Blog – gallupARTS

May

“Faces of Tradition” by Tasha N.

Tasha N. guest-curated “Faces of Tradition” at ART123 Gallery in May 2024. The following is a blog post written by her to commemorate the show.

Some things in life just go together. Like peanut butter and jelly. Salt and pepper. Things like that. For me it’s my mom and beads. My entire life I’ve watched her make so many beautiful things out of them. Miniscule pieces of glass, shells and stone insignificant on their own but somehow she managed to weave them together to create intricate pieces of art. The hours, the talent and dedication she had to create these works has always been a source of pride for me. Every new thing she makes I love saying, “My mom made that!” As a kid, seeing her creativity shine through her beadwork pushed me to find the same kind of passion which opened different avenues of interests that have followed me into adulthood. Now today many of my own creative projects continue to be inspired by her and her art. The latest project being my guest curatorship at ART123, where I was given the opportunity to curate my own show, titled “Faces of Tradition”.

The show is very special to me because it’s an art show about a social justice theme I’m very passionate about: economic exploitation of Native artists. The show has different components that represent different parts of the social justice theme. There is a mural, painted portraits, a photo wall and artwork by several different artists. All of which we will explore in this post but first let’s talk about why I chose economic exploitation as my theme.

I grew up in a family of artisans and have seen first hand the disparity set between Native artists and Gallup’s Native arts industry and I was, for a short time, even a part of it. Sometimes I think about the irony of talking about these disparities because some may get the impression I don’t like Gallup when the exact opposite is true. I love this place. I was born here. It’s a part of my history and a part of who I am. But just as a child requires admonishment from a parent to grow and do better, I feel that Gallup needs to hear difficult truths in order to grow also.

Gallup has always had a notorious reputation for being a bordertown, something that even today is quite hard to shake. But Gallup has successfully called itself the “Indian Capital of the World” because of its proximity to various native communities and as so, it’s been able to build a lucrative economy based on its ease of access to native handcrafted/made art. It loves to boast about its proximity to native communities and that it’s “home to over 1,000 native american artisans” but in reality there are only a few places where someone can buy directly from a native artist. Gallup trading posts, private businesses and galleries are often muddled with brokers who have taken advantage of native artists through shortchanging/price gouging, counterfeiting and monopolizing the native arts and crafts industry. They’ve created an environment of anonymity and have perpetuated the idea that Native American art remains single faceted. All of which harms native artists, their livelihoods and undermines their creative efforts and essentially robs them of self-representation.

For this guest curator show I wanted to create a body of work that honors native artists and brings back the humanity that has been eroded by capitalism. It’s important to me that the community and visitors remember that behind Gallup’s success are real people who at the end of the day are fathers, mothers, grandmothers, etc… providing for their families. This show is my attempt at giving credit where it is rightly due and perhaps, rebuild a sense of transparency.

The Mural

This installation features my mother’s hands as the focal point, speaking to the legacy of hard work instilled by the matriarchs of Navajo families. Their hands built the local economy and in them we see strength, resiliency, creativity and entrepreneurship. It is through their hands that we prosper. This mural is a homage to the craftspeople and artisans in my family, and many other families, who have carried on and expanded traditions. It is especially a tribute to Diné (Navajo) women, who work all day, every day, from dawn until dusk to create all they can for us, their children, and their families. In my experience, the hard work put in by artists is more valued than the individual who created the work. Gallup exists because we, artists and craftspeople, exist. This mural reminds us, our community, and visitors of the essence of who we are.

Painted Portraits

In the show I painted seven portraits of artists that have worked in the area and that I know personally. I’ve always felt that portraiture is an intimate gesture. As you work and study the face of the subject you are having a sort of conversation with each brush stroke. Who is this person? What have they felt? Who are they to me? What do I want others to see about them? And is this portrait accurate? Painting these portraits was an act of reflection and with every curve and wrinkle I was reminded of how appreciative I am for the people in these portraits. The portraits include my partner, Shandiin DeGroat, a mixed-media artist. His mother, Elsie A. a silversmith. His grandmother, Ruth A. a weaver. His aunt, Cathy W., a silversmith. My little brother, Armond Antonio a painter. My grandfather, Edison Yazzie, a silversmith and my mother, Shelia N., a bead artist.

