Native American Art: other online resources page three

Native American Art From Other Websites

page three

(above: Margaret Tafoya, Wedding Vase, Santa Clara Pueblo, New Mexico, c. 1970, oil on canvas, 22.5 x 42 inches, Bowers Museum, Anonymous Donor. Public domain, via Wikimedia Commons**)

Ojibwe Inabandamowin (Ojibwe Dreams): Drawings by William Wilson is a 2008 exhibit at the Tweed Museum of Art which says: "Wilson creates in the Woodlands style, known for its bright colors, outlined forms of animals and spirit beings, and narratives of traditional Anishinabe lifeways." Accessed 3/17

The Oldest Paintings in America: Utah's Rock Art Photographed by Goodloe Suttler, an exhibit held 14 January 2011 - 20 March 2011 at the Ackland Art Museum, The University of North Carolina at Chapel Hill. Accessed August, 2015.

Our Stories Made Visible: Two Mohawk Women Artists, Katsitsionni Fox and Shelley Niro, an exhibit held March 31, 2009 - July 4, 2009 at the Fenimore Art Museum. Includes essay by G. Peter Jemison, Guest Curator. Accessed August, 2015.

Picture This! Navajo Pictorial Textiles Picture This! Navajo Pictorial Textile from the Heard Museum.. Accessed August, 2015.

Picturing History: Ledger Drawings of the Plains Indians is a 2017 exhibit at the Fairfield University Art Museum which says: "In the second half of the nineteenth century, artists from the Plains Indian peoples (Lakota, Cheyenne, Arapaho and others dwelling in the Western United States and Canada) produced an extraordinarily rich and distinctive body of drawings chronicling battles, rituals, and winsome if sometimes jarring events of everyday life. Known as Ledger Drawings because they were done on the pages of commercially produced account books, these striking images, many bearing pictographic signatures, are executed in ink, graphite, and colored pencil and watercolor." - To read more after exhibit closes, go to "Past Exhibitions" section of museum website. Accessed 11/17

Pomo Basketry: 1850-1950, is a Gemini 3.1 Pro Deep Research Report which says: "The period between 1850 and 1950 represents a transformative arc for the Pomo-speaking peoples of Northern California, during which their basketry transitioned from a foundational survival technology to a globally recognized fine art. This evolution was not merely an aesthetic shift but a complex response to the pressures of settler colonialism, environmental degradation, and the emergence of a speculative art market. The Pomo, a group of approximately seventy-two autonomous communities or "tribelets" speaking seven distinct but related languages, occupied a diverse landscape spanning Mendocino, Sonoma, and Lake Counties. Their homelands, characterized by the riparian corridors of the Russian, Garcia, and Navarro Rivers and the lacustrine environment of Clear Lake, provided the raw materials and the spiritual inspiration for what many ethnographers consider the most complex basketry tradition in the world." Accessed 5/26

Rainmakers from the Gods: Hopi Katsinam from Peabody Museum. Accessed August, 2015.

R.C. Gorman: The Early Years, an exhibit held Saturday, May 18 - Sunday, September 8, 2013 at the Harwood Museum of Art, University of New Mexico. Includes essay by Jina Brenneman, Curator of Collections and Exhibitions. Accessed August, 2015.

"Re-creating the Traditional Navajo Lifestyle," by Marley Shebala. From "Canku Ota - A Newsletter Celebrating Native America." Accessed August, 2015.

Rick Bartow: Things You Know But Cannot Explain is a 2017 exhibit at the Heard Museum which says: "Organized by The Jordan Schnitzer Museum of Art at the University of Oregon, we are fortunate to offer this retrospective of the work of contemporary Oregon artist Rick Bartow (1946-2016). Featuring 115 drawings, paintings, prints, mixed-media works and, sculpture, Rick Bartow: Things You Know But Cannot Explain will explore the artist's career, from the 1970s to his most recent work. We invite you to join us in sharing Bartow's magnificent work." Also see Wikipedia entry. Accessed 5/17

Sagebrush Heathen: The Art of Jack Malotte is a 2019 exhibit at the Nevada Museum of Art which says: "Malotte's most recent work reconsiders historical narratives and myths of the American West, refers to Western Shoshone and Washoe traditions and legends, and highlights longtime political, environmental, and legal struggles of Native communities." Also see 7/7/19 article in Reno Gazette Journal Accessed 11/19

Sisters of the Great Lakes: Art of American Indian Women, an online exhibit from the Michigan State University Museum..Accessed December, 2015.

