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Bacone College's EVOLVING STATES Michael Elizondo Jr. and the Reemergence of the Bacone College School of Indian Art By Cedar Marie (Standing Rock Lakota descent) ACONE COLLEGE’S Peoria) depicted images and stories of the INFLUENCE on Michael Native American Church, a regular and Elizondo Jr. has evolved over important influence for Elizondo’s family. Btime. The oldest continuing As a young man and art student, Elizondo American Indian college in what is looked to these artists for inspiration. now Oklahoma, Bacone College was He wanted to express himself in his own chartered in 1880 and its campus was way while also keeping his culture as the later established in Muskogee within central subject matter in his artwork. the Muscogee (Creek) Nation. Unlike Even though he did not attend Bacone’s many schools for Native students of its art school, when Elizondo researched time, Bacone College supported expres- artists and artworks that he could relate to sions of Native identity, cultures, and and learn from, his research nearly always visual arts. Its storied School of Art was led him back to Bacone College and the directed by Native artists and gave birth art department’s history of prominent to the Bacone school, a form of Flatstyle directors. painting that flourished in the 20th Elizondo received his BFA from century and continues today. Michael Oklahoma Baptist University (OBU) in Elizondo Jr. (Cheyenne/Kaw/Chumash) 2008 and his MFA from the University now serves as the new art director of the of Oklahoma (OU) in 2011. At OBU Bacone College School of Indian Art. he met artist Tony Tiger (Muscogee/ Elizondo’s family lived down the Sac & Fox/Seminole), who visited there road from artist Dick West (Southern when Elizondo was planning his senior Cheyenne, 1912–1996), who served as the art show. Tiger, Bacone’s art director art director of Bacone’s School of Indian from 2010 to 2015, showed the younger Art from 1947 to 1970 and returned artist how to lay out a gallery space above Michael Elizondo Jr. to teach from 1979 to 1986. West, an (Cheyenne/Kaw/Chumash) in and hang his artwork, and later, how to alumnus of Bacone, studied under front of his mural. Photo: Dayrah navigate the mainstream art world. In Elizondo (Alabama-Coushatta). another influential artist, Acee Blue Eagle graduate school, Elizondo continued to opposite Ataloa Lodge on (Muscogee, 1907–1959), who painted the Bacone College campus. create artwork specifically related to his aspects of Cheyenne ceremonial life and Photo: Matt Jarvis (Osage). Cheyenne culture and heritage. His early gatherings that Elizondo had witnessed paintings, such as Subsisting, Esevóona, during his own life and that remain a part and No-Wa-Wu, were relatively formal of Cheyenne culture today. Painter, print- and abstracted studies where both artist maker, and former Bacone art director and materials seemed to enter into a Ruthe Blalock Jones (Shawnee/Delaware/ heavily textured and deeply charred 26 | WWW.FIRSTAMERICANARTMAGAZINE.COM landscape. Once through that desolate trying to also hone my craft. Form and teaching experience prepared him for space, something new began to grow. color became a way to merge together my what happened next: teaching Art Appre- During this time he began to focus on life and Indigenous influences to explore ciation and Native American Arts and “constructed paintings,” and merge our evolving state and larger cultural Crafts courses at Bacone College in the ancient Cheyenne influences with current experiences.”1 fall of 2012. Elizondo and his wife and cultural themes in his artwork. I was on During his second year of study, new daughter were living in Oklahoma his thesis committee and became his OU art faculty encouraged Elizondo to City at the time and had to figure out how thesis mentor during his final year at take a teaching assistantship. He was teaching 140 miles from home was going OU. I remember Elizondo sharing that a little hesitant about it at first because to work. he was close to his grandmother and took he wanted to focus as much time as “Oklahoma City is about two inspiration from her stories and artwork he could on just being an artist. Yet he hours from Muskogee where Bacone as a beadworker and cradleboard artist. began to shadow his painting mentor, College is located,” recalls Elizondo. “The “My grandmother would tell Tommy White, and often worked with commute was pretty hard, but I did it for me that every design has a story,” says students on one side of the classroom an entire year. My wife took care of the Elizondo. “Some of the artworks in my while his mentor worked with students baby during the day while I was out here MFA thesis show were influenced from on the other side. He also became a teaching, and I took care of the baby at the designs she used to bead. I