Grant Projects – gallupARTS

Jun

Lessons from the New Deal: Social Justice as Economic Development

“In these days of difficulty, we Americans everywhere must and shall choose the path of social
justice—the only path that will lead us to a permanent bettering of our civilization, the path that
our children must tread and their children must tread, the path of faith, the path of hope and
the path of love toward our fellow man.”

So concluded the future President Franklin Delano Roosevelt at the end of a campaign speech
on the economy made in Detroit, MI on October 2, 1932. With the unemployment rate in the
United States nearing 25%, Roosevelt pitched social justice as a strategy for economic recovery
and growth. He argued for the federal government’s essential role in addressing the root causes
of poverty and creating the conditions necessary for shared prosperity. He spoke about public
health access, workers’ compensation insurance, and social security programs as systemic
interventions to restore fairness and morality to the economy and create a rising tide that lifts
all boats.

Roosevelt’s collectivist philosophy earned him the label of “radical” in some circles, but the New Deal was hugely popular and the stability and advances it instituted in terms of personal and national economic security, labor organizing, home ownership, infrastructure and utilities development, and national parks, were widespread and have proven to be long-lasting.

The arts were central to the New Deal’s social justice-oriented approach to economic development. The New Deal put artists to work creating murals, paintings, and other public art
to fill post offices, schools, and government buildings across the country. Federal arts programs
combined unemployment relief for the creative sector with increased access to the arts and
improved quality of life. Importantly, the programs involved a diversity of artists working in a
variety of media, styles, and customs—although the programs did not afford artists of color all
the same opportunities as their white counterparts. New Deal programs also paid artists
fairly— estimated at $3,000 – $4,000 per month in today’s money (25% above New Mexico’s
2023 median income).

The Gallup New Deal Art Virtual Museum, launched by gallupARTS on March 29, 2025, explores the artistic legacy of the New Deal. The pieces in Gallup and McKinley County’s New Deal art collection on display in the Virtual Museum are as meaningful today as they were at the time of their making almost 100 years ago: they remind us of our history, provide insights into the evolution of artistic and cultural traditions, and raise issues of representation and cross-cultural exchange. By bringing them to light, the Virtual Museum continues the work of the New Deal, leveraging public art to advance social justice and the empathy and understanding it requires. The Museum also considers the value of artists’ labor, provoking reflection on matters of systemic exploitation and equity within the current regional arts market.

Perhaps because it promotes historical memory, the Virtual Museum is now a casualty of the
current administration’s drastic overhaul of the federal government—one that seeks to reverse
the ethos of the New Deal. In fact, President Trump is now proposing to eliminate essentially all
federal support for arts and culture. gallupARTS is hardly immune in this regard. Funding
committed to the Virtual Museum by the National Endowment for the Humanities since 2018
was abruptly and unlawfully terminated by DOGE at the beginning of April.

But, to paraphrase FDR, never fear. gallupARTS’ commitment to stewarding our community’s
artistic heritage and to strengthening our society and economy by supporting local artists and
promoting the arts remains unabated.

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!

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

May

“Transitions” by Dennis Dewa opens at ART123 Gallery on May 14

ART123 Gallery in downtown Gallup is opening its second in a series of four guest-curated shows, “Transitions” by Zuni artist Dennis Dewa, on May 14.

“Transitions” examines the causes and perils of global warming and imagines the brighter future that is possible with radical changes to our means of energy production and ways of life. “I want the community see and understand that climate change is real and how we can move forward by fully transitioning to renewable energy,” says Dewa.

Dewa is making space for that conversation by creating an immersive one-room art installation. A mural done “in the round” will cover all four walls of the gallery, interweaving black and grey silhouettes of the machinery of the fossil fuel industry with Zuni symbols representing the elements. Set into the mural will be seven large-scale landscape paintings done in full color for contrast and to highlight the flora and fauna indigenous to the region alongside images of renewable energy sources. By juxtaposing dark and light, extractive and naturally-occurring processes, death and life, Dewa asks viewers to consider both what is and what can be.