Splendid Heritage: Perspectives on American Indian Art, an exhibit held May 1 - October 31, 2010 at Buffalo Bill Center of the West. Information includes an electronic catalog. Accessed August, 2015.

Sovereign: Independent Voices is a 2013-15 exhibit at the Denver Art Museum says: "Sovereign: Independent Voices highlights the work of three leading American Indian contemporary artists, Kent Monkman, Rose Simpson, and Virgil Ortiz, who have received international acclaim." Accessed 3/17

Spirit Lines: Helen Hardin Etchings is a 2016 exhibit at the Heard Museum, which says: "This exhibit displays a complete body of work by one of the 20th century's most significant artists. Spirit Lines: Helen Hardin Etchings features all 23 first editions of the Santa Clara Pueblo artist's collection of copper plate etchings completed by the artist from 1980 to 1984. This is the first time this body of work has been assembled and shown in its entirety." Accessed 10/16

Squint Eyes, Artist and Indian Scout from the Smithsonian National Museum of Natural History. Accessed August, 2015.

Stories Woven In: The Navajo Way of Seeing, an exhibit held October 2 - December 19, 1999 at the Saint Mary's College Museum of Art. Accessed April, 2015.

T.C. Cannon: At the Edge of America is a 2018 exhibit at the Peabody Essex Museum which says: "Deeply personal yet undeniably political, Cannon's artwork adeptly channels his cultural heritage, experience as a Vietnam War veteran, and the turbulent social and political climate that defined 1960s and '70s America. Amid ongoing national and global conversations about ethnic identity, social justice, land rights and cultural appropriation, Cannon's work continues to engage issues that are as relevant now as they were 50 years ago." Accessed 5/18

Through the Eyes of the Pot, a website devoted to southwewst pueblo pottery and culture from Holmes Museum of Anthropology. Accessed August, 2015.

Touched by Fire: The Art, Life, and Legacy of Maria Martinez from the Museum of New Mexico/Museum of Indian Arts & Culture. Accessed August, 2015.

Tree and Tradition: Brown Ash and Native American Basketmaking an online exhibit from the Hudson Museum. Accessed January, 2015.

Two Generations: Joe Feddersen & Wendy Red Star is a 2020 exhibit at the Schneider Museum of Art at Southern Oregon University which says: "This exhibition presents the work of two Northwest Indigenous artists who work across media and whose work responds, on their own terms, to historic and contemporary misrepresentations of Native Americans." Accessed 10/20

Weaving in the Margins: Navajo Men as Weavers from the Museum of New Mexico/Museum of Indian Arts & Culture. Accessed August, 2015.

Weaving the Unexpected: Navajo Pictorials from the Lucke Collection is a 2015 exhibit at the Brigham Young University Museum of Art which says: "In 1880-1920, the Navajo wove modernity into their traditional rugs. Trains, trading posts, and soda pop all became part of the ever adapting and progressing Navajo narrative. The Lucke Collection of pictorial weavings offer a snapshot of reservation life, synthesizing tradition and popular culture." Accessed 3/17

Why We Dance: American Indian Art in Motion is a 2016 exhibit at the Denver Art Museum which says: "This multisensory exhibition presents the motives behind Native American dance and highlights the museum's annual Friendship Powwow and American Indian Cultural Celebration. It features about 86 works, including 78 drawn from the DAM's American Indian art collection." Accessed 3/17

Woody Crumbo: The Third Chapter, an exhibit held Saturday, May 18 - Sunday, September 8, 2013 at the Harwood Museum of Art, University of New Mexico. Includes essay by Jina Brenneman, Curator of Collections and Exhibitions. Accessed January, 2015.

Zuni Silversmithing: 1855-1955 is a 2026 Gemini 3 Deep Research report which says: "The evolution of Zuni silversmithing between 1855 and 1955 represents one of the most significant periods of cultural adaptation and artistic refinement in the American Southwest. This era saw the Zuni people transform from masters of ancient lapidary traditions into world-renowned silversmiths, navigating the complex pressures of colonial expansion, the rise of industrial tourism, and the shifting demands of a global art market. To understand this trajectory, one must first recognize the Zuni as a linguistic and cultural isolate, possessing a heritage that reflects deep physical and cultural rootedness in the Colorado Plateau. While their neighbors -- the Navajo (Diné) and the Hopi -- engaged in frequent exchange, the Zuni maintained a core identity that eventually manifested in a style of jewelry entirely distinct from surrounding traditions." Accessed 4/26

(above, Harrison Begay, Pinto Pony, undated, silk screen print, 9 3/4 x 11 1/2 inches. Private collection)

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