I wanted these portraits to serve as a reminder that behind works of art are individuals who have used their life stories, their creativity and talent to shape them and share with the world. That when we buy a painting, a silver piece of jewelry or drawing it’s not just the material object we are investing in but the legacy and livelihood of the artist who made it. It’s important for us as consumers to be conscious of what we are supporting.

The Photo Wall

On the east wall of the gallery I created a photo wall that includes mixed media portraits of my family I created years ago, personal photos of my family and photos of artist friends and acquaintances I’ve met throughout the years. The aim I had with this photo wall was to express how vibrant and extensive the artistic community is beyond what we are presented with at trading posts and shops.

I’ve often thought about how superficial the thought behind Native American art can be especially in a town that presents itself as Gallup does. It’s no question that the work in these shops are impressive and full of rich history but the idea that Native American artwork can be contemporary artworks has yet to be embraced. Gallup’s economy is dependent on the idea that Native American artwork is Native artwork not because of the Native artist who made it but of the depictions in the work such as cowboys in a vast desert scene or portraits of stoic native men. Artwork which may be aesthetic and full of talent on the artists behalf but continue to leave much out.

Native artists are much more than what is presented at the surface in Gallup; there’s an entire community of artists who have found their niche within contemporary or traditional arts. The photo wall is a testament to the fact that we have silversmiths, textile artists, photographers, digital artists, mixed-media artists, sculpture artists, painters, watercolorists, abstract artists, etc… By interweaving personal photos, photos of artists and my own artwork I wanted to show the magnitude of the community I’ve been able to build through art and art that is representative of my own story. We don’t need a re-telling of our stories to be successful and I hope that it can also serve as an encouragement to aspiring artists to follow whatever dreams they may have.

Featured Artists

For this show it was an important aspect to include other artists into this opportunity and to have different types of artistry represented. Each artist has a unique style all their own and ties back into the idea that our stories and culture and how we present them are our own. I invited seven artists to present their own work next to the portrait I created of them and four of them took me up on that offer. I then invited four additional artists to feature their artwork throughout the show to bring it together. These artists include:

Valencia Edgewater-Chapito she is a member of the Dine tribe and was born in Gallup and graduated from Gallup High School. She currently lives in the Tse-Yah-Toh community. Her art has always been in her heart and has been making art for as long she can remember. She has fond memories of sitting with her sisters at night, creating in the soft yellow glow of a kerosene lamp and listening to the radio, munching on Doritos, pickles, and Pepsi. She would like to encourage everyone to make art and that there are so many ways to “make” like sewing, making music, painting, sculpting, writing, weaving, carving, and drawing.

Shelia N. is a bead artist from Ramah, New Mexico. She creates beaded sculptures, bead embroidered jewelry, encaustic art, mixed-media, and pottery etching. She is currently a full-time artist and creates work for select clientele. Her work is inspired by the things she loves–her family and faith. She has participated in a variety of group shows and public art installations in Gallup. You can find more of her work on Instagram at @muddyhilldesigns

Orin Nez is a contemporary Native artist working in the Gallup area. Cathy W. is a working silversmith from Superman Canyon, New Mexico.

Peyton Alex is a self-taught graphic artist and second generation silversmith from Dilkon, Arizona, whose journey from traditional painting to digital art was catalyzed by the challenges of COVID-19 pandemic. Peyton creates vibrant digital artworks that highlight the dynamic spirit of female Native skaters. Inspired by her involvement with the Diné Skate Garden Project, Peyton’s work not only showcases the beauty and strength of Native culture but also provides representation that they felt was lacking during their own upbringing. Their pieces often feature traditional attire and elements from their upbringing, such as the mesas of their homeland and traditional aspects to inspire and empower the next generation. Peyton actively works with the Diné Skate Garden Project, teaching and providing skateboards and helmets to youth in remote locations on the reservation. THeir art and efforts aim to offer temporary escapes and foster a sense of freedom and resilience among the youth. Find Peyton on Instagram @_peekomeeko

