Welcome to our annual Guide to Market in the official magazine of Santa Fe Indian Market. Native American Art is thrilled to be returning with this snapshot of the various classifications at the 2021 market. These guides will help you as you navigate around the Santa Fe Plaza and visit with the artists in their booths. Our goal is twofold: introduce you to some of the best Native American artists creating today, but also to introduce new collectors to the different categories at market. Not only do we have small features on artists from within each classification, but we also offer informative information that will help you start a dialogue with the artists. The biggest currency someone can have as they start to look at art is information. So the best piece of advice we have to collectors—first-timers and veterans—is to ask questions. Each artist is unique, which means each story, each process, each batch of materials is a little different. We’ve given you a jump start here, but we hope you expand your understanding even more when you’re on the ground in Santa Fe. 

Jewelry

One of the greatest aspects of the jewelry classification are the opportunities it presents. With jewelry, you can wear the artist’s work and display their superb artistry for all the world to see. It’s a chance to not only support the artist, but express your own individuality as well. More than 150 Native American jewelers from across the country will be displaying their dazzling works of art across the Santa Fe Indian Market, where collectors can explore treasures like Navajo squash blossom necklaces laced with turquoise, silver cuffs inlaid with jet and spiny oyster shell, or earrings of lapis lazuli and jasper, and witness the results of masterful inlay techniques, tufa-casting and silversmithing.  

Standard-Bearers
Benson Manygoats (Navajo)
Cody Sanderson (Navajo)
Darryl Dean Begay (Navajo)
Fritz Casuse (Navajo)
Pat Pruitt (Laguna/Chiricahua Apache)
Richard Chavez (San Felipe)
Vernon Haskie (Navajo)

Who to Know Right Now
Edison Cummings (Navajo)
Keri Ataumbi (Kiowa)
Lyle Secatero (Navajo)
Norbert Peshlakai (Navajo)
Olin Tsingine (Hopi/Navajo)

Ones To Watch
Albert Lee (Navajo)
Jared Chavez (San Felipe)
Ernest Benally (Navajo)
Matagi Sorensen (Yavapai/Apache)
Piki Wadsworth (Hopi)

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Exploring the Stones
A medley of dazzling gems and minerals adorn Native American jewelry that turns them into beautiful works of art. Here, we glimpse into a few of the most common minerals found in Indigenous jewelry, and what makes each gem unique.

Turquoise: This beautiful blue-green mineral is a pillar of Native American jewelry across many tribes. There’s Lone Mountain turquoise, from central Nevada, displaying an array of colors across mesmerizing webbing; and then there’s Sleeping Beauty, originally discovered by the Anasazi people; as well as Royston, characterized by its stunning deep-green to light-blue colors. Rare and valuable in finer grades, this opaque mineral is made up of hydrated phosphate of copper and aluminium. Turquoise is cryptocrystalline, meaning it almost never forms single crystals. 

Coral: Unlike most gemstones, which come from minerals, coral comes from once-living organisms. The striking, commonly red-orange stone is derived from the hardened skeletons of coral polyps in tropical and subtropical waters. Precious coral, when unworked, has a naturally matte luster, though when polished the red stone is vibrant and glass-like.  

Lapis Lazuli: Known for its intensity, this deep-blue stone is made up of many minerals, the most prominent being lazurite. The semi-precious stone most often occurs in crystalline marble and has been prized for its vivid color for centuries.   

Black Onyx: A powerful and mysterious stone, onyx is thought to give strength and stabilization to those who wear it. True black onyx is rare, formed in cavities of lava filled with gas and silica deposits, resulting in characteristic bands across the mineral. The more common mineral agate can have bands as well, often mistaken for onyx.

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From Earth and Sea

Organic materials from once-living creatures are used in creative ways in the jewelry of Indigenous people. Below are just a few examples of the many gorgeous materials that are utilized in the jewelry you observe, admire and wear. Ask an artist at Indian Market if they incorporate any of these materials into their artwork, and if so, whether there’s a story behind them. 

Antler

Fossilized Ivory

Spiny Oyster Shell

Mother of Pearl

Abalone

Conch

Clam

Coral

Olive shell

Animal Hides

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Booth: PLZ 66
Christie Latone (Zuni)
Zuni artist Christie Latone grew up surrounded by silversmiths and comes from the Coonsis family of the Zuni Pueblo in New Mexico. “It is an honor and a privilege to carry on the tradition of my people, the creation of beauty, the art that runs in my family," she says. "Watching my family work and learning from their ways to excelling in the craft, branching out with my own designs—the wonderment of it all and how far I can take it.”

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Booth: WA W 411

Liz Wallace (Diné)

“Jewelry is more than a livelihood for me. It’s a way to stay connected to my Diné, Nisena and Washo heritage and a way to share my experience of being a Native woman with the world,” says Liz Wallace, “and a good excuse to play with pretty rocks.” Her wholly unique works take on a distinctly organic vibe, channeling aesthetics like flowers, butterflies, dragonflies and snakes.

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Booth: WA W 406
Pat Pruitt (Laguna/Chiricahua Apache)

“Working with non-traditional metals and materials allows me the flexibility and freedom to push artistic boundaries, limited only by the materials themselves,” says artist Pat Pruitt. “While keeping current with evolving technology, I have an unrelenting desire to learn new techniques and apply them to my design philosophy. This grants me the ability to forge new directions with my art and not become stagnant.”

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Booth: LIN E 743
Isaiah Ortiz (San Felipe)

Isaiah Ortiz’s striking jewelry pieces are distinguished by their geometric shapes, sometimes using the methods of carving, saw work and stone-on-stone inlay for certain pieces. He learned jewelry making from his father, Raymond Twinhorse, working together from the same home studio. Ortiz “is still learning from him every day.” 

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Booth: FR N 317
Avery Aguilar (Kewa)

Growing up on the Santo Domingo Pueblo observing his family members create jewelry plays an important role in how Avery Aguilar designs and creates his artwork. “I have developed my own style [specializing in] silver overlay designs and inlaying precious stones in the channels created,” he says. “All designs are hand drawn, cut from a sheet of sterling silver and soldered together creating one single piece to work with.”

