John Nieto calls himself an American artist who paints Indians, not an Indian artist. An acclaimed leader in his field, but taking a separate path to represent Native Americans in striking symbolic portraits, Nieto is exhibited worldwide and has had paintings accepted for the Presidential library. His Indians are not idealized or troubled. They are potters, warriors, silversmiths or shamans in traditional garb, as well as indigenous wildlife, painted in brilliant, oddly paired colors, radiating a quiet dignity. His unfettered use of brilliant colors has been likened to the Fauves of the 1920's French movement. Nieto has spent time in Paris and also seems to be influenced by European expressionists who released the subconscious onto canvases. Nieto says, "I'm in a trance when I paint. It's like being a drummer - you don't look at the drums, you just know intuitively where they are..." AskArt
Michael Fitzhugh Wright was born in Rochelle, NY in 1931. He studied at Yale Music and Art School, Albright Art School and the Brooklyn Museum School. After serving in Korea as a regimental artist, he began his career as a painter in New York City in 1954. As a young painter, he was friend and colleague of Jackson Pollock, Franz Kline and David Smith in the famous days of the Cedar Bar and Eighth Street Art Club. After ten years in the city, he moved to East Hampton and assisted Willem de Kooning from 1965 through 1967. Intrigued by the clarity of light and variety of forms, he moved to Santa Fe, NM in 1986 where he still resides and paints today.
"Mike is a natural painter, he was born that way." Willem de Kooning
Carol received her B.F.A. from the Rhode Island School of Design. Anthony's intriguing characters often develop from a prop as simple as a pair of old shoes. She works primarily in craypas on gessoed masonite, rubbing and blending the colors with her fingers. The images are drafted layer-by-layer to create an unearthly light and dreamlike quality. Her paintings are the means through which she conveys her internal visions. They have an aura of expectation, of a place that has been prepared for a visitor who has not yet arrived, at once empty, yet inviting. She also creates beautiful collages, using small boxes and found ojects, birds' nests and old letters. Her work is part of the Hirschhorn Collection in Washington, D.C. as well as the Wadsworth Athenaeum in Hartford, CT. AskArt
We go to art school to learn the rules about drawing and painting. After many years of developing skills and acquiring knowledge, I know what I will get as a finished product if I could control the process. What I don't know is where it would lead and what would happen if I "gave up" control. This is what interests me now. It's a different way of thinking - or not thinking so much. To remain empty of all pre-conceived ideas about how a piece will turn out. It's simply a mind-shift away from repeating what I already know and to allow that unknowable, creative spirit to come through. That's easier said than done, after 40 years of learning how to do this thing called art. But the only thing that stops one from stepping into unknown territory is doubt and fear. If I'm willing to give up control over my skills and ability to do things a certain way, then new forms and techniques will come to me. Walt Gonske
Mr. Gonske has received many awards for his paintings including the National Academy of Western Art, Gold and Silver Medals and the Southwestern Watercolor Society, First Prize. His works are included in many museums around the country including the National Cowboy Hall of Fame and Western Heritage Center, the Eiteljorg Museum of American Indian and Western Art and the Thomas Gilcrease Institute of American History and Art.
Oil paint has been the consistent medium in my paintings, as it tends to be very visceral and a lot about the paint. Most recently I have included wax. The work is almost exclusively figurative, although I don't work from models. It is important for my process to be able to change and move with the figures through time and space, as the painting dictates. The paintings represent a deep resolve of mine to pare back to the core of being; to get lost in it, to share it, to not care where I am going with it, and to give myself over to the bigger than me of it. In painting, one is able to explore, the medium is malleable, the history of thought and the battle that go into the work are sometimes visible on the surface. The work is like a journey, every single painting. Kathleen Morris
Kathleen Morris has had numerous solo exhibitions since 1982 and is in private and corporate collections around the world.
More than one person has told Dane Clark that his paintings look happy. Bright blocks of color: blues, purples and pinks with red, green and yellow dappled in mosaic-like patterns of buildings and people. Seaside houses with arched windows and domed roofs are fringed with palm trees. Dresses of young women holding flowers echo shapes of streets and houses, and flecks of color are sprinkled like confetti. It is no wonder that Clark's paintings look happy. The New Mexico artist is painting exactly what he wants to paint, exactly the way he wants to paint it. For almost 30 years, Clark created landscapes in a vibrant pointillist style, a style he still uses for some works. He also recently began stretching his inventive wings and trying on new painting styles that look very little like what he did in the past. After more than 50 one-man exhibitions around the country, Clark's openings now feature what he calls his primitive impressionistic style. Masterpiece
"My paintings are of an imaginary world, a pre-industrial Arcadia, a time when Northern New Mexico was nothing but rural villages, usually with a church in the center. Life was based on agriculture and living in harmony with the changing seasons. Tom, a third generation Taoseno, has been painting professionally for 30 years and has had the opportunity to observe and study with many of the early Taos artists. Their influence shows in his romantic, timeless portrayals of the landscape of northern New Mexico." Ventana
Indian culture in the past has been ignored to a great extent. It is for me, as well as many other Indian artists, a rich source of creative expression. An intertwining of my Indian culture with contemporary art expression has given me a greater insight concerning my art. I hope to accomplish something for the American Indian and at the same time achieve personal satisfaction in a creative statement through my art. Kevin Red Star
Kevin Red Star's work is the focal point of several important museum collections, including: The Smithsonian Institution - National Museum of the American Indian, CM Russell Museum, Heard Museum, Denver Art Museum, Eiteljorg Museum, Southwest Museum, Whitney Museum of Western Art, Institute of American Indian Arts Museum, U.S. Department of State, etc.
Ledger art is an American Indian traditional art form of pictographic drawing on pages of ledger books obtained through trade or capture. The drawings were representations of heroic deeds or sacred visions. Ledger art derives from a tradition of Plains Indian warriors that use traditional pictographic codes to keep historical records. The pictographs were originally inscribed on rocks and painted on tipis. Warriors painted pictographic representations of their historic deeds on their buffalo robes. When U.S. fur companies, settlers and cavalry destroyed the buffalo herd, the warriors turned to ledger books with balance sheets used to record white profits made from Indian losses. Soon the warrior-artists started to record scenes from daily life on ledger pages to grapple with and interpret their changing condition. These complicated dynamics of the American Indian going through various stages of traumatic historical change, attempting to preserve their history, resisting white authority and power, negotiating tribal and individual identity are all evident in the drawings of the ledger.
White Horse Messenger Teepee Talk
Mixed Media on Canvas Mixed Media on Canvas
12 x 12 12 x 12
$ 900 $ 900
Stan Natchez is known for his innovative and creative paintings. Inspired by Andy Warhol, Jasper Johns, T.C. Cannon and other pop artists his paintings exude the power of color and familiar objects. His paintings often begin with artifacts of American culture that either directly or indirectly reflect Indians. He then includes figures such as Native Americans, mission priests or cowboys. Intricate "stars and stripes" beadwork add texture to bold works that emanate beauty and joy. Dollar bills are layered on the canvas as a modern-day buffalo hide.
In addition to being a nationally known artist, Natchez has distinguished himself as a graduate student, teacher, dancer, editorial advisor and legal advocate for the Native American community.
Raised on the Turtle Mountain Indian Reservation in North Dakota, he learned as a child the importance of family and Indian rituals, themes that Bruce continues to express in his sculpture today. He has won many awards at Santa Fe's Indian Market, and in 1993/94, he became the first Native American to be named the National Earth Day Artist. His work is at the Heard Museum in Phoenix, AZ and in private and corporate collections around the world.