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Vol. 3, Issue 3 • Fall 2014 • $5 US

John D. KennedyIACA Founder

THE WORLD’S LEADING AMERICAN INDIAN ARTS ALLIANCE

314 N River St., Dundee, IL7033 E. Main St., 102, Scottsdale, AZ866-426-6901rivertradingpost.com

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WELCOME

IACA Board of DirectorsJoe Zeller, PresidentRetail RepresentativeRiver Trading PostEast Dundee, Il.

Kent Morrow, Vice PresidentWholesale RepresentativeShiprock Trading PostFarmington, NM

Dee Dowers, SecretaryCollector RepresentativeScottsdale, AZ

Kathi Ouellet, TreasurerRetail RepresentativeRiver Trading PostScottsdale, AZ

Beth Hale, MembershipCollector RepresentativeAlbuquerque, NM

Dave EversmannCollector RepresentativeAlbuquerque, NM

Georgia FischelRetail RepresentativeDragonfly JewelryWarrenton, VA

Jacque FoutzWholesale RepresentativeMonsterslayer, Inc.Kirtland, NM

Cliff FraguaArtist RepresentativeJemez Pueblo, NM

Barbara GonzalezArtist RepresentativeSanta Fe, NM

Pam Lujan-HauerArtist RepresentativeAlbuquerque, NM

Martin SeidelWholesale RepresentativeGolden Fleece Trading CompanyAlbuquerque, NM

For 40 years IACA members have joined together to promote, preserve and protect American Indian art. IACA is a collaboration of American Indian art collectors, galleries and museums, and artists. This issue of the IACA Journal reflects back on the 40 year heritage of IACA and the changes in the American Indian art form that have occurred during that time span. Over 40 years, many things in the world of American Indian art have changed. We hope that you will enjoy this retrospective of your association over 40 years.

IACA-EF Board of DirectorsPam Lujan, PresidentTaos PuebloAlbuquerque, NM

Cliff Fragua, Vice PresidentJemez PuebloJemez, NM

Dee Dowers, SecretaryScottsdale, AZ

Kathi Ouellet, TreasurerRiver Trading PostScottsdale, AZ

Beth Hale, MembershipAlbuquerque, NM

Michael McNairAlbuquerque, NM

Joe ZellerRiver Trading PostEast Dundee, IL

Dave EversmannAlbuquerque, NM2014 Artist of the Year

Shane R. HendrenThe Artist of the Year Program is sponsored by Native Peoples

Magazine and produced and underwritten by the IACA Education Fund. Artists must be IACA Members to be

eligible for this prestigious award.

The 2015 Artist of the Year winner will be announced at the IACA Spring Market, April 21-22, 2015 at the Isleta Resort and Casino, Isleta Pueblo, just south of Albuquerque, NM. For more information about the 2015 Spring Market, visit www.iaca.com

2 IACA Journal | Fall 2014

» IACA PRESIDENT’S MESSAGE «

» IACA EDUCATION FUND « PRESIDENT’S MESSAGE

IACA Celebrates 40 YearsWith this issue of the IACA Journal, the Indian Arts and Crafts Association celebrates 40 years of continuing the vision of founder, John D. Kennedy. His vision was to Promote, Protect and Preserve Authentic American Indi-an Arts and Crafts. Indeed, 40 years later that continues to be the mission of IACA.

Today, the IACA is the World’s Leading American Indian Arts Alliance that includes members from every sector of American Indian Art, from the great creators of the arts to the many collectors that love and support the artists and their work. Today, IACA includes members from round the world… from Japan to Ireland and many places in between.

—Joe Zeller, IACA President

Our Education Efforts ContinueOur mission at IACA-EF is to build appreci-ation and cultural preservation for the arts of indigenous peoples of North America through education. This issue of the IACA Journal commemorates the 40th Anniversary of the establishment of the Indian Arts and Crafts Association.

Together we will continue to promote, preserve and protect our rich tradition of Native Amer-ican Arts. Working with and for our member-ship, we will endeavor to educate and inform the public utilizing the Journal and our website.

I want to thank all of our volunteers, without whom this would not be possible. Our IACA Education Fund Board is grateful for the vari-ous contributions of the many talented people involved in our organizations.

Ta-a

—Pam Lujan-Hauer, IACA-EF President

Joe Zeller, IACA President

Pam Lujan-HauerTaos Pueblo

IACA-EF President

IACA Mission Statement

To promote, preserve and protect authentic American

Indian arts and crafts

IACA-Education Fund Mission StatementTo build cultural preservation

and appreciation for the arts of indigenous peoples of North America through education

IACA PRESIDENTS 2011-2014 Joe Zeller 2010 Shane Hendren 2005-2009 Michael ‘NaNa Ping’ Garcia 2003-2004 Betty Numerof 2002 George Willis 2001 Susan Pourian 2000 Cliff Fragua 1999 Deanna Olson 1998 Georgiana K. Simpson 1996-1997 Andy Abeita 1995 Pam Phillips 1994 Thom Meyers 1993 Rita Alexander 1992 Joe Douthitt 1991 Alpine Rodman 1990 Dorothy Davis 1989 Dr. Kathryn Linden 1988 Leo Calac 1987 Dorothy Davis 1986 Frank Barker 1985 Anita Baker 1984 Fran Pawlowski 1983 Martha Hill 1982 Lillian Samuelson 1981 Joe Lowry 1980 Bill Conolly 1978-1979 Tom Wheeler 1977 Mark Bahti 1976 Tom Woodward 1974-1975 John D. Kennedy

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TABLE OF CONTENTSVolume 3, Issue 3 • Fall 2014

IACA JOURNAL

IACA EDUCATION FUND

Welcome . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

Presidents’ Messages . . . . . . . . . . . . . . . . . . . . . . 2

Recognizing 32 Years of Artistic Excellence: IACA Artist of the Year . . . . . . . . . . . . . . . . . . . . . 4

IACA: 40 and Still Fighting! . . . . . . . . . . . . . . . . 10

History of the Creation of the IACA . . . . . . . . . 12

Joe Douthett: A Force Dedicated to Protecting American Indian Art . . . . . . . . . . . . 14

40 Years of American Indian Art: From Fringe and Feathers to Modernism . . . . . . . . . . . . . . . . 15

Publisher IACA Education FundEditor in Chief Pam Lujan-HauerManaging Editor Joe ZellerArt Direction Yvonne Swartz, Kathi OuelletCopy Editors Dee Dowers, Beth HaleAd Production Brian LushJournal Committee Dee Dowers, Brian Lush, Beth Hale Kathi Ouellet, David Eversmann Pam Lujan-Hauer, Joe ZellerAdvertising Sales Brian LushContributing Photographer David Eversmann

4010 Carlisle Blvd. NE, Suite C, Albuquerque, NM 87107505.265.9149 • 505.265.8251 fax

www.iaca.com • www.iaca-educationfund.org

We do our 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.