Sculpture

It’s the diversity of material, size and shape that is so exciting about the sculpture classification at Santa Fe Indian Market. Artworks can be made from bronze and steel to wood and bone. They can stand 6 feet tall or can fit in the palm of a hand. They can be wire thin, or as round as a beachball. And then, of course, everything in between. You just never quite know what you’ll see in the sculpture category as you walk the street of Santa Fe near the Plaza. Artists cut and carve, they push and pull clay, they weld and fabricate, and they often endure unbearable heat and uncomfortable positions as they work, whether it’s outdoors, in a foundry or in their studios. So when you’re hopping from booth to booth at market, the mystery of what might be around every corner can be exhilarating.

Standard-Bearers
Greyshoes (Upton S. Ethelbah Jr.) (Santa Clara/White Mountain Apache)
Larry Yazzie (Navajo)
Cliff Fragua (Jemez)
James Goodman (Navajo)
Presley LaFountain (Turtle Mountain Band of Chippewa)

Who to Know Right Now
Troy Sice (Zuni)
Adrian Wall (Jemez)
Joe Cajero Jr. (Jemez)
Raymond Chee Sr. (Navajo)
Eddy Z. Shorty (Navajo)

Ones To Watch
Randy Chitto (Mississippi Band of Choctaw)
Ira Lujan (Taos)
Holly Wilson (Delaware Nation/Cherokee)
Gabriel Sice (Zuni)
Saige LaFountain (Navajo)
Alex Lewis (Dakota)

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Glass Blowing

One of the most fascinating art processes collectors should seek out and view with their own eyes is glass blowing. The heat, the molten glass, the danger on nearly every surface—the whole process is incredible to witness. Glass is first heated up to above 2,400 degrees Fahrenheit, and then slowly worked with tools that look like they were plucked from an oversized doctor’s bag, including tweezer-like jacks, wooden paddles and large shears. Once a work is completed it is slowly cooled to reduce the risk of shattering and cracks as the pliable glass begins cooling. Glass-blowing demonstrations are hard to miss in Santa Fe in August, so be sure to stop by one if you can.

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Zuni Fetishes

Some of the tiniest items available at Santa Fe Indian Market are Zuni fetishes, miniature stone carvings in the form of various animals. These small carvings originated from functional and sacred versions used in ceremonies even still today. The ones sold by artists are non-ceremonial, but the artists still regard the carvings to be magical and to contain the spirit of the animal that is carved into the stone. Fetish owners are told to take care of the carvings and to remember their connections to the natural world.

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Booth: LIN W 723

Greyshoes (Upton S. Ethelbah Jr.) (Santa Clara/White Mountain Apache)
An award-winning and respected sculptor, Greyshoes (Upton S. Ethelbah Jr.) always brings an eclectic mixture of work to market, including stone and bronze works, many of them large and commanding in size and form. “My contemporary style of stone and bronze sculpture draws inspiration from my Native American heritage of Santa Clara Pueblo of New Mexico (Mom) and the White Mountain Apache people of Arizona (Dad),” Greyshoes says.

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Booth: LIN W 728
Kim Obrzut (Hopi)

Kim Obrzut’s feminine bronzes, many of them featuring beautiful maiden figures, are fan favorites around the country, especially at Santa Fe Indian Market, where her work has been popular with collectors. The form has served as a point of education for Obrzut, who likes to teach viewers about her Hopi history and her own heritage with each new piece. “I speak with my hands, the clay becomes my voice. My work seeks to capture and symbolize the spirit of my Hopi culture,”  she says.

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Booth: PLZ 34
Terresa White (McGrath Native Village)

Oregon-based sculptor Terresa White creates mesmerizing masks and other sculptural forms that speak to her heritage and upbringing. “The faces of my masks and the gestures of my figures emerge from memories—those passed to me by my ancestors and my own,” White says. “I am inspired by Yup’ik stories of transformation and the Yup’ik understanding of the interrelationship and spirit of all beings.”

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Booth: MAR 808
Joe Cajero Jr. (Jemez)

A descendant of a long line of Pueblo artists, Joe Cajero Jr. learned to sculpt in the Jemez Pueblo. For a time he thought he would become a painter like his father, Jo Cajero Sr., but a chance encounter with clay changed his trajectory. Today, Cajero has been creating clay originals and limited-edition bronze sculptures for nearly two decades. He says, “My work is inspired by nature, our Pueblo ceremonies and spiritual contemplation.” 

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Booth: PAL N 235
Ira Lujan (Taos/Ohkay Owingeh)

One of the few glass blowers at market, Ira Lujan is also one of the most distinguished with more than 20 years of experience, works in collections around the country and countless awards at many of the big shows. “I shape and sculpt glass using the ancient techniques passed down from Italian glass blowers...I then started to experiment with the hot molten glass using the designs from my Taos Pueblo culture,” he says. “Then my work took on new forms of purpose and direction.”

Pottery

Pottery is an ancient artform that ties Native American culture to the beauty of the land. While clay items emerged out of a functional need for activities like cooking, gathering and storage, pottery also become about brilliant displays of art. Typically, Native pottery is either built from slabs or coils and is then designed with patterns and imagery painted with colored slips or etched directly into the clay. Forms and designs are handed down from generation to generation, making every piece both unique to the hand of the individual artist and traditional insights from the different tribal affiliations. As you read through this section of potters included in SWAIA festivities, you will notice how crucial it is that these traditions be passed on, so as to maintain a connection to Earth, family and culture. 

