the world's leading american indian arts alliance - Indian Arts and ...

THE WORLD’S LEADING AMERICAN INDIAN ARTS ALLIANCE

VOL. 2 ISSUE 4 • WINTER 2014

$5 US

314 N River St., Dundee, IL 7033 E. Main St., 102, Scottsdale, AZ 866-426-6901 rivertradingpost.com

Broadface by Augustine Mowa III

WELCOME

From the great Northwest to the Florida peninsula, the art of America’s indigenous people is as varied as the climate from region to region. Indeed, American Indian art is as varied as the colorful tapestry of the many and diverse cultures of the original people. During 2014, the IACA Journal will focus on the beauty and diversity of American Indian Art that is created throughout North America. In the Winter 2014 issue, we will take a look at the spectacular art of the Northwest Coast. Enjoy!

IACA Board of Directors Joe Zeller, President Retail Representative River Trading Post East Dundee, Il. Kent Morrow, Vice President Wholesale Representative Shiprock Trading Post Farmington, NM Dee Dowers, Secretary Collector Representative Scottsdale, AZ Kathi Ouellet, Treasurer Retail Representative River Trading Post Scottsdale, AZ

Beth Hale, Membership Collector Representative Albuquerque, NM Dave Eversmann Collector Representative Albuquerque, NM Georgia Fischel Retail Representative Dragonfly Jewelry Warrenton, VA Jacque Foutz Wholesale Representative Monsterslayer, Inc. Kirtland, NM

Cliff Fragua Artist Representative Jemez Pueblo, NM Barbara Gonzalez Artist Representative Santa Fe, NM Pam Lujan-Hauer Artist Representative Albuquerque, NM Earl Plummer Artist Representative Thoreau, NM Martin Seidel Wholesale Representative Golden Fleece Trading Company Albuquerque, NM

IACA-EF Board of Directors Pam Lujan, President Taos Pueblo Albuquerque, NM

Kathi Ouellet, Treasurer River Trading Post Scottsdale, AZ

Joe Zeller River Trading Post East Dundee, IL

Cliff Fragua, Vice President Jemez Pueblo Jemez, NM

Beth Hale, Membership Albuquerque, NM

Dave Eversmann Albuquerque, NM

Dee Dowers, Secretary Scottsdale, AZ

Michael McNair Albuquerque, NM

2013 Artist of the Year JT Willie, Dine The Artist of the Year Program is sponsored by Native Peoples Magazine and produced and underwritten by the IACA Education Fund. Artists must be IACA Members to be eligible for this prestigious award. The 2014 Artist of the Year winner will be announced at the IACA Spring Market, April 25 & 26, 2014, at the Hotel Albuquerque, Albuquerque, NM. For more information about the 2014 Spring Market, see the outside back cover or visit www.iaca.com www.iaca.com | (505) 265-9149

1

IACA PRESIDENT’S MESSAGE

»

«

The Beat Goes On With A Board of Directors In Transition With the beginning of a new year, it is time to say good-bye to some retiring IACA Board Members and to welcome in new ones. Pahponee, Ron Mitchell and Michael McNair retired from their Board responsibilities at the end of 2013. Each of these individuals contributed hugely in transitioning IACA to an entirely volunteer organization. These highly talented and dedicated people deserve our gratitude for serving and contributing as they did so well.

Joe Zeller, IACA President

IACA Mission Statement To promote, preserve and protect authentic American Indian arts and crafts

»

At the same time, we are happy to welcome new IACA Board Members to new two year terms on your board. They include Dee Dowers, Beth Hale, and Dave Eversmann, all collector members; Jacque Foutz, wholesale member (Jacque has previously served on your Board of Directors); Martin Seidel, wholesale member; Georgia Fischel, retail member; and Barbara Gonzalez and Earl Plummer, artist members. During 2014 your IACA Board of Directors is as diverse as ever with strong talent representing every sector of the World’s Leading American Indian Arts Alliance. We say goodbye and thank you to old friends retiring, and a hearty welcome to our new team of directors. —Joe Zeller, IACA President

