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This untitled work was created by Arapaho artist Cary Sweezy. One of the first American Indian professional artists, Carl Sweezy (Arapaho name Wattan, Black) was born ca. 1879–80 in a tipi near Darlington on the Cheyenne-Arapaho reservation in Indian Territory. He was the son of Hinan Ba Seth (Big Man). The artist was educated in Mennonite mission schools at Darlington and at Halstead, Kansas, and attended Carlisle Indian Industrial School in Pennsylvania and Chilocco Indian Agricultural School in Oklahoma. He became interested in art at age fourteen when he received a box of watercolors as a gift from a teacher. Sweezy was one of the few bridges, carrying the artistic torch of Plains ledger art into the the 20th century, serving as a beacon for the new Native American art movement spearheaded by the early San Ildefonso Pueblo artists and the Kiowa/Oklahoma artists of the 1910’s and 1920’s. At the turn of the twentieth century Sweezy worked for anthropologist James Mooney as an illustrator, Sweezy listened as Mooney interviewed elderly tribal members and then reproduced various items of material culture for study or sale. He credited Mooney with encouraging him to draw and paint. Many of these now reside at the Smithsonian. A self-taught artist, Sweezy held a variety of jobs, including Indian policeman and professional baseball player. #Arapaho #ArapahoArt #ArapahoArtist #NativeArt #NativeArts #NativeAmerican #NativeAmericanArt #NativeAmericanArts #NativeAmericanArtist #NativeAmericanPainting #NativeAmericanCulture #Indigenous #IndigenousArt #IndigenousArts #IndigenousArtist #FirstNations #FirstNationsArt #FirstNationsArtist #AmericanIndian #AmericanIndianArt #AmericanIndianArts #AmericanIndianArtist #AmericanIndianFineArts #SupportNativeArts #SupportNativeArtists

The full moon occurs this morning at 06:53 PST and this work featuring a prominent full moon is by Cherokee artist David Stephens and is titled “Stealing Horses for Fun and Profit”. The May moon goes by many names. The Abenaki of Maine call it kikas (field maker moon), while the Algonquin call it moonesquanimock kesos (when women weed corn). For the Anishnaabe it is waabigwani-giizis (blossom moon), for the Assiniboine it is indiwiga (idle moon), for the Cherokee it is ansgvti (planting moon), for the Choctaw it is Hash Bihi (moon of mulberry), for the Comanche it is totsiyaa mua (flower moon), for the Cree it is aligipizun (frog moon), for the Creek it is kee-hvsee (mulberry moon), for the Haida it is tahálaa kungáay (food gathering moon), for the Hopi it is hakitonmuyaw (moon of waiting), for the Kalapuya of Oregon it is atantal (camas blooming time), for the Lakota it is canwape to wi (moon of the green leaves), for the Mohawk it is onerahtohko:wa (time of big leaf), for the Passamaquoddy it is siqonomeq (alewive moon), for the Potawatomi it is te’minkeses (moon of the strawberry), for the Shawnee it is hotehimini kiishthwa (strawberry moon), for the Shoshone it is buhisea’-mea’ (budding), for the Tlingit it is at gadaxeet yinaa dis (moon before pregnancy), and for the Zuni it is yachun kwa’shi’amme (no name). ( from Western Washington University ) #Cherokee #CherokeeArt #CherokeeArtist #FullMoon #NativeAmericanMoon #NativeArt #NativeArts #NativeAmerican #NativeAmericanArt #NativeAmericanArts #NativeAmericanArtist #NativeAmericanPainting #NativeAmericanCulture #Indigenous #IndigenousArt #IndigenousArts #IndigenousArtist #FirstNations #FirstNationsArt #FirstNationsArtist #AmericanIndian #AmericanIndianArt #AmericanIndianArts #AmericanIndianArtist #AmericanIndianFineArts #SupportNativeArts #SupportNativeArtists

It is Wildlife Wednesday! This untitled painting is from Creek/Pawnee master, Acee Blue Eagle and is accompanied by this Navajo Hunting Song: Comes the deer to my singing, Comes the deer to my song, Comes the deer to my singing. He, the blackbird, he am I, Bird beloved by the wild deer, Comes the deer to my singing. From the Mountain Black, From the summit, Down the trail, coming, coming now, Comes the deer to my singing. Through the blossoms, Through the flowers, coming, coming now, Comes the deer to my singing. Through the flower dew-drops, Coming, coming now, Comes the deer to my singing. Through the pollen, flower pollen Coming, coming now, Comes the deer to my singing. Starting with his left fore foot, Stamping, turns the frightened deer, Comes the deer to my singing. Quarry mine, blessed am I, In the luck of the chase, Comes the deer to my singing. Comes the deer to my singing, Comes the deer to my song, Comes the deer to my singing. #Pawnee #PawneeArt #PawneeArtist #CreekArtist #CreekArt #MuscogeeCreek #Mvskokvlke #NativeArt #NativeArts #NativeAmerican #NativeAmericanArt #NativeAmericanArts #NativeAmericanArtist #NativeAmericanPainting #NativeAmericanCulture #Indigenous #IndigenousArt #IndigenousArts #IndigenousArtist #FirstNations #FirstNationsArt #FirstNationsArtist #AmericanIndian #AmericanIndianArt #AmericanIndianArts #AmericanIndianArtist #AmericanIndianFineArts #SupportNativeArts #SupportNativeArtists

This 1991 mixed media work by Hopi/Laguna Pueblo artist Joe Maktima is tiled “Cloud Series #2”. “The seeds of artistic expression were born within artist Joe Maktima. Growing up in the traditional land of the Hopi, Joe Maktima watched his grandfather, a craftsman and artisan, carve wood and paint and watched his father, an artist, create paintings at their kitchen table. For eons the ways of Native people has shifted and changed over time, with his Abstract Expressionist canvases Joe Maktima represents part of this organic progression, bringing the creative expressions of this third generation artist into the contemporary world.“ (from Turquoise Tortoise).  #Hopi #HopiArt #HopiArtist #Laguna #LagunaPueblo #LagunaArt #LagunaArtist #NativeArt #NativeArts #NativeAmerican #NativeAmericanArt #NativeAmericanArts #NativeAmericanArtist #NativeAmericanPainting #NativeAmericanCulture #Indigenous #IndigenousArt #IndigenousArts #IndigenousArtist #FirstNations #FirstNationsArt #FirstNationsArtist #AmericanIndian #AmericanIndianArt #AmericanIndianArts #AmericanIndianArtist #AmericanIndianFineArts #SupportNativeArts #SupportNativeArtists