Standard-Bearers

Al Qöyawayma (Hopi)

Angie Yazzie (Taos Pueblo)

Jody Naranjo (Santa Clara Pueblo)

Nancy Youngblood (Santa Clara Pueblo)

Russell Sanchez (San Ildefonso Pueblo)

Toni Roller (Santa Clara Pueblo)

Who to Know Right Now

Delores Juanico (Acoma Pueblo)

Cliff Roller (Santa Clara Pueblo)

Glendora Frague (Jemez Pueblo)

Dominique Toya (Jemez Pueblo)

Harlan Reano and Lisa Holt (Kewa (Santo Domingo) Pueblo)

Ones to Watch

Dominique Toya (Jemez Pueblo)

Johnathan Naranjo (Santa Clara Pueblo)

Marcus Wall (Jemez Pueblo)

Natasha Smoke Santiago (Mohawk)

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Polychrome Pottery

While there are a variety of techniques used by Native American artists to achieve beautiful designs, there is one distinctive style used primarily within Pueblo’s in the Southwestern United States. This style is known as polychrome pottery, where three or more colored slips, made from plants or minerals are painted directly onto the surface of a form before firing. You can see this in the piece pictured here, by Robert Patricio from the Acoma Pueblo. He utilizes several colors; tan, red, black and cream, made from sandstone paints, to feature animals and other natural imagery. Combinations of color, clay and slips used in this style all differ depending on the Pueblo.  

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Traditional Firing

Even for some contemporary potters, firing work in the traditional manner is still deemed crucial for not only maintaining a desired effect but for also educating the next generation on such treasured rituals. Different regions of the country have been known to use varying firing techniques, but all traditional firing is done outside, without any aid from modern kiln technology. Some tribes dig a shallow pit lined with materials such rock and sand to deflect heat, while others, like the Cherokee, use a mound with draft holes. Pueblo potters typically use a grate built several inches off the ground, with pottery pieces placed on top and kindling used below to heat. When pieces reach a certain hardness, fires are typically smothered with manure to cause a reduction of oxygen, creating unique colors on the clay forms.  

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Booth: PAL S 258
Chris Youngblood (Santa Clara Pueblo)
“It is important that we carry on the traditional way of making pottery. We dig our own clay, we process all our own materials and we fire in a traditional pit firing. If people stop using the traditional ways, they will soon be forgotten. Every day I’m inspired by what I see around me. The things I see while I am camping, fishing or even walking in my yard, dictate how I design my pots. These are little glimpses into my life and a piece of myself I get to share with the world.”

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Booth: PAL N 246
Linda Tafoya-Sanchez (Santa Clara Pueblo)
“Losing so many Elders this year has taught me that our time on this earth is so precious. Passing on our traditions, and teaching our children and grandchildren is so important to who we are.”

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Booth: WA W 403
Madeline Naranjo (Santa Clara Pueblo)
“I’m known as a traditional potter with a contemporary flair. I’ve been potting for over 30 years now and it’s been a great journey so far. Over the years, I have drawn inspiration from my everyday life around the Pueblo and that is where the stories for each originate. My life as a potter has been brought forth because of my connection to my mother clay and the legacy I am a part of.”

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Booth: LIN W 753
Rebecca Lucario (Acoma Pueblo)
“I have been making pottery since I was about 8 years old. My grandmother taught me the art of making and painting. My greatest inspiration came from Marie Z. Chino and my sister, Marilyn Ray, has always been there to support and encourage me. All the materials I use are natural. This plate shown here has a design called the snowflake pattern. The center has the North Star design and the black represents clouds.”

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Booth: MAR 813
Robert Patricio (Acoma Pueblo)
“My work is known for classic forms and uses both traditional and pre-historic imagery. Materials used are clay mined on the Pueblo, sandstone paints, rocks collected at the river and wild spinach that is boiled and placed on a corn husk to dry…My inspiration comes from watching [my family] and many matriarch potters that have gone before us…It’s amazing what comes of a piece of clay and creating the designs that my ancestors came up with long ago.”

Paintings, Drawings, Graphics & Photography

The two-dimensional category is one of the most dynamic in the Santa Fe Indian Market because it encompasses a wide variety of mediums, styles and genres. The section is broken into six divisions including representational paintings and graphics, abstract paintings and graphics, sandpainting, printmaking, photography, and digital artwork. At the market collectors will find everything from oil paintings and ledger artwork to airbrushed acrylics to monoprints to sepia-toned photographs. The options are endless and highlight the classic techniques as well as innovation. Many artists draw on their heritage when creating new works of art, and others infuse pop culture elements or they comment on society as a whole: inclusion, diversity and the Native American ways of life.

Standard-Bearers
Cara Romero (Chemehuevi)
Dolores Purdy (Caddo/Winnebago)
Marla Allison (Laguna)
Mateo Romero (Cochiti)

Who to Know Right Now
Avis Charley (Oceti Sakowin/Navajo)
Brent Learned (Cheyenne/Arapaho)
Eugene Tapahe (Navajo)
Karen Clarkson (Choctaw)
Peter Boome (Upper Skagit)
Robert Martinez (Northern Arapaho)
Zoe Urness (Tlingit)

Ones To Watch
Adrian Pinnecoose (Navajo/Southern Ute)
Del Curfman (Crow Tribe of Montana)
Garrett Etsitty (Navajo)
Hillary Kempenich (Turtle Mountain Band of Chippewa Indians of North Dakota)

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Printmaking Methods

Woodcut: This is the oldest form of printmaking and involves carving a design onto a wooden block using knives and other tools. The raised areas are covered with ink and the recessed areas are blank, allowing the negative space to show through once pressed.

Engraving: In this method, an artist first polishes a metal plate, typically copper or zinc, to remove imperfections and then uses burins of different sizes to engrave a design. Once complete, the composition is covered in ink and cleaned so only the engraving is filled. It is transferred and a reverse image is the final composition.

Etching: Using this form, an artist polishes a piece of metal and then lays a ground. An etching needle is used to scratch away the ground to expose the metal. The plate is covered in acid, which eats away at the metal to create recesses in the exposed areas that can retain ink. The surface is covered in ink and then cleaned before the final transfer.

