in her work. ...
Traditional Kickapoo arts include carved wooden items, quillwork, and silk applique. The Kickapoo have a strong artistic tradition that centers on performance.
Items such as masks, ceremonial clothing, and musical instruments are commonly
made by tribal members. Like many Native traditions, the Kickapoo practice an
animistic religion and believe that all things natural to the universe possess a soul.
They perform the Green Corn, Elk, and Buffalo dances, among many others,
and hold several large powwows throughout the year.
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traditional styles mixed in a
fresh, modern way . . .
offering new takes on design,
color and texture, creating
the ultimate in drama with
bold, always classic, pieces!
Models:
Rayne Hendren
Felisha Tom
Latasha Mitchell
Doreen Bird
Christy Bird
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Amy Parish Photography
by Christopher Cates
Opp osite page: 1. Rings and bracelet by shanerhendren. com; silver and gold b racelet
by Al Joe; cuff br acelet from Chr ist opher’s 2. Je welr y from Christopher 's 3. Necklaces,
bracelets, r ings from Chr istopher's, i nclud ing earrings a nd rings by Three Mountains
for Chr istopher's
This page: 4. concho belt by ger t r ud e za char y.com; j e welr y in basket from
Christopher's 5. Je welr y by ger t r ude za char y. com 6 . Je welr y by Al Joe Jr. 7 . Je welr y
by ger tr ud e zachar y.com; jacket by Kathy Smit h for Christopher’s 8. Je welr y by
shanerhendren.com
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•
Indian Craft Shop
Anne O’Brien
Five; or the little-known Interior Museum. Called a “hidden gem” by American
Style magazine, the Indian Craft Shop is much appreciated by those who know
it. “Seventy percent of our customers represent repeat business—sometimes repeat generations,” claims Susan.
Returning to this charming Indian Art & Crafts shop after 50 years, I find it even
more attractive and of great educational value. (Montevideo, Uruguay)
Word-of-mouth is the shop’s main source of clients. The shop works to provide
its customers with an educational shopping experience. “We try to paint the big
picture of Indian Art, showcasing tribal and craft area diversity,”
From the Netherlands to the Native Americans, there exists no distance between artlovers! And this is real ART! (Netherlands)
“We represent enrolled members of federally recognized tribes from Alaska to
the Southwest, through the Plains and Woodlands areas,” says Susan. They carry
no souvenir lines—only authentic American Indian art. Featured artist often serve
as educators, presenting stories and information related to their work.
It would be hard to write about the Indian Craft Shop without acknowledging
the role of IACA board member and past president Susan Pourian, who has managed it for most of the past 30 years. It’s been her life’s work, in fact. We tell its
story with the help of comments written in the shop’s guest book by artists, customers and visitors.
It’s a great experience to find a beautiful shop with a nice and patient lady in a government building. Especially for a German tourist. (Germany)
The Indian Craft Shop is located inside the Stewart Lee Udall Department of
the Interior Building in Washington, DC. It was established in 1938 by Harold
Ickes, then secretary of Interior, who thought a place was needed to “market Indian goods.”
I looked around and seen many beautiful things, history of people ways of life and
home. (Carnegie, OK)
It was—and still is—off the beaten path, unless a visitor is seeking out the building’s murals, painted in the 1930s by such artists as Allan Houser and the Kiowa
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We really look forward to our visits here - to the number and variety of Native artists
and their crafts that you carry, and the high quality of work. Your demonstrations,
gatherings and shows bring a wonderful mix together. (U.S.)
The Shop has exceeded its original mission to serve as a marketplace. “I see its
impact,” Susan declares, “I know it has enriched the lives of the artists, clients,
staff—and my own life. I am fortunate to work where I can be challenged, involved, and make a difference.”
I am glad and proud to know that there is a peaceful place that keeps the spirit of the
Native Americans alive and well. (Washington, D.C.)
Three murals painted in 1938 grace the walls of the shop which is accented by
tin mirrors, sconce lights and Spanish mission-style wood beamed ceilings, all
original to its 1938 opening. Two murals painted by Allan Houser (Chiricahua
Apache) are on the north wall of the front room, entitled Breaking Camp and
Buffalo Hunt; the third mural painted by Gerald Nailor (Navajo) spans the south
wall, entitled Deer Stalking. Allan Houser (1914–1984) and Gerald Nailor
(1917–1952) were both young art students at Dorothy Dunn’s Painting School
in Santa Fe in the late 1930s and were commissioned for these murals at the very
beginning of their art careers.
