DOCSLIB.ORG

Native World Native World

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Native World Native World painting the Life, Land, NATIVENATIVE WORLDWORLD and Animals VALERIE K. VERZUH T ANTONIO R. CHAVARRIA NativeWorld.Prosp.final.indd 1 3/5/09 3:44 PM Calvin Tyndall, Omaha | Omaha Buffalo Hunt, 1934 | Tempera on board | Gift of Dorothy Dunn 2 T PAINTING THE NATIVE WORLD NativeWorld.Prosp.final.indd 2 3/5/09 3:44 PM visual narrativesAmerican Indian Fine Art of the Twentieth Century VALERIE K. VERZUH he twentieth-century Native American “art” scarcely existed in Indian culture. A few forms of Fine Art movement represents a uniquely precontact Native American creative processes might American genre within the canon of art have loosely fit the Anglo definition of that term. These history. Also referred to as the Modern Indian Art move- include symbolic pictographs painted on rock surfaces ment or the Easel Painting Tradition, it professionalized throughout the Southwest, Pueblo wall murals painted the work of Indian artists who produced paintings and in both religious and secular structures, the spiritual drawings strictly as art, with no additional utilitarian and ephemeral sand paintings of the Navajo, and the or ceremonial function, using media familiar in the buffalo hide paintings made by the Plains tribes to non-Indian art world but not traditional in Native record important events. But more commonly, Native American culture—typically pencil, ink, watercolor, Americans traditionally created what Anglos would or casein on paper. term “crafts”—beautiful painted pottery, artfully woven Prior to its postulation by Anglo American anthro- baskets, and other cultural artifacts employing a vari- pologists, art historians, and artists, the concept of ety of materials, techniques, and styles. In the Indian VISUAL NARRATIVES T 3 NativeWorld.Prosp.final.indd 3 3/5/09 3:44 PM Pablita Velarde, Santa Clara | Santa Clara Corn Dance, 1940 | Gouache on board | Bequest of Dorothy Dunn DOROTHY DUNN COLLECTION, MUSEUM OF INDIAN ARTS & CULTURE / LABORATORY OF ANTHROPOLOGY SANTA FE DEPARTMENT OF CULTURAL AFFAIRS, MUSEUM OF NEW MEXICO 4 T PAINTING THE NATIVE WORLD NativeWorld.Prosp.final.indd 4 3/5/09 3:44 PM Joe Hilario Herrera, Cochiti Men’s Arrow Dance, 1938 Tempera on paper Gift of Dorothy Dunn CEREMONIAL LIFE T 5 NativeWorld.Prosp.final.indd 5 3/5/09 3:44 PM Harrison Begay, Navajo Untitled, c. 1990 Gouache on wove paper 6 T PAINTING THE NATIVE WORLD NativeWorld.Prosp.final.indd 6 3/5/09 3:44 PM Jose Ray Toledo, Jemez | Navajo Woman Rider, c. 1942 | Gouache on illustration board | Gift of Florence M. Schroeder ANIMALS T 7 NativeWorld.Prosp.final.indd 7 3/5/09 3:44 PM PAINTING the NATIVE WORLD Life, Land, and Animals THE MUSEUM OF INDIAN ARTS AND CULTURE, one of four museums in the Museum of New Mexico n the early twentieth century, Native American artists began ex- system, is a premier repository of Native art and material ploring artistic practices outside their utilitarian and ceremonial culture. It tells the stories of the people of the Southwest crafts. Having been recently introduced to Anglo American media—pencil, from prehistory through contemporary art. ink, and watercolor—Native artists gravitated to the expressive qual- ity of painting and drawing. The Native American Fine Art movement 80 pages, 9 x 8 inches Smyth-sewn casebound, with jacket emerged, characterized by flattened compositions, bold outlines, and a More than 55 full-color reproductions narrative style similar to that found in traditional Indian pottery. From Text by Valerie K. Verzuh and Antonio R. Chavarria scenes of everyday life to depictions of nature, the works created by these © 2009 Museum of New Mexico artists became a valuable tool for the preservation of Native American $ 24.95 US ($ 31.95 Canada) traditions and philosophies. ISBN 978-0-7649-5100-8 Catalog No. A176 A major force in shaping the Native American Fine Art movement Available September 2009 was The Studio at the Santa Fe Indian School, established in 1932 by Printed in China noted educator Dorothy Dunn. While most Indian schools of the time Unless otherwise noted, all images courtesy Museum suppressed indigenous cultural practices—supposedly to foster assimila- of Indian Arts & Culture / Laboratory of Anthropology tion of the students into white America—Dunn’s teaching philosophy ran Santa Fe Department of Cultural Affairs, Museum of New Mexico © Museum of New Mexico the opposite way. She abandoned European models and, despite resis- FRONT COVER: tance from the educational establishment, encouraged her art students