Uncle Paulie's World to Be Replaced by Tombolo Art Media

Uncle Paulie's World and
Tombolo Art Media Founder
Paul Niemi

A colleague of mine and I recently made the joke that "Tombolo" sounds likes someone's hot, Italian boyfriend. In actuality, a tombolo is a piece of land that connects a sandbar with the mainland. 

There are millions of sites on the Internet.  Many provide the latest in entertainment news that everyone is covering.  Some do art and design. Some do theatre. Many do books. Only a handful blend them all, but they forget to cover the underdog with the assumption there is no audience for them. I'm not certain how most people feel about flipping the TV channel, turning the magazine page, and scrolling to the next post on Facebook only to find unoriginal content that everyone has already shared.  I find it boring and it leaves me wanting to read something more meaningful.

As a highly creative person,  I'm interested in offering up stories that are thoughtful, informative and focus on subjects that you might not find in top media outlets because commerce dictates their content. That means if I don't write them, no one will.  My goal is to build awareness of that emerging Native American fine artist, that well-known regional contemporary mixed media artist, that street muralist from Brooklyn, that new author, or that fabulous performer who is someone everyone needs to meet.

That's why I created TomboloArt Media. Tombolo Art Media will connect people with art, design, music, theatre and literature in a way that's not intimidating.  My audience will be my favorite person--the average one!  Tombolo Art Media is a place for you to enrich your life by learning something you didn't know and hopefully, you'll pass it on.  This is a site for people to come closer to the arts and to explore who we all are, together.  (PLEASE NOTE:  Tombolo Art Media is available at www.TomboloArtMedia.com as well as at http://TomboloArtMedia.Wordpress.com.)

So, here's a big shout out to all those people around the world who have helped give Uncle Paulie's World arts and culture blog life.  When it started in 2008, I had no idea what it would become. My life was so blessed when I found my voice, art and the audience that believed in me.  Well, nearly 6 years later, my niece (who inspired the name) is all grown up.  I have grown up, too, in my own way.  It's time to change the name, get a true URL, and move forward keeping the same Uncle Paulie's World heart, but adding a sharp new look on a cleaner, more user-friendly platform.   Tombolo Art Media will be launching this month, and I'm hopeful that you will stay strapped in with me and embark on this new but familiar journey. There is still so much bridge-building to do in the arts, so let's 'Tombolo!'

The Rum, Tum, Tum of a Galaxy Far, Far Away Heard Closer to Home

Millenium Falcon Drum and Beaded Death Star Drum Stick
by Artist Dallin Maybee
Maple Wood, Basswood, Elk Rawhide, Acrylic, Ink and Glass Beads
18'x28"x5"
(Photo: The Artist)

 

I wouldn't call myself a nerd, nor would I refer to myself as "cool." Finding myself at New York Comic Con this past weekend, I realize I might just be a little bit of both.  Regardless, I know what I like.  A child of the 70s, it's hard not to love all things Science Fiction, notably Star Wars.  The series, whether in books, films, video games whatever, transcends all generations because of that whole "Good versus Evil" thematic thing. And, as people on Earth appear to get more stupid, who can resist challenging the idea that life is nonexistent beyond this little ball of water and gases?  Sitting in the dark for nearly two hours with a myriad of strange beings reminds us to dream and think of the possibilities.  That's a (pardon the pun) universal experience.  Let's not forget all the cool costumes, weaponry and gadgets that spark the imagination.

 

While all these scenes, space battles are happening in the proverbial galaxy far, far away, we do have the opportunity to live in a world that offers art as one of its most valuable currencies.  And while I'm not sure what that would translate to in Renminbi, I do know you can't put a price tag on its importance to humanity as a catalyst for and vessel of imagination.

 

It's always exciting to see aspects of other cultures converging with art and the mainstream.  Contemporary Native American art, too, is pushing its way into the limelight because Native artists are celebrating our pop art roots like no one else.  And, it isn't just Millenials either!

 

That's why I love this Millenium Falcon drum and Death Star drumstick made by Northern Arapaho/Seneca artist Dallin Maybee.  The drum is made with a maple wood frame and a carved basswood extension covered by elk rawhide.   He then painted it with a metallic base and augmented it with ink.  "Of course, it was easier to take the round hand drum and adapt it rather than to try and stretch the rawhide around the shape of the Millenium Falcon," says Maybee.   

 

 

 

The Death Star drumstick is a brain tan buckskin ball attached to a handle which Maybee painted with acrylic. A noted and skilled traditional Native American bead artist, he then adorned the handle with 13/0 cut glass beads.

 

Why did Maybee choose to create the drum as a show piece for a recent art event in Oklahoma?  He says the innate shape of the Millenium Falcon easily lends itself to being immortalized as a drum.  "I've always believed that our identity is shaped by our environment: Our languages, ceremonies and culture.  These days that environment includes many contemporary aspects of life that we share with non-native cultures."