Armond Antonio is a cattleman and accomplished painter and mixed-media artist from Pintado and Manuelito Canyon, New Mexico. His work has been featured across the U.S. and paints from his Gallup based studio or en plein air on his travels. He is known for his painterly style, his portraiture and New Mexico landscapes. You can find more of his work on Instagram or Facebook @ArmondAntonioStudioArts

Douglas Yazzie is a watercolorist and painter from Chinle, Arizona. Douglas creates vibrant and detailed paintings inspired by the landscape, culture and history of his hometown. His watercolor paintings are widely collected and each one shows his impressive skill to manipulate watercolor pigments to create rich and mesmerizing landscape scenes. He can be found in many different art markets around Diné Bikéyah and surrounding cities. His wife is also an accomplished beadwork artist who often travels with him as he sells his artwork.

Shandiin DeGroat is a self-taught Diné (Navajo) painter and mixed-media artist born and raised in Kinłitsosinil (Churchrock), New Mexico. He likes to combine his passion for skateboarding/graffiti culture with his Navajo background by merging traditional motifs and Navajo storytelling into his artwork. He carefully balances subject matter with bold colors and intricate linework. He is drawn to using acrylic paints on canvas or paper and is known for his incredible skill of using a script brush to create his line work. For works on paper he enjoys combining different types of mediums like acrylic, watercolor, color pencil, spray paint, markers, and oil pastels. He has also been learning about printmaking and has been experimenting with monotypes and gel plates and has plans to learn silversmithing.

This year he curated a show titled, “Taking Flight” in Albuquerque in January. He was also a featured artist in a Native skateboard deck themed art show, PIVOT at Cahokia in Phoenix, Arizona. He was chosen to participate in Diné College’s Native American Arts Market and the Santa Fe Indian Arts Market (SWAIA) in late September for the first time. He was also recently selected to participate in Harwood Art Center’s emerging artist group show, SURFACE opening in early June. Find him on Instagram @gahsho_boi_3000

Importance

I’ve touched on a lot of things here but the next question is what do we do with this information? What’s the point? It’s not possible to change centuries of thoughts and actions of an entire city overnight. You’re right and that’s not the goal.

There’s a lot to digest in this topic and not everybody will have the same conclusion or opinion and that’s fine. What’s important is how we use this information after we’ve heard it. My goal is to spread awareness of how the economic exploitation, perceived or un-perceived, through trading posts and shops in Gallup are harmful to Native artists. And the need to reevaluate how we as consumers and Native artists interact with such entities. I want to create conversations about how we as a community can support local native artists with their entrepreneurship and self-reliance so that they retain control of their representation. Gallup is my home and has so much potential to create better working relationships with its Native community.

Thank You

Special thank you to gallupARTS for this opportunity and to New Mexico Arts for providing the funding so that artists like myself can share our perspectives the best way we know how: through our art. Thank you to my mom for being a constant source of support and inspiration to me as I make my way through this life. Thank you to my partner Shandiin for the endless encouragement, artistic feedback, guidance and technical support. Thank you to Jacob Malone for staying up all hours with us and helping install the show. Thank you to all the featured artists (Orin Nez, Cathy W., Armond Antonio, Douglas Yazzie, Valencia Chapito, and Peyton) for being so enthusiastic about being a part of the show! Your work was the perfect touch! Thank you to all my art friends and patrons. You are my inspiration to keep dreaming bigger!

Apr

Artist Talk: Be Sargent

Be Sargent delivered this Artist Talk at ART123 Gallery on April 23, 2024.

What I love about the markers is that you can draw with them. My use of color has a lot to do with drawing. Rather than make the space with color I make the space with colored lines and shapes. From then on it is, “do I like it?” “Do I like it?” is tinged with “do I dare?”

Because there are a thousand rules to break that cover every place on the canvas. The middle, the corners, the sides, the top the bottom. You are always in some defined, scary area that could destroy the whole.