Allan Houser, 1930s
Allan Houser would later become one of the foremost
American Indian artists of our time, pursuing his art at the
Institute of American Indian Art and later becoming an instructor and credited for developing the program of studies
and techniques in sculpture. He became renowned for his
art and sculpture which is in private, public and museum
collections across the world. The Indian Craft Shop repre-
sents the work of his son, Phillip Haozous, continuing the
presence of this family’s work in the building. The Indian
Craft Shop has been a Retail Member of IACA since 1983.
The Indian Craft Shop, U.S. Department of the Interior,
1849 C St., NW, Washington, DC 20240 202-208-4056;
www.indiancraftshop.com
Gerald Nailor, 1930s
“I understand the important role retailers and businesses play in the
representation of American Indian art. IACA unites businesses and
artists together, fostering outreach to and from artists, well beyond each
other’s borders. Together, we have a great opportunity to bring the
beauty of art to the most people.”
Susan Pourian
Allan Houser, 1930s
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Jesse Hummingbird
M a r k e t s
•
IACA-EF Starts a New Market
Michael Kirk
Colleen Reeks
As soothing flute music wafted through
the air of the elegant Alvarado Ballroom
of Hotel Albuquerque at Old Town, the
IACA Education Fund inaugurated the
Native Heritage Art Market over
Thanksgiving Weekend of 2011. Customers who came from the local community and as far away as Colorado
browsed through booths selling gold
and silver jewelry set with high quality
stones, contemporary photography,
handmade pottery, blown glass, sculpture and more. They chatted with the artists and learned about their heritages
from the Navajo, Hopi, Zuni, Laguna, San Felipe, Santo Domingo, Jemez, Taos,
Metis, Tlingit, Chippewa, Choctaw, Crow, and Kickapoo Tribes. They watched
as artists demonstrated their arts, learning about crafts ranging from brain tanning
hides to traditional Pueblo weaving and heishi making.
As the fall weather chilled the air outside, inside it was warmed with the spirit of
sharing, of family and of beauty. One side of the room became known as “Fragua
Blvd,” with three generations of the family sharing booths. Matriarch Juanita
Fragua, a well known Jemez potter, sold her work alongside her son, sculptor
Cliff Fragua, and his daughter, Tablita, whose pottery reflected her grandmother’s
teaching and her mother’s Woodlands heritage. Next to them were Juanita’s
daughters Glendora and BJ, both award-winning potters. Other family members
came in and out, often carrying babies in their arms or shepherding young children, enjoying the chance to visit Juanita or to encourage Tablita at her first market.
Scattered around the ballroom were twelve “Artists of the Year.” The Native Heritage Art Market provided the perfect opportunity to celebrate thirty years of this
prestigious program. The opening night reception honored those present -Mary Lou Big Day (Crow dollmaker), Lorraine Cate (Santo Domingo jeweler),
Amelia Joe Chandler (Navajo jeweler), Bruce Contway (Chippewa/Cree sculptor), Cliff Fragua (Jemez sculptor), Shane Hendren (Navajo jeweler), Michael
Kirk (Isleta jeweler), Al Joe (Navajo jeweler), Pahponee (Kickapoo/Potawatomi
potter), Earl Plummer (Navajo jeweler), Mary Small (Jemez potter) and George
Willis (Choctaw jeweler).
As the Market opened on Friday afternoon, artists and customers were blessed
by Heywood Big Day, a Crow Sundance leader who is also an IACA artist mem-
ber. Saturday morning began with a presentation by Isaac Estrada of PeacockMyers Peacock Myers, P.C., for artists on International Property Rights, Copyrights and Trade Marks, followed by a seminar on turquoise by Joe Dan Lowry
of the Turquoise Museum that was open to the public.
Live music and guests added to the fun. On Friday evening, Penobscot musician
Jerry Pardilla played several flutes and sang traditional songs from his Tribe and
others. On Sunday afternoon, Grace Jones, a flute player from Taos, and her
husband performed. On Friday, guest Master of Ceremonies Harlan McKosato
of “Native America Calling” regaled all present with stories, and on Saturday
Bert Poley from Native Voice 1 and Brian Lush with Rockwired Media shared
Master of Ceremony duties.