 

Maybee grew up with the Star Wars saga,  and what better way to acknowledge the fan boy culture than by creating indigenized art pieces inspired by the series?  "I loved the independence and nomadic lifestyle of Han and Chewie, " he says. "I saw a lot of my culture in them--perhaps myself."   Dallin Maybee  has a whole series of Star Wars-related projects in the works and sees this drum as a successful prototype for others to follow.  For more information, visit http://www.turquoisehousegallery.com/Artist/Artist%20Pages/Dallin%20Maybee.html

'Surveying' the Landscape at Affordable Art Fair NYC 2013 Fall Edition

Pop Art by Francois Coorens
Available Through Vogelsang Gallery
(www.gregoirevogelsang.com/)

Recently, I made a pact with myself that was I was going to spend my free time doing meaningful things.  Everyone who knows me well understands that fine art is my passion.  That is why whenever I can, I make sure I am anywhere IT is.  With all the seeming ugliness in the world, this ensures my surroundings are beautified wherever my journeys take me!

Argentinian Artist
Ulises Baine with
One of His Pieces
(www.espacioescarlata.com.ar)

This past weekend, I had the opportunity to work as an art fair assistant for Affordable Art Fair NYC at The Tunnel in Chelsea.  It is a volunteer position, but I would never treat it as such.  Working the fair from the inside is a great way to meet others who share my passion as well as keep myself busy.  Actually, these days, I'd rather work for fun because they are one in the same to me. I'm a natural networker, so the real enjoyment is making real connections with people and finding out how I can work with them in the future.  From manning the exhibitor storage and patron check-in desks, to convincing visitors to take surveys and everything in between, I had a great time racing about and learning.



"Under Construction"
Liquid Paper/Ink/Clothing Dye
Collage on Delineated Canvas
by Dionne Simpson
(www.michelemariaudgallery.com)

Despite the swollen feet and exhaustion, though, it's a total blast and not all business.  Admidst the craziness, there's even time to get to know your colleagues, share a slice of pizza and make some friends too!

Of course the best part of the Affordable Art Fair is seeing some of the most fabulous art from around the region and the world.  I enjoyed discovering pieces by Francois Coorens, Ulises Baine, Dionne Simpson, Courtney Raney, Gian Piero Gasparini, Ricardo Cony Etchart and so many more!  Watch my recap video HERE!

October Marks Arrival of 2013 Edition of Legendary Cape Dorset Print Collection to Manhattan

Kenojuak Ashevak, Serpentine Wolf, 2013

Lithograph, 22 1/8 x 30 in. (57 x 76.5 cm)
Printer: Niveaksie Quvianaqtuliaq

While I have learned a great deal about Alaskan Yup'ik basketry over the last couple of years, it wasn't until recently that I began to read and learn about Inuit sculpture and prints. This month, the annual Cape Dorset Print Collection will be released.  Ann B. Lesk, owner of Alaska on Madison, a gallery specializing in Northwest Coast and Northern Alaskan contemporary and historic art in Manhattan will be hosting a preview reception from 6 to 8 p.m. on Thursday, October 17.  Lesk gives us a glimpse into this wonderful annual event that collectors all over the world look forward to in anticipation:

PN: For those people who don't know anything about Inuit prints, talk a little about the origin of the Cape Dorset prints, what they are and why they are so appealing to people.

 

AL: Cape Dorset is a community of about 1200 Inuit (Canadian Eskimo) which describes itself as the "Capital of Inuit Art." Every year since 1959, Cape Dorset has released a set of limited edition prints created by artists from the community. The first prints were stunningly sophisticated, especially when you consider that this was a new art form for the Inuit. The annual collections have shown a wide range, including exquisitely realistic portrayals of Arctic birds and animals, stylized fantasy compositions, social commentary, and shamanistic images. I think that they appeal to people because they combine sophisticated design with an exotic Arctic perspective. Cape Dorset prints originated through serendipity. James Houston was a Canadian artist who was living in the North and, since 1949, had helped to create a system of Inuit-owned cooperatives to promote and market Inuit art in the South. Initially, this meant soapstone and ivory carvings. Houston was talking with one of the artists, who looked at Houston's pack of cigarettes and commented that it must be very boring for someone to have to draw the same picture on each package. Houston took a walrus tusk that had scrimshawed engravings on it, applied ink, and showed the artist how one could make a print from a master image. This conversation led to experiments with printmaking in Cape Dorset. Houston went to Japan to learn low-technology printmaking techniques that could be used in the Arctic, and supervised the creation of a printmaking studio in Cape Dorset. 

 

PN: How many prints are available for 2013 and how much can collectors expect to pay for a Cape Dorset print?

 

AL: The 2013 collection comprises 32 prints by 11 artists, ranging in price from $300 to $1800. Only fifty impressions of each print are made. The complete collection can be viewed online at http://www.alaskaonmadison.com/exhibition/9/exhibition_works/list/ P

 

PN: October marks the opening of your Cape Dorset print show for 2013. How many years has Alaska on Madison offered these prints to collectors of fine Alaskan art?