Juan B. Medina, Zia, Zia Birds on a Tree, 1935 (left) to embrace “traditional modernism”—a synthesis of ancient American Geronima Cruz Montoya, San Juan, Pueblo Crafts, Indian and contemporaneous forms. With a renewed cultural pride, many 1937, detail (upper right) Narciso Abeyta, Navajo, Boys Riding Among the Yucca, of Dunn’s students went on to become renowned artists who worked in c. 1933–1934 (lower right) the “Studio Style.” Featuring more than fifty works from the Museum of Indian Arts and Culture, Santa Fe, Painting the Native Pomegranate Communications, Inc. World: Life, Land, and Animals showcases the graceful, Box 808022, Petaluma, CA 94975 800 227 1428 / 707 782 9000 innovative work from this exceptional period in Native www.pomegranate.com American art. Valerie K. Verzuh explores the develop- Pomegranate Europe Ltd. ment of the Native American Fine Art movement, while Unit 1, Heathcote Business Centre Antonio R. Chavarria provides an overview of the main Hurlbutt Road Warwick, Warwickshire CV34 6TD, UK themes found in these works—ceremonial life, daily [+44] 0 1926 430111 life, and animals. [email protected] NativeWorld.Prosp.final.indd 8 3/5/09 3:44 PM.
Load more

Recommended publications
  • Download Curriculum Unit
    NIZHÓNÍGO NA’ACH’AAH BAHANE’ 20th Century and Contemporary Native Art Nizhónígo Na’ach’aah bahane’ Comparing and Contrasting the Art and Literature of Two Diné artists Tiffany L. Tracy Diné Institute for Navajo Nation Educators (DINÉ) 2019 Author Note: Tiffany L. Tracy, DINÉ Institute Fellow, is a 2nd grade teacher at Ganado Primary School within the Ganado Unified School District which is located in Ganado, Arizona on the Diné Nation. Acknowledgements must be given to the teachers from all over the Diné Institute who supported one another with sharing of cultural and topical knowledge. To Dr. Jennifer McLerran for providing rich knowledge about Contemporary Native American Art and uninterrupted ally-ship to Native Arts and artisans. To Dr. Angelina Castagno for devoting time to get the Institute off the ground. To Jolene Smith for including me on her journey of growth as an educator and continuing the work of the late Marilyn Dempsey. Lastly to my students, the community, my family, and to our elders and ancestors who made our presence possible with the power of their prayers. Correspondence in regard to this curriculum unit can be addressed to Tiffany L. Tracy, P.O. Box 2851, Fort Defiance, AZ, 86504. Email contact: [email protected]. NIZHÓNÍGO NA’ACH’AAH BAHANE’ Tiffany Tracy Nizhónígo Na’ach’aah bahane’: Comparing and Contrasting the Art and Literature of Two Diné Artists Tiffany Tracy Introduction This is my second unit for the Diné Institute for Navajo Nation Educators, and my third unit overall through the Yale National Initiative’s model of curricular development for students in diverse classrooms.
    [Show full text]
  • Journal of Museum Studies, Volume 8, Number 1 Journal of Museum Studies
    THE UNIVERSITY OF OKLAHOMA COLLEGE OF LIBERAL STUDIES CLS Journal of Museum Studies, Volume 8, Number 1 Journal of Museum Studies e-Journal of the Museum Studies Program VOL 8 | NO 1 | DEC 2014 Foreword The Breadth of Natural History Research by Michael A. Mares Talking God and Father Peyote: Preliminary Quantification of Curator Religious Pluralism and Contemporary Diné Success in Life Science Natural History (Navajo) Art Collections by Daniel C. Swan and Dakota H. Stevens by Jessa L. Watters and Cameron D. Siler Edited by Michael A. Mares CLS Journal of Museum Studies, Volume 8, Number 1 CLS Journal of Museum Studies, Volume 8 Number 1 (Dec. 2014) http://jms.ou.edu CLS Journal of Museum Studies is currently published online by the College of Liberal Studies, MALS Museum Studies Program, the University of Oklahoma. Your use of the CLS Journal of Museum Studies archives indicates your acceptance of the Terms and Conditions of Use, available at http://jms.ou.edu. Museum professionals, students, and other readers are encouraged to distribute the articles published in this journal as widely as possible, to use them in classes, and to reprint them as needed. For commercial use of any of these articles Cover Photograph: Mother Earth, Father Sky and the Yeis (e.g., charging for articles, republishing figures, tables, text, etc.), Dancers, 2006. Jackie Black, Diné (Navajo), Red Valley, New permission must be obtained from the Editor. All questions Mexico. Acrylic on canvas. Sam Noble Museum. relating to the journal should be directed to the Editor. Journal Editor Publisher contact information available at http://jms.ou.edu.
