Kimo De Cora
Kimo is a full blooded Native American artist born in Phoenix, Arizona n 1951.
Ten years after graduating from Haskell Jr. College, Kim started his artistic career as a painter. Kim draws his inspiration from his love of the outdoors and his frequent visits to the many ancient ruins “…where I can imagine how my ancestors lived.”
Kimo is a self taught artist who paints cast and hand-made Christmas ornaments, miniature pots as well as rocks in various Native American styles such as Mimbreno and Pre-Colombian Pueblo called Anasazi. He also paints traditional Pueblo and nouveau-Western Pueblo styles.
For the las six years Kimo has studied Tai chi Chun, which he believes enhances his brushwork and makes him open to trying different ways to be more creative and productive.
1983 – 18 Blue Ribbons in juried Arts and Crafts show – Winnebago, Nebraska.
2001 – 5 Blue Ribbons in a juried Ceramic and Doll show – Albuquerque, NM
Graduate of Haskell Junior College, Off-Set Lithography
Certified Off-Set Pressman
Santo Domingo Pueblo
Rodney is a member or the Santo Domingo Pueblo. His involvement is about history, believing, and experiencing his culture.
Rodney was affected by his mom and grandfathers history. How hand made jewelry was created from hand made tools and how turquoise stones we’re ground on solid rocks before there were motors and machines. Rodney easily grasped his grandfather’s history and he started to create art from seashells and stones.
Rodney wanted to accomplish more and become a modern artist. He started taking metal smithing classes in January of 2002 at the Poeh Cultural Center Rodney intends to pass down his accomplishments to his family.
Tigua, Ysleta Del Sur Pueblo
Mr. Dunbr’s family originates fro Ysleta Del Sur Pueblo, southeast of El Paso, TX. The Pueblo was established in 1682 subsequent to the Pueblo Revolt of 1680, its people having originated from islets Pueblo south of Albuquerque, NM. Mr. Dunbar maintains close family ties at Ysleta Del Sur and returns throughout the year to participate in tribal ceremonies.
Prior to 2007, Mr. Dunbar’s primary art form had been bead and quill work, having demonstrated these techniques at the Academy of Science Folk Art programs in San Francisco, CA, and the Festival at the Lake Folk arts even in Oakland, CA.
In May 2010, Mr. Dunbar was invited to participate in the Native Treasures art show in Santa Fe as an emerging artist, Since 2010, as a student of the Poeh Arts Center, Mr. Dunbar has participated in both the Summer Indian Market and Winter Indian Market. In the summer of 2011 and 2012, Mr. Dunbar participated in the Espanola Valley Art Festival. Mr. Dunbar continues to take traditional Pueblo pottery classes at the Dunbar was nominated by his instructor, Shawn Tafoya, to participate in the Poeh Arts Center Master’s Program.
Having concentrated on bead and quill work for many years, I now look forward to mastering the art of Pueblo pottery in the tradition of my grandmother and forefathers.
Being nominated to the Poeh Arts Center Master’s Program and mentor to new students is a great honor and challenge. Without a good foundation of the basics, you cannot expect to successfully move to the next level I look forward to not only continue honing my basic skills, but, expanding into new areas of creativity. It is always important to maintain quality and integrity each step of the way.
My art work consists of traditional and contemporary Pueblo pottery, bead and quill work and making moccasins. All pottery pieces are made of traditional clays and paints; all pieces are authentically made by me.
San Ildefonso Pueblo
Erik Fender, Than Tsideh (Sun Bird) is from San Ildefonso Pueblo (b. 1970). At the age of 10, Erik began potting with his mother Martha Appleleaf and grandmother Carmelita Dunlap. An accomplished painter as well, he won and award in 1987 in a Congressional Art competition. His interest in color led Erik to experiment with different claus and techniques to achieve new colors on pottery. In 1992, Erik began working closely with his mother, Martha Appleleaf, in the traditional an Ildefonso style of pottery. Erik Sun Bird displays a wealth of talent in traditional and innovative techniques and received numerous awards at the Santa Fe Indian Market and Eight Northern Pueblo shows.
Recently Erik has been trying to revive traditional San Ildefonso polychrome pottery techniques Traditional San Ildefonso Pueblo stone burnished polychrome was a technique that was a lost or dying art form. After the introduction of matte painted black and red ware, very little polychrome work continued. Even before matte painted pottery came into the picture, the use of a stone polished cream slip was abandoned in favor of the much easier to use rag polished Cochiti slip. Many people associate San Ildefonso pottery withe the very popular matte painted black or red ware. They do not realize that before matte painted ware, traditional San Ildefonso pottery was composed of black on cream ware, black on red ware, and eventually evolved into the polychrome ware. Erik has been experimenting with different materials and techniques to reproduce traditional stone polished polychrome ware. He is trying to perfect the almost lost techniques of San Ildefonso stone polished polychrome ware.