 

AL: This is the second year that Alaska on Madison has offered the Cape Dorset Print Collection. We are the only gallery in the greater New York metropolitan area that exhibits the collection. The other American galleries with the collection are in Maine, Minnesota, California and Washington State.

 

PN: Who are some of the most famous Cape Dorset print artists of all time and who are the up and comers in your estimation? Do you have any particular favorites for this year?

 

AL: Kenojuak Ashevak (1927-2013) was undoubtedly the most prominent Cape Dorset print artist. Her death in January was a great loss for the Inuit art world. She catapulted to fame when one of her prints, "Enchanted Owl," was published on a Canadian postage stamp. She continued to experiment with new techniques right up to her death, and was an inspiration to generations of new artists. This year's collection includes seven of her prints. One, "Serpentine Wolf," is a new departure for Kenojuak, using lithography to introduce texture into the design. Recently, we also lost Kananginak Pootoogook (1935-2011). His elegant portrayals of Arctic wildlife were mainstays of the Cape Dorset collection for many years, along with astute graphic observations on the relationship between the Inuit and outsiders. The stars of the next generation are Ningeokuluk Teevee, who is represented by six prints in the collection, Tim Pitsiulak, who has three prints in the collection, and Shuvinai Ashoona, who was represented in last year's collection. This year's collection includes prints by three newcomers. The youngest is Saimaiyu Akesuk, age 27, who is the granddaughter of Latcheolassie Akesuk, one of the great first-generation carvers in Cape Dorset. Saimaiyu's prints include an explicit homage to her grandfather's work, Lacheolassie's "Birds," and her other prints clearly show the influence of his abstract style.

 

PN: For the first time Cape Dorset print spectator and perhaps purchaser, what tips do you have for buying pieces on the secondary market?

 

AL: The Cape Dorset Annual Print Collection is offered only through galleries and museum shops. Each print is signed, has a legend that indicates the year it was made, the impression number (e.g., 13/50 means that this is print number 13 of the edition of 50), the title, the print technique, and the community (Cape Dorset). Many prints also include a "chop," or stylized signature of the artist and sometimes also the printer. If you are buying older prints, be sure to look at the condition of the print carefully. Be sure to check the print technique (see below). For both old and new prints, you should find out what you can about the artist--whether they are well established or unknown, prolific, or represented by only a few works.

Ningeokuluk Teevee, Tulugak's View, 2013

Etching and aquatint, 32 x 25 in. (81.5 x 63.5 cm)

Printer: Studio PM

 

PN: What is the artistic process that brings Cape Dorset prints to life?

 

AL: The 2013 Cape Dorset Print Collection includes prints made using four techniques: stonecut, stonecut-and-stencil, etching-and-aquatint, and lithograph. The first Cape Dorset prints were stonecuts. As the name suggests, a flat surface was made on a large stone, the image was cut into it, inked, and printed. The second technique introduced in Cape Dorset was stencil or stonecut-and-stencil. In a stencil, a pattern is cut out of a mask, and ink is applied to the paper in the cut-out areas. Stonecut-and-stencil prints combine these two techniques. Lithographs were introduced next. Although lithography was originally developed using stones, as the name suggests, modern lithographs are made by applying ink to a metal plate that has been treated with chemicals. Etching-and-aquatints combine traditional etching techniques with hand-applied coloring. The prints are frequently a collaboration between an artist, who prepares the design, and a printer, who cuts the stone, prepares the lithographic plate, colors the etching, or inks the stencil. The printer may make significant decisions that affect the appearance of the final print, emphasizing or downplaying elements in the artist's drawing. The interaction between the print's designer and the printer can be seen in these pictures of the drawing and finished print for Kenojuak Ashevak's "Dog Sees Spirits." You can see that the print does not just follow the lines of the drawing; it smooths them, and even adds a little bird-like creature at the top right. The way that the ink is applied also enhances the overall esthetic effect of the print. These changes would have been discussed between Kenojuak and the printer, Kananginak Pootoogook.

1960 Pencil Drawing of Kenojuak's "Dog Sees Spirits"

 

For a link to a film about the process of making Kenojuak's "Arrival of the Sun" click HERE.

1960 Print of Kenojuak's "Dog Sees Spirits"

 

 

If you would like to read more about Cape Dorset prints, please see Ann's blog at http://alaskaonmadison.wordpress.com/2013/10/05/more-on-cape-dorset-prints-and-the-2013-annual-print-collection/

 

For more information about the Alaska on Madison preview reception, visit www.alaskaonmadison.com or follow the gallery on Facebook and Pinterest.

Micro-Mosaic Jewelry Artist Courtney Lipson Cheers Patrons' Unique Stories with Collaborative 'To Life' Accessories Series

Plantagenet Family Crest Cuff in Micro-Seed Bead Inlay
by Courtney Denise Lipson

We all have defining moments in our lives that change who we are and how we feel about ourselves. Jewelry reflects who we are. According to Seattle-based micro-mosaic artist and jewelry designer Courtney Denise Lipson, jewelry is both shield and regalia for those who wear it.