This diminutive, untitled work (just 4” x 3.5”) is by Diné/Navajo artist Fred Bia. Fred Bia is a Navajo artist, educator and photographer whose photos are featured in several books including “Of Mother Earth and Father Sky: a Photographic Study of Navajo Culture.”. Bia is a longtime advocate for the preservation of indigenous languages. “My language, to me, . . . that’s what makes me unique, that’s what makes me Navajo, that’s what makes me who I am.”  #Diné #DinéArt #DinéArtist #Navajo #NavajoArt #NavajoArtist #NativeArt #NativeArts #NativeAmerican #NativeAmericanArt #NativeAmericanArts #NativeAmericanArtist #NativeAmericanPainting #NativeAmericanCulture #NativePride #Indigenous #IndigenousArt #IndigenousArts #IndigenousArtist #FirstNations #FirstNationsArt #FirstNationsArtist #AmericanIndian #AmericanIndianArt #AmericanIndianArts #AmericanIndianArtist #AmericanIndianFineArts #SupportNativeArts

This painting by Taos Pueblo artist Jonathan Warm Day Coming is titled “Autumn Moon” and depicts the artist’s grandparent’s home. Jonathan shares his memories of visiting: “On a winter night sprinkled with countless stars, smoke from burning piñon wood comes through the chimneys.  My younger brother and I walk ahead of our parents, guided by the glowing moon rising over the mountains. We’re on our way to our grandparents’ winter home within the old walls of Taos Pueblo. We are greeted by the sight, sound, and smell of cedar wood crackling in the horno with the promise of delicious bread and cookies.  Later, wide-eyed, we will sit in front of the warm, inviting fireplace, listening to old tribal stories of coyote the trickster. I can still remember...” You can follow Jonathan’s art on Instagram: @jonathanwarmdaycomingart or on Facebook at Jonathan Warm Day Coming. He has been a longtime favorite of mine. #Taos #TaosPueblo #TaosArt #TaosArtist #NewMexicoArt #NewMexicoArtist #PuebloIndianArt #NativeArt #NativeArts #NativeAmerica #NativeAmericanArt #NativeAmericanArts #NativeAmericanArtist #NativeAmericanPainting #NativeAmericanCulture #NativePride #Indigenous #IndigenousArt #IndigenousArts #IndigenousArtist #FirstNations #FirstNationsArt #FirstNationsArtist #AmericanIndian #AmericanIndianArt #AmericanIndianArts #AmericanIndianArtist #AmericanIndianFineArts #SupportNativeArts #SupportNativeArtists

The first artist whose works I collected was Edmond Joshua, Jr. When I initially saw his work, I was immediately drawn to his faces which were, at once, compelling, resolute, and proud, coupled with a sense of sadness. I soon learned that Joshua was the first cousin of Jerome Tiger - his mother, Dorothy Tiger, and Jerome’s father, John Tiger, were brother and sister. I also discovered that Joshua had a brother a year younger who was equally talented and I began to seek out his work as well. This untitled 1987 work was one of the first Edmond pieces I acquired. I didn’t know then that I would eventually collect 146 (and counting!) works by Joshua. Some 30+ years later and I still find Edmond’s portraits and work to be as compelling now as I did then.  #Seminole #SeminoleArt #SeminoleArtist #CreekArtist #CreekArt #MuscogeeCreek #Mvskokvlke #NativeArt #NativeArts #NativeAmerican #NativeAmericanArt #NativeAmericanArts #NativeAmericanArtist #NativeAmericanPainting #NativeAmericanCulture #Indigenous #IndigenousArt #IndigenousArts #IndigenousArtist #FirstNations #FirstNationsArt #FirstNationsArtist #AmericanIndian #AmericanIndianArt #AmericanIndianArts #AmericanIndianArtist #AmericanIndianFineArts #SupportNativeArts #SupportNativeArtists

This 1989 painting by renown Navajo silversmith Edison Yazzie is titled “Blue Corn Maiden”. In the beginning, the Pueblo people ate grass and seeds. They prayed to their gods to bring them more food and offered their best and brightest seeds to their gods in exchange. The Pueblo people’s prayers were answered, and six beautiful corn maiden sisters were sent down to Earth. The Blue Corn Maiden was the most beautiful corn maiden of them all. The Pueblo people loved the Blue Corn Maiden because she brought them peace and happiness and supplied them with blue corn all year long. One cold winter day, the Blue Corn Maiden went out to collect firewood. While she was out, she came across Winter Katsina, who brings winter to the earth. When Winter Katsina saw the Blue Corn Maiden, he fell deeply in love with her. Winter Katsina captured her and brought her to his home. Winter Katsina loved her dearly and treated her well; however, the Blue Corn Maiden was very sad and missed her home and the Pueblo people. One day, Winter Katsina left to spread winter’s cold. While he was gone, the Blue Corn Maiden pushed the snow away from the doorway and left the house in search of the summer plants she loved. All she saw were yucca blades, so she returned to the house and started a fire with the yucca blades. While the fire was burning, the snow melted from the doorways and the ice melted from the windows. Summer Katsina entered the home carrying corn and yucca for the Blue Corn Maiden. Soon after, Winter Katsina angrily stormed into his house and challenged Summer Katsina to a fight. Winter Katsina knew that he could not beat Summer Katsina, so he conceded and agreed to make peace. They decided to have the Blue Corn Maiden live with the Pueblo people for half of the year during summer. For the other half of the year, she would live with Winter Katsina, and the people would have no corn during winter. The Blue Corn Maiden is a sign of springtime; however, sometimes after spring has already come, Winter Katsina becomes angry at having to give up the Blue Corn Maiden, and he scatters snow or blows cold air when it is no longer winter. #Diné #DinéArt #DinéArtist #Navajo