So you just go along willy nilly and suddenly the colors start to relate to each other. There is nothing you can do about it. They are there. Each is light or dark, each is warm or cool, each has its own intensity.

Now your eyes really take over. As each color fills your eye, your eye automatically looks for its complement, its opposite. So if you have green and no red your eye will add red where ever it can. It will make a yellow more orange, blue more purple and a beige more pink. Your paints will look different.

That’s what you see and believe and use.

With shapes perhaps there is more of your brain involved. You see images. Mostly I get rid of them especially in the early stages, wanting color to say everything. Sometimes an image is so lovely and nests quietly, I can leave it.

So now you have a working tapestry. I take my work from the studio into the house so it can torture me after hours. Sometimes upside down. And I love to look at the work just as it is getting light in the morning or dark in the evening when the lights and darks are predominant and the cools recede and sometimes turn white.

Matisse told a fellow artist, I think Derain, at this time of evening onset. “It’s happening, it’s happening!”

Anyway, let’s look at the work. We’ll just look at ten.

Starting with Sharp. Amazing that these two big greens can both be read as green. The purple is controlling the greens.

But secretly, the little yellow green is controlling the purple.

This red one which followed the other reds was obviously in response to Rd saying, “give me a chance you have just been using me as a triangle!”

I let Red dominate but I was mean because I let Yellow do something even more exciting which was to let her touch all the other colors. And you see what a hard ball she became where red is still just a backdrop.

This is the third blue. Full of imagery. Bats flying to the moon. Clouds overhead. Sea creatures below. Sometimes colors just want to be things.

Blue Boy is the oldest–November 2022. I don’t think I could have gotten this effect with anything but the marker and the lovely paper surface of the gatorboard. And here is where I have to read what I found on the net…

“Gatorboard is an extremely rigid lightweight composite display board which combines excellent strength to weight values and versatility with archival quality which allows its use for display mounting of museum artifacts and materials requiring a non-acidic environment.”

This red and yellow one I love for the two purpley pinks and the way they overlap. Notice that the yellow is never allowed to touch the red. This size piece usually takes a week but all the work doesn’t show because the medium is so opaque that I can go over everything and back to zero any time.

This one, I just wanted to see how differently I could use the RGB, red, green, blue, and I only put it in the show because we needed the purple. It’s definitely what my friend would disparaginglycall “a floral.”

This is the fourth of the green series. I am now working on number six, a big one. I definitely am in love with these colors. And speaking of beige reading as pink, somehow a beige being pink in your eye is more exciting than actual red and white.

And this oneI think is really the best of the ten. Just concentrating on letting each color sing. As an exercise, try to see the red as white and you will see how difficult it is to tell how dark red really is.

And this early red and yellow is just about making a funny shape a Respectable Siamese House Twin Doublewide floating in a pink sea. I guess that yellow is touching red, too, but it’s not very effective.

And here is the first of the green series. Yolanda Travers saw a face in it and I was horrified but there was nothing I could do but make the face nicer. More people liked this piece than any other.

Apr

Interview with Lakin Epaloose

On May 13, ART123 Gallery will open “Prussian Horizons,” a solo show by up-and-coming Zuni artist Lakin Epaloose this May. We asked Lakin to tell us more about his background, creative process, and show concept–here’s what he shared:

This is your first-ever solo show, correct? I am a recent graduate, class of 2022, and have taken a gap year to pursue fashion and art. I initially planned on studying at Columbia or Harvard to fulfill a pre-med track or pursue aeronautical engineering/physics, but I decided to change my plan which resulted in me having to start from scratch again. I never knew how to sew or even draw fashion sketches, so I’ve been improving that skill while building my art portfolio so I may present my work in shows all over the world in the future. This upcoming show will be my first and will mark the beginning of my journey.