IACA Policy Statement: IACA was established in 1974 in order to promote, preserve and protect American Indian art, to set ethical and professional standards for the trade, to provide education about the importance of American Indian art in the breadth of human

experience, and to protect consumers from fraudulent sales practices. IACA members subscribe to a strict Code of Ethics to ensure the accurate and honest representation of the art that they sell, including the authenticity of origin and the integrity of materials used.

Additionally, through the IACA Education Fund, a separate non-profit 501(c)3 entity, publications, seminars and other educational materials are produced to educate the public at large about the importance of preserving the precious heritage of American Indian art.

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Cover: John D. Kennedy’s vision continues to be the mission of the IACA 40 years later.

Give Us Your Story and We Will Give You a Sterling IACA Bolo!

Send us your story, or story idea.If it is used or published in a future IACA Journal, we will send you this classic, sterling silver IACA Bolo!

For more information or to submit material for consideration, contact:

Pam Lujan-HauerEditor in Chief

[email protected]


all her own, on which she engraves the title on the back of each bracelet, necklace, pendant or pin that she creates. Her raised mosaic inlay jewelry, created in gold or silver, is distinct in its style. Her inlay in-cludes coral, turquoise, lapis lazuli, lavulite, onyx and marble. A winner of nearly every major American Indian art award, Caroline says, “I believe my drive and creativity come from the universal spirit of life, love, wisdom, joy and peace that lives within each person.”

1984: Jean Bales (Iowa) d.2003

Jean Bales was well known for her paint-ings depicting the traditional life of Iowa Indian women. Her works focused on the activities and dress of the Plains Indians of the late 19th century. During the early years of competitions, she signed her work as J. Bales and was only revealed as a woman when she came forward to receive her award. Her works have been included in prominent private collections as well as institutional collections, and she has been exhibited in major museums across the country.

1985 & 2004: Charles Pratt (Cheyenne/Arapaho)

Charlie Pratt has won hundreds of awards over a long career for his sculptures and mod-els. As a young man, he learned welding and

quickly moved into the art world, teaching himself how to cast bronze sculptures. Completely self-taught, he is best known for his work in bronze and stone, but he has also worked with fiberglass, resins and acrylics. His work ranges from small silver sculptures that can sit on a tabletop, to six foot tall, brightly colored fiberglass feathers. In 2002, Charlie was honored with a special IACA “Lifetime Achievement” award.

Recognizing 32 Years of Artistic Excellence:

IACA ARTIST OF THE YEAR

For thirty-two years, the exceptional works of hundreds of IACA member art-ists have been judged for this prestigious recognition. Yet only twenty-eight have achieved that honor, with three artists having been named IACA Artist of the Year two times.

Many of these great artists have gone on to have their works published in books and magazines, featured in museum and private collections worldwide, and to win many other awards and accolades. The work of one IACA Artist of the Year is now on permanent display in the National Statuary Hall Collection in the U.S. Capi-tol Building, Washington, DC.

To celebrate the IACA Artist of the Year heritage, the IACA Journal would like to pay a special tribute to each of those spec-tacular artists and their achievements.

1982: Virginia Stroud (Cherokee/Creek)

Not only the first IACA Artist of the Year, but also a former Miss Cherokee Tribal Princess, Miss National Congress of American Indians, and

Miss Indian America. Virginia Stroud paints with tempera and gouache and is a fine art printmaker. She also has written and illustrated several children’s books. She draws inspirations from ancient picto-graphs and historical ledger art. Over her career, Stroud developed a narrative style with minimal facial details in her people and lavish floral backgrounds. She also paints kinetic wooden sculptures and fine art furniture. Of her work Stroud says, “I paint for my people. Art is a way for our culture to survive... perhaps the only way.”

1983: Carolyn Bobelu (Zuni)

Early in the morning, while the world is still before the sun, Carolyn Bobelu rises and begins to draw her designs. Steeped in her Indian heritage, Carolyn creates a style

1986: Mark Silversmith (Navajo)

Although born and raised on the Navajo Reservation, artist Mark Silversmith does not limit himself to Navajo themes. While studying at Southwestern Oklaho-

ma State University, he became influenced by Plains Indians and the cultures of all American Indians. Mark believes that all tribes have a common bond and this is reflected in his paintings and posters by incorporating features of different tribes into one image. He works primarily in watercolor and occasionally in pastel and acrylic.

1987: Clifford Brycelea (Navajo)

Clifford Brycelea has two distinct styles – mystical and realistic – and each image holds a hidden story, often with many symbols. His art reflects his upbring-

ing on the Navajo Nation, with particular emphasis on Mother Earth. By leaving the interpretation of the image to the viewer, he is able to express concepts of Native American culture without showing too much and offending his people. His work is mainly with watercolor, acrylics, and pen and ink, but he continues to experiment with different painting techniques. During the 1980s, Clifford’s work was used as a book cover by writer Louis L’Amour, and to illustrate several short stories.

1988: Jake Livingston (Navajo)

Jake Livingston is of Navajo and Zuni descent and grew up in Pine Ha-ven, New Mexico. After serving in the Marine Corps and in the police, he became a self-taught

Eight years after founding IACA, the association established an award that recognizes the best of American Indian art by naming an individual artist as IACA Artist of the Year. In the ensuing years, IACA has selected one artist to receive that very special, and unique, honor. While blue ribbons abound at Indian art festivals throughout the country, being named IACA Artist of the Year is among the highest honors that an artist can receive.