Santa Clara Pueblo-Tewa
Julie Gutierrez was born in 1965 into the Santa Clara Pueblo.
She began experimenting with pottery at the age of 12 back in 1977. Julie was inspired by her mother, Victoria Gutierrez who is known for her handmade bowls.
She was also inspired by Effie Garcia and Sally M. Gutierrez (sisters). They taught her all the fundamentals of working with natural clays and pigments so that she could continue the long lived tradition of working with clay.
Julie specializes in the contemporary and traditional handmade Santa Clara pottery that is etched and crafted with authentic turquoise stones.
Julie gathers all of her material from within the Santa Clara Pueblo. She breaks down the clumps of clay to a fine powder form and mixes the clay with volcanic ash and water. She begins by forming snake like coils and begins building her pieces. Once the pottery has taken a vessel shape she sands her pieces for fine smooth texture. Then, Julie hand etches her flowers and fires her pottery the traditional way, outdoors.
Julie’s trademark is the turquoise stones that she adds to the center of each rosette. She hand coils small animals, mushrooms and several different shapes of vases and bowls.
She signs her pottery as : J.A. Gutierrez, SCP
Julie is also related to Tony and Terry Gutierrez, she is their niece.
Lumber and Cherokee
D.R Nance hails from Texas but now makes New Mexico his home. His early interest in art was encouraged bu his grandmother but he pursued other interests as an adult. He returned to making art only after two decades of wildcatting in the oil fields. He used his youthful skill with feathers and woodworking to evolve into a master of masks. Instead of wood, he uses natural gourds as the basis and embellishes them with natural feathers of all colors and origin. Dramatic use of colorful paints completes the piece. His work is shown primarily in the Southwest
Joseph is a member of the Corn/Water Clan and the son of Joe Latoma. His father is from Zuni Pueblo – thus, his Zuni name – and his mother is Margaret Chavez of San Felipe Pueblo – his matriarchal link to San Felipe Pueblo. In addition to silversmithing he has been potting for thwenty-three years, the first eight years were doing research by interviewing elders and experimenting through trial and error.
Because there is little documented historic pottery from San Felipe Joseph has created his designs based on the memories of Pueblo elders from both San Felipe and Zuni. He is self-taught and began experimenting with local clay at the same time he became interested in researching his pueblo’s traditional pottery styles in 1989. He is very interested in reintroducing traditional San Felipe pottery to both the pueblo and a wider public.
Joseph specializes in polychrome ollas, replicating artifacts through a hand-coiling technique. He has taught his wife, Nona, and their children Dustin, Jaylene, Dalon, Janalyn and Damon to make pottery. He explains that this is the best way to teach children their culture and traditions. The imagery on each pot has a story behind it. He does not just put any type of art on the pottery. The design on each piece is determined by the style of the pottery. Joseph says that, “I make pottery to keep San Felipe traditions alive. It ’s important to me that people know that San Felipe pottery exists.”
He has won awards at the New Mexico State Fair, including a Best of Show in 1980, and also first and second prized in pottery with his wife, Nona Latoma at the 12th Annual Prescott Indian Art Market in 2009. Although Joseph and Nona usually work as a team to collaborate on all of his pots, he acknowledges that Nona has become quite a good potter in her own right due to the fact that she is “perfectionist….paying attention to details” of pottery work.
Joseph is represented by the following; Adobe Gallery in Santa Fe, NM, Andrea Fischer Fine Pottery in Santa Fe, NM, Chimayo Gallery in Chimayo, NM, Mesa’s Edge in Taos, NM, Heard Museum Shop in Phoenix, AZ and Turquoise Village in Zuni, NM.
Fannie Loretto Lucero
Fannie Loretto, “Little Turquoise”, was born in 1951. She is half Jemez and half Laguna; she is a member of the water clan
She began making pottery at the age of 16. Fannie has been hand colliding clay sculptures and masks for over 10 years, prior to that she made several shapes of hand coiled pottery using traditional ancient methods which were passed down to her from several members in her family.
Fannie was inspired to learn the art of working with clay by assisting her mother, Carrie Reid Loretto make her pottery. She gathers all her natural pigments from within the Jemez Pueblo. Then she brings, cleans, mixes the clay, hand pinches shapes paints and fires her creations outdoors in the traditional way.