IACA EDUCATION FUND PRESIDENT’S MESSAGE

«

Pam Lujan-Hauer Accepts New Challenge as President My name is Pam Lujan-Hauer and I am pleased to begin my tenure as the new IACA-Education Fund President. I am a native of Taos Pueblo, New Mexico, and a traditional and contemporary potter. I am an alumna of the Institute of American Indian Arts and have been a member of IACA since 2008. This will be a learning experience for me, as well as a challenge, which I am honored to take up on behalf of our organization. In the coming year we will continue to educate and inform, and encourage the ongoing positive impact IACA-EF has in the Native Arts world. I would like to thank everyone for their continued support of IACA-EF. Your contributions are vital to our organization. Ta-a —Pam Lujan-Hauer Pam Lujan-Hauer Taos Pueblo IACA-EF President New donations have been recently added to the Permanent Collection at the Millicent Rogers Museum, including this Altar Screen by Catherine Robles-Shaw. This is the first altar screen in the museum collection by an acknowledged master santera. See the Museum Profile on page 6.

2

IACA Journal | Winter 2014

IACA-Education Fund Mission Statement To build cultural preservation and appreciation for the arts of indigenous peoples of North America through education

TABLE OF CONTENTS Volume 2, Issue 4 • Winter 2014 Welcome . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 Presidents’ Messages . . . . . . . . . . . . . . . . . . . . . . . 2 IACA Recognizes Native Arts from the Arctic Regions of Our Continent. . . . . . . . . . . . . 4

MADE IN CANADA

MADE IN CANADA

Moccasins Genuine handcraft made by Native Huron-Wendat

***wholesale only***

Millicent Rogers: The Name Behind the Museum. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 The Totem Pole Art of Tommy Josephs: Modern Themes and Traditional Carving Methods Keep Cultural Identity Alive in Alaska . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Cover: Totem in Stanley Park, Vancouver BC. Photo by Dee Dowers

IACA JOURNAL Publisher Editor in Chief Managing Editor Art Direction Copy Editors Ad Production Journal Committee Advertising Sales Contributing Photographer

IACA Education Fund Pam Lujan-Hauer Joe Zeller Yvonne Swartz Kathi Ouellet Dee Dowers, Beth Hale Brian Lush Dee Dowers, Brian Lush, Beth Hale Kathi Ouellet, David Eversmann Pam Lujan-Hauer, Joe Zeller Brian Lush David Eversmann, Dee Dowers

1 800 463-6874 Toll free [email protected] www.bastienindustries.ca

What would you like to see in the next Journal? The staff at the IACA Journal is looking for ideas and editorial submissions from readers.

IACA EDUCATION FUND 4010 Carlisle Blvd. NE, Suite C Albuquerque, NM 87107 505.265.9149 505.265.8251 fax www.iaca.com www.iaca-educationfund.org We do our best to check all copy and images. If we have made an error or omission, please accept our apology and contact the office to let us know. All rights are reserved. Articles may be reprinted for educational non-commercial purposes with permission.

Our Spring 2014 issue will focus on the Southeast Region of the U.S. We are primarily seeking articles and photographs on regional American Indian arts and culture, Museum Profiles, Gallery Profiles, and Retail Profiles. For more information or to submit material for consideration, contact: Pam Lujan-Hauer Editor in Chief

[email protected] 505-265-9149 www.iaca.com | (505) 265-9149

3

IACA Recognizes Native Arts

from the arctic regions of our continent

By David Shultz

the name of James Houston. Houston’s work led to an extended effort by the Canadian government to promote Inuit art, an effort which has continued until current times. Promotion and distribution of Alaskan and Canadian indigenous arts have taken significantly different directions in the last 60-plus years. The Canadian government, in an attempt to provide a means of livelihood for the Inuit of remote regions, started a co-operative system in the late 1950’s. The co-ops are owned by local residents, but they benefit from continued support from the Canadian government and facilitate marketing and distribution of art to dealers who are unable to travel to the far north.