began woodshop monitor in the sculpture area, night when she was in class. I was still to think about what new elements I so he could help undergraduate students doing my best to keep the momentum could bring to my story and my history make their own panels for painting. At of showing my artwork, because that and create my own designs and stories. the time, he did not know that much was also helping us keep afloat. As the Nothing stays the same; someone creates about power tools but soon learned how academic year came to an end, I was something new at some point; beads were to use them. What he discovered from grateful to have the experience teaching once new.” this experience reinforced the notion at Bacone and fortunate enough to be The artist continues: “I began to that art-making doesn’t just happen in mentored by Tony Tiger.” experiment with forms, shapes, and the studio; it happens with the conversa- “I wanted to continue teaching but patterns, and create what I call constructed tions and experiences an artist has with needed to work closer to home again so I paintings. I would move a pattern in a others, in the different ideas that are could be with my family. Spring of 2013, I new way, take it apart or separate it by shared, in listening to personal stories, got an adjunct position at the University creating a small diamond in the middle or and in helping others learn. When his of Central Oklahoma, which is closer to expand the outer edges of the frame [such mentor left OU after Elizondo’s second Oklahoma City. The art history director as in the painting, Transcendent II]. I was year of graduate school, School of Art asked me to teach a Native American art focused on personal identity themes as a Director Dr. Mary Jo Watson (Seminole) history class. There was also a Comanche Native American, [and] as an individual asked him to teach two painting classes Nation college down in Lawton, and they continuing on this creative path, [I was] during his final year of study. That asked me if I would teach American 1. All quotes from Michael Elizondo Jr. from discussion with the author, January 12, 2021. NO. 30, SPRING 2021 | 27 DIRECTORS OF BACONE COLLEGE SCHOOL OF INDIAN ART Compiled by Frances Donelson (Cherokee Nation) and America Meredith (Cherokee Nation) Several people served as interim directors of the art school during the 1940s and mid- 1980s. • 1932–1935: Mary Stone McLendon (Chickasaw, 1896–1967) founded the art lodge and taught art courses • 1935: Bacone School of Indian Art officially opened • 1935–1938: Acee Blue Eagle (Muscogee, 1907–1959) • 1938–1941: Woody Crumbo (Citizen Potawatomi, 1912–1989) • 1947–1970: Dick West (Southern Cheyenne, 1912–1996) • 1970–1975: Terry Saul (Choctaw/ Chickasaw, 1921–1976) • 1975–1979: Gary Colbert (Muscogee) 400 Cheyenne speakers total in Oklahoma,2 and only 15 to 20 • 1979–1985, 1987–2010: Ruthe Blalock fluent first-language speakers, mostly elders. Elizondo knew Jones (Shawnee/Delaware/Peoria) how crucial learning Cheyenne was for his community and • 2010–2015: Tony Tiger (Muscogee/Sac & his family. He finished up his teaching assignments that fall Fox/Seminole) and began the language immersion program in January 2017. • 2018–2020: Gerald Cournoyer Sr. Everything art-related stopped: the exhibitions, teaching, (Oglala Lakota) and workshops. After he got more comfortable speaking the language, he could better balance his art practice with his • 2020–Present: Michael Elizondo Jr. language immersion experience. (Cheyenne/Kaw/Chumash) Elizondo spoke with his grandmother in Cheyenne; she told him stories about what it was like for her growing up, how Cheyenne was frequently spoken in the house, and how the Indian Art as Film and another art history class.” customs, dances, and songs sung in Cheyenne have evolved In 2016, the Cheyenne and Arapaho Tribes invited during her lifetime and that some of them are now gone. She Elizondo to work with the language department on a three-year told him a story about going into town with her grandmother, master apprenticeship grant, to develop a Cheyenne language an all-day event because she did not have a car and did not immersion program. His grandmother loved to talk in speak English. They rode to town using a horse and a wagon. Cheyenne, and she frequently told him how important it was He thought about his youngest daughter after hearing that story, to know the language. It was a challenging decision for him and all the changes that have happened in his lifetime, and all because he had an established routine with his art practice— of the changes that have happened just in 2020. He told me that showing his artwork and teaching, and he was already regularly he could never have imagined the circumstances our society is attending language classes offered by the community.
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