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1995: Andy Lee Kirk (Isleta Pueblo) d.2001

Like many artists, Andy Lee Kirk did not initially realize his calling as a jeweler. In fact, far from it—Andy actually received a degree in biology from the University of New Mexico! It was during his scientific studies that he began to dabble in jewel-ry making. He later went on to work for the U.S. Fish and Wildlife Services and then the Forest Service before realizing his potential as a jeweler. Never one to settle for the norm, Andy Lee Kirk blazed through competitions, inspiring fellow artists and wowing judges. His artistic innovation reached further than aesthetic beauty alone. His designs were brilliant—a perfect balance between clean modern lines, meaningful symbolism, and bright southwestern colors such as lapis lazuli, turquoise, and red coral.

1996: Jesse T. Hummingbird (Cherokee)

Jesse T. Hummingbird studied art at Watkins Institute, the University of Tennessee, and classes at The American Acade-my of Art in Chicago. He

established himself as a successful printer, graphic artist, and commercial illustrator before becoming a full time artist in 1983. Jesse pursues both Cherokee and other American Indian themes in his acrylic paintings as what he calls “intertribal fanta-sy.” While painting contemporary images, Jesse paints in the traditional style of the Oklahoma Native painters. He and his wife, Sandy, have also published four children’s activity books.

1997: Michael Kirk (Isleta Pueblo)

Michael Kirk is from the Isleta Pueblo along the Rio Grande south of Albu-querque, New Mexico, and he is also of Navajo descent. He began making

jewelry in 1971 after serving in the Marines in Vietnam. He is known for his delicate feather designs which he hand cuts and adds etched and carved details to make each feather realistic. His satin finish is spectacular. Michael has won many awards for his jewelry including first place at Gallup Intertribal Indian Ceremonial and Best of Division at Santa Fe Indian Market. As with many Native American artists, the jewelry business is a family affair with Mi-chael’s wife Marie, daughter Elizabeth and son Lawrence involved in various aspects of the business.

1992: John Balloue (Cherokee)

John Balloue was born in Richmond, Cali-fornia, the son of an English/Irish mother and Cherokee father. After returning from

Vietnam, he formalized his art training as a student on the G.I. bill, eventually graduating in 1975 with a B.A. in Art from California State University Hayward. John has achieved national acclaim and recog-nition for his work in oil and acrylic. After painting in a realistic style for over 30 years, John now experiments with more contem-porary, innovative styles. His works are in many public and private collections, and can be seen in galleries throughout the U.S.

1993: NAVEEK (Navajo)

NAVEEK uses his pro-fessional name to honor both his Navajo and Greek heritage. Raised on the Navajo Reservation and influenced by his

grandfather, a medicine man and silver-smith, he also credits his Greek ancestry for much of his creativity. NAVEEK is an extraordinary master jeweler whose superb jewelry shows a harmony and balance be-tween traditional and contemporary styles. He constantly searches for new approaches and unique styles, while at the same time giving strict attention to minute details and the flawless finish of each piece. One of the singular features of a NAVEEK bracelet is the stampwork on the inside, which may be either traditional in design or representa-tive of mountain wild flowers. Often asked about the significance, the answer can be found in Navajo belief that an individual’s internal beauty lies within, making each of us special. So it is with each piece, the internal design adds to the uniqueness and beauty of the art.

1994: Carol Snow (Seneca)

Carol Snow is a certified tribal artisan of the Seneca Nation of Indians. She has had over 100 paintings and drawings published in books, magazines and

calendars. Her focus is on mixed media painting and collages, using various combi-nations of oil, metal leaf, ink, dyes, acrylics, watercolors and textural elements on canvas and tea-dyed watercolor paper. She most often works with animal, American Indian and western motifs, using realistic, whimsi-cal and contemporary primitive styles. She is also a published poet and writer.

silversmith by watching his father, well-known Zuni jeweler, Jacob Haloo. With the guidance and encouragement of his father, Jake eventually became a master jeweler. His jewelry designs go beyond the usual Zuni style in that the inlay is carved in three dimensions. His work has been showcased in a number of books, including those of Jerry Jacka.

1989: Bill Rabbit (Cherokee) d.2012

Bill Rabbit was born and attended school in Casper, Wyoming. Here he watched the color changing in the skies and the form of things in nature which influ-

enced him from an early age. Bill was an early starter, selling his first watercolor for $4 while still in elementary school. Other than a brief two-week class in grade school, Bill had no formal art training, but his self-taught expertise in painting led to receiving numerous awards and recognitions.

1990: Angelina Frances Medina (Acoma/Zia)

Angelina Medina is a member of the Bear Clan at Acoma/Zia, and has been active in cre-ating stunning works of art from clay since about

1983. She was partly raised by her maternal grandmother, a traditional potter. Her work is concentrated mainly on clay sculp-tures, but she also produces polychrome jars and effigy bowls, as well as jewelry and painting. Angelina is an activist for Native American issues and participated in the Alcatraz Island takeover during the 1970s. A trained elementary teacher, she also has taught her art to other great potters such as Noreen Simplico.

1991: Denny Haskew (Potawatomi)

After working as a ski instructor, a carpenter, and a raft guide in the Grand Canyon, at age 38 Denny Haskew began his career as an artist.

He is a member of the Citizen Potawatomi Nation. His mother took him to a sculpture show in Loveland, Colorado, and he soon became apprenticed to Fritz White for a year before striking out on his own. He is a painter and sculptor, but is best known for bronze works of all sizes, which depict the human body. The figures in his work, both paintings and sculpture, portray many emotions of the human spirit including love, healing, relationship, and strength. continued »


1998: Bruce Contway (Sioux/Chippewa/Cree)

Bruce P. Contway was born in Montana of Chippewa/Cree descent. He is the grandson of First Holy Woman, Wan Mni Awacin and the son of Jay (Jake) Contway, a renowned bronze sculptor. Bruce learned the casting process from his father and just after college built a foundry in Bozeman, Montana. As an active participant in rodeo, Bruce lives the western lifestyle and portrays it in his sought after bronzes. His pieces feature Native Americans, wild an-imals, horses and cowboys, and are highly sought after. “My grandparents held me up to be proud. I make art to honor them. I want to carry on as my elders would want. I dedicate any success to my wife Kathy.” (Artist statement from American Indian Jewelry II: A – L by Gregory Schaaf)

1999: Pahponee (Kickapoo/Potawatomi)

Pahponee has been work-ing with clay for more than 30 years. She is a de-scendant of the Kickapoo and Potawatomi Nations, originally from the Great

Lakes. Her Kickapoo name, “Pahponee” translates into Snow Woman. Her pottery is inspired by her dreams, personal life experiences, and is still being guided by the White Buffalo. The shapes, colors, and textures vary but they are always sophis-ticated and elegant with clean lines and graceful forms. Some develop modeled fire cloud patterns from outdoor firing, others are sculptural with White Buffalo or other animal carvings and some are burnished with petroglyphs or dragonflies incised into the surface.