    [Show full text]
  • The Native American Fine Art Movement: a Resource Guide by Margaret Archuleta Michelle Meyers Susan Shaffer Nahmias Jo Ann Woodsum Jonathan Yorba
    2301 North Central Avenue, Phoenix, Arizona 85004-1323 www.heard.org The Native American Fine Art Movement: A Resource Guide By Margaret Archuleta Michelle Meyers Susan Shaffer Nahmias Jo Ann Woodsum Jonathan Yorba HEARD MUSEUM PHOENIX, ARIZONA ©1994 Development of this resource guide was funded by the Nathan Cummings Foundation. This resource guide focuses on painting and sculpture produced by Native Americans in the continental United States since 1900. The emphasis on artists from the Southwest and Oklahoma is an indication of the importance of those regions to the on-going development of Native American art in this century and the reality of academic study. TABLE OF CONTENTS ● Acknowledgements and Credits ● A Note to Educators ● Introduction ● Chapter One: Early Narrative Genre Painting ● Chapter Two: San Ildefonso Watercolor Movement ● Chapter Three: Painting in the Southwest: "The Studio" ● Chapter Four: Native American Art in Oklahoma: The Kiowa and Bacone Artists ● Chapter Five: Five Civilized Tribes ● Chapter Six: Recent Narrative Genre Painting ● Chapter Seven: New Indian Painting ● Chapter Eight: Recent Native American Art ● Conclusion ● Native American History Timeline ● Key Points ● Review and Study Questions ● Discussion Questions and Activities ● Glossary of Art History Terms ● Annotated Suggested Reading ● Illustrations ● Looking at the Artworks: Points to Highlight or Recall Acknowledgements and Credits Authors: Margaret Archuleta Michelle Meyers Susan Shaffer Nahmias Jo Ann Woodsum Jonathan Yorba Special thanks to: Ann Marshall, Director of Research Lisa MacCollum, Exhibits and Graphics Coordinator Angelina Holmes, Curatorial Administrative Assistant Tatiana Slock, Intern Carrie Heinonen, Research Associate Funding for development provided by the Nathan Cummings Foundation. Copyright Notice All artworks reproduced with permission.
    [Show full text]
  • Interactive Model of Santa Fe Indian School Campus for Community Planning and Education
    Interactive Model of Santa Fe Indian School Campus for Community Planning and Education An Interactive Qualifying Project Submitted to the Faculty of Worcester Polytechnic Institute In Partial Fulfillment of the Requirements for the Degree of Bachelor of Science Submitted by: Mikayla Filippone Zachary Rahl Joseluis Velez Eric Zandrow Project Advisors: Sponsoring Agency: On Site Liaisons: Fabio Carrera Santa Fe Indian School Kimball Sekaquaptewa Scott Barton Matt Pecos Website: https://sites.google.com/site/sf2015sfis Email: [email protected] [email protected] This report represents the work of WPI undergraduate students submitted to the faculty as evidence of completion of a degree requirement. WPI routinely publishes these reports on its website without editorial or peer review. For more information about the projects program at WPI, please see http://www.wpi.edu/academics/ugradstudies/project-learning.html Abstract The Santa Fe Indian School is looking for new means to remember the past and imagine the future. We developed a framework for a 3D model and digital archive for the past campus of SFIS and a 3D model for planning purposes. We recommend giving the students the opportunity to further their education in technologies and methods used to continue these projects. 1 Executive Summary With plans for expansion after consequences due to demolition of the old campus, the Santa Fe Indian School (SFIS) has plans for expanding education within the curriculum for the purpose of developing ways of presenting future plans to the community. In addition, information regarding the old campus was not collected, and later lost with the demolition. SFIS needs a system of gathering information for this issue to not occur in the future.