Side View Plantagenet Family Crest Cuff
by Courtney Denise Lipson

"I have experienced times of complete transformation wearing jewelry, and at other times have felt it is a part of me, as much as my own skin," she insists. She also believes that jewelry as adornment is a reflection of personal memories and thoughts.

 

It is no surprise then that Courtney's work has the ability to spark memories--thoughts of a walk on the beach, a hike through the forest or the desert, or even a swim with innumerable sea creatures. Her mind is able to capture the textures, tones, sights and colors of journeys past in the smallest of spaces and in the most remarkable way. Every piece is a handmade, one-of-a-kind work of art. Her limitless imagination results in colorful earrings, rings, cuff bracelets, and extraordinary statement piece necklaces that have been the focal points of a number of beautiful, highly-artistic jewelry collections that celebrate the natural world. Her work is achieved by creating the shape of the design in sterling silver and/or gold, inlaying glass seed beads one at a time, and then enclosing the design in complementary colored grout.

 

Courtney is very intuitive, empathetic, and a natural storyteller. Continually trying to push the creative envelope and challenge herself technically, she offers something new and altogether unique...The 'To Life' Collection. With her signature silver and micro-mosaic hand grouted beadwork, Courtney can interpret your story-- the spirit of an individual, a special event or a specific moment in time--and transform it into a collaborative, extraordinary and stunning piece of jewelry. While many commissions involve total separation between patron and artist, Courtney will meet or correspond with you or your representative, every step of the way. From concept to drawing, she maintains her creative integrity to ensure a balance between a collector's vision and her expression.
 

I had the opportunity to work with her to create this piece that is a tribute to my English ancestry--Edward II--my 27th Great Uncle. As you can see, she superbly captured the essence of the Plantagenet Family crest by creating four quadrants and breaking up the elements--the three lions and the fleur de lis--to artistically hint at them. We decided to lessen the intensity of the original crest colors to make them more subdued and masculine. On one side is an eye (inspired by a photo of my own eye) that represents Edward and my ancestors' eyes watching over me. On the other end of the cuff, is white beadwork representing the ermine fur that would have been worn on royal regalia. A carnelian stone is the centerpiece that hints at the cuff's royal inspiration. When I first approached Courtney to make the piece, I asked if it was possible to have the crest be the background and then superimpose elements of Edward's face on top. I knew logistically, this might be difficult because of the small space. Regardless, she listened to what I wanted and I couldn't have imagined a better design for the jewelry.

 

As with all commissions from artists, it takes time for her to make the work. In the end, it's worth it, because the final product is something that you can't get anywhere else. In line with Courtney's philosophy that the piece is her artistic expression channeling another's personal experience, collectors can be assured that their story has never been told before in this fashion.

Micro-Mosaic Silver Cuffs by
Courtney Denise Lipson

 

For more information on commissioning a 'To Life' piece or purchasing any of her existing work, visit www.facebook.com/CourtneyDeniseLipson.

Etling and Kolitsopoulos Headline Infrared Photography, Lithograph and Drawing Show in NYC's Chelsea District

"When I was a child, I was fascinated by the old family photos

at my grandmothers house...the magical quality of photography, its ability to freeze time and preserve the past." --Photographer Jackie Etling

 

 



"Versailles Forest" by Jackie Etling



When I experience fine art, I like to do it in places filled with as little pretense as possible.  I also love to meet sincere people who are so filled up full with a true awareness of who they are that it comes across in their work and when they interact with others.  Smoke and mirrors in some instances is very entertaining, especially if nice wine flows freely and there's a decent food spread, but I'll leave that for those who are more interested in the party than looking at great art. 

In 2008, I started blogging about art.  One of the first New York City venues I was introduced to was the Pleiades Gallery in Chelsea.  The space is simple, but there is always a wonderful variety of work to be seen there. Most importantly, you always meet "fully present" people there.  According to the gallery web site, Pleiades was founded in 1974 and is "one of the oldest and most successful artist run galleries in the country."   Its membership, which is comprised completely of established, well-known, as well as emerging artists whose work has earned the respect of their peers, upholds a rigorous jurying process to welcome new artists into the fold.

I am excited to head back to Chelsea this coming Saturday evening, October 5  for the opening reception for "Works on Paper, Lithographs, Drawings and Watercolors by Sheryl Ruth Kolitsopoulos" as well as "The Language of Trees," photographs by Jackie Etling.   Both share billing for the member show that opened on October 1 and runs through October 26.  

I love a good drawing, and those who have mastered them captivate me.  Kolitsopoulos's work is based on the simple moments in life.  Her pieces capture people mid-action, and she shares the very personal world she has created in her mind with the spectator on paper.  Undoubtedly, collectors will find something very special to purchase from her body of work.  You can learn more about the artist at www.sherylruthkolitsopoulos.com.