Throughout the market, demonstrators showed how they made their art and
shared the traditions and vision behind each piece. These included Ed Shije, and
former Governor and War Chief of Zia Pueblo (brain tanning hides); Wallace
Ben, Navajo medicine man (sandpainting); Garrett Ohmsatte, Laguna Pueblo
(pottery); Bryant Martinez, Navajo (silversmithing); Aric Chopito, Zuni Pueblo
(weaving); Jessica Lomatewama, Hopi (wicker plaques); Pam Lujan-Hauer, Taos
Pueblo (micaceous pottery); and Sharon Abeyta, Santo Domingo Pueblo (heishi
making).
The Native Heritage Art Market marked IACA’s exciting new partnership with
Heritage Hotels and Resorts (HH&R). This prestigious chain of hotels in New
Mexico and Arizona designs each of their properties to reflect different aspects
of the local cultures, decorating them with art and furnishings made in the local
communities. HH&R donates a portion of every room night to culturally and
artistically significant
endeavors.
Their
warm hospitality and
beautiful
hotel
helped to make this
an event to remember, and one to be
sure to add to your
calendar for this year.
Outdoor Pavillion at Hotel Albuquerque
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M AY
May 3 IACA Business of Art Seminar
Hotel Albuquerque at Old Town Albuquerque NM
505.265.9149
www.iaca.com
Informative
seminar tailored toward artists, wholesalers, retailers
and consumers on issues of authenticity and business
affecting the trade.
May 4 IACA Artist of the Year Banquet
Hotel Albuquerque at Old Town Albuquerque NM
505.265.9149
www.iaca.com Celebrating the
30th Anniversary of the "Artist of the Year" Award.
May 4-5 IACA Spring Wholesale Market
Hotel Albuquerque at Old Town Albuquerque NM
505.265.9149
www.iaca.com
Showcase of
authentic handmade and handcrafted art made by
American Indian artists from the US and Canada.
May 11-13 41st Annual Stanford Pow Wow
Stanford University Campus Palo Alto CA
650.485.1126
www.stanfordpowwow.org
Held every Mother's Day Weekend in the Eucalyptus
Grove on the Stanford campus.
May 17-19 8th Annual Zion Flute Festival
Gateway to Zion National Park Springdale UT
801.651.6631
www.zionflutefestival.com
Come to Zion's Canyon and meet the worlds most
talented flute makers and artists.
May 19 15th Bi-Annual Friends of Hubbell Native
Art Auction
Hubbell Trading Post Ganado AZ 928.755.3475
www.friendsofhubbell.org Support their scholarship
program, the park, artists and community.
May 26-27 Native Treasures Indian Arts Festival
Santa Fe Convention Center Santa Fe NM
505.982.7799 ext. 3
www.nativetreasures.org
Features classic to contemporary, emerging to
established, museum-quality Native American Art
Show.
May 22-24 6th Annual New Mexico Native
American Economic Summit
Hardrock Hotel & Casino
Albuquerque NM
505.766.9545
www.aiccnm.com
IACA
Director Gail Chehak joins Leslie Kedelty (AIANTA),
JT Willie (Navajo Nation) and Nina Alexander
(IACB) for session on arts and tourism.
May 26-28 38th Annual Phippen Museum
Western Art Show & Sale
Phippen Museum Prescott AZ 928.778.1385
www.phippenartmuseum.org Arizona's premiere
outdoor western fine art show featuring more than
120 of the very best western artists from around the
country.
May 26-28 Jemez Red Rocks Arts & Crafts Show
Jemez Red Rocks Jemez Pueblo NM
505.274.8770
www.jemezPueblo.com
Authentic Native American arts & crafts with art
demonstrations.
May 26-June 3 Mesa Verde Country Indian Arts
& Culture Festival
Mesa Verde National Park Cortez CO
970.565.8227
www.mesaverdecountry.com
Native American artists, music, dancers, and much
more amidst the ancient surrounding of Mesa Verde.
June 23-24 2012 Eiteljorg Museum Indian
Market & Festival
Eiteljorg Museum Indianapolis IN 317.275.1369
www.eiteljorg.org Celebrating its 20th year, the
Festival brings Native artists from across the country
to sell their art, including storytellers, dancers and
singers.