2000: George Shukata Willis (Choctaw)

Born in Quanah, Texas, George “Shu-kata” Willis has been a working jeweler since 1964. Schooled in art at the University of Texas,

George later moved to California where he furthered his training at the Southern California College of Jewelry Design and the Starline Jewelry School in Los Angeles. He then opened his own jewelry busi-ness and studio in California and began teaching jewelry making as a trade to disabled American Veterans through the Veterans Administration. George creates his designs using a wide variety of materials and techniques and creates one of a kind and limited edition pieces. His designs are original and many have been copyrighted. In 1990 George made the decision to close his retail jewelry shop in order to pursue

his dream of creating jewelry as art that reflected his sense of connection to his Choctaw heritage. Since then, he has been showing his work at art shows around the country where he has won many awards.

2001 & 2009: Alfred Joe (Navajo)

Al Joe is a master Navajo jeweler whose exquisite jewelry is created using the finest materials. He considers his work both tradition-

al and contemporary, with an emphasis on the contemporary. Al creates masterpieces through the use of a variety of metal-smith-ing techniques, such as hollow forming, overlay and raising metal. Working in gold and silver, his pieces are often set with high quality natural turquoise stones from famous older American mines, but he also uses lapis, coral and other stones. In 2001, he won the IACA Artist of the Year title for one of his prized double-sided pendants, strung on exceptional handmade silver beads. Each side had a different sign, set with a different stone. In 2009, Al won his second Artist of the Year Award for a stun-ning 14k gold necklace with smooth saucer beads interspersed with elegant fluted beads that were hand textured with sand.

2002 & 2010: Mary Small (Jemez Pueblo)

From the age of eight, Mary Small helped her mother make pottery and weave yucca bas-kets. Today, she is one of the leading potters from the Jemez Pueblo in

New Mexico. In 1975 Mary stopped using paint and started using only clay glazes. She developed her own technique for a gray glaze and is now known for her white and gray designs on a light red base. She uses white clay from San Felipe Pueblo for pure white designs. The delicate matte gray has become a trademark of her pots. The gray glaze is made from the Rocky Mountain bee plant that is boiled down into a sticky pigment and then mixed with white clay. Her work includes traditional and contem-porary designs, and large pieces often have insets of turquoise.

2003: Lorraine Caté (Santo Domingo Pueblo)

As early as five-years-old, Lorraine Caté showed an interest in making jewelry. Lorraine makes her necklaces from a variety

of stones and shell—turquoise, clam shell, olive shell, pipestone, jet and others. While

attending the Sherman Indian High School in California, Lorraine sold her jewelry to other students and even to a few local gal-leries. After high school she continued her studies and jewelry making at the Institute of American Indian Arts in Santa Fe, also studying pottery and museum studies, but always coming back to jewelry making, specifically heishi, for which Lorraine is renowned. Her winning piece, an exquisite 20-strand olive and melon shell necklace, is an outstanding example of the centuries old technique of making heishi.

2005: Cliff Fragua (Jemez Pueblo)

Jemez Pueblo sculptor, Cliff Fragua, has learned the secret of the stone through his cultural and ancestral teachings. Based in

Native American themes, his work shows pride for his culture and a deep under-standing of the inherent spirituality of the stone. He has chosen stone as his medium of expression because it is a combination of the basic elements of the earth. Since 1974, when he created his first stone sculpture, Cliff has created a significant body of work that keeps evolving along with his new in-fluences and new interests. His sculptures are featured in such public locations as the U.S Capitol Building in Washington, D.C. and in permanent collections throughout the country.

2006: Amelia Joe-Chandler (Navajo)

An art teacher who holds a Master of Science in Art Education, Amelia Joe-Chandler creates jewelry that, in every aspect, reflects her tra-

ditional Navajo heritage. “A complete shift from traditional Navajo silversmith design to modern design will never happen for me. The Navajo culture is a powerful part of my life and I want parts of it to always surface in my designs. I have managed to combine my traditional ways with contemporary jewelry techniques.” Indeed, each of Ame-lia’s pieces tells a story about Navajo life.

2007 & 2014: Shane R. Hendren (Navajo)

With several fine arts degrees, one from the University of New Mexico, Shane Hendren is now internationally acclaimed and collected, and he has won many

awards. Shane has served on the IACA board of directors, and as IACA President in 2010. In 2010, he was recognized on the

www.iaca.com | (505) 265-9149 7

floor of the New Mexico House of Repre-sentatives for his service to the arts. All of this, and he was called on by the British Museum in 2009 as an expert panelist on the new school of Native American turquoise jewelry—of which he is exempla-ry—at the Turquoise, Henry Christy, and museum collections conference. Shane’s IACA award-winning “Four Directions Buckle” was featured in the IACA Summer 2014 Journal.

2008: Mary Lou Big Day (Crow Nation)

Mary Lou Big Day was born on the Crow Reservation. Traditional arts have always been an integral part of her life. The oldest of five children, Mary Lou was

raised by her grandmother who taught her many things, but it’s her mother and father-in-law she credits for teaching her many of the traditional arts of the Crow Nation. Mary Lou and her husband, Heywood, travel across the country selling her dolls and talking about Crow traditions and culture. The dolls were given to young girls to help teach them about their responsibil-ities as they grew older, and to teach them respect for their roles as women—from giving birth to caring for their children and

grandchildren and, later in life, caring for their mothers and grandmothers.