    [Show full text]
  • The Szwedzicki Portfolios: Native American Fine Art and American Visual Culture 1917-1952
    1 The Szwedzicki Portfolios: Native American Fine Art and American Visual Culture 1917-1952 Janet Catherine Berlo October 2008 2 Table of Contents Introduction . 3 Native American Painting as Modern Art The Publisher: l’Edition d’Art C. Szwedzicki . 25 Kiowa Indian Art, 1929 . .27 The Author The Subject Matter and the Artists The Pochoir Technique Pueblo Indian Painting, 1932 . 40 The Author The Subject Matter and the Artists Pueblo Indian Pottery, 1933-36 . 50 The Author The Subject Matter Sioux Indian Painting, 1938 . .59 The Subject Matter and the Artists American Indian Painters, 1950 . 66 The Subject Matter and the Artists North American Indian Costumes, 1952 . 81 The Artist: Oscar Howe The Subject Matter Collaboration, Patronage, Mentorship and Entrepreneurship . 90 Conclusion: Native American Art after 1952 . 99 Acknowledgements . 104 About the Author . 104 3 Introduction In 1929, a small French art press previously unknown to audiences in the United States published a portfolio of thirty plates entitled Kiowa Indian Art. This was the most elegant and meticulous publication on American Indian art ever offered for sale. Its publication came at a time when American Indian art of the West and Southwest was prominent in the public imagination. Of particular interest to the art world in that decade were the new watercolors being made by Kiowa and Pueblo artists; a place was being made for their display within the realm of the American “fine arts” traditions in museums and art galleries all over the country. Kiowa Indian Art and the five successive portfolios published by l’Edition d’Art C.
    [Show full text]
  • Book Review: Native American Picture Books of Change: the Art Of
    Volume 43 Number 2 2004 11/4/10 7:05 PM Page 46 BOOK REVIEW Native American Picture Books of Change: The Art of Historic Children’s Editions, by Rebecca C. Benes with a foreword by Gloria Emerson. Santa Fe: Museum of New Mexico Press, 2004. Ilus., notes, biblio., index, 168 pages. ISBN0-89013-471-5, $45.00. Almost as soon as Elizabeth Willis De Huff, wife of the newly-appointed superintendent of the Santa Fe Indian School, John De Huff, arrived in 1918, she began to involve herself in the education of the children. Here she found military discipline; English only; a substandard educational system, devoid of the arts; and teaching material that was totally irrelevant to the lives of the Native children. By encouraging the students to share their folklore and songs, she collected some 50 tales, which she compiled into a reader-sized book. For an illustrator, she turned to a talented student, 18-year-old Fred Kabotie. Harcourt-Brace published the book, Tatay’s Tales, in 1922, and nominated it for the American Library Association’s Newberry Award, that honored the most distinguished contribution to American literature for children in 1923. It lost by one vote—to Hugh Lofting’s Voyages of Dr. Doolittle! Thus began four decades of publishing, whereby Anglo writers, teachers, and folklorists, desperate for books and materials that related to the Indian students’ cultural traditions, collaborated to produce English and bilingual books that also featured some soon-to-be leading Native artists of the 20th century, including Allan Houser, Oscar Howe, Gerald Nailor, Quincy Tahoma, Andrew Tsinajinnie, Hoke Denetsosie, and Andrew Standing Soldier.
    [Show full text]
  • Doctoral Dissertation Template
    UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE REPRESENTATION AND MISREPRESENTATION: DEPICTIONS OF NATIVE AMERICANS IN OKLAHOMA POST OFFICE MURALS A DISSERTATION SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of DOCTOR OF PHILOSOPHY By DENISE NEIL-BINION Norman, Oklahoma 2017 REPRESENTATION AND MISREPRESENTATION: DEPICTIONS OF NATIVE AMERICANS IN OKLAHOMA POST OFFICE MURALS A DISSERTATION APPROVED FOR THE SCHOOL OF VISUAL ARTS BY ______________________________ Dr. Mary Jo Watson, Chair ______________________________ Dr. W. Jackson Rushing III ______________________________ Mr. B. Byron Price ______________________________ Dr. Alison Fields ______________________________ Dr. Daniel Swan © Copyright by DENISE NEIL-BINION 2017 All Rights Reserved. For the many people who instilled in me a thirst for knowledge. Acknowledgements I wish to extend my sincerest appreciation to my dissertation committee; I am grateful for the guidance, support, and mentorship that you have provided me throughout this process. Dr. Mary Jo Watson, thanks for being a mentor and a friend. I also must thank Thomas Lera, National Postal Museum (retired) and RoseMaria Estevez of the National Museum of the American Indian. The bulk of my inspiration and research developed from working with them on the Indians at the Post Office online exhibition. I am also grateful to the Smithsonian Office of Fellowships and Internships for their financial support of this endeavor. To my friends and colleagues at the University of Oklahoma, your friendship and support are truly appreciated. Tammi Hanawalt, heather ahtone, and America Meredith thank you for your encouragement, advice, and most of all your friendship. To the 99s Museum of Women Pilots, thanks for allowing me so much flexibility while I balanced work, school, and life.