Lithography: Artists draw on a polished flat stone, such a limestone, with an oil-based lithographic crayon or ink. Next, a layer of powdered rosin followed by powdered talc are rubbed into the stone. A gum acerbic is brushed on the stone and the chemical reaction causes the drawing to affix. The original image is wiped away with a solvent, leaving a shadow image of the drawing that becomes the base for inking.

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Film vs. Digital Photography

In the 21st century, as digital cameras became widely available, digital photography became more predominant than film. However, some artists still prefer the look and experience of working with film. There are key differences between the two that collectors should know.

Film Photography

• Captures images by exposing individual frames on a roll of film to light.
• Uses a darkroom to develop the photos with liquid chemicals, which can result in a more genuine look to the photography along with the grain in the film.
• Shooting with film has specific elements that make it appealing: high dynamic range (greater variation between light and dark), analog warmth that is especially apparent with high-end film and lower initial costs.

Digital Photography

• Uses an electronic sensor to capture images that are stored on a memory card.
• Images can instantly be reviewed as the photographer is taking the images and there are no limits to the number of exposures.
• There is an ease of editing digital photographs, which allows for noise reduction and image correction. As well, even without retouching the photos, photographers can use features such a stabilization to get a clearer, cleaner looking image.

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Booth: LIN W 759
Carlin Bear Don’t Walk (Crow/Northern Cheyenne)
Carlin Bear Don’t Walk grew up on the Northern Cheyenne reservation in Busby, Montana, and has been inspried by his experiences. He says, “The passion behind the purpose is wielding the power to inspire and motivate through the context of creation. Giving viewers a glimpse into that reservation window where I come from. My art is an expression of authentic narratives, imperative to where I live, blended with energetic pigments, reflecting experiences of my ancestors and relatives.”

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Booth: POG 107
Le’Ana Asher (Keweenaw Bay Ojibwa/Anishinaabe/Chippewa)
The figurative paintings of Le’Ana Asher focus on Native American powwows, tribal regalia and heroic figures. She paints contemporary Indigenous people “practicing traditional ways of community, spirituality and honors our ancestors and gifts from the creator.” She adds, “Dancing, singing and drumming are at the core of Native American values and traditions.”

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Booth: LIN W 735
Nocona Burgess (Comanche Nation/Kiowa)
Nocona Burgess presents modern depictions of Indigenous people. His paintings mix careful research, firsthand knowledge and raw passion. He combines brightly colored shapes with crisply outlined facial features and traditional dress to explore the cultural context, life story and identity of each sitter. In this way, he urges us to update our perceptions of Native people and consider the intriguing and often highly politicized place of Native American portraiture.

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Booth: PAL S 235
Terrance Guardipee (Blackfeet)
Terrance Guardipee’s artwork is primarily  “based on the culture and belief system of the Blackfeet Nation, and how we perceive the physical and spiritual worlds.” He depicts his family history as well as Blackfeet tribal practices and lifestyles that date from the 18th century to present. He combines traditional Blackfeet symbols with a contemporary color palette on original antique ledger paper and other historical documents.

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Booth: LIN W 736
Monte Yellowbird Sr. (Arikara/Hidatsa)
Painter Monte Yellowbird Sr. is most recognized for his animated and vibrant painting style that is full of life. His art, on antique ledger paper, tells a story of the past, which can be interrupted in the present. Through his work, Yellowbird has the ability to express his ideas visually. His pieces are deeply rooted in his traditions and culture.

Pueblo Carvings

The raw material used by artists is always so very unassuming. For instance, the cottonwood root. It’s a lighter wood and has a rough texture, and there is little that is remarkable about it. But in the right hands, that ordinary piece of wood begins to sing. Found in abundance near the Hopi lands, cottonwood root has been the material of choice for generations of carvers, particularly because of the softness of the wood and its ability to hold paint. A skilled carver will get a piece of cottonwood maybe 12 inches long and as round as a pickle jar, and they don’t see raw wood—they see a finished work hiding under the surface. All that must be done is to cut into it and unlock the completed design. As you browse through Santa Fe Indian Market this year, be sure to stop in to see the carvers, to appreciate their works and to listen to their stories. You won’t be disappointed.

Standard-Bearers
Adrian Nasafotie (Hopi)
Edward Seechoma (Hopi)
Mavasta Honyouti (Hopi)
Mark Taho (Hopi/Navajo)
Manuel Chavarria (Hopi)

Who to Know Right Now
Robert Albert (Hopi)
Arthur Holmes Jr. (Hopi)
Ronald Honyumptewa (Hopi)
Wilfred Kaye (Hopi)
Darance Chimerica (Hopi)
Loren Phillips (Hopi)

Ones To Watch
Randy Brokeshoulder (Navajo/Hopi/Absentee Shawnee)
Ernest Honanie (Hopi)
Kevin Honyouti (Hopi)
Eric Kayquaptewa (Hopi)

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Contemporary vs. Old Style

There are largely two styles of katsina: contemporary and old style. Some artists just work in one style, while others freely veer into both and even merge the two into unique works that push the boundaries on the medium. Contemporary works will often show realistic human anatomy, including fingers, toes, muscles, facial features, hair and poses. Because so much more work goes into these works, they are often priced higher, though not always. Old-style katsina carvings feature the more classic look with simple forms and shapes, and often times include feathers and other material beyond the cottonwood root. Both styles—including these pieces by Randy Brokeshoulder and Arthur Holmes Jr.—will be well represented at Santa Fe Indian Market.

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The Clown

One of the classic Pueblo images that appears throughout Santa Fe Indian Market across multiple classifications is the clown. The figure, almost always shown with black and white stripes, is portrayed as a mischievous trickster and often plays a role at various ceremonies and other sacred events on the Pueblos in Arizona and New Mexico. Clowns exist in cultures of the Hopi, Tewa and Zuni people, as well in other Pueblos in the Southwest. Artists have created images of the clown for hundreds of years, and many modern-day depictions often invoke humor and playfulness.