2011: Earl Plummer (Navajo)

A Navajo from Thoreau, New Mexico, Earl Plum-mer began making jewelry at age 14 by learning from family members. He started with simple stamp

work and has progressed to the fine inlay work he makes today. He takes many of his ideas from nature, and creates contempo-rary designs, using combinations of shells and natural stones. Earl is known for the quality of his work, his creativity, and his attention to detail, which has resulted in many awards over the years.

2012: Caroline Carpio (Isleta Pueblo)

Caroline Carpio is a lifelong resident of the Isleta Pueblo, New Mexi-co, and has been working as an artist for over 30 years. Her artwork is a reflection of her tradi-

tional upbringing and Native culture. Most of Caroline’s pottery is in a contemporary style made from clays that she gathers her-self, and many beautiful bronze sculptures are produced from Caroline’s originals. “At

times, my artwork is a reflection of my in-ner prayers and other times, it is the stories of our ancestors that inspire a new vision. I would like my sculptures to preserve a story and educate who we are many gener-ations from now,”

2013: JT Willie (Navajo)

JT Willie is of the Taabaaha (Waters Edge People) and born for the Tachiinii (Red Running into the Water People), and is currently studying for his PhD in Political

Science. JT’s exceptional beadwork reflects where he came from as a young man, and his hope is that his artwork will also inspire young artists to find their vision. JT expresses his feelings in each bead-ed moccasin, bracelet, and wearable art piece that he creates. While beadwork is always the center for each of his designs, JT embellishes his pieces by forming silver around the beadwork in order to protect the beadwork in each piece.

Biographical information obtained from a variety of sources with some biographies

courtesy of Georgia Fischel, Dragonfly Native American Jewelry, and Joe Zeller, River Trading Post. We apologize for any inadvertent errors.

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“Ancestor’s Song” by Cliff Fragua 2005 Artist of the Year

“Mother’s Prayer Box” by Amelia Joe Chandler 2006 Artist of the Year

“Bearclaw” by Michael Kirk 1997 Artist of the Year

“Winter Evening in Monument Valley” by Clifford Brycelea

1987 Artist of the Year

“Cherokee Legend of the First Woman”

by Jesse T. Hummingbird1996 Artist of the Year

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“Bearclaw” by Michael Kirk 1997 Artist of the Year

“Summer Song” by Caroline Carpio2012 Artist of the Year

“Woman Holding the Sky”by Denny Haskew1991 Artist of the Year

“Cherokee Legend of the First Woman”

by Jesse T. Hummingbird1996 Artist of the Year

“Dancing with the Stars (Native Style)” by John Balloue 1992 Artist of the Year


IACA: 40 AND STILL FIGHTING! Continuing its mission to promote, preserve and protect authentic American Indian arts and crafts

Forty years ago, in 1974, the Indian Arts and Crafts Association (IACA) was formed in response to the overwhelming influx of counterfeit indian Art and crafts from overseas. Although the Indian Arts and Craft Board (Board) had been in existence for over 40 years at that time, it did not have the resources, authority, or ability to protect tribal artists and craftsmen.

By Catherine Baker Stetson

Thanks in part to IACA, other similarly motivated groups, and advocates such as Senator Ben Nighthorse Campbell, the Indian Arts and Crafts Act of 1990 (the Act) was passed, (not coincidentally the same year in which the Native American Graves Protection and Repatriation Act was passed). The Act was an attempt to give power to the Board, authorizing criminal and civil actions against those who misrepresent products as Indi-an-made. More than two decades later, neither act has enjoyed complete success, in large part due to limited resources and still-inadequate penalties and enforcement options.

For the past two decades, the protection offered by the federal law has improved. In 2000, the Indian Arts and Crafts Enforcement Act was passed, followed in 2010 by the Indian Arts and Crafts Amendments Act. These newest additions to the law make en-forcement easier and violations of the law more serious. Now, violators face:

• federal investigations• the specter of both criminal and civil proceedings• treble damages or $1000/day for violations of this Act, whichever is greater• punitive damages, court costs, and attorney’s fees

At the same time, more states have passed their own deceptive trade practices laws, offering additional protection for artists. These improvements have allowed the Board to put a stronger focus on education of and outreach into Native communities, to work more with states’ attorneys general, and to undertake stronger investigations and more active law enforcement. But while the laws become stronger, the number of offenders in-creases, both on-reservation and off, from within this country and internationally. IACA has remained as determined as ever to fight for the rights of tribal artists and craftsmen, and asked me, as the IACA attorney, to evaluate where we are and what remains to be done to improve those rights.

The answer—as if there is a single answer—is complicated, and, as with many complex issues, the overarching solution is often “education.” Even though the laws are strong and the penalties severe, technical and practical difficulties arise in educating artists about, and then interpreting, copyright and trademark laws. Although these laws exist to protect the artists and craftsmen, most artists and craftsmen frankly do not know their rights, and tribes themselves are generally not actively involved in either the educational or enforcement aspect. As a result, the unprotected rights are usually lost. The irony is that those who deal in false advertising and fakes often know exactly how far they can go while the artists who are being taken advantage of have no ability to defend themselves.

It has often been noted that the key to power lies in the ability to keep your opponents in the dark, away from the knowledge that could give them the power to act. If you don’t educate yourself, or don’t protest, or don’t vote, you are far more likely to be oppressed. Similarly, if the issue of protecting quality, genuine Native arts and crafts is of any impor-tance to you, you need to educate yourself about your legal rights; then you must insist on them.

I have often tried to explain to people in New Mexico why New Yorkers so often get what they want: I think it’s because they know their rights, so they start out right from the beginning expecting to have the rights honored. If someone refuses to honor them,

New Yorkers will insist and make a lot of noise. If they STILL don’t get what they want, they will fight about it. And that, my readers, is the key to success from the perspective of a New York attorney.

To turn the tables in the next 40 years, tribal communities, individual artists, tribal educational institutions, and organizations like IACA need to insist upon learning more—then passing on more—about business law in general and trademark and copyright laws in partic-ular. Perhaps if they will take a stand and offer a hand, artists will be able to take full advantage of the protections now offered by the federal and state laws.