    [Show full text]
  • Development of Native American Culture and Art--Part 3. to Promote
    A \ DOCUMENT RESUME- 'ED 210 140 - RC C13 042 TITLE Development of Nativemeritan Culture and.)irt--Part 3. To Promote the DOelopment of Native American AO' Culture and Art. Hearing Before the Select. Committee on Indiin Affairs, United States Senate, Nin,ety-Seventh Congress, First Session on S.'.192. INSTITUTION Congress,of the U.S., Washington.FD.C. ,Senate Select Committee on Ihdian Affairs. PUB DATE 29 Jul 81- , NOTE .-67p.; Not available in paper copy due tc small print size. FOPS PRICE MFO Plus Postage. PC Not Available from EDFS. DESCRIPTORS *American Indian Culture: *American Indian Education; - American Indians: Art; Art Education; *Facility 1 - ,Planning; *Federal Indian Relationship: Hawaiians; Hearings; Institutes (Training Programs); Regional Schools: Religious Factors: SecOndary Education; *Self Deteraicaation; Tribes IDENTIF/7PS Congress 97 h`; *Cultdral Preservation; *Institute of Americar Indian Arts NM; New Mexico -ABSTRACT The Select Committee on Indian Affairs met Jalir29. 1981 tihear testimony concerning S. 792, a bill to provide fo1 the establishment of a national institute topreserve, revitalize., and disseainate Indian art and culture. Bill Sr 792 was endcrsed by . senators fro Oregon and Hawaii and, with certain reservaticns, by representatives of eight Indian Tribes, Pueblos, and Associations. Indian representatives wanted T.Ddian control on the Institute'sBoard of Trustees to insure sensitiviay to Indian religious and cultural concerns for pgacy dirfttion, the exhibition of Indian arts and crafts, and coipliance with the American Indian Religicus Freedom Act. There -was support for the conclpt of developing regional institutions rather than a national institute.. The Department ofthe Interior's 'Bureau of Indian Affairs opposed the enactment of S.
    [Show full text]
  • Current Inventory
    Pablita Velarde Current Inventory Pablita Velarde - 1918 - 2006 Born at Santa Clara Pueblo in 1918, Pablita Velarde was the first female student at the Santa Fe Indian School under Dorothy Dunn in 1933. Class- mates included: Allan Houser, Karl Gorman, Fred Kabotie, Narcisco Abeyta “Ha So-Deh”, Ben Quintana, Harrison Begay, Joe H. Herrera, Quincy Tahoma, Andy Tsihnajinnie, Eva Mirabel, Tonita Lujan, Pop-Chalee, Oscar Howe, and Geronima Cruz Montoya. Many of these became iconic Native Pablita Velarde artists, but it was Alan Houser and Pablita Velarde that made the most impact on the art world over their long careers. As a 14 year old, Velarde “Pueblo Birds” painted a mural for the Chicago Worlds Fair in 1934. She was the W.P.A. artist in residence during the construction of Bandelier National Monu- 24” X 20” Pablita Velarde ment from 1938 to 1945. Winning almost every Native art award – many times over, she has had a place in almost every major Native museum earth pigment c.1960 “Santo Domingo Bird” show and collection in America. In 1953, she was the first woman to receive the Grand Purchase Award at the Philbrook Museum of Art’s Annual -Ex $19,500 hibition of Contemporary Indian Painting. In 1954 the French government honored her with the Palmes Académiques for excellence in art. In 1959 24” X 12” she became the first Pueblo woman published, with her book “Old Father The Story Teller”. Widely recognized by collectors and museums alike as earth pigment c.1952 the most significant Native female painter, she painted up to her death in 2006.