Since I have spent considerable time in New Mexico, I am particularly excited about getting to know the work of East Coast and Santa Fe, New Mexico favorite Jackie Etling up close.  This time around, the Pleiades Gallery Vice President will feature works that explore and capture the "transcendent essence" of one of nature's most mystical living things--the tree. While Etling is lauded for her work in both black and white and color, her latest body of work utilizes infrared photography that picks up the infrared end of  the light spectrum.  When outdoor images are shot, the camera detects the infrared light given off by plant life.  The end result is a subject that appears "ethereal and other worldly," according to the artist.  Her work for this show is derived from photos taken during visits to Europe, the American Southwest, as well as New England.  For more information about Etling, visit www.etlingphoto.com.
 

The Pleiades Gallery is located at 530 W. 25th Street, 4th floor, New York City. Visit www.pleiadesgallery.com.

"Collecting Memories...Not Just Art" Recap of 2013 SWAIA Indian Market

Well, 2013 SWAIA Indian Market Week is over.  It's easy for me to get sad and go into withdrawal because I miss my artist friends already.  That's okay because I know I will see them all soon enough and have the opportunity to attend parties with them, give and receive hugs,and see some of the best fine art around. I'm also looking forward to getting to know all the new friends just a little bit better the next time around.

 

Painting by Jodi Webster
Photo: The Artist


















Bronze sculpture by Holly Wilson
Photo: Paul Niemi

For me, one of the standout artists this year was Jodi Webster, a master self-taught Ho-Chunk/Potawatomi artist working mostly in graphite.  It was her first Santa Fe Indian Market.  She's easy-going, down-to-earth and bursting with talent that isn't limited by one style.  In addition to my ongoing love affair with the brilliant and thoughtfully commentative basketry of contemporary Cherokee artist Shan Goshorn, I am adding the bronze sculpture and mixed media work of Delaware/Cherokee Holly Wilson to my all-time fave list.  Mixing traditional Native lore with children, masks and the slightly odd, her work is exciting, out of the ordinary, and seems to be setting the Native art world on fire. This, too,  was her first SWAIA Indian Market.  She also had an additional opening at Blue Rain Gallery near the Santa Fe Plaza, so I have no doubt the New Mexico skies will see her star rise very soon.  I also enjoyed seeing the colorful and abstract paintings by Patrick Dean Hubbell of the Diné Nation (Navajo).

Shan Goshorn and her award-winning
Cherokee basketry woven from paper splints with
archival quality printed images

 

One of the beautiful art-filled
rooms at
Lone Dog Noisecat

If you have the opportunity, be sure to stop by Ed Archie Noisecat's new gallery Lone Dog Noisecat just off Canyon Road.  He offers work by Northwest Coast artist, Inuit sculptures, paintings by some of Santa Fe's "cool" royalty, in addition to his own pieces. There's lots to see, and I think it is one of the best contemporary Native galleries in the City Different.

 

From tunes by Shelley Morningsong and dancing by Fabian Fontenelle to poetry readings by Laguna Pueblo potter and poet Max Early, to fashions by Orlando Dugi, Dorothy Grant, and Penny Singer , there were so many special things to see, hear and experience this year at Santa Fe Indian Market.

Stormtrooper hand-beaded cuff by Diné artist Craig Kelly

 

 

Here is my compilation video of moving and still images from the 2013 SWAIA Indian Market.  It was truly an amazing time.  While I collected some art, I collected even more friendships. I look forward to watching them grow!

SWAIA Indian Market: Adding to Your Collection...One Friend at a Time

Hoop Dancer Tony Duncan at SWAIA Indian Market
Photo: Paul Niemi (2011)

When some of us were kids (long before Facebook), our best friends or classmates would move away to new cities.  It was always a sad event.  While they left behind their phone numbers so you could call on a birthday to "catch up," you knew that once a few months had passed, you would make new friends and move on. Besides, those long-distance calls weren't really in the family budget! It was always a possibility that you would never see your friends again, and that was a reality we all accepted.  High school and college beckoned us, and people came in and out of our lives.  Then, all of a sudden, we were in the adult world. People became busier, and it seemed harder to make those amazing close relationships you used to have.  Social media has now revolutionized how we stay in touch, how we communicate and how we connect, but it's not the same as real face-to-face communication with open-hearted people who treat you with the respect of a bygone era. 

Speaking of social media, SWAIA Santa Fe Indian Market has done a tremendous job at connecting the world with Native American art, film, music, fashion and culture through social media.  While I love to stay connected via the Internet with many people, for me, one of the best things about Market is so basic, so natural, and so wonderful--The friendships that are made and endure year after year at Indian Market.  Unlike the days when childhood classmates once moved away never to be heard from again, Santa Fe Indian Market Week is always the time when people come "home."  You always know they'll be there each August. It's a crossroads of sorts on Santa Fe's Historic Plaza, where hospitality reigns, inevitable hugs happen, old friendships grow stronger and new ones are kindled.