Fish/Bird Transformation by Toonoo Sharky, RCA - Inuit artist from Cape Dorset, Nunavut Canada, carved from Baffin Island serpentine with inlaid eyes.

In contrast, support from the U.S. government has been scant and inconsistent. The U.S. Department of the Interior has promoted genuine “Eskimo” art with authentication stickers in past years;

IACA has traditionally focused on Native American arts from the lower 48 states but it is important that we also recognize Native arts from the Arctic regions of our continent, including Alaska and Canada. It was art from this region that first caught my attention when I was a teenager on a family trip and has stayed with me for almost half a century. Exquisite objects dating back several thousand years have been excavated in the Arctic regions. While the primary medium was ivory, some antler and wood pieces have survived as well. Most of the work took the form of faces, dolls, playing pieces, shamanic amulets, and utilitarian pieces. My belief is that there are continuous threads that connect contemporary artists with the cultures of the distant past, though this is not a universally held belief. Interestingly, there is no word that translates directly to art in the language of most Arctic cultures. In the language of Inuktituk, from Northern Canada, the word that is commonly used to refer to art translates most closely to “something that is made well”. In an unforgiving climate where any resource is precious, the emphasis is naturally placed on things that are useful and work well. If they also look pleasant, they may be more highly treasured, but the first priority is that they perform a useful function. Once European traders arrived in the Arctic regions in the late 19th and early 20th centuries, indigenous people realized they could sell their artwork in order to purchase food and supplies to aid in their survival. In Alaska, commercially made items date back to the last decades of the 19th century. In Canada, commercial sale of artwork began in earnest in the late 1940’s, in large part based on the efforts of a young artist by 4


Caribou Man transformation by David Ruben Piqtoukun, Inuit artist from Paulatuk, Northwest Territories, Canada. Carved from Brazilian soapstone with inlaid eyes and caribou antler.

the state of Alaska promotes its “Silver Hand” program as a way of guaranteeing the authenticity of art by members of Alaska Native tribes. The program also offers training and educational opportunities for artists across the state. Prominently missing, though, is a centralized distribution system - collectors and dealers must either travel to Alaska, or establish direct relationships with artists and traders. There were numerous artists who are now deceased who had great influence over artistic development in both Alaska and northern Canada. Among the influential Alaskan artists were Happy Jack and George Ahgupuk. Many other excellent artists remain anonymous, since most of them did not sign their work before the 1950s to 1960s. A few of the influential Canadian artists were Kenojuak Ashevak, Kananginak Pootoogook, John Tiktak, Karoo Ashevak, and Joe Talirunili. Today there are thousands of native artists working in the Arctic regions of North America. While much of the art from this area is aimed at the tourist trade, there are a number of artists who separate themselves from the crowd by creating exceptional work. The work can stands out for its aesthetic values, its masterful execution, its innovation, and/or its cultural significance. The best artists combine any and all of those characteristics into very powerful, creative packages; Susie Silook is a Yup’ik/Inupiat carver, David Ruben Piqtoukun is a Canadian Inuit artist, and Lawrence Ahvakana is a talented and innovative artist from Barrow, Alaska. This article has only scratched the surface of the topic of art from the Arctic regions of North America. I hope this gives you the impetus to do some further research on this fascinating subject. David and Ann Shultz are the owners of Home and Away Gallery in Kennebunkport, Maine. The gallery offers Inuit and Eskimo art, and Native American arts and jewelry from across North America. It is the only gallery of its kind in coastal New England. David has lectured on Inuit art at the Boston International Fine Art Show and locally in southern Maine.

Above right: Inuk Ceremonial Mask, carved by Larry Ahvakana, Inupiaq artist from Barrow, Alaska from cedar wood. Bottom right: “Healing Wings” by Susie Silook (Yupak/Inupaiq). Made primarily with ivory and bloodwood.