Catherine Baker Stetson In 1997, Catherine Baker Stetson formed Stetson Law Offices, P.C., a minority-owned professional corporation. The firm provides general legal services to tribes and tribal entities in many states, representing them in administrative, legislative, and judicial pro-ceedings, sacred site protection and cultural preservation and in tribal, state, and federal forums. Areas in which they have the great-est interest and experience include lobbying and consultation on federal legislation, trib-al commercial development and taxation, tribal environmental regulation, land uses, Indian gaming, and Indian housing.

Stetson has served as a Vice Chair of the American Bar Association, Native Amer-ican Resources Committee, and as a Vice Chair on the Environmental Quality Com-mittee. She has also served on the Board of Directors of the Federal Home Loan Bank of Dallas Board of Directors.

Stetson’s Indian law experience has been largely in working on housing and commer-cial transactions on Indian reservations. She has helped develop on-reservation restau-rants, casinos, hotels, shopping centers, mobile home parks, sanitary landfills, and gas stations, and also has designed tribal regulatory and business structures intended to complement individual tribes’ economic development objectives.

Cate Stetson was the first New Mexico State Bar Certified specialist in Federal Indian law and served as the first Chair of the Federal Indian Law Specialty Committee. She is also the owner of Tribal Business Op-portunities, Inc. a financial consulting firm for tribal and reservation-based commercial development. Source: www.stetsonlaw.com

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1The Indian Arts and Crafts Board was created to provide marketing support for legitimate trib-al products while preventing fakes from entering the market; however, it was largely ineffective at that time. By the 70s and 80s, hundreds of millions of dollars were estimated to be lost to Native artisans as the result of the influx of fraudulent products.

The Founders of the Indian Arts and Crafts Association

Founded in 1974, and filed for corporate status on January 29, 1975, the Indian Arts and Crafts incorporation papers state that “the term for which this cor-poration shall exist shall be one hundred (100) years.”

The incorporators were:• Mr. John D. Kennedy• Ms. Bertha Dutton (Museum of

Navajo Ceremonial Art)• Mr. James Cody• Mr. Bill Ganong• Mr. Martin Link (Navajo

Tribal Museum)• Mrs. Joseph Lonewolf• Mr. Terrell Piechowski (Zuni

Craftsman Association)

The first IACA Board of Directors included 21 people. Seven for a one year term, seven for two years, and seven for three years.

Those pioneers included:• Mr. John D. Kennedy• Ms. Bertha Dutton (Museum of

Navajo Ceremonial Art)• Mr. James Cody• Mr. Bill Ganong• Mr. Martin Link (Navajo Tribal

Museum)• Mrs. Joseph Lonewolf• Mr. Terrell Piechowski (Zuni

Craftsman Association)• Mr. Fred Kaboties (Hopi

Silvercraft Guild)• Mr. Don Woodard• Mr. Bob Sluder• Mr. Mike Hoeck• Mr. John Burdon• Mr. Mark Bahti• Mr. Al Packard• Mrs. Beth Clark• Mr. Rod Savageau• Mr. Roger Tsabetsaye• Mr. Cliff McGee• Mr. Tom Woodard• Mr. Tom Wheeler• Mr. Harold Benner (Trader Gene)

The Hallmark of Excellence in Indian Arts and CraftsIACA CODE OF ETHICS

For forty years, Indian Arts and Crafts Association member artists, wholesalers and retailers have subscribed to a strict code of ethics which is intended to protect con-sumers as well as retailers, wholesalers and American Indian artists. Aspiring IACA members are carefully vetted prior to admission, and may become a member only after review by IACA membership and approval by the IACA Board of Directors.

As part of their application, every IACA member signs to adhere to the Code of Ethics as follows:

• To honestly represent American Indian arts and crafts as to nature and origin within the realm of my control and to offer return privileges for articles found by the Indian Arts and Crafts Association to have been misrepresented by me;

• To abide by all federal, state, local and tribal laws pertaining to Indian Arts and Crafts, artifacts and natural resources;

• To abide by ethical business conduct regarding advertising, appraising, pricing and guarantees offered by me;

• To respect and support ethical business activities of all Indian Arts and Crafts Association members;

• To encourage consumer confidence in the authenticity of all articles identified with the IACA seal; and,

• To cooperate with the law enforcement agencies and the IACA in the investiga-tion of crimes involving Indian arts and crafts and to promote proper identifica-tion of Indian arts and crafts.

IACA Members for 40 Years• Joseph R. Jojola . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Artist• Ben Nighthorse Campbell . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Artist• Joseph Lonewolf . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Artist• Frances and Tom Bayless . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Collectors• Leo D. Calac . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Collector• John D. Kennedy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Honorary• Noel Bennett . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Honorary• The Heard Museum Library & Archives . . . . . . . . . . . . . . . . . . Museum• John, Bonnie and Lila Boyer - Boyers Indian Arts & Jewelry . Retail• Bruce and Kathy Uhrig - The Indians . . . . . . . . . . . . . . . . . . . . Retail• Richard A. and Mary Beth Rosenthal - Morning Star Traders Inc. Retail• Steven R. Pickelner - Benzav Trading Company . . . . . . . . . . . . Wholesale• Dominic Biava - First American Traders . . . . . . . . . . . . . . . . . . Wholesale/Retail• Jackson Clark, II - Toh-Atin Gallery . . . . . . . . . . . . . . . . . . . . . Wholesale/Retail• Ron McGee - McGee’s Indian Art . . . . . . . . . . . . . . . . . . . . . . . . Wholesale/Retail


History of the Creation of the IACA John D. Kennedy, Third Generation Indian Trader and founder of the Indian Arts and Crafts Association

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 commu-nication 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 or-ganization. It proved to be extremely time-consuming, expensive, and frustrat-ing. 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 In-dian Arts and Crafts Association (IACA).

Trying to organize people during pros-perity was challenging. Typically, people are more receptive to organization in times of adversity or perceived threat. Neither existed in the early 70s, but de-ceptive advertising, inventory, and pric-ing were increasing… Developing the IACA was made difficult by the immense distrust that had developed within the trade. The Indian business became char-acterized by greed and distrust of com-petitors. 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, Phoe-nix, 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 peo-ple considered others as crooks, but not themselves. If the organization allowed 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 with-out 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 recog-nized 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 In-dian 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 graduat-ed 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.