This finely rendered katsina painting was created by Hopi artist Raymond Poseyesva. A contemporary of such early Hopi greats as Otis Polelonema, Fred Kabotie, and Waldo Mootzka, Raymond Poseyesva of Shungopavi, Hopi, was part of the early twentieth-century Native American watercolor school that painted in what has been called flat style, generally characterized by the absence of, or little use of, perspective or shadow. Very little information exists on Poseyesva, except that he was well known for his paintings of Katsinas. His paintings are scarce. #Hopi #HopiArt #HopiArtist #Katsina #Katchina #Kachina #NativeArt #NativeArts #NativeAmerican #NativeAmericanArt #NativeAmericanArts #NativeAmericanArtist #NativeAmericanPainting #NativeAmericanCulture #Indigenous #IndigenousArt #IndigenousArts #IndigenousArtist #FirstNations #FirstNationsArt #FirstNationsArtist #AmericanIndian #AmericanIndianArt #AmericanIndianArts #AmericanIndianArtist #AmericanIndianFineArts #SupportNativeArts #SupportNativeArtists

Visit Trade Goods Nation’s online shop and enjoy authentic goods 🎉 We’re growing our shop and will be expanding into art, jewelry, and more but kicking it off with a beautiful collection of Indigenous designed rugs from talented Indigenous Artists! 🌟 At Trade Goods Nation, we take pride in offering a meticulously curated selection of authentic Indigenous-designed goods, directly supporting Native American arts and traditions. With each purchase, you’re not just acquiring a piece of art; you’re contributing to the preservation of heritage. 🌿🌎 WWW.TRADEGOODSNATION.COM Showcasing here is a brand new designed rug by @willow.cahill 🌟 - see our website for more details! #SacredGroundCollection  #IndigenousArtistry  #SupportNativeArts  #IndigenousArtists  #SupportIndigenous  #ShopAuthentic  #OnlineShop  #TradingPost  #TradeGoodsNation  #shoprugs

It’s Wildlife Wednesday! This painting was created by Cheyenne/Arapaho artist Brent Learned. The Arapaho word for wolf is hóóxei and the Cheyenne word is ho’nene. Tsistsistas, is the Cheyenne word meaning “Human Beings” or “The People.” The Cheyenne are descended from an ancient, Algonquian-language speaking tribe referred to as Chaa. They were also historically referred to as the Marsh People of the Great Lakes region, as they lived along the head of the Mississippi River in the central part of what is now Minnesota. Hinono’ei, the Arapaho people, lived in the Great Lakes region along the Mississippi River. Around 1680, they began to migrate out of the Great Lakes area after being forcibly moved or pushed out of their established territory by the whites and traditional enemy tribes. Around 1796, while living and hunting buffalo on the Central Great Plains, the Arapaho people migrated to camps along the Cheyenne River near the Black Hills in what is now South Dakota. It is said that this is the area where the Cheyenne became allies with the Arapaho and, in the early 1800s, they began to camp, hunt, and live together. ( from cheyenneandarapaho-nsn.gov) Brent Learned explains his work, “I draw, paint, and sculpt the Native American in a style that speaks volumes about my culture. I use bright bold colors, textures, and brush strokes that bring life to the Plains Indian way of life in a contemporary impressionistic style. I create artwork to capture the essence, accuracy, emotion, and historical authenticity of the Native American Indian in a contemporary vision”. Follow Brent’s work on Instagram: @brentlearned #Arapaho #ArapahoArt #ArapahoArtist #Cheyenne #CheyenneTribe #CheyenneArt #CheyenneArtist #NativeArt #NativeArts #NativeAmerican #NativeAmericanArt #NativeAmericanArts #NativeAmericanArtist #NativeAmericanPainting #NativeAmericanCulture #NativePride #Indigenous #IndigenousArt #IndigenousArts #IndigenousArtist #FirstNations #FirstNationsArt #FirstNationsArtist #AmericanIndian #AmericanIndianArt #AmericanIndianArts #AmericanIndianArtist #AmericanIndianFineArts #SupportNativeArts #SupportNativeArtists

This circa 1935 piece created by Cochiti Pueblo artist Steven Herrera is titled “Red Buffalo Dance” Cochiti artist, Steven Herrera attended the Santa Fe Indian school in the mid 1930’s prior to serving as an aerial gunner in World War II. The work was painted during his time at the Santa Fe Indian School.  Northern-most of the Keres-speaking pueblos, is home to about 1,500 people. Originally known in the Keresan language as “ko-tyīt’” the Pueblo de Cochiti has been listed on the National Register of Historical Places since 1974 and 1973 respectively. Pueblo cultures and the Keresan people have occupied the region for thousands of years. The ancestors of the Cochiti people, living in cliff dwellings at Rito de los Frijoles in present-day Bandelier National Monument, divided into two groups. One was located in the pueblo of Katishtya (later called San Felipe pueblo) in the south and the other was located in Potrero Viejo, one of the finger mesas of the Pajarito Plateau in northern central New Mexico. #Cochiti #CochitiPueblo #CochitiArt #CochitiArtist #PuebloIndianArt #IndianPuebloArt #NativeArt #NativeArts #NativeAmerican #NativeAmericanArt #NativeAmericanArts #NativeAmericanArtist #NativeAmericanPainting #NativeAmericanCulture #NativePride #Indigenous #IndigenousArt #IndigenousArts #IndigenousArtist #FirstNations #FirstNationsArt #FirstNationsArtist #AmericanIndian #AmericanIndianArt #AmericanIndianArts #AmericanIndianArtist #AmericanIndianFineArts #SupportNativeArts #SupportNativeArtists

Posted @withregram • americanindianfinearts Continuing the weeklong celebration of mothers with this untitled work by Choctaw artist Douglas Maytubbie. A log cabin and a one-room school house are a part of the heritage of Native American artist, Doug Maytubbie. He was born August 15, 1940 in Battiest, in the southeast corner of Oklahoma, on what was historically Choctaw Tribal Reservation lands in what came to be called the Oklahoma Indian Territory in the mid-1800’s before statehood. Like the Cherokee, Chickasaw, Seminole, and Creek Tribes, the Choctaw were removed from their original homelands in Mississippi, Louisiana, and Alabama in the 1830’s by the Indian Removal Act of 1832, which led to the Choctaws own ‘Trail of Tears’. Maytubbie had been drawing since childhood and was self-taught. But when he went on to serve in the U.S. Army from 1960 to 1965 he stopped painting. Eventually he received formal art training while attending Eastern Oklahoma State College and Central State University, where he ultimately graduated with a Bachelor of Science degree, specializing in criminology in 1981. His paintings depict Choctaw culture both before and after removal from Mississippi a century earlier. #Choctaw #ChoctawArt #ChoctawArtist #NativeAmericanMother #MothersDay #MothersDayArt #NativeArt #NativeArts #NativeAmerican #NativeAmericanArt #NativeAmericanArts #NativeAmericanArtist #NativeAmericanPainting #NativeAmericanCulture #Indigenous #IndigenousArt #IndigenousArts #IndigenousArtist #FirstNations #FirstNationsArt #FirstNationsArtist #AmericanIndian #AmericanIndianArt #AmericanIndianArts #AmericanIndianArtist #AmericanIndianFineArts #SupportNativeArts #SupportNativeArtists