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

5

Millicent Rogers:

THE NAME BEHIND THE MUSEUM

Mary Millicent Abigail Rogers (1902-1953), better known as Millicent Rogers, was an heiress who inherited a fortune from her grandfather, the founder of the Standard Oil Company. In the 1920s, Rogers was a well-known socialite and leader of fashion, with her photograph appearing in many editions of Vogue and Harper’s Bazaar. As a young child Rogers contracted rheumatic fever and suffered from poor health for the rest of her life. Despite these set-backs, she led a full life, lived overseas for some years, married and divorced three times, and was linked romantically to celebrities and royalty. After her final divorce, and in failing health, she retreated to Taos, New Mexico.

While there, she purchased many hundreds of Native American artifacts and is notable as an early supporter of Southwestern-style art and jewelry. In 1947 she traveled to Washington, D.C. to promote the issue of Indian rights and citizenship, and successfully lobbied for Native American Art to be classified as historic, and therefore protected.

Museum Profile largest publicly held collection of Maria material in the world. This permanent collection includes Maria’s pottery as well as items relating to her private life including clothing, jewelry and papers. Paul continued to be an enthusiastic collector for the Museum and devoted himself to building a premier collection of Native American, Hispanic, and Anglo arts from the southwest.

Rogers died in 1953, leaving a vast collection of jewelry, weavings and art. The Millicent Rogers Museum was established in Taos in 1956 by her family, led by her three sons, as a memorial to her memory and to showcase the arts and culture of the southwest. A permanent exhibit displays the turquoise and silver jewelry that she collected during her lifetime.

First Paul built a pottery collection of over 1,000 pieces, ranging from the prehistoric to the present and representing every major pottery-making center in the region. He then focused on acquiring the best available examples of Hispanic Santos folk art. Santos or saints were made as part of traditional southwestern Roman Catholic religious traditions, and the Museum’s collection spans from 18th century carvers to contemporary works.

Rogers son, Paul Peralta-Ramos, was a friend of Maria Martinez, the famed potter of San Ildefonso Pueblo - a friendship which led to her family donating to the Museum the

Using Millicent’s collection of textiles and weavings, Paul acquired major

The Millicent Rogers Museum store. The museum also has an on-line Museum Store. Visit www.millicentrogers.org to learn more. 6 IACA Journal | Winter 2014

weavings representing all four phases of the evolution of the Navajo Chief ’s blankets. He also purchased significant examples of Hispanic weavings from the Rio Grande Valley where Hispanic weavers have been producing fine textiles for more than four hundred years. Apache baskets, Plains beadwork, katsinas, and religious artifacts were all added by Paul to the collection. The Museum moved to its present location in 1968 when Claude and Elizabeth Anderson, friends of Millicent Rogers, donated their traditional hacienda, so creating a unique setting for a unique collection. In 1984 the building was renovated and expanded and the Museum received accreditation by the American Association of Museums. Free personalized tours are scheduled throughout the year, led by volunteer docents, and special exhibitions may have gallery talks by artists and other experts. The Millicent Rogers Museum is located at 1504 Millicent Rogers Road, 4 miles north of Taos Plaza. Mary Millicent Abigail Rogers von Salm-Hoogstraeten de Peralta-Ramos Balcom was larger than life — a socialite, a fashion icon, and an avid collector of southwest arts and crafts. Her legacy lives on in the amazing collection that is the Millicent Rogers Museum. Most of the material for this article was courtesy of the Millicent Rogers Museum website www.millicentrogers.org. The editorial staff of the IACA Journal urges readers to visit the wonderful collections on display.

The Millicent Rogers Museum has the distinction of owning an extraordinary collection of pottery by Maria and Julian Martinez of San Ildefonso Pueblo.

