Page 22 - the NOISE May 2015

JOURNEYS IN SPIRIT
smoki & the tis Band toGetheR
ABovE, fRoM lEfT:
Between Worlds by Peterson Yazzie; Hopi in her Finest by filmer Kewanyama; Journeys in Spirit by virgil nez; among the ‘Tis artists featured in collaboration with the Smoki Museum.
anGie
By Johnson sChmit
the ‘Tis Art Center & Gallery and the Smoki Museum are teaming up to present a show featuring contemporary and traditional American Indian art, “Journeys in spirit.” The event
is showcasing two-dimensional and three-dimensional work from several renowned First nation artists, including filmer Kewanyama, Peterson Yazzie, virgil nez, Eddie Machias, Dustin lopez, Kay Huston, Courage Benally, Joq Caudell and Bathsheba Rabago-vervoorn.
This art show has been an annual event at the ‘Tis since 2010 and this is the second year it has been co-curated with the smoki. when asked why this show is important, smoki Museum Director Cindy Gresser noted that, “It’s always im- portant to show what is up and coming in American Indian art ... it’s evolving.”
To understand this awareness gap in the general percep- tion of contemporary and traditional American Indian art forms and style, a bit of history is in order. Art has been a part of traditional culture for many American Indian groups for centuries, but the chain of teaching cultural art-making skills was disrupted during the mid-1800s. During this time, it was common practice for children to be taken from their homes and sent to boarding schools with the express pur- pose to isolate and assimilate American Indian children. sometimes hundreds of miles away from their families, com- munities and cultures, these children often were actively dis- couraged from learning or using their traditional languages, customs and art forms.
In the 1930s, Dorothy Dunn was a key figure in the devel- opment and preservation of traditional art making skills for many American Indian tribes. Ms. Dunn established an art studio at the santa Fe Indian school and taught painting and drawing classes. she encouraged the students to stay within the parameters of their specific cultural traditions and art styles and to avoid incorporating outside artistic influences.
Maintaining cultural integrity and teaching creative tech- niques seemed far more important to Ms. Dunn than teach- ing art history or art theory. Her work was a major force be- hind the development and recognition of Indian art, but it had its limitations. It was also a fairly rigid framework for art making that left little room for artistic freedom.
Ms. Dunn’s work helped create a new job skill and reve- nue stream that also supported the continuation of tradi- tional cultures. American Indian art became increasingly popular with collectors, which led inevitably to counter- feit work. Famed architect Mary Colton is famous for advocating for Hopi silversmiths to use a specific mark to indicate authentic work. she also strongly advocated
that Hopi silver work utilize only Hopi designs.
Creating a demand for American Indian art and teaching art techniques to students had a positive economic impact for many tribes. However, many well-intentioned supporters and Indian art collectors also served to define what Indian art is and should look like, rather than leaving it up to the artists.
Post santa Fe Indian school, quite a bit has changed. na- tive artists have begun to expand and incorporate elements from other styles in addition to taking more ownership over defining what Indian art is. Arts education for American Indi- ans has changed, as well. The institute of American indian Arts, established in 1961 by the Bureau of Indian Affairs, has continued the tradition of teaching art skills and techniques to American Indians, but the approach is much more geared to developing an artist’s individual style in the context of a cultural identity. IAIA is still very much focused on helping graduates to become self-supporting artists.
Attitudes in the art world have also shifted, giving much more respect for how indigenous artists wish to define them- selves. This respect is certainly important for both the‘Tis and the smoki. Both organizations are interested in building bet- ter relationships with indigenous peoples and giving them more power over how their work is presented and promoted.
A very clear example lies in the process for choosing the title of this year’s “Journeys in spirit.” ‘Tis Marketing & Pro- gram Director, Patti ortiz pointed out that when the annual event was launched in 2010, the gallery called it the “native American Art show.” After several conversations with artists, it became clear that American Indian is the preferred term. In addition, the artists were directly involved in naming this year’s show.
This issue of respect is particularly potent for the smoki. Ms. Gresser has taken on respect for and education about Ameri- can Indian culture and the tribes’ history in the Prescott area as a major goal for the museum. The smoki’s participation as co-curator for “Journeys in spirit,” is as much about her pas- sion for contemporary and traditional art as it is about provid- ing education to the public regarding the role of indigenous people in Prescott’s past and present.
while a lot of changes have happened in the American Indian art world, there are still strong ties to tribal cultures that are reflected in how some art forms are created. For instance, Hopi artist Filmer Kewanyama explained that while there are certain things he is simply not allowed to paint, there are other symbols that are more in a gray area. when in doubt, Mr. Kewanyama won’t paint an image until he has consulted with and received permission from the appro-
priate elder. Other tribes have similar restrictions, such as specific colors that must be used for specific figures in some types of traditional art.
These artists often must ride a fine line between respecting traditions and finding their own visual style. However, the flat, very two-dimensional styles of traditional American Indian art are less common as artists utilize different techniques and materials. These artists are definitely developing their own styles, and these styles are very much grounded in contem- porary art.
Most notions of Indian art continue to bring images of traditional art to mind. However, artists are notoriously hard to pigeonhole, regardless of cultural background. while there are still several artists making traditional pieces such as masks or Katsina dolls, there are also artists who focus on non-traditional styles and images. They are all American Indian artists, regardless of whether the public immediately identifies them as such.
All of this is interesting in a general sense, but this show is also important to Prescott on a more immediate level. while Prescott has long identified with and often romanticized cow- boy culture, it’s also true that a number of American Indians called this area home well before ranchers settled here. And, as Ms. Ortiz stated, “These people lived on this land long be- fore we did ... they have stories to tell.”
Arizona is beloved for its natural beauty and indigenous artists have a unique perspective on the landscape. The mythologies, stories and centuries-old ways of living in this natural beauty lead to a diverse body of artwork. while each tribe has its own beliefs and cultural traditions, a profound love and respect for the land is a common theme in their art.
“Journeys in spirit,” offers a window into the world of con- temporary and traditional American Indian art that is both timely and beautiful. Also, the partnership between ‘Tis and the smoki brings a rare synergy to the exhibit. Between the artistic eye of ‘Tis and the cultural focus of the smoki, the show is well rounded in terms of art selection, and firmly rooted in historical and cultural context. expect a diverse mix of styles, materials and subjects from this show.
This show will run in the main gallery at the ‘Tis from May 21 through June 16. A gallery reception is scheduled for May 22, from 5PM until 8PM. There are also dance dem- onstrations scheduled at the smoki Museum May 23 & 24. Tisartgallery.com, Smokimuseum.org
| angie Johnson schmit is taking in another fine season of fine art in prescott. angie@thenoise.us
22 • MAY 2015 • the NOISE arts & news • thenoise.us