🌟 Become a Sponsor of Red Earth FallFest 2024! 🌟 We're gearing up for another spectacular celebration of Native cultures at this year's Red Earth FallFest, and we invite you to join us as a valued sponsor! Set for Saturday, October 19th in the heart of Oklahoma City, FallFest is a vibrant showcase of Native American art, culture, and community spirit. Why Sponsor FallFest? Connect with the Community: Engage with thousands of attendees in a celebration of rich cultural traditions. Support Native Artists: Help us provide a platform for Native artists to share and sell their exquisite crafts, directly benefiting their livelihoods and promoting their cultural heritage. Enhance Cultural Education and Youth Engagement: By sponsoring the Youth Powwow, you contribute to fostering an environment where young Native dancers can thrive and showcase their talents. Sponsorship Benefits: Enhanced Brand Visibility: Gain exposure through our event marketing, including features on promotional materials, social media shoutouts, and event signage. Networking Opportunities: Connect with other leaders, community members, and artists at one of Oklahoma City’s premier cultural events. Last year's FallFest was a resounding success, thanks to all our sponsors, such as Allied Arts, Kirkpatrick Family Fund, National Endowment for the Arts, Oklahoma Arts Council and many more. This year, join these leading organizations in making a positive impact on the arts and the community! Ready to make a difference? For more details on sponsorship packages and benefits, please see link in bio or contact us directly at (405) 427-5228. Let’s celebrate the spirit of Native cultures together. Partner with us for Red Earth FallFest 2024! Photo taken by Chickasaw Photographer Chris Williams @chainreactionphotographer #RedEarthFallFest #NativeCulture #OKCEvents #SponsorshipOpportunity #SupportNativeArts #CommunityImpact

The conclusion of the weeklong celebration of mothers features this painting by Kiowa artist Lee Monette Tsatoke. In the language of the Arapaho, mother is Neinoo, for the Catawba it is yaksu, for the Choctaw it is ishki, for the Denaakk’e of Alaska it is Eenaa’e, for the Gwich’in of Alaska it is Shahan, for the Hualapai in Arizona it is jitha, for the Inupiat it is Aaqa, for the Mohawk it is Ka’nisténhsera, for the Ojibwe it is Nimaamaa, for the Indigenous peoples of Hawaii it is Makuahine, for the Paiute it is beah, for the Tlingit it is Tláa, for the Twulshootseed, Puyallup Tribe in Washington it is sk’ʷuy, for the Lakota it is Ina, for the Navajo it is Amá, for the Kiowa it is T’daw t’daw, for the Cherokee it is E tsi, for the Zuni it is tsitda, for the Hopi it is yu, and in Lekwungen (the language of my ancestors, the Songhees of southern Vancouver Island and the San Juan Islands) it is ten. (from the American Indian Alaska Native Tourism Association and other sources) However you say mother, we are forever grateful for the life they have given us and for their continual guidance, support, and unconditional love. Happy Mother’s Day! #Kiowa #KiowaArt #KiowaArtist #NativeAmericanMother #MothersDay #MothersDayArt #NativeArt #NativeArts #NativeAmerican #NativeAmericanArt #NativeAmericanArts #NativeAmericanArtist #NativeAmericanPainting #NativeAmericanCulture #Indigenous #IndigenousArt #IndigenousArts #IndigenousArtist #FirstNations #FirstNationsArt #FirstNationsArtist #AmericanIndian #AmericanIndianArt #AmericanIndianArts #AmericanIndianArtist #AmericanIndianFineArts #SupportNativeArts #SupportNativeArtists

Continuing the weeklong celebration of mothers with this 1971 painting by Tesuque Pueblo artist Patrick Swazo Hinds is titled “Piggy Back”. Throughout his 50 years, Patrick Swazo-Hinds straddled two cultures, and his art reflected an enthusiastic embrace of both. Born in 1924 at Tesuque Pueblo in northern New Mexico, Patrick was adopted at age 10 by Dr. Norman E. A. Hinds, an unmarried geology professor at the University of California-Berkeley who did field work near the pueblo. Hinds recognized Patrick’s artistic talent and after high school sent him to the California College of Arts and Crafts in Oakland, Mexico City College, and the Art Institute of Chicago. The professor also realized the importance of his son’s Native heritage and sent him to live at Tesuque every summer. 
 
After completing his art education, Swazo-Hinds served in the U.S. Marine Corps during the Korean War and received two Purple Hearts. He returned to his San Francisco Bay area studio in the early 1950s and emerged as one of first Southwest Indian artists to depart from the standard styles and motifs of traditional Native American painting. Many of Swazo-Hinds’ paintings were abstract, and he made no references to Indian themes. In 1964, Swazo-Hinds began using Native American culture as an overt theme in his work. Later that year he had the first of several one-man shows at the prestigious Heard Museum in Phoenix, AZ. By 1965, he was firmly established as an important Southwest Indian artist and during the next 12 years received numerous awards while selling out one show after another. His work is now found in virtually every major private and public collection of Indian art. Navajo painter R.C. Gorman, a close friend from their early days in Berkeley, has said that Swazo-Hinds was, “to many Indian artists, the artist’s artist.” ( from southwestart.com) #Tesuque #TesuquePueblo #TesuqueArt #TesuqueArtist #NativeAmericanMother #MothersDay #MothersDayArt #NativeArt #NativeArts #NativeAmerican #NativeAmericanArt #NativeAmericanArts #NativeAmericanArtist #NativeAmericanPainting #NativeAmericanCulture