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Booth: PLZ 62
Randy David (Navajo/Hopi)
Randy David started carving at 10 years old learning from his father, uncle and peers. Later he would turn to carving full time as he excelled and progressed in his work. Today he’s known for using very few tools to achieve his magnificent creations. “My work is created for the most part using a single carving knife and very little use of electric tools,” he says. “Taking all the time needed to get details included in every piece. Only cottonwood root, linseed oil and acrylic paints to finish up each piece.”

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Booth: PLZ 14
Randy Brokeshoulder (Navajo/Hopi/Absentee Shawnee)
One of the rising stars of old-style katsina carvings, Randy Brokeshoulder has made a name for himself with beautiful works done using traditional materials and methods. The artist is a third-generation katsina carver and the great-grandson to Guy Maktima. “Katsina dolls are hand carved from cottonwood root and painted with all-natural pigments,” Brokeshoulder says. “Katsinas are spiritual beings and life bringers. They have the power to bring rain, exercise control over the weather, help in many of the everyday activities of the villagers, and function as messengers between the spiritual and mortal world.”

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Booth: LIN E 705
Mavasta Honyouti (Hopi)
Mavasta Honyouti is known for his inventive designs that utilize unique perspectives, complex carving techniques and contemporary themes. This year, for instance, one of the his new pieces is a bas relief of a nine-paneled Zoom meeting showing figures in nine different locations. He also does more traditional katsina figures “I am excited to return to Santa Fe Indian Market. We are looking forward to being inspired by wonderful artwork, seeing familiar faces and meeting new collectors.”

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Booth: PAL S 213
Robert Albert (Hopi)
Robert Albert has had a long history carving Pueblo figures and miniatures. The artist, from Third Mesa in Northern Arizona, first enrolled in the Institute of American Indian Arts in Santa Fe in 1984. By the late 1980s, he was developing a noteworthy reputation as a skilled carver and artist. He’s known for his Pueblo clowns, which he carves with big smiles and detailed features. “The clowns I carve bring reflection, humor and joy,” the artist says. “[They] represent the true spirit of these sacred beings.”

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Booth: SFT E 527
Arthur Holmes Jr. (Hopi)
Arthur Holmes Jr. is one of the most decorated carvers working today after amassing top awards at art shows and fairs across the country. The Hopi carver, who lives in Arizona, is known for his richly detailed contemporary figures that are done in a highly realistic, and also slightly stylized, manner. Another beloved aspect of his works is the gorgeous colors, which bring the carvings to life. “It takes a good heart, wise, humble and open minded to live a prosperous Hopi life,” he says.

Textiles

From rugs to clothing to blankets and everything else in between, Native American textiles serve more than a functional purpose. The art of weaving is most popular among the Navajo people of the Southwest, creating pieces that speak loudly of cultural, connection and spirituality; the deity, Spider Woman, is thought to have taught the Navajo how to weave. Designs are often geometric shapes, but also include animals and figures. In this section learn about textile artists that are dedicated to their craft, with work ranging from contemporary fashion to traditional rugs and blankets.

Standard-Bearers

Nellie Begay (Navajo)

D.Y. Begay (Navajo)

Lola Cody (Navajo)

Barbara Teller Ornelas (Navajo)

Who to Know Right Now

Venancio Aragon (Navajo)

Berdina Charley (Navajo)

Ephraim “Zefren M” Anderson (Navajo)

Tyra Shackleford (Chickasaw)

Ones To Watch

Michael Teller Ornelas (Navajo)

Florence Riggs (Navajo)

Kevin Aspaas (Navajo)

Calandra Cook (Navajo)

Leslie A. Deer (Muscogee (Creek))

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Spider Woman

Among the many creation stories of Navajo culture, the story of Spider Woman, thought to live in Spider Rock in Canyon de Chelly, is quite a popular one. While the deity appears in stories from different tribes, legend has it that Spider Woman was responsible for teaching the Navajo people how to weave. The story goes that upon realizing that she could create patterns with string streaming from the palm of her hand, she sat and created shapes for the rest of the day on branches of a small tree. After this, the holy ones of the third world came to visit Spider Woman and had Spider Man create a loom and tools. They also gave Spider Woman weaving songs that give power to the weavings and the tools. Today, young weavers are taught to seek out a spider’s web and place the palm of their right hand on the web without damaging it, to then absorb the wisdom and skill of Spider Woman.

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Navajo-Churro Sheep

The churro sheep is essential to the weavers of the Navajo Nation, along with a general way of life. For centuries, their meat and milk provided sustenance, and their wool was the instrument in creating durable, striking blankets, rugs and garments. This particular sheep is a hardy animal, able to withstand harsh landscapes and also provides a diverse coat consisting of three layers of very strong, lustrous and water repellent fibers. The relationship between the churro sheep and the Navajo weaver is a deep, symbiotic one. The sheep is first sheared, the wool is cleaned, spun into yarn and is then fixed to a loom; a process that is quite significant and spiritual to the Navajo people.

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Booth: LIN E 720
Loren Aragon (Acoma Pueblo)
”My work is the result of a combination of my artistic vision and technological discipline. My study and practice as a mechanical engineer further fuel my artistic passion…My fashion work is living art. As a fashion designer I’m able to create my dreams and make my visions tangible. It may seem that my work is severed from the conventional practices of my Acoma people. Truthfully, I value and sincerely appreciate the ancestral arts of my people. However, I feel it necessary to demonstrate an investigation into other art forms, in parallel with observing historic and cultural preservation.“

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Booth: FR N 313
Rebecca Daniels (Northern Arapaho)
”With hope and appreciation, many Northern Plains tribes have, for centuries, embraced the tradition of showing honor to the Morning Star. As a child I sat at the feet of tribal Elders, listening to the stories that would shape my love and appreciation for Creator, creation and creativity…The greatest gift within my work is my mother. As a young person, I watched her create beautiful quilts. I had the privilege of learning my art from a master quilter…I look forward to continuing my treasured art form and tradition that I have received from my ancestors.“