Cliff Fragua

|

Singing Stone Studio

P.O. Box 250, Jemez Pueblo, NM 87024 | 505-252-8870 Email: [email protected] | www.singingstonestudio.com www.iaca.com | (505) 265-9149

7

The Totem Pole Art of tommy Josephs

© Adeliepenguin | Dreamstime.com

Modern themes and traditional carving methods keep cultural identity alive in alaska By Cindy Ross

Centuries ago, if you were navigating the waters of the Pacific Northwest, you’d travel by dugout canoe. Imagine dipping your paddle into the frigid water and moving toward an island where massive conifers line the shore. The coastal air is dense with fog, so you aren’t sure where you are landing. But then you see those sculpted beacons of art--totem poles. These carved red cedar logs--more than 100 feet tall and as much as 8 feet around--are information stations. They announce what village you are entering. They also record events, personal status, and land claims. These rugged First Nations peoples have no written language, so they use art to describe their cultural identity. Every village carves totem poles differently and uses specific figures stacked one atop another: Some crouch or stand upright, others ride on the backs of whales; all are interlocked and connected. 8


The historic town of Sitka, about 100 miles southwest of Juneau on Alaska’s Baranof Island, contains one of the world’s first totem pole parks, the Sitka National Historic Park, dedicated in 1916. Here, you can follow a deeply quiet, winding trail among enormous hemlocks and Sitka spruce, and find 14 totem poles scattered throughout the forest. At the park’s entrance stands the Southeast Alaska Indian Cultural Center, where visitors have the rare opportunity to watch and interact with modern Native artists at work.

In the wood studio is totem pole carver Tommy Josephs, a highly gifted artist who is emerging into the art world with as much vitality as the figures on the poles he carves. Tommy is a middle-aged, strong, barrel-chested Native Tlingit with waist-length dark hair. He cuts it periodically to use in his carved wooden masks and to adorn the tenfoot-long tribal dance staffs that he makes for dance groups. Tommy has been carving for 35 years, since he was eight years old and stealing his mother’s kitchen knives to practice. “It was hard

to carve a totem pole with a steak knife. It wasn’t happening,” he laughs.

When I visited, Tommy was working on a special Sitka community pole for the local Family Justice Center. It is a memorial pole for past, present, and future victims of domestic violence and their children. Since all totem poles tell stories, the grade school children were asked to come up with stories, poems, drawings, and designs explaining what peace meant to them. From that, Tommy incorporated the symbols of a dove, a rainbow, a fawn, a mother embracing her children into the totem pole.

Photo by Cindy Ross

Today, the town of Sitka alone has 11 of his standing totem poles. Others are in Washington, Chicago, Ohio, Pennsylvania—even Germany.

SEARCHING FOR TIMBER

“Every person that handles the log jacks the price higher,” Tommy explains. Totem pole carvers of Tommy’s caliber typically receive about $1,500 to $2,000 a foot, or as much as $60,000 for a pole. But it can take six months to a year to carve and raise a pole. Above right: Josephs has been carving wood since he was eight years old. Bottom: Carving the memorial pole for victims of domestic violence.

Photo by Cindy Ross

Acquiring a tree for a totem pole is no easy task. Tommy travels to Prince of Wales Island, the next large island south of Baranof, looking for suitable red cedar. He drives the logging roads and walks the forest looking for a tree with the ideal height, straightness, diameter, and lack of lower branches that would create knots. He can get three to four totem-pole lengths from a 120-foot-tall tree. He then obtains Forest Service permission and hires a logger to cut it. The tree is shipped to Sitka on a barge and hauled by trailer to his workplace. Finally, often alone, he maneuvers the two- to three-ton log with ropes and jacks to finagle it into place.

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

9

Today, the transformation from log to totem pole begins with a chainsaw. Tommy uses one mainly to mill the log and hollow out its center. The hollowing not only makes the pole lighter, it also removes the part that would rot first and helps prevent checking as the wood dries. Tommy begins the design on paper, then transfers it onto the log. He renders the first half of the drawing freehand, starting at the base and spacing the figures accordingly. Then he uses calipers and a sometimes a template to create the same image on the log’s opposite side, using a series of dots and points. It takes many years of practice to get the figures on a totem pole to flow effortlessly from one image to another. Some carvers never seem to create fluidness in their work. But all the figures and the pole as a whole should be pleasing to the eye and connect in a marvelous way. When Tommy looks at a chunk of wood, he can peer into it and tell if the image is in there or not. He can find it if it is in there.