Continuing the weeklong celebration of mothers with this untitled work by Alaska Native artist George Aghupuk. George Aden Ahgupuk (1911-2001) whose Native name was Twok meaning “man” was born in the Inpuiat Native village of Sishmaref, Alaska, located in the Bering Sea approximately 90 nautical miles east of Russia. During a period of convalescence, George drew scenes of village life.  These drawings were acquired, giving him the courage to pursue making artwork for a living.  Initially he worked on seal skin, followed by caribou and reindeer hides. His scenes of seal and walrus hunting, polar bear hunting, whale hunting included Alaskan scenery. During the fishing season, he worked as a commercial fisherman.  During the winter he would draw, producing artworks to sell to the tourists. ( from savvycollector.com) #Inupiaq #Eskimo #EskimoArt #EskimoArtist #Inupiat #InupiatArt #InupiatArtist #NativeArt #NativeArts #NativeAmerican #NativeAmericanArt #NativeAmericanArts #NativeAmericanArtist #NativeAmericanPainting #NativeAmericanCulture #Indigenous #IndigenousArt #IndigenousArts #IndigenousArtist #FirstNations #FirstNationsArt #FirstNationsArtist #AmericanIndian #AmericanIndianArt #AmericanIndianArts #AmericanIndianArtist #AmericanIndianFineArts #SupportNativeArts #SupportNativeArtists

Continuing the weeklong celebration of mothers with this untitled work by Kiowa artist Al Momaday. Alfred Momaday (1913 - 1981) Haun Toa - War Lance was a notable Kiowa artist and educator. He was educated at Bacone College, the University of New Mexico, and University of California in Los Angeles. From 1942 to 1944, he was in the War Department of the U.S. Corps of Engineers. From 1955 to 1957, he was Director of the All American Indian Days in Sheridan Wyoming, and from 1947 to 1967, was principal and art teacher at the Jemez Pueblo Day School of the Bureau of Indian Affairs of the Department of Interior in New Mexico. He lived in New Mexico from 1947 until he passed away at Jemez Springs in 1981. He was the son of A-ho and Mammedaty - Standing High, and the father of Pulitzer Prize-winning author N. Scott Momaday. He was married to author and poet Natachee Scott Momaday, who was of Kiowa and Cherokee heritage. ( from adobegallery.com) #Kiowa #KiowaArt #KiowaArtist #NativeAmericanMother #MothersDay #MothersDayArt #NativeArt #NativeArts #NativeAmerican #NativeAmericanArt #NativeAmericanArts #NativeAmericanArtist #NativeAmericanPainting #NativeAmericanCulture #Indigenous #IndigenousArt #IndigenousArts #IndigenousArtist #FirstNations #FirstNationsArt #FirstNationsArtist #AmericanIndian #AmericanIndianArt #AmericanIndianArts #AmericanIndianArtist #AmericanIndianFineArts #SupportNativeArts #SupportNativeArtists

Continuing the weeklong celebration of mothers with this work by Hopi artist Terrance “Honvantewa” Talaswaima titled “Mother & Child V”. Terrance Talaswaima (1939-1988) Honvantewa was a founding member of Artist Hopid in 1973.  His Hopi name, Honvantewa, translates to Bear Making Tracks.  He was from the village of Shungopavi on the Hopi Reservation.  He attended school at the Hopi High School, and then attended the University of Arizona and the University of Northern Arizona.  He was a Museum director, composer, lecturer, storyteller, Katsina doll carver, and a painter. The artist stated “What I am trying to do with my art right now...my first responsibility... is to teach people the values of Hopi traditions.  I’m into documenting every aspect of Hopi life.” Artist Hopid was a subsidiary of the Hopi Arts Crafts Cooperative Guild.  It was founded May 18, 1973 by Doochsiwukioma (Delbridge Honanie), Dawakema (Milland Lomakema), Lomawyewesa (Michael Kabotie), Honvantewa (Terrance Talaswaima) and Neil David Sr., who had lived on the Hopi Pueblo Mesas most of their lives.  By the 1990s, the artists were no longer working as a group. ( from adobegallery.com) #Hopi #HopiArt #HopiArtist #NativeAmericanMother #MothersDay #MothersDayArt #NativeArt #NativeArts #NativeAmerican #NativeAmericanArt #NativeAmericanArts #NativeAmericanArtist #NativeAmericanPainting #NativeAmericanCulture #Indigenous #IndigenousArt #IndigenousArts #IndigenousArtist #FirstNations #FirstNationsArt #FirstNationsArtist #AmericanIndian #AmericanIndianArt #AmericanIndianArts #AmericanIndianArtist #AmericanIndianFineArts #SupportNativeArts #SupportNativeArtists

Continuing the weeklong celebration of mothers with this untitled work by Choctaw artist Douglas Maytubbie. A log cabin and a one-room school house are a part of the heritage of Native American artist, Doug Maytubbie. He was born August 15, 1940 in Battiest, in the southeast corner of Oklahoma, on what was historically Choctaw Tribal Reservation lands in what came to be called the Oklahoma Indian Territory in the mid-1800’s before statehood. Like the Cherokee, Chickasaw, Seminole, and Creek Tribes, the Choctaw were removed from their original homelands in Mississippi, Louisiana, and Alabama in the 1830’s by the Indian Removal Act of 1832, which led to the Choctaws own ‘Trail of Tears’. Maytubbie had been drawing since childhood and was self-taught. But when he went on to serve in the U.S. Army from 1960 to 1965 he stopped painting. Eventually he received formal art training while attending Eastern Oklahoma State College and Central State University, where he ultimately graduated with a Bachelor of Science degree, specializing in criminology in 1981. His paintings depict Choctaw culture both before and after removal from Mississippi a century earlier. #Choctaw #ChoctawArt #ChoctawArtist #NativeAmericanMother #MothersDay #MothersDayArt #NativeArt #NativeArts #NativeAmerican #NativeAmericanArt #NativeAmericanArts #NativeAmericanArtist #NativeAmericanPainting #NativeAmericanCulture #Indigenous #IndigenousArt #IndigenousArts #IndigenousArtist #FirstNations #FirstNationsArt #FirstNationsArtist #AmericanIndian #AmericanIndianArt #AmericanIndianArts #AmericanIndianArtist #AmericanIndianFineArts #SupportNativeArts #SupportNativeArtists

