native-american-artist

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Earth and Fire: Anasazi Style Pottery

“Earth and Fire” is a documentary poem about artist and primitive potter Kelly Magleby. Kelly went into the backcountry of Southern Utah with a knife and a buckskin for 10 days to try to learn about Anasazi pottery by doing it the way the Anasazi did it. Funded by Primitive Found (.org), music by Jason Shaw @ audionautix.com, check out Kelly’s art at anasazipottery.net. This the 1st video of 2016 for The Talking Fly short documentary project by filmmaker Steve Olpin, Enjoy!

Watch this more for the process in making the ceramics than perhaps accuracy. There are a few things I have issues with like the use of watermelon (Old World, domesticated in Egypt) and calling it Anasazi pottery. But it’s still neat and fun to watch. This reminds me of the Primitive Technology guy where things are shown rather than spoken.

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This weekend was Humboldt State University’s Social Justice Summit. It was amazing. I will later have to make a longer update about that experience… BUT FOR NOW I need you to know about this amazing individual. Waawaate Fobister is a two-spirited award winning performing artist, writer, and overall sweet and hilarious kid that I had the privilege to watch and talk to. Keep looking out his work! 

Facebook fan page: http://www.facebook.com/pages/Waawaate-Fobister/129620550437493

As Indigenous nations, we have a value system that is deeply woven in with kinship. It’s next to impossible to forget. In addition to the Thankfulness and gratitude we have in our hearts, as Indigenous communities, we are thriving nations who are embarking on a new journey as modern communities with traditional values.
We endeavor to persevere by maintaining our cultural traditions that some people carry on through art, language revitalization, education, medicine, social justice, law, public health, wellness, and other areas of advancement that our ancestors could only imagine.
Today, while we are in a Thankful and Grateful state, and Black Friday sales have commenced, this is also a call to action. I believe as members of the Indigenous communities we come from, we also have an inherent right to help support our communities and people on Cyber Monday. While some people may have gone out for Black Friday sales this morning, it’s important to remember, we also have an opportunity to help members of the Indigenous community at-large online.
Supporting Native owned businesses and Native artisians means helping to keep a Native family fed, clothed, housed, and operating. In the time of Walmart, who doesn’t provide benefits to its employees, this is a reminder that we have Indigenous people who are working hard to build their own small businesses.
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Nicholas Galanin is a multi-disciplinary artist and musician of mixed Tlingit/Aleut and non-Native ancestry. His work often explores a dialogue of change and identity between Native and non-Native communities.

(Text via: Wikipedia/Video via: Dylan McLaughlin/Photos via: Nicholas Gelanin)

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As I entered the office in charge of arranging travel abroad trips for students, my eyes couldn’t help but to marvel at the amazing reprints of T.C.Cannon’s work in the office. I honestly don’t remember what I came in there for, but I did leave knowing the name of T.C. Cannon. 

Now before I get into the spotlight, I have to say that I did had a hard time finding information on T.C. Cannon. Most of the information will be from Wikipedia. Additionally, I couldn’t find any images of the person himself, so the only picture was one with a watermark. (Sorry! :( )

T.C.Cannon, also known as Tommy Wayne Cannon was born Septermber 27th, 1946 in Lawton, Oklahoma and sadly passed away May 8th, 1978. His legacy is important to the identity of Native American art of the 20th century. He was an enrolled member of the Kiowa Tribe. Additionally, Cannon was of CaddoFrench, and Choctaw descent. 

“Cannon grew up in Zodaltone and Gracemont, Oklahoma and was raised in the Kiowa culture of his father, Walter Cannon, and Caddo traditions of his mother, Minnie Ahdunko Cannon. His Kiowa name, Pai-doung-a-day, means ‘One Who Stands in the Sun.' He was exposed to the art of the Kiowa Five, a group of Native American painters who achieved international reputations in the fine art world and who helped developed the Southern Plains-style of painting. Stephen Mopope of the Kiowa Five and Lee Tsatoke, Sr. were particularly influential on the young artist.

T.C. Cannon later joined the Institute of American Indian Arts of Santa Fe in 1964, where he studied under Fritz Scholder. After graduation he enrolled in the San Francisco Art Institute but left after two months and enlisted in the army.

As paratrooper in the 101st Airborne Division, Cannon was sent to Vietnam from 1967 to 1968. During the Tet Offensive, he earned two Bronze Star Medals. He was also inducted into the Black Leggings Society, the traditional Kiowa warriors’ society.

While While he was stationed in Vietnam, Cannon had a tremendous breakthrough in  his art career.

Rosemary Ellison, curator of the Southern Plains Indian Museum in Anadarko, Oklahoma, included him in a major traveling exhibit, Contemporary Southern Plains Indian Art.

In 1972, Cannon and Scholder staged a joint exhibition at the Smithsonian Institution's National Collection of Fine Arts, titled 'Two American Painters.’ Cannon produced a large body of work over the next six years, in preparation for his first one-man show, scheduled to open at the Aberbach Gallery in New York in October 1978. On May 8 of that year, however, he died in an automobile accident, and after a delay, the show opened on December 10, 1979 as ’T.C. Cannon: A Memorial Exhibition.’ Featuring 50 works by Cannon, it subsequently became a traveling exhibition, and went on display at locations such as the Heard Museum, the New Mexico Museum of Art, and the Buffalo Bill Historical Center.”

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Though T.C.Cannon has long passed and could be viewed as an artist of yesterday; his work left us with a visual cue of what Native American art truly is. I hope that all artist can find inspiration from him, and that’s why he’s our spotlight of the week.

-Jeriorliz

So sick of this.

One day I want to be able to be surprised at hearing about some semi famous native artist. I want to be able to not hoard their names like treats, and know everything about their work. I want to have passing glances at native artists and be able to not hold allegiance to them because their art work isn’t my taste.

Right now I can keep the dozen names pretty well. I’m sick from it. I want to overflow with information and knowledge that there are more native artists out there making it. But instead I’m here sick and sad.

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Fritz Scholder (Luiseño, 1937-2005) was the most influential, prolific, and controversial figure in the history of Native art.

His career spanned five decades and encompassed painting, sculpture, prints, and photography. His signature subject was the American Indian, and he is most famous for his energetic and unsettling paintings of the 1960s and 1970s, which featured unconventional use of color and distorted perspective. Many people, including many Indians, found his work shocking.

Scholder’s life and art are a study in contradictions. He was an enrolled Luiseño tribal member who often said he was not Indian. He was one of the most famous Indians of his time, despite a tendency to be reclusive. And although many of his works contain no obvious Indian imagery, he was a leader in a generation of artists who changed indian painting forever.

(Text/Video via: National Museum of the American Indian)

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Early on, for some reason, I realized that I did not want to live like others. And I saw people go to jobs they hated, come home, and not be happy. I had a problem with authority, so I knew that I couldn’t have an eight-to-five job with a boss. But it came early on to me that by being an artist I would have the most freedom. Because an artist not only has to make up his own problem, but then solve it, in whatever way he decides to do that, and it’s all up to him.

Fritz Scholder

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Once upon a time a Passion crafted its own life
on Earth. It found that creation was a sensation.

With tactile ethos, this Energy began to play.

These abundant experiences of creativity rose as countless gifts of perspective, and this Soul asked questions of its consciousness by creating itself over and over again in a multitude of reflections.

Passion reflected its own light, ricocheted it back 
to the known, and there was no longer a need.

Rose B. Simpson