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to speak her mind on anything that per-tained to the betterment of the IACA.

DOUG MURPHY (CLINES CORNERS, NM) Doug was a well-known and respected dealer with years in the business. He un-derstood organizations and was influen-tial 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 (CA)I did not come to know Rod until after the IACA was formed. However, as an auc-tioneer, 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 organiza-tion like the IACA.

TOM WHEELER (HOGBACK, NM)Tom is a fourth-generation trader in Na-vajo country. Very personable and level- headed, 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 lead-ership. 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 Pack-ard 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-re-spected 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.

At the Shalimar Inn in Gallup we all met each other collectively for the first time in 1973. We held our first meeting, cre-ated 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 unoffi-cial board of the IACA was replaced with a duly elected board from the member-ship 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 conces-sionaires.

I was young, energetic, focused, and fortunate to be a part of what has prov-en 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 Ha-waii 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 anoth-er great turnout. When Tom accepted the gavel, I paraded out a small pig wear-ing 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 signifi-cant today than they were in the early 70s.

Keep fighting the good fight! —John D. Kennedy IACA President - 1974

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 Cal-ifornia. 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.

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 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 coopera-tive, 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


Joe Douthitt: A Force Dedicated to Protecting American Indian Art

an interview with brian lush

IACA is 40 years old this year. As a past president of IACA, what was it about IACA that drew you to becoming a member?To be very honest—and you’ll find that I am—the ideals of the association were what I always believed in and what I thought was the right thing. In the very beginning I didn’t join IACA. The organization started in ’74 and I joined in ’78. At first I was very skep-tical because so many of the folks who had started it had been in the business a while. There were some shady practices that were going around in different places. I wanted to give it time and evaluate it before I joined. I joined in 1978.

As the proprietor of Towayalane Trad-ing what drew you to the business?I was teaching school on the Navajo Reservation in Window Rock School District on Fort Defiance.

I lived up there in the late sixties with my wife and four children for about five years. In between classes teachers would stand at their classroom door as kids passed from one class to another. I would stand there and a young Navajo boy or girl would say, “Mister D., my mom made this ring last night and she needs five dollars for it.” It looked like a deal to me so I would give them the five bucks.

Over the years I started to accumulate a few things and at one point I wondered what the heck I was going to do with them. That was after I gave some to my wife and I would wear a piece designed for men and so on. I went to college at the University of Arizona in Tucson and I got to know quite a few people there through the Bachelors and Masters programs.

When I came home to visit family on Holidays I’d bring my purchases with me and I would sell it to people at my cost or give it to people. After a while I thought that maybe I should at least be making gas money selling the work. After a while my business really started to heat up. I bought more and more and went to one of the stores here in Tucson and showed it to them. I quoted what I thought was a reasonable mark up over what I had bought it for and they bought all of it. I figured the whole notion of selling to stores as a wholesaler was the way to go. That was how I got started.

What have been some of the biggest chang-es that you’ve noticed in the industry? It seems to me that one of the big chang- continued on page 16 »

es has been the increase in manufactured pieces and cast jewelry. People get away with calling that hand-crafted and I think there is a little bit subterfuge there in my opinion. They got that through the legislature somehow. What you have now are manufacturers taking things away from the artist and that in my opinion has been the biggest change.

To me there cannot be any Indian art without Indians. Even though companies that do the manufacturing do have Na-tive people it still takes the art away from the designer. Usually there is a designer or someone who makes the format and I always say what artistic ability does it take to cut a square stone and put it into a square hole? So there is that and of course the fake stuff that you have coming in. I could keep going couldn’t I? With the shortage of good turquoise there have certainly been a lot of changes to the materials that go jewelry making. All of those changes make it less unique and more of a commodity - a manufac-tured item and it just seems to take away the real charm of Native jewelry to me.

You also served as an IACA President back in 1992. As you entered office what issues did you want to address and how successfully were they addressed?I had been fighting the fight for authen-ticity since the beginning. I guess you could say I’m a throw back. I’m a black and white guy. I’m not a gray guy. To me, if it’s Indian and handmade then that is what I believed that is what members should sell. But if it’s not Indian then I didn’t and if it wasn’t handmade I didn’t believe that IACA members should sell those things.

I had been fighting with the imported business particularly and also the fake

material business. I had inadvertently bought a fake bracelet that I thought was a Navajo inlay bracelet I came to find out that the piece was done with block turquoise. This was back in the very early eighties and I didn’t have a clue. I just figured the price was right and it looked well made. I sold it to a customer in Pennsylvania and I started seeing the person who “made it” and saw more of those bracelets and I finally figured out what was going on.

I had to call the customer in Pennsyl-vania and asked her if she had sold that bracelet yet. She did sell it and I asked her if she could get it back because it’s not right. There were some materials in it that weren’t real and that I’d be happy send her a nice Zuni bracelet that’s worth a lot more to replace it.

She did and I did and that got me off on the warpath. Since then I’ve continued to do seminars. I do one called “Fakes and Frauds” which was a two hour seminar at the IACA Markets. One year they quit asking me to do it and I think the reason for that was I was stepping on some people’s feet. In 1998 I did an undercover thing for Dateline. That was my biggest deal. My biggest defeat as president was the issue of stabilized turquoise. Until that time we had never allowed stabilized turquoise in the market with the excep-tion of Santo Domingo work and Zuni fetishes. Otherwise if it was Navajo or anyone else it had to be natural. We had quite a debate over it and I took the stand for quality and for value and a stand for natural and I lost it. Now IACA allows stabilized turquoise but it has to be labeled as such. After I was outvoted and at the very next show one of the exhib-

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Patchwork – An Expression of Creativity

Susan Howard Sapronetti (Lower Muskogee Creek)

40 Years of American Indian Art: FROM FRINGE AND FEATHERS TO MODERNISM

For thousands of years, Native American peoples have been em-bracing art in all its various forms—carving petroglyphs, dec-orating with shells, carving bone and horn, creating containers and figurines from clay, and painting animal skins with natural pigments. The last forty years is a mere ripple in time when viewing the history of Native arts, but this ripple has turned into a tsunami of innovative and creative artwork.Many fine artists have grown and devel-oped during this time, and we are very glad to see that there is a strong contin-gent of extremely talented young artists ready to continue forward. A visit to any show or market featuring Native Amer-ican work will highlight the remarkable changes that are taking place - high fashion clothing and accessories, jewelry, paintings, glass, metal, photography, giclée prints, and much more.