Celebrating mother’s all week, starting with this untitled painting by Comanche artist Diane O’Leary. A member of the Comanche Indian tribe, Diane O’Leary became a painter of subjects reflecting her Native American culture, especially the life of women.  She is also a printmaker and fiber artist.  She attended school in Fort Worth, Texas, and then went to schools at Texas Christian University and Bacone College in Muskogee, Oklahoma where her family was located.  She was much influenced by Dick West, director of the college art department, and by Acee Blue Eagle, a Pawnee/Creek Indian painter whom she met while working as a program director at the local television station. She moved to Taos, New Mexico, in 1967 at a time when interest in American Indian art was beginning to blossom.  She studied under painters Eric Gibberd and Emil Bisttram at Taos.  She knew Georgia O’Keefe and received occasional criticisms from the artist. ( from askart.com) #Comanche #ComancheArt #ComancheArtist #NativeAmericanMother #MothersDay #MothersDayArt #NativeArt #NativeArts #NativeAmerican #NativeAmericanArt #NativeAmericanArts #NativeAmericanArtist #NativeAmericanPainting #NativeAmericanCulture #Indigenous #IndigenousArt #IndigenousArts #IndigenousArtist #FirstNations #FirstNationsArt #FirstNationsArtist #AmericanIndian #AmericanIndianArt #AmericanIndianArts #AmericanIndianArtist #AmericanIndianFineArts #SupportNativeArts #SupportNativeArtists

This 1975 work by Crow artist Kevin Red Star is titled “Bright Wings”. “Indian culture has in the past been ignored to a great extent. It is for me, as well as for many other Indian artists, a rich source of creative expression. An intertwining of my Indian culture with contemporary art expression has given me a greater insight concerning my art. I hope to accomplish something for the American Indian and at the same time achieve personal satisfaction in a creative statement through my art.” — Kevin Red Star  #Crow #CrowTribe #CrowArt #CrowArtist #KevinRedStar #NativeArt #NativeArts #NativeAmerican #NativeAmericanArt #NativeAmericanArts #NativeAmericanArtist #NativeAmericanPainting #NativeAmericanCulture #Indigenous #IndigenousArt #IndigenousArts #IndigenousArtist #FirstNations #FirstNationsArt #FirstNationsArtist #AmericanIndian #AmericanIndianArt #AmericanIndianArts #AmericanIndianArtist #AmericanIndianFineArts #SupportNativeArts #SupportNativeArtists

🌟A closer look •••> Highlighting the beautiful My Magnificent Blessing designed rug in our SACRED GROUND Collection 🌟 Eugenia Stanley @emstanley.creations (Diné) who lives on the Navajo Reservation created the original rug and design with weaving handspun wool. This was her biggest All Handspun rug woven to date. You can enjoy this rug in your home or office made by premium nylon ready to withstand life and be enjoyed for years to come 🥂 We have a full write up of Eugenia’s inspirations for each rug on our website! Please have a view and discover these beautiful stories ✨ Available on WWW.TRADEGOODSNATION.COM 🌟 Celebrating and Supporting Indigenous Artists and Makers🌟 #SacredGroundCollection #IndigenousArtistry #NativeArtists #SupportNativeArts #IndigenousArtists #SupportIndigenous #ShopAuthentic #OnlineShop #TradingPost #TradeGoodsNation #shoprugs

This 1981 painting by Creek/Seminole artist Edmond Joshua, Jr. is titled “Grinding Corn”. Cherokee Story: The Corn Mother, Selu, gave birth to two sons who were always hungry. She told her sons she would go find food and she returned very quickly with a basket full of corn. She continued to do this every day, leaving to find food, and returning shortly, with a full basket of corn. Her sons were very curious and mischievous, so one day they decided to follow her and find out where she was getting the corn. They followed her to a small hut, and peeped through the gaps in the logs to see what she was doing. Inside the hut, the Mother set down her basket and squatted above it, filling it with corn. That night after dinner, the boys told their mother that they had followed her and knew where she was getting the corn. Sadly, the Corn Mother told her children that now that they knew her secret, she would have to die. She told them that after her death, they must drag her body through the field making circles, then corn would grow. The boys did not fulfill the instructions completely, which is why corn can only grow in certain places around earth. #Seminole #SeminoleArt #SeminoleArtist #CreekArtist #CreekArt #MuscogeeCreek #Mvskokvlke #NativeArt #NativeArts #NativeAmerican #NativeAmericanArt #NativeAmericanArts #NativeAmericanArtist #NativeAmericanPainting #NativeAmericanCulture #Indigenous #IndigenousArt #IndigenousArts #IndigenousArtist #FirstNations #FirstNationsArt #FirstNationsArtist #AmericanIndian #AmericanIndianArt #AmericanIndianArts #AmericanIndianArtist #AmericanIndianFineArts #SupportNativeArts #SupportNativeArtists

It’s the first First Friday Photo Feature Day! The first Friday of every month features original, vintage photographs of Indigenous artists acquired over many years of collecting. This wonderful photo bridging the gap between generations was taken January 13, 1930. Written on the back of the photo is “Ancient and Modern Indian Artists”, depicting Blackfeet artists Albert Racine (1907 - 1984) and Calf Tail. Albert Batiste Racine, also known as Apowmuckon, or Running Weasel was born in Browning, Montana, attending Browning Public Schools and the Haskell Institute in Lawrence, Kansas. Racine studied under German artist Winold Reiss at his summer school at Saint Mary’s Lake, Montana. Racine first exhibited his work in 1927. Racine joined the United States Army in 1942 and served throughout World War II. During the war, Racine was deployed in North Africa. For a few years, Racine operated the Blackfeet Indian and Western Art Gallery in Browning where he sold leatherwork and beadwork by local craftsmen alongside his own sculptures, carvings, and paintings. His work has also been displayed at Browning’s Museum of the Plains Indian, operated by the Indian Arts and Crafts Board. Calf Tail’s portrait has been painted by the likes of Winold Reiss, who Albert Racine studied under, and there are a number of photographic images of him from the 1890’s - 1930’s, but I don’t have any specific biographical information about him, unfortunately. #Blackfeet #BlackeetArt #BlackfeetArtist #Blackfoot #BlackfootArt #BlackfootArtist # NativeArt #NativeArts #NativeAmerican #NativeAmericanArt #NativeAmericanArts #NativeAmericanArtist #NativeAmericanPainting #NativeAmericanCulture #NativePride #Indigenous #IndigenousArt #IndigenousArts #IndigenousArtist #FirstNations #FirstNationsArt #FirstNationsArtist #AmericanIndian #AmericanIndianArt #AmericanIndianArts #AmericanIndianArtist #AmericanIndianFineArts #SupportNativeArts