That's why SWAIA Indian Market is a unique family. The art has changed, some faces have come, gone and been replaced by eager new ones, but old fashioned values still play out amongst the white booths dotting Santa Fe's downtown corridor.  And for the spectator, when you're there, you're treated like part of the family. You're welcomed with the intent that you will look,  really see and learn about Native culture (There's so much to learn!). Who knows?  You may want to buy! That  purchase of an artist's work might just lead to more purchases, year after year, and result in lifelong friendships.

Sgraffito and Stone-polished Handcoiled
Jemez Pueblo Pot by Alfreda Fragua
Photo: Alfreda Fragua

Being an advocate for Native American art is my passion, and I LOVE introducing contemporary Native American art to those who may know nothing about it. It's even better when I can change someone's perception of what Native American art is.  The landscape (pardon the pun!) is vast when it comes to the kinds of pieces you'll see at Santa Fe Indian Market.  The truth is, just like Native arts and crafts have changed over history due to contact with new peoples and new materials, so is contemporary Native American art evolving all the time. Formal art education inspires some artists to take Native art where it's never gone before.  Artists also experiment with forms and mediums each year to test their artistic mettle.  Submissions for Indian Market award judging get bigger and bolder every year, and it's exciting to see.

So if you're attending SWAIA Indian Market Week for the first time, what do you need to know?

1)  Always feel free to ask questions.  While many collectors typically "want a piece" of an artist at his or her booth, they are there to talk about their work, their culture and, most importantly, to sell.

2) Most artists understand that touching and feeling impacts someone's intent to buy.  Most will let you handle smaller items, but be sure to ask permission first.  Many people will invite you to do so from the get-go, but awaiting or asking permission shows respect.  The same is true if you want to snap a photograph.

3) Buy what you like!  You have to live with it, so make sure you love it.  There are original works of art by more than 1,100 top Native American artists from the United States and Canada available for purchase. Prices range from about $10 on up.

4) If something is out of your budget, don't worry.  Many artists are generational, so you'll likely be able to find pieces by other "lesser-known" artists for a fraction of the price of works by more famous artists.  Buying pieces by young children is a great way to start a collection and become familiar with work by all family members.

5) Come to SWAIA Indian Market Week with an open mind and open heart.  Indian Market is a great learning opportunity for both children and adults.  These artists live all around us in a contemporary world, and Market is a wonderful place to discover our commonalities.  Of course, come hungry because you're also going to want to eat Indian tacos and fry bread that vendors will be selling on the Plaza!

This Friday, August 16, I'll be on KASA Fox 2's "New Mexico Style" talking about collecting memories at Indian Market.   Check out my last year's appearance on buying affordable art at Indian Market HERE:

http://www.kasa.com/dpp/nm_style/features/affordable-original-art-at-indian-market

Happy Indian Market Week!

Leary Firefighter Foundation Hosts "Burn" Documentary Benefit Screenings in Tacoma

In 2003, I nearly died in a house fire in Queens, New York.   I lived in New York City during September 11, 2001 and was amazed at the courage of members of the FDNY, but my personal experience with the department gave me a true appreciation for the work firefighters do.  After all, what would we do if they weren't around to save lives? Thanks to their swiftness, I got out of the house and didn't choke to death. Watching a finely oiled machine in action is the best PR for a fire department.  Watch them work, and their dedication is clear.  Talk to them, and you realize they have hearts equaling the size of  the passion they have for the job they do.

 

It was, of course, an honor when the producers of the Tribeca Film Festival Audience Award-winning Burn contacted me to get the word out on Uncle Paulie's World about a screening of the film in Washington State. Executive producer Denis Leary had been doing the late night talk show circuit to promote the film a while back, and it was definitely something I wanted to see and write about.  I don't want to lessen the impact of the film by giving too many details away.  What I will say is that whoever watches it will be changed for life.  You will reexamine your priorities and want to remind yourself every day to say "thank you" to those around us who give of themselves for the greater good.

 

Burn is a documentary that follows the lives of members of the Detroit Fire Department throughout an entire year. Their experiences aren't easy, and their department isn't a normal one. Racial tensions and a lack of jobs changed the face of the city, lowering the city's population from 1.8 million people to around half.  That exodus has left behind 80,000 abandoned structures that are essentially fire traps, though the majority of the 30 daily structure fires are caused by arson. That's nearly triple the number of structure fires in Los Angeles--a city of 4 million people.  The fires are indicative of a larger social problem. The majority of  departmental funds are spent to pay the firefighters their modest salaries. Repairs and the purchase of reliable equipment goes to the wayside.

 

Throughout it all, the firefighters love what they do and enjoy coming to work each day.  For a firefighter, there is nothing like the adrenaline of entering a burning building, taking care of business, and saving lives.   They put themselves in dangerous situations every day, selflessly, but still manage to maintain a sense of humor about it all.