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Booth: PLZ 53
Tyler Glasses (Diné)
”I love the movement and bright colors of pre-trading post rugs. Another source of inspiration for my weavings are the natural colors I see around, like the red rocks, soft browns of the earth and plants. In turn, I love taking those inspirations and turning them into something that feels both familiar and new at the same time. The piece pictured here, is inspired by old wearing blankets and my love for saddle blankets.“

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Booth: SFT W 534
Virginia Ballenger (Diné)
”I learned from my traditional Navajo teachings that harmony in life is very important. My wish is that my customers will appreciate the simplistic beauty and harmony of the items I design and sew. My goal is for the wearer to receive the pleasure from my products that I did in creating them. My work is inspired by the beautiful pin tucked velveteen blouses adorned with hand stamped sterling silver buttons worn by Navajo grandmothers.“

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Booth: FRS 308
Rosie Taylor (Diné)
”I am Diné of the Towering House clan, born for the Big Water clan. I am from Indian Wells, Arizona, on the Navajo reservation. My parents are the late Carl Taylor and Lillie T. Taylor, who is 90 years old and a master weaver. I consider both my teachers when it comes to weaving and silversmithing. My mother inspired me to weave, beginning at the age of 8 years old. At the time, we had many sheep and used their wool to weave our rugs. My rug designs come from dreams and everyday lively hood.“

Diverse Arts

The diverse arts classification is the place where collectors can really dive into a plethora of creativity. The classification feels boundless, free, spirited. It’s the place where you can explore dance regalia and fashion accessories in one breath, then knives, bows and arrows in another, and in yet another, parfleche boxes, cradleboards and musical instruments. While exploring market this year, dig into the stories behind these diverse works of art, many of them are as useful in a practical sense as they are beautiful to display and admire. And each work of art—from rattles and fans to hats, bags and wall hangings—has something unique to offer.

Standard-Bearers

Glenda McKay (Ingalik-Athabascan)

Kevin Pourier (Oglala Lakota)

Who to Know Right Now

Dallin Maybee (Northern Arapaho/Seneca)

Tim Blueflint Ramel (Chippewa/Comanche)

Ones To Watch

Emil Her Many Horses (Oglala Lakota)

Beverly (Bear King) Moran (Hunkpapa Lakota)

Juanita Growing Thunder Fogarty (Assiniboine/Sioux)

Melissa Lewis-Barnes (Navajo)

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Cradleboards

Crafted from wood, hide, cloth, stems, shoots and other materials, cradleboards are a traditional method in which to carry infants and children. The objects, characterized by their flat backboards, can be carried in a parents’ arms, set up on the ground like a chair, worn like a backpack or secured to a sled or other apparatus for longer travels. The frame of the cradleboard is made primarily from wood, while some artists weave the frame like a basket. Some have a wooden hoop attached to the top, which helps protect the baby’s head if the cradleboard tips over. Take a look at Navajo/Hopi artist JJ Otero’s cradleboard as an example.

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Parfleche Boxes

Parfleche boxes are tough rawhide containers used to hold various items like dried meats, tools, clothing and household items. Created historically by North American Plains Indians, the boxes are enhanced with geometric and abstract designs, symbols and motifs through painting or incising. Parfleche is prepared by cleaning the rawhide and removing the hair, then stretching it and drying it out under the sun, a process that results in a stiff, durable leather.

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Booth: FR S 313
Sean Rising Sun Flanagan (Taos)
Renowned for his painted drums and stylized sculptures, Taos artist Sean Rising Sun Flanagan gains inspiration from his roots. “It is a blessing and privilege to be from the Taos Pueblo,” he says. “It has inspired me to be grounded in my heritage but to also reach higher in order to ascend barriers. My drums are custom made from deer, elk and buffalo hides and are painted with a sense of design that unites deep tradition with the contemporary. My stylized design motifs are created to be strong and vibrant which hopefully bring balance and peace to a space.”

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Booth: WA W 409
JJ Otero (Navajo/Hopi)
JJ Otero sees life through artistic lenses even though most of his career has been spent in the information technology field. In his current artistic pivot, in addition to diverse arts, he has taken on silversmithing with an intense drive to be the best he’s capable of despite such a late start in the arts. Otero’s journey has taken him through a successful, award-winning music career, a prolific two-year excursion into acrylic painting, an intro to the Native American market world through his beautifully crafted cradleboards, and his current obsession with jewelry making.

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Booth: PAL N 216
Monica Jo Raphael (Anishinaabe/Sicangu Lakota)
From birch bark and porcupine-quilled medicine bags to contemporary and traditional Native clothing, Monica Jo Raphael is a woman of many talents. “The word for old woman is Mindimooyehn and when broken down translates to ‘one who holds it all together,’” says Raphael. “I like to think that I am an old woman trying to hold it down in a new world creating art from gifts from Mother Earth.”

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Booth: LIN E 701
Pauli Carroll (Yurok)
Pauli Carroll is a Northern California glass artist inspired by her Yurok and Hupa heritage. She fuses traditional basket designs and local inspiration into her contemporary glass pieces. The unique designs she creates—from bowls and plates of fused glass to masks of glass, pine nuts, abalone and dentalium shells—are ways of honoring her history and future.

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Booth: PAL 275
Delina White (Minnesota Chippewa)
Multi-faceted artist Delina White creates “traditional artwork built on the philosophy of living a good life; values rooted in the belief of love for oneself, humankind and our mother earth,” she says. An apparel designer, jewelry maker, beadwork artist and more, she creates floral pipe bags, bandolier bags, moccasins, sashes and many other items, inspired by her Anishinaabe heritage.

Beadwork/Quillwork

The category dedicated to beadwork and quillwork is one of the most dynamic in the Santa Fe Indian Market, as it combines age-old techniques with a contemporary focus. The artists are often innovators pushing the boundaries of the objects they create—ranging from beaded dolls and sculptures to portraits, clothing and accessories—with intricate designs and patterns. One of the oldest components is porcupine quillwork, which in North America dates to the sixth century when designs often were made up of wide or narrow lines with a series of close stitches. There also is the long tradition of handmaking beads out of shells, bones and stones, as well as obtaining the quills that are used within the artwork. Some artists continue this today and the incorporate traditional imagery that reflects their own heritage. 