    [Show full text]
  • A Voyage with Helen Hardin, Southwest Artist. Kate T
    Hardin 1 A Transcendent journey through the motherline: A voyage with Helen Hardin, southwest artist. Kate T. Donohue, Ph.D., REAT* *Kate T. Donohue is an Expressive Arts Therapy core faculty member at the California Institute of Integral Studies, 1453 Mission Street, San Francisco, CA. 94103 and is in a Jungian oriented private practice In San Francisco. “The artist appeals to that part of our being…which is a gift and not an acquisition and therefore is more permanently enduring” (Joseph Conrad in Hyde, 1979, p. XI). Introduction The artist gives us a gift of her personal images, which can be a bridge to our own personal experience and a portal to archetypal symbols. Ten years ago, I had an extraordinary experience of discovering the artistic work of the Southwest artist Helen Hardin. At that moment, little did I know that her work and her life story would open me to my own experience in a fuller, and deeper way, but would also help many other women with whom I have worked discover their own richly layered and complex Motherline stories. My first glimpse of Helen Hardin’s creative process was through her image Visions of Heavenly Flight (see Figure1) which I had discovered serendipitously at the Institute of American Indian Art in Santa Fe, New Mexico. I could not stop looking at this piece and would come back to it several times in that afternoon. What was my attraction? I had always Hardin 2 loved the Hopi and Pueblo myth of the eagle as the sacred guardian of the sky, the one who has direct access to the sun Kachina, universal harmony, and the creator.
    [Show full text]
  • Santa Fe Indian School
    SANTA FE INDIAN SCHOOL Office of the Superintendent 1501 Cerrillos Road Post Office Box 5340 Santa Fe, New Mexico 87502 Phone: (505) 989-6318 February 11, 2021 United States Department of Commerce National Telecommunications and Information Administration 1401 Constitution Avenue, N.W. Washington, D.C. 20230 Re: Request for Tribal Input on Tribal Broadband Connectivity Grant Program Dear National Telecommunications and Information Administration, The announcement of a $1B broadband infrastructure for Tribes is a historic opportunity for Tribes to build out high-speed Internet Access and be our own solution to the digital divide. Now more than ever, and as demonstrated by the fact that over 90% of eligible Tribal lands were claimed as part of the 2.5Ghz Tribal Priority Window, Tribes are ready and anxious to assert Tribal self-determination in the telecommunication space. COVID-19 has revealed the fault lines of the digital divide in Indian Country, especially on rural Tribal lands. In fact, the lack of broadband connectivity is less of a divide and more of a digital chasm as the penalties for being unserved are steep. Personal, family, and community health and safety are compromised and opportunities, such as access to a high-quality education, are fewer compared to more affluent and connected populations. Santa Fe Indian School (SFIS) SFIS is owned and operated by the 19 Pueblos of New Mexico, serving over 700 students from the Pueblos, Navajo, and Apache Tribes of New Mexico as an off-reservation boarding school in Santa Fe, NM. In response to concerns about student safety and the safety of the communities from which they come, we have been operating in a 100% distance learning model since March 2020.
    [Show full text]
  • Hazel Pete, the Indian New Deal, and the Indian Arts and Crafts Program at Santa Fe Indian School, 1932–1935
    New Mexico Historical Review Volume 78 Number 4 Article 4 10-1-2003 Art Crafted in the Red Man's Image: Hazel Pete, The Indian New Deal, and the Indian Arts and Crafts Program at Santa Fe Indian School, 1932–1935 Cary C. Collins Follow this and additional works at: https://digitalrepository.unm.edu/nmhr Recommended Citation Collins, Cary C.. "Art Crafted in the Red Man's Image: Hazel Pete, The Indian New Deal, and the Indian Arts and Crafts Program at Santa Fe Indian School, 1932–1935." New Mexico Historical Review 78, 4 (2003). https://digitalrepository.unm.edu/nmhr/vol78/iss4/4 This Article is brought to you for free and open access by UNM Digital Repository. It has been accepted for inclusion in New Mexico Historical Review by an authorized editor of UNM Digital Repository. For more information, please contact [email protected]. Art Crafted in the Red Man's Image HAZEL PETE, THE INDIAN NEW DEAL, AND THE INDIAN ARTS AND CRAFTS PROGRAM AT SANTA FE INDIAN SCHOOL, 1932- 1935 Cary C. Collins ) I really didn't know much about Indians when I left the Northwest. We weren't allowed to be Indians. I couldn't talk my language, didn't know any Indian songs, never heard a drum. I didn't know that we were the ones that did the carvings and made the big baskets of cedar root. I didn't know I was supposed to be proud of that. I fOllnd out! This was a new deal. l n October 1932 eighteen-year-old Hazel Pete stood in the twilight out­ I side the deserted railroad depot in Lamy, New Mexico, eighteen miles south ofSanta Fe.
    [Show full text]