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."
Tony Abeyta is of Navajo and Anglo descent and was raised in Gallup, NM. He left Gallup at 16 years old to study art in Santa Fe, NM at the Institute of American Indian Arts. He also continued studies at the School of The Art Institute of Chicago and received his M.F.A. from New York University. A few of his museum collections include: The Heard Museum, Phoenix, AZ; Harwood Museum, Taos, NM; National Museum of the American Indian, Smithsonian Institution, Washington, DC; Museum of Arts and Culture, Santa Fe, NM, etc. "... I consider myself a regionalist, accepting that much of what I do is tied to a native culture and place. I find that art is constantly moving, reinventing and affected by the changes in our culture and it's great to feel part of that in some way." Tony Abeyta
James Trigg is a nationally acclaimed award-winning, impressionist fine artist. James specializes in painting the magnificent vistas of the American Southwest, particularly the missions and villages of Northern New Mexico. He works both plein-air on location and in his studio located in Santa Fe, New Mexico. Trigg’s art captures his love of the astonishing colors and forms of Southwestern landscapes; from alluring desert scenes to intimate glimpses of the magical Northern New Mexico landscape.
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
Born in Washington state, Earl Biss became a well-known Native American artist. He was raised by his grandmother on the Crow reservation in Montana. He was a descendant of Chief White Man Runs Him, who was contracted by the U.S. Government to track the Sioux for Gen. George Custer. He earned a scholarship to the Institute of American Indian Art in Santa Fe and attended the San Francisco Art Institute. Earl then traveled widely in Europe where he was heavily influenced by the impressionistic style of Monet and other European artists. His paintings have a dream-like, abstract quality. Earl Biss died from a stroke while in his studio painting.
I believe my work was most influenced by the works of the European masters; the violent translucent skies of Turner, the impressionist brush work of Monet, illusive suggestiveness of Whistler landscapes. I also have great admiration for the stark emotional statements of Edward Munch and Kokoschka. I believe my work projects these admirations with obvious awarenessof the freedom of Jackson Pollock, Willem de Kooning, and the action painters of the late fifties. Earl Biss
Aaron Freeland is an award-winning Dine’ (Navajo) artist from Farmington, NM and he attended the Institute of American Indian Arts (1973-1976). He produces works in oil (on canvas), monotype, and pastel. He has been collaborating with master printer Michael Costello at Hand Graphics for over 20 years and has participated with Santa Fe Indian Market since 1988. “His bold, expressionistic portraits incorporate vivid colors and the immediacy of up-close faces.” (Native Treasures, www.nativetreasures.org, May 2011). Aaron Freeland is one of the best pastel artists in the Native American art scene. Douglas Miles (Apache Skateboards) said of Freeland’s artwork, “Freeland is one of my FAVE artists who moves the pastels like Paul Gaugin in Tahitian fever mode...” His works are also included in the permanent collection of the Museum of Fine Arts Boston as well as in many private collections worldwide. Santa Fe Reporter
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.
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.
Pari Morse was born in Persia and immigrated to the United States at the age of five. As a child she loved to draw and while living in France during her early childhood, often illustrated her composition books. As a young artist, she studied at the Evanston Art Academy in Chicago. While living in Colorado, she studied watercolor under Enyd Andrews, Joe Bowler, Nita Engle, Tom Hiel, Bill Alexander and Lorraine Danzo. In 2000, Pari moved to Santa Fe. Her style, whether in landscapes, flowers or general scenes, is impressionistic and strongly influenced by the beautiful scenery, light and culture of the New Mexico area. Her paintings are in private collections throughout the U.S. and Canada and were exhibited in the U.S. Embassy in Paris.
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
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.
Kim English works in the alla prima method of painting, trying to complete each painting in one sitting. On the road, he completes quick pencil sketches and small color studies and while he might also gather reference materials with a camera for use back in the studio, he insists upon drawing and painting on site to grasp the dimensionality of each subject he selects to explore. Born into a family of musicians, Kim English is an accomplished pianist and composer, and he has described the similarity of energy in music and painting: rhythm, movement and balance are integral to the simplicity he strives to achieve in each of his canvases. He has exhibited at the Allied Artists of America, winning the Gold Medal of Honor; the National Academy of Design; the Artists of America - Denver Rotary Club; NAWA 21st Annual Exhibition; Arts for the Parks; the Colorado Governor's Invitational - Loveland Museum; the A.R. Mitchell Memorial Museum of Western Art; The Knickerbocker 42nd Annual Exhibition; The Oil Painters of America, etc. He has won both the Certificate of Merit and The Joseph Hartley Memorial Award at two Salamagundi Club Exhibitions.
Darren Vigil Gray is known for his dreamscapes, landscapes and portraits which often incorporate mythological symbolism. He is Jicarilla Apache and Kiowa Apache. He left the reservation at 15 to attend the Institute of American Indian Arts in Santa Fe. He now lives and works in Santa Fe, NM Source: Southwest Art, August 2004
Darren Vigil Gray's work is collected in many permanent and private collections including those at the Heard Museum, the Wheelwright Museum, and the Smithsonian Institution's National Museum of American Art and the National Museum of Indian Art.
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.
COYOTE by Hector Rascon - Painted Wood Sculpture with Straw Whiskers - H 13-1/2" X W 7" X L 7" $150
BURRO by Maximiliano Morales and Santigo y Francisco Morales - Painted Wood Sculpture - H 9-1/2" x W 7" x L 13-1/2" $300
RABBIT by David Alvarez (1953-2010) - Painted Wood Sculpture with Straw Whiskers - H 10" x W 3-1/2" x L 4-1/2" $300