“The masks are my favorite to create because it’s like drawing in 3-D when I make them”
My name is Lee Lujan. I am a native of Taos Pueblo New Mexico, one of the oldest inhabited native villages in the United States. I grew up watching my Father and Grandfather create drums and work with many of nature’s materials including tanning hides, building adobe structures and drums. I also grew up listening to my Father, Grandfather and Uncles sing our traditional songs with words that are ancient and yet shape our lives still today. These various things we see in nature help us create our songs and drums. The drum serves not only as a musical instrument, but as a tool helping us celebrate life.
I and other people familiar withe the craft of drum making pay very close attention to details in the process to ensure a quality outcome. The sound the drum makes, the tone, the tightness of the hide and the deepness of the sound of the drucmtick hitting the drum, the echo, all make a beautiful piece as well as the style. It seems though, that the wood once chosen begins a new life and will determine what shape of drum it becomes and how it will finally live on for it’s owner. In my early twenties I began to learn the art of making drums, testing different techniques and figuring out my own way of working with the wood. I travel miles in nearby New Mexico to find the right trees all trees are down and dead for drums. I use only tow types of wood, cottonwood and aspen. They are the best types of wood for drums. The wood and the sound of the drums is what inspire me. I love people’s expressions when they hit the drum and this tells me about my drum. Each individual drum is one of a kind. All the drums I make are hand made in nature because my hand and nature’s hand work together for the design. My drums vary in size with the largest being almost 6 feet in diameter and height. These drums are very had to make and handle, the strength daily needed for stretching the hide across the drum shell by hand. Other drums require a more simple, lighter touch such as a hand drum which is anywhere from seven to twenty inches across. I make what i call pedestal drums that are tall and round. This style of drum is sometimes used as a showpiece to compliment other art, maybe someone’s favorite sculpture or pottery. The larger drums adorn adobe homes for end and coffee tables and some drums are hung in a reverent spot in the homes of men and women who sing during ceremonies, pow-wows and in their daily lives. the prices of the drums I make vary depending on size, materials required and time spent. I am available to demonstrate my work by arrangement. All my pieces have my signature mark near the top. The drums of Taos pueblo are not authentic unless signed by the maker. There are many drums on the maker mass produced and inexpensive, but i take my time to hand make these one of a kind drums. Keep a treasure of Native American Pueblo history and art in your home. Purchase a drum from Lee Lujan – Mountai Moonligh, located at house no. 55 Ski Valley Road Taos Pueblo New Mexico 87529.
Santa Ana Pueblo
Art Menchego was born on February 10, 1950 at Tamaya
(Santa Ana Pueblo, New Mexico) into the White Cloud
Eagle Clan (Bald Eagle). His given name at birth is ‘Ka Whe
Tewa’ which means “where there is snow.”
Menchego has lived his entire life on the Santa Ana Pueblo
Reservation and, like many Native Americans, he was taught
the “old ways” from his grandmother who spoke no English.
As a small child, he learned that the animals and birds with
whom we share this land have great powers. Inevitably,
Menchego began to sketch and draw so that he could record
and share his experiences with others. “My thoughts run deep,
but words seem shallow,” says Menchego.
The American Indian, their culture and their way of life,
has brought many studied and experienced artists from all over
the world to paint them. They come to research, to observe,
to live, and hopefully to capture the essence of the Indian
mystique. Art Menchego has been part of that mystique all
his life. No amount of research can equal the experience of
being born on a Pueblo reservation.
Menchego made his commitment to his art as a full time
profession in 1980. He is an accomplished and versatile artist,
using pencil, charcoal, oil, acrylic,
pastels, and watercolor. Menchego
is described by some as “a man of
few words… an artist of great
Art is now sharing his paintings with the world. From
contemporary art to Indian and southwestern themes, portraits,
to strong Indian figures with animals and birds which join them
on canvas, this alliance between man and wildlife is depicted
in his work, including the powers of the eagle and bear, lending
dignity and courage to each piece.
Art has won numerous prestigious show awards at Santa Fe
Indian Market, Gallup Intertribal Ceremonial, Red Earth and
the Eight Northern Pueblo Arts and Crafts Show.
He is recognized as one of New Mexico’s leading Native
American artist. His work includes oil paintings on linen,
Kevin Pochoema was brought up on the Hopi Reservation from the village of Bacavi. Located in northern parts of AZ where he studied the way of Hopi arts. Being full blood Hopi and understanding the way of the culture values. Growing up from the age of 14 he was fascinated with katchinas. Learning from his family members he had mastered the way of Hopi kachina doll carving. Pochoema is a renowned innovative master carver. He is known for his explicit detail on the cotton wood pieces that he turns into contemporary modern artwork. The detail flowsk fro top to bottom of the masterpieces. Pochoema is also an award winning artist always trying to raise his artwork to the next level of perfection.