“I want visitors to be moved. I want them to be more aware of the environment they are living in and I hope they will make the positive changes and choose the best way for our future and our children’s future,” says Dewa.

“I think climate change is at the top of a lot of people’s minds right now,” says gallupARTS Executive Director Rose Eason, “with the fire season having come super early to the West. And it’s a conversation our community is having because of the effort to establish a hydrogen hub. With ‘Transitions,’ Dennis gives us the big picture and, in doing so, gets us back to the basics. His work really conveys the miracle that is our planet—its power and strength as well as its delicacy and fragility, its majesty and its mystery. His paintings are so beautifully composed and painted, they create an energy that reminds us and makes us feel that we are all part of the earth’s ecosystem and that honors that relationship.”

“Transitions” will open on Saturday, May 14 from 7 – 9pm (during ArtsCrawl), with a virtual preview earlier in the day at 11:45am live-streamed on the @gallupARTS Facebook page. Dewa will give a Guest Curator Talk on Thursday, May 19 at 6pm, which will be in-person at ART123 Gallery and simultaneously broadcast on Facebook. “Transitions” runs through June 4.

About Dennis Dewa: Dennis Dewa is an artist from the Pueblo of Zuni working in acrylics, colored pencil, and charcoal. Through art, Dennis combines storytelling and tradition with a contemporary outlook in order to depict and preserve the teachings of his people for future generations. Using technique, theory, and Indigenous knowledge, he expresses the natural and spiritual worlds with movement and emotion. Find him on Instagram @the_phantom_dennis.

gallupARTS’ Guest Curator program is supported by funding from the National Endowment for the Arts (www.arts.gov).

Mar

“Walking in Gallup” by Armond Antonio

ART123 Gallery in downtown Gallup is opening its first-ever Guest Curated show, “Walking in Gallup” by Diné artist Armond Antonio, on April 9.

“Walking in Gallup” will address the community-based social justice issue of homelessness through a mixed media show that puts a human perspective on a dehumanizing and often overlooked experience and that spotlights its systemic causes and conditions. The show will feature original work by Antonio, including a series of photographs and paintings depicting sights and scenes from the artist’s walks in Gallup that visualize issues such as criminalization and the reality of difficult choices, and a found object sculpture created from refuse collected by the artist on those walks. The show will also feature work by street artist Shandiin Degroat.

“I hope people come away from my show with a sense of morality, of being aware of the hardships within our community that shouldn’t just be ignored or pushed out,” says Antonio.

“What Armond is doing with this show is literally and figuratively inviting gallery visitors to take a walk in another’s shoes, to experience Gallup from the point of view of someone living on the streets, to see the unseen, to acknowledge the unacknowledged,” says gallupARTS Executive Director Rose Eason. “It’s a really powerful concept: the Diné prayer of ‘Walking in Beauty’ has been so exploited. But by playing on that trope with the title ’Walking in Gallup,’ Armond is bringing us back to the truth of the matter, forcing us as a community to confront the ways in which we have betrayed the essential concepts of valuing life, honoring each other, and living in harmony.”

“Walking in Gallup” will open on Saturday, April 9 from 7 – 9pm (during ArtsCrawl), with a virtual preview earlier in the day at 11:45am live-streamed on the @gallupARTS Facebook page. Antonio will give a Guest Curator Talk on Thursday, April 14 at 6pm, which will be in-person at ART123 Gallery and simultaneously broadcast on Facebook. “Walking in Gallup” runs through May 7.

About Armond Antonio: Antonio is a Diné artist working in pencil, acrylic, oil, watercolor, mixed media, and block printing who often turns his eye for raw beauty to the landscape, animals and people. From Gallup, Armond lives in Pueblo Pintado and works as horseman. Armond regularly participates in the Sovereign Santa Fe exhibition, and has exhibited his work across the Southwest. Find him on Instagram @antonio_studioarts.