 

 

 

It was no joke to many of them when a new executive fire commissioner came to Detroit  and suggested that firefighters ignore the flames and let some of the structures completely burn to the ground. This seemed like the only way to level the battleground and clean up the city.  Since many unknown transients lived in the structures, the idea seemed absurd, especially to firefighters who are in the business of saving lives.

 

Burn is an eye-opening film about real people--real lives--and they graciously let filmmakers Tom Putnam and Brenna Sanchez into their community to give an in-depth glimpse into the triumphs and tragedies that take place in inner city Detroit. Putnam and Sanchez shot nearly 1,000 hours of footage and interviews to tell a shockingly true, and in its own way, beautiful, well-rounded story.

 

The film is full of selfless guys whose stories are compelling and varied. Many grew up in the communities where they live and work.  And one thing connects them all--a love for the job and the city they see dwindling away, one fire at a time.

 

Tacoma, Washington is a town riddled with its own social and economic problems.  It, too, has a brave fire fighting community. The Leary Firefighters Foundation will be hosting special May benefit screenings of Burn in Tacoma.  The showings will take place at the Grand Cinema  at 2 p.m. and 6:45 p.m. on May 21, as well as at 6:45 p.m. on May 22.  Tickets are $15, and a portion of the proceeds will go to the Leary Firefighters Foundation to purchase new equipment for firefighters.   The Grand Cinema is located at 606 S. Fawcett Avenue in Tacoma. For more information and to watch a trailer of Burn visit  http://detroitfirefilm.org.

Wright's Indian Art Celebrates 106 Years with New Location and Mother's Day Grand Opening Celebration

 

 

There are some places that give you fond memories, and you carry them with you no matter where you go. Wright's Indian Art in Albuquerque, New Mexico is one of those places.  When I first moved to New Mexico, I popped in to have a look at all the gorgeous Native American jewelry by Steve LaRance, Marian Denipah, Roland Brady, Dylan Poblano, Steve Yellowhorse,  Lyndon Tsosie, Althea Cajero and many more.  I was immediately charmed by salespeople Elizabeth and Joan, who warmly greeted me, made me feel welcome and suggested incredible things for me to try on.  I was also wonderully overwhelmed by the number of larger pieces by Jemez artists Kathleen Wall, Joe Cajero, and Swirl Pots by Dominique Toya.   Wright's is also a place to meet artists and develop a rapport with them. Some of my most treasured and lasting friendships with artists started at Wright's!

 

 

Tufa cast and turquoise corn and spider web
cuff by Dino Garcia (Kewa Pueblo)

 

Everything in shop is high-quality, and there is a variety that fits every budget--from fetishes to pots, to paintings and everything in between.  Wright's makes collecting Native art fun and affordable, and they stay on the cutting edge of what's happening in the Native art world.  After all, they has always offered the best in Native American art since it began as a trading post on the Navajo reservation over one-hundred years ago.  Wright's Indian Art is an institution in the Southwest and has celebrated many milestones.   

 

 

Swirl pots by Dominique Toya of Jemez Pueblo

 

Now, Mr. B and the gang--the people who love to sit down with you and talk art, life and jewelry--are marking a new milestone. Wright's Indian Art is celebrating its 106th Anniversary with a BIG move to a new location in Albuquerque at 2677 Louisiana Blvd N.E.  (View Map) as well as a BIG PARTY!

Stop by the new gallery for a  Grand Opening Celebration on May 11 and 12 (Mother's Day Weekend...did someone say "I want jewelry?!) from 10 a.m. to 5 p.m.  It will be a who's who of Native artists coming out to show their dedication to and support of the gallery.  

 

Wright's Indian Art, which is the oldest continuously operating Indian art gallery in Albuquerque, will carry the same art, represent the same artists and offer the same warm, wonderful customer service, but now in a more streamlined gallery with an even better online presence.  It's reassuring to know I can still have that traditional Wright's Indian Art experience in-person and get my fix online when I'm not in town. Here's to another 100 years, Mr. B!!!

A "Here's What's Happening" for the Grand Opening Celebration:

INDIAN ARTIST MARKET
Meet and deal directly with a variety of award-winning Native artists. The event will be held outdoors all weekend long.

CEREMONIAL BLESSING
by a Native medicine man

SILENT AUCTION
Handmade pieces by award-winning artists, local products, gift cards, and more. All proceeds to benefit First Nations Community Healthsource, providing crucial health and social services to the urban Native community.

RAFFLE DRAWINGS
Everyone who makes a purchase will eligible to win valuable prizes.

SPECIAL SHOWS
Southwest Zuni Connection
Carl and Irene Clark will personally exhibit and discuss their world-renowned micro-mosaic jewelry

ARTIST DEMONSTRATIONS
Maxine & Dominque Toya (Pottery)
Alice Yazzie (Pastel art)

NATIVE MUSIC
Double Flute performed by Adrian Wall, and more.