This 1971 painting created by Diné/Navajo artist Raymond Johnson is titled “Navajo Feather Dancers”. The painting depicts the Feather Dance of the Mountain-way ceremony. According to Diné/Navajo artist Myron Denetclaw, “The male and female dancers wear tripod-shaped otter pelt headdresses adorned with plumes, string, and red horsehair. The dancers hold in both hands a wand representing a certain direction-blue is south, yellow is west. The upside-down triangle pattern represents storm clouds carried by a sacred bird. A blue bird and a yellow warbler bird are painted with rainbow symbols carrying moisture. The wooden wands are decorated with eagle plumes, yarn strings, and ribbons. The chanters carry a whistle, or a flute used during the corral dance, as a sound of their approach for the spectators. A basket is used as a drum, and the drumsticks are made of yucca blades braided together. The dancers dance to the rhythm of the basket drum and rattle.” #Diné #DinéArt #DinéArtist #Navajo #NavajoArt #NavajoArtist #NativeArt #NativeArts #NativeAmerican #NativeAmericanArt #NativeAmericanArts #NativeAmericanArtist #NativeAmericanPainting #NativeAmericanCulture #NativePride #Indigenous #IndigenousArt #IndigenousArts #IndigenousArtist #FirstNations #FirstNationsArt #FirstNationsArtist #AmericanIndian #AmericanIndianArt #AmericanIndianArts #AmericanIndianArtist #AmericanIndianFineArts #SupportNativeArts

It’s Wildlife Wednesday! Kiowa artist, Sharon Ahtone-Harjo relates the following story with her 1975 painting titled “Tone Skoit - Snapping Turtle”. “Tone skoit, while dozing in the warm waters, slipped into a deep wide pool. He awoke to find himself in a large underwater lodge. He had fallen through an opening which was in the shape of a turtle. The opening was guarded by two huge fish, and the lodge was occupied by a variety of underwater creatures. Sun God, in the form of a shaft of light, asked each creature to give to Tone skoit some of their respective powers. In this way Tone skoit received many forms of powers—some healing powers and some evil powers that could place a curse. By these powers Tone skoit became a very powerful individual. Tone skoit’s most powerful medicine was obtained from the Snapping Turtle—and it is from this creature that Tone skoit obtained his name. Translated, Tone skoit means “rough tail” which is the Kiowa name for the Snapping Turtle.”  #Kiowa #KiowaArt #KiowArtist #SnappingTurtle #NativeArt #NativeArts #NativeAmerican #NativeAmericanArt #NativeAmericanArts #NativeAmericanArtist #NativeAmericanPainting #NativeAmericanCulture #NativePride #Indigenous #IndigenousArt #IndigenousArts #IndigenousArtist #FirstNations #FirstNationsArt #FirstNationsArtist #AmericanIndian #AmericanIndianArt #AmericanIndianArts #AmericanIndianArtist #AmericanIndianFineArts #SupportNativeArts #SupportNativeArtists

This rare, untitled 1953 was created by Cherokee artist White Bean Quann. In 1935, the Works Progress Administration (WPA) began the Public Works of Art Project whose general purpose was “to give work to artists by arranging to have competent representatives of the profession embellish public buildings.” The project included the painting of murals in every state of the country and lasted until 1943. One of the artists who worked on the murals in California was White Bead Quann. White Bead was a Cherokee artist who moved to California with her family. When she was 18 or 19, she began to work on the WPA Murals Projects and also produced lithographs in which she told Native American stories and illustrated them which were then lent out to schools across the country. Fellow WPA muralists referred to White Bead as a “one-man department in herself...producing terribly interesting stuff...she was one of our stars.” Little is known of White Bead’s life after the WPA art projects, except that she married Dean Stroup in 1955.  #Cherokee #CherokeeArt #CherokeeArtist #NativeArt #NativeArts #NativeAmerican #NativeAmericanArt #NativeAmericanArts #NativeAmericanArtist #NativeAmericanPainting #NativeAmericanCulture #NativePride #Indigenous #IndigenousArt #IndigenousArts #IndigenousArtist #FirstNations #FirstNationsArt #FirstNationsArtist #AmericanIndian #AmericanIndianArt #AmericanIndianArts #AmericanIndianArtist #AmericanIndianFineArts #SupportNativeArts #SupportNativeArtists

This untiled painting was created by Creek/Seminole/Cherokee artist Chebon Barnoskie. Chebon Barnoskie was born May 9, 1967, the son of Shirley Anne Lena and Hayden Lee Barnoskie, in Tahlequah, Oklahoma, where he resided for most of his life. He attended high school at Muskogee High School. Afterwords, he attended Bacone College where he studied under the renown artist and teacher, Dick West. He exhibited throughout Oklahoma, including the Five Civilized Tribes Museum in Muskogee, OK and the Cherokee National Museum’s Annual Trial of Tears Art Show in Tahlequah where he took 1st place in 1989. He also took Best of Show at the Bacone College Spring Art Show in 1987. #Cherokee #CherokeeArt #Seminole #SeminoleArt #CreekArt #MuscogeeCreek #Mvskokvlke #NativeArt #NativeArts #NativeAmerican #NativeAmericanArt #NativeAmericanArts #NativeAmericanArtist #NativeAmericanPainting #NativeAmericanCulture #Indigenous #IndigenousArt #IndigenousArts #IndigenousArtist #FirstNations #FirstNationsArt #FirstNationsArtist #AmericanIndian #AmericanIndianArt #AmericanIndianArts #AmericanIndianArtist #AmericanIndianFineArts #SupportNativeArts #SupportNativeArtists