Standard-Bearers

Beverly (Bear King) Moran (Standing Rock Sioux)

Dallin Maybee (Northern Arapaho/Seneca)

Emil Her Many Horses (Oglala Sioux Tribe)

Jackie Larson Bread (Blackfeet)

Jamie Okuma (Luiseño/Shoshone-Bannock)

Who to Know Right Now

Elias Not Afraid (Crow)

Hollis Chitto (Choctaw/Laguna/Isleta)

Jessa Rae Growing Thunder (Assiniboine/Sioux)

Lauren Good Day (Fort Berthold Mandan/Arikara/Hidatsa)

Summer Peters (Ojibwe)

Ones To Watch

Kendorina Redhouse (Navajo)

Niio Perkins (Mohawk)

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Beadwork Techniques and Stitches

There are a variety of techniques that artists can use to create their complex beadwork pieces. Here are a few to know.

Loom Beading: When beadwork is done without the backing of fabric or leather, artists can use a loom to form a long strip of beads. These can be sewn together when completed to create pieces such as hair bands or belts.

Net Beadwork  (Peyote or Gourd Stitch): In this technique, artists work the beads—typically in clusters of three—into a tube shape or the beads are worked directly around an object.

Beaded Applique: One of the most popular forms of beadwork is applique, where the artist creates parts of the design on pieces of fabric and then combines them together to create the overall form. The designs tend to be more freeform.

Lane or Lazy Stitch: Primarily used for large patterns or large areas of one color, this technique is like the overlay stitch, except the artist affixes short lengths of beads to fabric only at the ends.

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What is Quillwork?

Quillwork is an intricate art form where an artist decorates pieces with porcupine quills in a variety of techniques—the four most common being applique, embroidery, wrapping and loom weaving. Quills that were suitable for embellishments could be used in the natural state, which is pale yellow or white in color with black tips, or artists can dye them using local plants or aniline dyes. Among the characteristics are curvilinear patterns of the Odawa. Plains quillwork often included abstracted designs with symbolic meaning they could include bands of rectangles, rosettes and parallel panels of quillwork on the sleeves of men’s shirts. The Red River Ojibwe of Manitoba were known to get their crisp lines by using a loom. As seed beads became more accessible, many artists transitioned from quillwork to beadwork, but there are still a number of contemporary artists working in this traditional medium today.

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Booth: PAL N 222
Mikailah Thompson (Nez Perce)
Mikailah Thompson learned how to bead from her grandmother, Chloe Halfmoon. “Since then, I have created my own signature style adding a blend of traditional Nimiipuu influences,” she says. Her piece Peo-Peo-Tholekt: Nimiipuu Chief depicts Peo-Peo-Tholekt (Nimiipuu), “a member of the Chief Looking Glass band during the Nez Perce War. Aside from the battle at Whitebird, he fought every war alongside his people. After escaping to Canada, he made his way home with Yellow Wolf and was later named a Chief.”

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Booth: PAL N 207
Grant Jonathan (Tuscarora)
Tuscarora Nation beadworkers have sold their raised beadwork at Niagara Falls, New York, to tourists for nearly two centuries. Using the same skills, patterns and techniques as his ancestors, beadworker Grant Jonathan continues this tradition by creating contemporary raised beadwork for purchase at Native art markets throughout the United States.

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Booth: PLZ 14
Noah Pino (Dakota Sioux/Navajo)
Artist Noah Pino is inspired for his beadwork pieces by the world around him—often his own experiences come into focus. Pino says, “Reservation life. Coffee. Family. Smoke breaks. Soup. Healing. Late nights. Visits. Watching kids that aren’t mine. Harsh winters. Country tunes. My art reflects these and the land that me, my family and their families grew up on. We have a distinct look as Fort Peck Dakota and that I stay true to.”

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Booth: PLZ 33
Rhonda Holy Bear (Cheyenne River Sioux)
Rhonda Holy Bear says, “Stories have always played an integral role in the preservation of our Native culture. My grandmother was a keeper of stories. Little did I know, when I was a little girl, just how much of an impact my grandmother’s stories would have upon my life,” she says. Holy Bear’s pieces are more than just aesthetically pleasing. Her work acts “as a teaching tool, awakening the viewers’ curiosity by providing a connection to the past.”

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Booth: LIN W 746
Shelby Rowe (Chickasaw Nation)
Chickasaw artist Shelby Rowe “sees beads as pieces of glass that have been precisely shaped, measured and deliberately broken. However, these tiny, fragile broken pieces become nearly indestructible when they have been patiently and lovingly woven together. My pieces are stories of transformation symbols of strength and healing.”

Basketry

There is a tactile quality to Native American art. It comes from the earth, carved out of it carefully with human hands. These hands dig for the clay. They mine the silver. They hunt for hides. Nowhere is this close relationship with nature more prominent than with basketry, which comes from materials that have to be found, harvested and then meticulously prepared by hand. The fibers are soaked in water, hammered flat, cut, shaped and many other processes that eventually yield material for baskets. It requires dozens of steps, and sometimes weeks of prep time—and that’s just to get to a starting point for a basket. It’s that raw quality of the material, as well as the stunning designs, that has drawn collectors to baskets for generations. This year’s market will feature a wide variety of artists, both veterans and rising stars, and their works will speak to the beauty, impeccable design and master craft that is Native American basketry.