J U LY
July 14-15 Prescott Indian Art Market
Sharlot Hall Museum Prescott AZ
928.445.3122 ext.28 www.sharlot.org Features outstanding Native American sculpture, paintings, ceramics, jewelry and hand woven baskets and blankets.
AU G U S T
August 6-7 62nd Annual Navajo Festival of Arts
and Culture
Museum of Northern Arizona Flagstaff AZ
928-774-5213
www.musnaz.org Two days of
cultural immersion in the Navajo experience promises
prominent music, a traditional dance and Heritage
Insight talks.
August 8-12 91st Annual Gallup Inter-Tribal
Indian Ceremonial
Red Rock State Park
Gallup NM
505.863.3896 www.theceremonial.com Arts Fair
with a colorful parade, All-Indian Invitational Rodeo,
Native dancing, and the queen's pageant in Gallup.
August 17-19
Flute Quest 2012
Saltwater State Park Des Moines WA
425-205-1346
www.flutequest.com Honoring
one of the oldest instruments in the world, the Native
American Flute.
JUNE
May 26-27 22nd Annual Zuni Show
Museum of Northern Arizona Flagstaff AZ
928-774-5213
www.ashiwi-museum.org
The Zuni people share the Zuni language, lifeways,
traditional music and dances.
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June 8-10 26th Annual Red Earth Festival
Cox Convention Center Oklahoma City OK
405.427.5228
www.redearth.org One of the
largest Native American visual and performing arts
events in the world.
August 18-19 90th Annual Santa Fe Indian
Market
Downtown Plaza Santa Fe NM 505.983.5220
www.swaia.org Outdoor Native arts market where
more than 1,000 artists compete for prizes and sell on
the Santa Fe Plaza at one of the most prestigious
Native fairs in the U.S.
•
American Indian Jewelry II
by Colleen Reeks
After eight years of work and
contributions by thousands
of artists and collectors, Gregory and Angie Schaaf completed the continuation of
their bestselling guide to Native American jewelry. American Indian Jewelry I profiled
1200 jewelers. The newest
endeavor, American Indian
Jewelry II, will be published
in two volumes, A to L became available on February
1; the second volume, M to Z, will go on sale this summer.
When the Schaafs published their first jewelry book in 2003, they were inundated
with Indian jewelers who wanted to be included. Over 4000 jewelers filled out
the artist survey, giving permission for their biographies and photographs to be
published. Profiles identify the artist by tribe, clan and active years as well as,
awards, exhibitions, publications and more.
The result is a stunning, book anyone interested in Indian jewelry, from collectors
to gallery owners and academics, do not want to be without. There is little overlap
with Jewelry I, except for the welcomed addition of expanded profiles and photographs of 200 of the most important, groundbreaking jewelers.
In a recent interview with IACA, Gregory
Schaaf talked lessons learned from speaking to
so many artists: “The biggest thing we learned
is that the tradition of making American Indian jewelry has been passed down over generations. We went over family trees, tracing
some back from the 1850s and the Long
Walk, all the way to top prize winners at Santa
Marian Denipah
Fe Indian Market. Jewelers pass their art on
to their children and grandchildren. The kids watch their parents and grandparents working at home, and then start to do the work themselves.”
The two new volumes have several extra features. The first is a master index of
jeweler’s hallmarks, accompanied by high resolution digital photographs of the
marks. The second is a national turquoise directory, with accompanying photos,
a guide on how to identify high grade natural turquoise, and a timeline of the
mines, from ancient history through the first formal claims and transfers of ownership.
Although their books are full of history, the Schaafs are most interested in creativity and innovation in techniques and materials. “Our goal is to elevate Native
American art to fine art status,” Gregory explained. He quotes Alan Houser,
who said, “If an Indian makes it, it is Indian art, but it is also world art.”
American Indian Jewelry II can be ordered from the Center for Indigenous Arts
and Culture (CIAC). The retail price is $70.00. It is also available on DVD as
pdf files.
American Indian Jewelry II by Dr. Gregory and Angie Schaaf
Center for Indigenous Arts and Culture, 2012
Hardcover, 400 pages.
www.indianartbooks.com
505.473.5375
Jake Livingston
Jimmy Calabaza
Erick Begay
IACA member artists' images
taken from the pages of
American Indian Jewelry II.
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Spring 2012
22
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