How have you been developing your art practice? Art classes? Learning from family members? Self-teaching? I started painting when I was 17, which was about 2 years ago. I started with watercolors in art class, mainly painting renditions of my dad’s artwork. After a couple months, I moved to painting with acrylics on my own. At that point, my dad had taught me his technique which is similar to the Flemish technique. I worked on about 8 acrylic paintings and just after I had turned 18, I received a set of oil paints as a gift. Since then, I’ve been using oils and improving my hand in this medium by studying work from Baroque artists such as Caravaggio and Rembrandt.

What are your influences as an artist? I perceive influence as fundamental in the subconscious manifestation of ideas. Influence, or inspiration, in my work, whether it’s visual art, fashion, music, film, or poetry, is developed from interactions that I have with people, places, movies, food, dogs, the sunset, and just about everything that I set my eyes and ears on. I used to believe that I was the source of my own inspiration, but I quickly realized that this intrapersonal perception was like a mirror reflecting another mirror; it led to nothing. Therefore, I often look to artists across the spectrum of time, style, and media as a source of influence when it comes to visual art in particular. For example, I take the Chiaroscuro technique used by Caravaggio, the Zuni cultural influence of my father’s work, the brutal concept of Ilya Repin’s work, and the idealism of Michelangelo’s work and combine those with my experiences that span from birth to the present. This results in the expression of both my conscious and my subconscious: a work of art.

What is your vision for “Prussian Horizons”? The presentation of “Prussian Horizons” is a story of my childhood and adolescence that I hope to weave together using the hue of blue accompanied by its shades, particularly Prussian blue. I’ve broken down the story into three fundamental sources of influence: Fredrich Nietzsche, Pablo Picasso, and the symbolism of blue that is used in Zuni art, clothes, and design. Friedrich Nietzsche, who was a 19th century philosopher born in Prussia (East Germany), expressed his ideology of suffering in Thus Spoke Zarathustra which brought me to the realization that suffering is necessary for growth in every aspect of life. Pablo Picasso experienced a stage of grief and hardship in his early adulthood wherein he created paintings. primarily using blue paints, which became known as the “Blue Period.” Most importantly, my life is founded on Zuni religion and culture. I hope to express all of these elements and connections in my presentation.

What do you hope people take away from your show? Through my presentation, I hope for people to understand that beauty is not only found in idealism in art and hedonism in life, but rather found in pain and death. These two aspects of experience give life its value, they push people to create and pursue, they call for the appreciation of time that we share with family or spend hiking the switchbacks of a path and reaching the summit of a mountain. I wish to curate this room as if it is my own mind and give people a chance to experience what it may be like to take a step in it.

Sep

Residency Reflections by Meek Watchman

Editor’s Preface: Diné aerialist and poet Meek Watchman was gallupARTS’ summer 2022 Social Justice Creative-in-Residence. Her residency entailed researching and writing a youth development-focused Indigenous social circus curriculum. It encompassed an 8-week intensive course, a half-day workshop, a youth performance, an artist talk, and an aerial arts demonstration. It culminated in a published curriculum. Upon the conclusion of her residency, we asked Meek to share her reflections. Here they are.

This is my third blog post draft. The first draft was babble, and the second draft I didn’t like what I wrote. And here we are at three. I’ve been thinking for weeks about what I want to write and share about my experience working as the Creative-in-Residence for gallupARTS. Initially, I wrote about reflection. Then I wrote about the joy and healing that comes with circus. Now, I realize I am putting way too much pressure on myself for this blog post.

These words should be fun, joyous and merry. And I want them to be. But today, nearing the end of September, I am exhausted beyond recognition. I had a great summer doing many things I’ve never done before and was in constant commute. This week I can finally rest to write these words.

I am tired because I had the best summer—teaching aerials twice a week in downtown Gallup, eating well and enjoying the off days with my son. Every week since May has had a detailed schedule, and I am thankful for it. When I wasn’t teaching or researching, my son and I were on the road, swimming, painting in the sun and soaking in all the bliss of a hot summer.