DANCERS
Nakota LaRance, prize-winning hoop dancer and former Cirque du Soleil performer will dazzle us on Sunday.

FASHION SHOW
Featuring designer Penny Singer and surprise guests.

 

For more information about the gallery or the Grand Opening call 505-266-0120 or visit Wright's Indian Art of Facebook or at www.wrightsgallery.com.

 

'War Baby/Love Child' Exploring the Mixed-Race Asian American Experience Opens at DePaul University Art Museum

 

Art is "messy and complicated, just like life and issues of race," says visual artist and art professor Laura Kina.  Kina has teamed up with San Francisco State Asian American Studies professor Wei Ming Dariotis for the literary/art combo War Baby/ Love Child: Mixed Race Asian American Art.  While the book, published by the University of Washington, came out back in December, an exciting new exhibit opens today at Chicago's DePaul University that extends the publication's discourse into something tangible, yet not a total mirrored image of its literary counterpart.

 

War Baby/Love Child can be a difficult book to fully understand since cultural dynamics and history are very complex, especially if you know nothing about the mixed-heritage Asian experience in the United States.  Nonetheless, it is an opportunity to open your eyes to a whole new world. My multiculturalism lexicon includes Latinos and Native Americans.  I willingly admit I knew very little about the subject until I made contact with artist and activist Louie Gong, who is of Native American (Nooksack), Chinese, and Anglo descent.  Both he and Debra Yepa-Pappan (Jemez and Korean), an artist who's part of my New Mexico circle of friends, piqued my interest in the subject of mixed race by their involvement in the project.

 

Live Long and Prosper (Spock was a Half-Breed)
by Debra Yepa-Pappan (Korean/Jemez Pueblo)

The book is a perfect example of the chicken coming before the egg.  In 2008, its two editors met at a multiracial movement retreat in San Francisco.  The timing was perfect.  President Obama had been elected and the "post-racial rhetoric was also at a peek," as Laura Kina says.

 

"The mainstream media and even many voices within academia were saying we were supposed to be beyond race but of course that didn’t match up with many of our lived realities. We knew race still mattered."

 

What resulted from the meeting was a collaboration that yielded a proposal for an art exhibition broaching the subject of the mixed-race Asian American experience from the perspective of  the artist.  Kina is of  Okinawan (Hawaii) and Spanish-Basque/French, English, Scotch-Irish, and Dutch, while Dariotis' family is from the south, Tennessee and Texas, and California.

 

Some of the book was inspired by Kina's curiosity about how other mixed race Asians Americans across the U.S. were navigating issues of identity in a contemporary art world that had been dominated by a post-racial discourse.  She knew what was happening in her studio, but was interested to know what others' work looked like.   It was meant as a vehicle to become knowledgeable about the "mixed experience and history beyond the Asian/white discourse and beyond an 'exceptional' identity politics. What is our history?"

 

What makes the book engaging is the fact that it is split up into a series of Q & A's with 19 emerging, mid-career, and established mixed race/mixed heritage Asian American artists.  Kina and Dariotis intersperse artwork that supports the narrative.  In addition to the interviews, the editors have included wonderful scholarly essays exploring such topics as Vietnamese Amerasians, Korean transracial adoptions, and multiethnic Hawai‘i. As an increasingly ethnically ambiguous Asian American generation is coming of age in an era of “optional identity,” this collection brings together first-person perspectives and a wider scholarly context to shed light on changing Asian American cultures. Ultimately, the goal of the project was to map and contextualize the artists' individual narratives against larger transnational histories. After all, "it’s not just some accident that all of our parents happened to meet," says Kina.

 

"WarBaby/Love Child" the art exhibition opens tonight at the DePaul University Art Museum.  Why an art exhibit?  "Art is a great tool for telling stories," Kina says. 
 

"Sometimes we just see a fractured scene or glimpse into a larger world or we might see multiple times and spaces collapsed into a single image. Art can transcend language, speak to the spirit, the soul, affect…the possibilities are really endless."

 

Kina hopes that all people leave the exhibition understanding that they own this history as well.    
 

"I think too often we want to put histories in neat boxes… maybe we are lazy or just not so interested in things that we think don’t pertain to ourselves. So, if there is one take-away, I hope the 'average person' can walk away with a more complicated understanding that all this border crossing and mixing it up we are talking about is not a peripheral history, but rather an important lens through which to view U.S. history, contemporary art...,"  Kina notes.  She is hopeful it lends itself to expanding what is "Asian-American history."

 

"War Baby/Love Child" the art exhibition opens tonight at the DePaul University Art Museum with a reception and members preview from 5 p.m. to 6 p.m. with a public opening from 6 p.m. to  8 p.m.  The show will be on exhibition through June 30, 2013 before traveling to Seattle's Wing Luke Museum of the Asian PacificAmerican Experience from August 9th through January 19, 2014.

In Bellingham, Washington, the book is available at Village Books in Fairhaven.

You can also get it on Amazon.com.