Photo by Cindy Ross

“There was a time when I’d look at that big raw log lying there and I’d think, ‘Where do I begin? It was so intimidating.’ Now I know where and how to begin and I can’t wait to dig in.”

Painting a totem pole is easier today than in times past. DESIGN AND CARVING No one knows for certain when the first totem poles were carved, but legend has it one washed ashore on Canada’s Queen Charlotte Islands from the South Pacific, some 2,000 miles away. The Pacific Northwest natives carved totem poles long before the Europeans arrived, but the poles that survive are only a few hundred years old, having escaped natural decay and human destruction. The moist climate breeds moss, seedlings sprout on the figures, and birds build nests in the large fissures. Missionaries burned them, thinking they were symbols of idolatry. But once the native people began acquiring iron (often from shipwrecks) in the 1780s and fashioning metal tools, the art of totem-pole carving took off. 10


Tommy works with a combination of new Swiss-made gouges and handmade tools. He collects antique tools and forges his own from scrounged car springs and saw blades. Adzes with a handle made from a natural tree trunk and branch angle are still used today, as they were centuries ago. Tommy has a few woodcutters who watch for the right type of branches and deliver them for his students’ handles. Tommy likes to find his own. “You have to learn to make the tools at the same time that you learn to carve”, Tommy explains. “It’s another art form and I enjoy it just as much. It’s part of what I do.” Tommy uses only five tools to gouge and remove the wood, to pull the image out, and finish it to glass smoothness: two adzes (a lip azde or a ship adze is his workhorse), and three knives, some which he uses as scrapers.

Most modern totem poles are partially painted with a minimum of colors. Years ago, carvers used dried salmon eggs that contained high levels of oil, plus copper sulfite, iron oxide, graphite, and charcoal, mixing those pigments with urine--after they chewed the dried salmon eggs and spat them out to extract the oil. Tommy uses ordinary latex house paint. To seal and protect the poles, he brushes on a heavy coat of paraffin oil. The carved log will then be fastened onto a solid support of yellow cedar, which is buried as much as seven feet in the ground, depending on the height of the pole. The yellow cedar will last for 75 to 100 years. AN EVOLVING CRAFT Tommy has a splendid way of inserting his witty personality in his work. “You never see a whale on top of a bear head. You never see real creatures walking around with other creatures on their shoulders. That’s the fun and creative part,” he says. “And, how do you make the creatures look half human, for many of our native stories talk about animals going back and forth between the two worlds.” Although certain elements of design help guide the carver, there’s still plenty of room for the craft to evolve. For example, Tommy incorporated the traditional and the modern in an interior pole he designed for the local native Shee Atika Corporation. The traditional eagle and raven stand at the bottom holding up the figures, but above them is a copper shield (from shingles that blew off the nearby Russian Orthodox Church). In the wooden wing of a bird, Tommy embedded glass beads in an Athabasken flower design. Another wing has an embedded whale rib that Tommy found on the beach. An Aleut hunting visor has sea lion whiskers decorated with glass beads. On the very top of the pole, perches a young boy and girl, symbolizing the future, with shining eyes of abalone shells and real mother of pearl buttons on their robes. “My life has had some bumpy roads,” Tommy shares. “I didn’t know who I was. But when I started carving totem poles, I began to feel connected to my people, my history, my culture. My work makes me feel like I’m part of the big picture.” The shoreline plank homes and lines of totem poles crowding the coast may be a part of the past, but the art still lives on in carvers like Tommy Josephs. Throughout the Pacific Northwest, dozens of totem pole carvers are bringing them back. Carving totem poles is a way of saying, We are still here. My people are still here and we are strong. Cindy Ross is a freelance writer living in New Ringgold, PA. She can be reached at [email protected]