Considering exhaustion, I will keep this brief. It feels like the entire summer flashed before my eyes—yesterday was April, tomorrow will be Christmas. What I am saying is, it’s very simple to lose track of time when you’re working very hard. I didn’t realize how much we all gave until space opened and I no longer had to travel to Gallup three times a week from Window Rock. And I no longer had to plan every day of the week to revolve around my residency.
I am not complaining by any means, I am writing this to remind myself of all that I was given—all that I was awarded—with the deep intent that I would grow and earn the feeling of accomplishment and success in a short amount of time. And as I continue to reflect on the past three months with gallupARTS, even with the unexpected (COVID, family emergencies and mothering of a toddler), this summer was the best that I could have ever asked for. From the start of June until the end of August, every week was meaningful and filled with exciting challenges.

Among the many highlights during the residency, the most notable is my student, Jade Bowman. Initially, I proposed to work with two youth. Unfortunately, that did not go as planned and I recruited only one student, Jade. As time unraveled, I realized the absence of one student afforded another and so Jade became present in all the times marked available for aerial classes at ART123 for eight whole weeks. I am grateful it worked out this was, because Jade worked very hard and used all her time in the best way possible.

Overall, I am proud of all involved in the residency, especially Jade. This type of creative work is not possible without the support of loved ones and those willing to stand with you, alongside your creations—no matter the outcome. This outcome was earned for all, and I am thankful for everything. Please enjoy photos captured throughout the duration of the residency. Again, ahe’hee gallupARTS for this tremendous opportunity that has catapulted my artistic career and endeavors.

Timeline of Residency Through Photos:

First day of aerial rig set up at ART123 (Photos 1 and 2)
Jade in weekly classes on the silk and lyra (Photos 3, 4, 5,6)
Silk workshop with student Love and assistant instructor Jade (Photos 7, 8, 9, 10, Photos by: Jordan Bowman)
Jade’s Performance (Photos 11, 12)
B&W photo of Jade on silk and lyra (Photos 13, 14, 15, 16 Photos by: Meek Watchman)

Gallery Notice : Images have either not been selected or couldn't be found

Jul

100th Ceremonial Art-on-the-Fence Project

Zuni artist Dennis Dewa’s installation captures the creativity of the Zuni people in flagging tape. Dennis wove the material through the fencing employing the same embroidery stitch used to make traditional kilts. “The designs show the ideologies embedded in the Zuni culture, and the complexities that come with it. It shows how beautiful this world is,” says Dennis.

Diné artist Shelia Nez created a mixed media installation that represents the idea of “getting ready” for Ceremonial. “For Ceremonial, people make or buy new skirts to wear, they polish and wear their best silver jewelry, and adorn their hair with floral scarves,” says Shelia. “This installation honors and commemorates the people and history of Ceremonial by visually representing a shared experience.”

Her mother’s hands are the focal point of Diné artist Tasha N.’s installation. “This mural is an homage to the craftspeople and artisans in my family and many other families–especially Diné women–who have carried on and expanded traditions,” says Tasha. “Their hands built the local economy and in them we see strength, resiliency, creativity, and entrepreneurship. It is through their hands that we prosper.”

Diné artist Jay John’s installation features spray-painted versions of historic images from previous Ceremonial events set within a butterfly pattern. The images celebrate cultural diversity and the butterflies symbolize change and spiritual rebirth. “I believe it’s important to community to place positive imagery in places that may be otherwise looked at as eyesores,” says Jay. “I’m always looking for opportunities to create art that reflects my culture on a large scale.”

Diné artist Antonio Scott created a collage of photographs and newspaper clippings from the Ceremonial archive that show glimpses into life and culture in the Indigenous communities surrounding Gallup over the last 100 years. It also incorporates his own, original landscape photography. “While growing up, I looked forward to trips to the Gallup Ceremonial,” says Scott.

Zuni artist Erin Bulow created arrangement of vinyl records painting with colorful backgrounds and Pueblo pottery designs, incorporating scenes and images from Gallup and the surrounding area. “I chose to paint on vinyl records because there has been a recent uptick in their popularity, just like being Native is ‘trendy’ right now as seen in TV shows, the fashion industry, and music,” says Erin. “But it’s always been trendy to be Native.”

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