Some artists, who have been producing work for many years, still like to try out new styles or techniques. Cliff Fragua (Jemez Pueblo), well-known for his large masterpieces in stone, has also experimented with glass and making smaller items such as pendants. Navajo elder and artist, Joe Yazzie, enhances his drawings with computer programs to create work that results in stunning, contemporary images. Yazzie believes he can carry on traditions learned from old masters like Allan Houser (Apache) and

Quincy Tahoma (Navajo) using today’s modern tools.

Hopi artist and teacher, Ramson Loma-tawama, participated in traditional Hopi life as he was growing up. For many years he has carved “old style” katsina dolls using traditional materials and techniques, even spinning his own twine to attach feathers to the dolls. But in the 1990s, Lomatawama discovered the art of glass-blowing. In the conservative Hopi culture in which he was raised, men were not allowed to work with clay, so work-ing with glass let him create traditional pottery shapes using a new medium that would not violate his cultural beliefs.

Debbie Lujan (Taos Pueblo) works in a medium that barely existed in Native American art forty years ago—pho-tography. While many photographs of Native Americans have been taken for well over a hundred years, it is not until fairly recently that they have got behind the camera lens themselves. Although many people have taken photographs of Taos Pueblo’s distinctive architecture, Lujan has a unique advantage because she can go to places such as rooftops and restricted areas, which are off-limits to the average visitor. Lujan is preserving her culture in a digital format.

Beaded pumps and tennis shoes? Bright green ball gowns with beaded decora-tion? This is the work of JT Willie (Na-vajo), an extraordinary new talent, and the recipient of the 2013 IACA Artist of the Year. He gives a whole new twist to the art of decorative beadwork. Willie calls on his Navajo heritage for inspira-tion, but expresses his ideas and values in a totally new way.

There are also young, talented artists who use their skills to produce artwork which maintains the traditional styles and techniques of their cultural heritage, such as Randy Brokeshoulder (Hopi/

If we can remind ourselves that cycles exist in all things and occur in all places, and

that there will be cracks along the way, we can learn. After

all, that’s how the light gets in.—Ramson Lomatawama, Indian

Country Today


itors put out this very crude looking sign at his booth saying “Don’t ask me! Everything is stabilized in the world!” Nowadays, most people don’t even ask and I don’t even think they know the difference. There is actually a large difference.

Your tenure with the IACA board and presidency coincided with passing the Indian Arts and Crafts Act. How did IACA help that to happen? In either ’86 or ’88 Ben Nighthorse Campbell was running for Con-gress. I was in Ouray, Colorado and he was walking around on the streets for votes and I ran into him with a good friend of mine.

He asked me if I had his vote and I told him that I couldn’t vote in Colorado but I asked him if he gets into Congress, will he help American Indian people. He laughed and said “I’m gonna try and help people.”

So I said, “Well why don’t you, as a Native American, do some-thing about this doggone imported stuff?”

He didn’t know anything about it so I showed him a catalog that I carry around that shows items that were made in the Philip-pines, and I’ll be doggone if one of his necklaces wasn’t in there.That gave him the impetus to really address the problem.

The Indian Arts and Craft Act was passed in 1990 and IACA was very active in writing that. I remember sitting down and trying to define who was going to be an Indian because there were a lot

Navajo/Shawnee) with katsinas, and Zach Ben (Navajo) with sandpaintings. Both young men come from a long line of family members dedicated to their respective art forms and use their talents to preserve traditional arts.

Probably one of the most widely known, and certainly most worn, art forms is that of jewelry. This has also seen amazing changes over the past forty years. Native American art has always had designs which are geometric, and modern jewelers have used these basics to create jewelry with angular pieces using many different stones and materials. Silver continues to be the main metal used, but many jewelers are working with gold or using gold inlay, and some are experimenting with copper and other metals. The stones used can be from mines or localities near the jeweler, but many fine jewelers import stones from all over the world to make their pieces bright, colorful, and unique.

Since IACA started in 1974, American Indian art has evolved dramatically, and American Indian artists are breaking ground into areas, techniques, and media that were unknown forty years ago. The one thing that has not changed is the un-wavering link between contemporary artists and their cultural heritage. Artists will always experiment but they will always hold to their roots. A

40 Years of American Indian Artcontinued from page 15

Joe Douthittcontinued from page 14

of folks who were in the wannabe department you might say.

I remember staying up until two or three o’clock in the morning with four or five of the guys on the board discussing arguing and trying to figure out what is an Indian?

The final conclusion was what came out in the law which was letting the tribal governments determine who was an Indian.

So yes, IACA was very much involved in the creation of the Indian Arts and Crafts Act with the help of Ben Nighthorse Campbell.

Authenticity is very important. I had a lady come into my busi-ness with some pieces most of which were made in the Philip-pines. Cheap imports have done a lot of damage to the industry and to the Native peoples. I still think that authenticity is im-portant. I also think that helping Native people achieve success is another goal IACA. One thing that I find interesting—there has always been an element of Native folks who think that we Indian traders are just out to take advantage of them. But I think that when we consider all aspects of the trade, retail, wholesale and the artists themselves you have a stronger industry. By keep-ing all interests on the straight and narrow so to speak then you are going to have a much more vibrant industry.Joe Douthitt is an outspoken advocate of authenticity in the marketing of American Indian Art. Douthitt pulls no punches in his opinions. He was a driving force in the implementation of the 1990 Indian Arts and Crafts act, and served as IACA president in 1992. He pulls no punches in this interview either, with criticism about certain IACA standards.

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®

2015 Spring Wholesale market adBuy Authentic American Indian Art from

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THE REAL DEAL

Indian Arts & CraftsAssociation

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The World’s LeadingAmerican Indian Art Alliance

Publication (1.72 MB)

Documents

Transcript of Publication (1.72 MB)