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

11

IACA SPRING WHOLESALE MARKET: APRIL 25 & 26 AT HOTEL ALBUQUERQUE

The Spring 2014 IACA Wholesale market is set for Friday, April 25 and Saturday, April 26 at the Hotel Albuquerque in Albuquerque, New Mexico. Retail businesses and wholesale exhibitors may register for the market on the IACA website, www.iaca.com, and may enjoy special room rates of $89.00 per night at Hotel Albuquerque by registering before March 23, 2014. A WEEK OF ACTIVITY In addition to the market itself, the week will include workshops that develop future plans for IACA, the IACA board of directors meeting, the traditional IACA Artist of the Year Awards banquet, a Business of Arts seminar and the IACA Annual membership meeting. All of these activities are open to all IACA members, however the market itself is restricted to those with business licenses. A CHANCE TO WIN $1,000 OR MORE The IACA Artist of the Year Awards banquet also will include a drawing where lucky winners may win $1000 or more in cash prizes. The proceeds from the annual raffle support the IACA Artist of the Year initiative. The annual raffle is limited to 300 tickets, at $25.00/ ticket, and pays out 6 cash awards ranging from $250.00 to $1,000.00. Raffle tickets may be purchased at www.iaca.com, and winners need not be present to win a cash award.

2013IACA IACA Spring Wholesale Market 2014 Spring Wholesale Market Schedule of Events Schedule of Events Workshop IACA EF Work‐ IACA-EF Tuesday, April 22, 9am Tuesday, April 22 • 9 a.m. shop WorkshopApril 23, 9am IACA Workshop IACA Wednesday,

Take a Chance. Win Some Bucks. Support the IACA Arst of the Year

Wednesday, April 23 • 9 a.m.

IACA Board IACAThursday, April 24, 8 am Board Meeting Thursday, April 24 • 8 a.m. Meeng IACA EF Board Thursday, April 24, 10am IACA-EF Board Meeting Thursday, April 24 • 10 a.m. Meeng Exhibitor Show Exhibitor Thursday, April 24, 1pm to Show 24 • 1 p.m. to 6 p.m. Setup Thursday, April 6pm Business of Art Friday, April 25, 9am Business of Art Seminar Friday, April 25 • 9 a.m. Seminar Market Opens— Friday, April 25, 10am Market Opens – Members Only Friday, April 25 • 10 a.m. Members only Market Open— Friday, April 25, 10am to Market Opens – General Buying Friday, April 25 • 10 a.m. to 4 p.m. General Buying 4pm 2014 Arst of The 6pm 2014 ArtistFriday, of theApril Year 25, Awards Year Awards Friday, April 25 • 6 p.m. Market ReopensMarket Saturday, April 26, 10am to Reopens Saturday, April 26 • 10 a.m. to 4 p.m. 4pm

12


Grand Prize—$1,000 3 Prizes—$500 2 Prizes—$250 Only 300 Tickets Available Great Odds. Just 1 in 50! Just $25.00/Ticket Get Your Winning Ticket at www.iaca.com

We invite you to compare our Native American Jewelry and Southwestern Native American Jewelry selection, quality, service and price with our competition.

CELEBRATING

75 YEARS 1938-2013

The Indian Craft Shop | U.S. Dept. of the Interior | Washington, DC www.indiancraftshop.com | 202.208.4056 ®

It’s like discovering

a rare archeological find. But one that offers

shopping and sales.

Qualla Arts and Crafts is dedicated to preserving centuries-old Cherokee craftsmanship and the current artists and craftspeople who keep historic techniques alive by displaying their work in our store. Get your shopping started at QuallaArtsAndCrafts.com [email protected] | 828.497.3103

SHIPROCK TRADING POST ESTABLISHED 1894

NAVAJO RUGS - TURQUOISE JEWELRY - FOLK ART - BASKETS SCULPTURE - SANDPAINTINGS - POTTERY

KENT & HILLARY MORROW 527 E. MAIN ST. FARMINgTON, NM 87401 (TEL) 505-324-0881 (FAX) 505-324-0882 FAX [email protected] WWW.SHIpROcKTRAdINgpOST.cOM

14