Standard-Bearers

Jeremy Frey (Passamaquoddy)

Don Johnston (Qagan Tayagungin)

Sally Black (Navajo)

Who to Know Right Now

Geo Neptune (Passamaquoddy)

Kelly Church (Pottawatomi)

Theresa Secord (Penobscot)

Wilmetta Kayquoptewa (Hopi)

Darlene James (Kashia Band of Pomo Indians of the Stewarts Point Rancheria, California)

Ones To Watch

Ann Mitchell (Saint Regis Mohawk)

Ronni-Leigh Goeman (Onondaga)

Cherish Parrish (Gun Lake Potawatomi)

Smhayetsk Teresa Ryan (Tsm’syen)

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Baleen Basketry

One of the most fascinating materials that pops up at Santa Fe Indian Market is baleen, which has a smooth texture and dark color. Newcomers to baskets may even think baleen is made of plastic because of its consistent surface quality and uniform smoothness. But the truth is much more interesting. Baleen is part of the filter-feeding system—think of it as the teeth—of certain kinds of whales, including the baleen whale. Indigenous people in Alaska are allowed to harvest baleen, which is then soaked in water and cut into thin strips. Award-winning basketmaker Don Johnston (Qagan Tayagungin/Aleut), whose basket can be seen here, works almost exclusively in baleen and has brought significant attention to the material.

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Coil Forms

One of the most prominent methods of making basketry is the coiling technique. Although coiling differs slightly from region to region, the basic technique is practiced around the country. The baskets begin with a single flexible coil that is then wrapped around itself or a flat disk made of bark or wood. As the coil form is built up, stitching is used to secure the coil to itself, which is what gives the baskets their rigid shapes. To create the designs, a complex counting pattern is used by the artist to create uniform shapes and symbols. 

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Booth: PAL S 234

Iva L. Honyestewa (Hopi)

Award-winning artist Iva L. Honyestewa has been making baskets for nearly 30 years in Second Mesa in Northern Arizona. She originally started working in jewelry, but moved to baskets in the early 1990s. One of her major developments was the Pootsaya basket, which is a partially coiled basket she developed during a residency at the School for Advanced Research in Santa Fe. “What inspires me is using yucca that comes from Mother Earth that gives me energy to work toward bringing our community together. It is the purpose behind my new creation the Pootsaya,” she says. “We are one. Love, peace and happiness is what life should be.”

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Booth: FR S 304

Kathy Kooyahoema (Hopi)

Kathy Kooyahoema has lived her entire life in Shungopavi on Second Mesa in Northern Arizona. She makes yucca-coiled baskets, as well as sifter baskets, which were taught to her by her mother and godmother. In addition to yucca, she also uses bundled galleta grass. “Basket making is my life,” Kooyahoema says. “First it is my culture. I receive therapy from working on my baskets. I am inspired to create more given the time my hands and mind are allowed.”

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Booth: PLZ 67

Frances Soctomah (Passamaquoddy)

The artistry in the Maine area has generated attention from major collectors, thanks in large part to artists like Frances Soctomah, who are offering new visions of what basketry can be. “Basket making is my bridge between me, the generations of basket makers in my family who came before, and the ones who have not been born yet,” she says. “I draw on my ancestor’s styles and creativity, innovating just as they did. When I weave, we are weaving together, sharing stories across lifetimes.”

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Booth: PLZ 67

Jennifer Sapiel Neptune (Penobscot)

Specializing in ash and sweetgrass, Jennifer Sapiel Neptune is one of the top artists in the classification. Before baskets she worked in cultural preservation for 25 years, and also received her degree in anthropology. “It is said we weave a bit of our spirit into each basket we create,” she says. “I hope my baskets reflect the love, respect, and connections I hold to the weavers before me, the places that I gather, the plants and trees that I weave with, and the community I come from.”

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Booth: LIN W 761
Vivian Cottrell (Cherokee)
Oklahoma-based weaver Vivian Cottrell has been working in basketry for half a century. ”Weaving baskets for 50 years, I am determined to educate the public and especially Cherokee citizens of rivercane basketry,” she says. “Those who come by my booth, ask me so many questions about the materials I use to weave my baskets because they have not seen this type of basketweaving material. Due to the rapid decrease of rivercane weavers of the Southeastern tribes, rivercane baskets are a rare find.”

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Youth

While exploring the iconic Santa Fe Indian Market, it’s easy to get swept up in all of the phenomenal works of art by some of the nation’s top Native artists, all in one place. Who wouldn’t? But here’s another inspiring notion: there are many young creators out there carrying on the legacies of their parents, grandparents, aunts and uncles. SWAIA’s youth classification reminds us that there’s another generation of superbly talented artists out there, waiting for their chance to bloom and shine. From jewelry makers to potters to painters, these up-and-coming artists have much to offer, and while they gain inspiration from those who’ve come before them, the artworks they create are entirely their own. The youth classification is divided into three sections: ages nine and under, ages 10 through 13, and ages 14 through 17.

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Niska Kempenich (Turtle Mountain Band of Chippewa)
Niska Kempenich, 13 years old, is the daughter of prominent multidisciplinary artist Hillary Kempenich. Niska will be an eighth-grade student this fall, returning to school after a year of virtual learning. Despite the pandemic, she has continued her practice of dance and visual arts. Niska is incredibly insightful, constantly absorbing the world around her. This insight leads to wanting to be a better person, and to also better the world in her own way.  “I have been dancing since I could walk and enjoy being part of a dance school,” she says. “I like helping people in need and taking care of the world. Whenever I have the chance to draw in school I take the opportunity to practice my art…Some of my art is inspired by my memories and some of the symbols are representative of our Turtle Mountain community.”

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Zoelle Kempenich (Turtle Mountain Band of Chippewa)
Zoelle Kempenich, 17 years old, will be a senior at Red River High School in Grand Forks, North Dakota, who also spent the past 15 months in virtual learning. Also the daughter of Hillary Kempenich, art seems to run in their blood—Zoelle enjoys exploring a variety of different mediums in visual abstract arts. She is currently exploring digital arts, as she wishes to pursue a career in computer programming and design. Zoelle utilizes her art to celebrate her heritage as a Two-Spirit (LGBTQIA+) Anishinaabekwe and share her perspective of the world around her.

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