George is a Native American artist and has been sculpting and teaching art for over 20 years. His work centers primarily on monumental stone and bronze sculpture, painting and architectural design. The driving force behind all of his creations is the Native American Pueblo culture. George’s artwork reflects the symbolism and realism of both the past and present-day life of the pueblo people. Many of his subjects focus on pueblo dancers. One of his recent pieces, on permanent display in the Pueblo of Pojoaque, is a12-ton monumental sculpture of a buffalo, carved from Virginia soapstone. For Rivera, the buffalo is a symbol of stability for his tribe, both culturally and economically. His newest monumental creations, on display at the Buffalo Thunder Resort and Casino, include a bronze Buffalo Dancer, Deer Dancer and Butterfly Dancer. He is responsible for the architectural style and aesthetics of this outstanding resort.
In addition to being an art instructor, George has been a teacher and cultural preservationist for his family and extended pueblo community. He has served on the Board of Directors of the Southwest Association of Indian Arts (SWAIA), has been a panelist for the New Mexico Arts Division, a guest lecturer at several colleges and was a participant in the 1995 U.S./China Arts Exchange in Kunming, China.
Rivera is a graduate of the California College of Arts and Crafts in Oakland, California, the Institute of American Indian Arts in Santa Fe, New Mexico and the Lacoste School of Arts in Lacoste, France. At the latter, he held a teaching assistant position in sculpture and was an apprentice to a Japanese master sculptor during his three-year stay in France. His work is in many international collections.
George returned to New Mexico from France with a vision to revitalize traditional pueblo arts and culture, not only for his own pueblo, but for an extended Indian family as well. The result of this vision is the Poeh Cultural Center and Museum, an education and museum facility with working art studios and the permanent exhibit Nah Poeh Meng, meaning “the continuous path”, which portrays pueblo history within the pueblo world view. Today, traditional arts, language and culture are returning to Native American pueblo life after having been at critical risk for survival in the modern day world. George works and shows at the Pueblo where he resides with his wife Felicia and children PaaWee, Poqueen, Valentino and Iris Paloma.
Nick Rosetta and his wife, Me-Wee, live in Kewa Pueblo (pronounced “Kee Wah”) –formerly known as Santo Domingo Pueblo– in northern New Mexico, half way between Albuquerque and Santa Fe. Using all natural materials and handmade processes, they collaborate to make gorgeous heishi (pronounced “hee shee”) necklaces. Nick learned the art from his parents, Ray and Mary Rosetta. Me-Wee learned from her grandfather Tomasito Tenorio.
The heishi art form reaches back to prehistoric times, long before the arrival of the Spanish in the Southwest, when Kewa stone and shell jewelry –believed by many archeologists to be the oldest form of jewelry in the southwest– was highly prized and widely traded. The art was taught within the pueblo, but like any vital art form, it evolved over time. The Spanish, for example, introduced silver to the southwest, and, of course, most southwest Indian jewelry makers have added that material to their traditional prehistoric materials of stone and shell. Nick’s parents pioneered the art of “liquid silver.”
Though they use modern tools, the Rosettas continue to make by laborious hand processes all of their beads –stone, shell, and silver. Thus the tiny silver beads that make up their “liquid silver” necklaces are “hand drawn.” That is, they are made by a process in which narrow, flat silver strips are pulled by hand through progressively smaller holes in a draw plate until the edges curl around and come together, leaving a tiny hole in the center. Such hand made silver beads have a thin line –nearly impossible to see with the naked eye– where the two edges have come together. Stone and shell beads are ground from rough materials on a grinding wheel. During this latter process, Nick sometimes closes his eyes and relies on the “feel” of the beads in his hand to get the desired size and consistency. Turquoise can be especially difficult to work. Normally, sixty to eighty percent of a natural turquoise stone is lost in the grinding process, and many varieties of shell and stone beads crack and fly off when the grinder catches a burr. After they are finally completed, the beads are strung on a fine wire into a necklace –sometimes of one kind of material, sometimes of many kinds of materials and colors.
Nick does most of the lapidary work –cutting, grinding, sanding and polishing. Me-Wee does ninety-five percent of the stringing, often with stunningly imaginative effects. Nick also makes gorgeous earrings.
As in prehistoric times, when pueblo peoples obtained their materials by means of a vast trade network, the Rosettas, too, obtain their materials from many different places –turquoise from Nevada and Arizona, serpentine from South Dakota, pipestone from Minnesota, as well as stones from Canada, Peru and Australia.
Nick and Me-Wee Rosetta have won several awards at the Eight Northern Indian Pueblos Arts and Crafts Show, the Santa Fe Indian Market and the Autry Show in Los Angeles.