This painting by Acoma/Laguna/Sioux artist James Michael Bear (Byrnes) is titled “Pottery: Acoma, San Ildefonso, Cochiti”. Clay vessels (pottery) have been made by the Pueblo for around 2,000 years. Potters are usually women, who learn the art from their older female relatives. Pueblo pottery can be separated into two general eras—historic (beginning in the early 16th century after contact with Spanish settlers), and prehistoric (before contact). Pottery was made for three major reasons: utilitarian (cooking, storing of food and water, and serving); ceremonial; and artistic/trade purposes. Prehistoric pottery was utilitarian and ceremonial in nature. This continued into the historic era, along with a new development during the early 20th century—pottery made specifically for trade. James Michael Bear (Byrnes) was born in New Mexico in 1938. His father was Sioux and his mother was Acoma/ Laguna Pueblo. Bear was well known known for his drawings in graphite, sometimes highlighted with acrylic paint. Bear was also a muralist. Often he wrote explanations of the events depicted on the backs of paintings. He was given a solo exhibition at the Heard Museum in  #Sioux #SiouxArt #Laguna #Acoma #AcomaArt #LagunaArt NativeArt #NativeArts #NativeAmerican #NativeAmericanArt #NativeAmericanArts #NativeAmericanArtist #NativeAmericanPainting #NativeAmericanCulture #NativePride #Indigenous #IndigenousArt #IndigenousArts #IndigenousArtist #FirstNations #FirstNationsArt #FirstNationsArtist #AmericanIndian #AmericanIndianArt #AmericanIndianArts #AmericanIndianArtist #AmericanIndianFineArts #SupportNativeArts #SupportNativeArtists

This untitled painting was created by Choctaw/Cherokee artist Jerry Ingram.  Medicine man and spiritual leader Leonard Crow Dog says that, “the greatest symbol of the Native American Church is the water bird.” The water bird, also known as the snake bird, water turkey, or anhinga, is represented in virtually all Peyote art. Having a long slender neck, sleek wings, and elongated tail feathers, it is represented in swift flight, heading skyward and carrying prayers. The Peyote bird is connected with lighting, thunder, and visions. The shape of portions of the peyote bird correspond to portions of the Native American Church ceremonies: the head shaped like the rattle used in the ceremonies, the wings outspread like the ceremonial altar, and the fan-like lower body like the tipi where the services are held.  #Cherokee #CherokeeArt #CherokeeArtist #Choctaw #ChoctawArt #ChoctawArtist #NativeArt #NativeArts #NativeAmerican #NativeAmericanArt #NativeAmericanArts #NativeAmericanArtist #NativeAmericanPainting #NativeAmericanCulture #NativePride #Indigenous #IndigenousArt #IndigenousArts #IndigenousArtist #FirstNations #FirstNationsArt #FirstNationsArtist #AmericanIndian #AmericanIndianArt #AmericanIndianArts #AmericanIndianArtist #AmericanIndianFineArts #SupportNativeArts #SupportNativeArtists

🌟A closer look •••> Highlighting the beautiful rugs called PLAINS SPEAK in Flash and Midnight in our SACRED GROUND Collection. Offered in 7 sizes 🥂 Willow Kipp (@willow.cahill), the force behind a brand deeply entwined with the rich cultural tapestry of Blackfeet and Shoshone-Bannock roots, specializes in beautifully designed leather bags and epitomizes slow fashion, championing small, indigenous, woman-led businesses. Her designs for these rugs are inspired by triangles and sharp points used in Blackfoot style art with zigzags mimicking lighting and thunder.⚡️ Available on WWW.TRADEGOODSNATION.COM 🌟 Celebrating and Supporting Indigenous Artists and Makers🌟 #SacredGroundCollection #IndigenousArtistry #NativeArtists #SupportNativeArts #IndigenousArtists #SupportIndigenous #ShopAuthentic #OnlineShop #TradingPost #TradeGoodsNation #shoprugs

This work created by Laguna Pueblo artist Bruce Lubo, Sr. is titled “Navajo Fire Dancer”. Bruce Lubo, Sr. was a multi-faceted artist from Laguna Pueblo. Originally an aircraft design engineer, Lubo quit in 1960 to devote himself full-time to his art. Equally adept at oil, acrylic, watercolor, pastel, and pen & ink, Lubo’s subject matter ranged from his well known comedic sketches of Native life to portraits and depictions of daily life and traditions, past and present. #Laguna #LagunaPueblo #LagunaArt #LagunaArtist #PuebloIndianArt #IndianPuebloArt #NativeArt #NativeArts #NativeAmerican #NativeAmericanArt #NativeAmericanArts #NativeAmericanArtist #NativeAmericanPainting #NativeAmericanCulture #NativePride #Indigenous #IndigenousArt #IndigenousArts #IndigenousArtist #FirstNations #FirstNationsArt #FirstNationsArtist #AmericanIndian #AmericanIndianArt #AmericanIndianArts #AmericanIndianArtist #AmericanIndianFineArts #SupportNativeArts #SupportNativeArtists

This 1991 painting by Arapaho artist is titled “Warrior’s Victory”. Arapaho artist, Ben Little Raven, Jr. was born and raised in Oklahoma. After serving in the Marine Corp in Vietnam, Little Raven returned to Oklahoma and began his art career as a painter and sculptor, depicting the culture and traditions of the Arapaho and Cheyenne. The Arapaho call themselves Hinono’eino (“our people”). To the Cheyenne the Arapaho were known as Hitanwo’iv (“People of the Sky” or “Cloud People”); to the Dakota they were known as Mahpíyato (“Blue Cloud Men”), and the Lakota and Assiniboine referred to them as Maȟpíya thó (“Blue Sky People”).  The Arapaho lived during the 19th century along the Platte and Arkansas rivers of what are now the U.S. states of Wyoming, Colorado, Nebraska, and Kansas. Their oral traditions suggest that they once had permanent villages in the Eastern Woodlands, where they engaged in agriculture. Because of pressure from tribes to the east, the Arapaho gradually moved westward, abandoning farming and settled life during the process. They split into northern (Platte River) and southern (Arkansas River) groups after 1830. #Arapaho #ArapahoArt #ArapahoArtist #OklahomaArt #OklahomaArtist #NativeArt #NativeArts #NativeAmerican #NativeAmericanArt #NativeAmericanArts #NativeAmericanArtist #NativeAmericanPainting #NativeAmericanCulture #Indigenous #IndigenousArt #IndigenousArts #IndigenousArtist #FirstNations #FirstNationsArt #FirstNationsArtist #AmericanIndian #AmericanIndianArt #AmericanIndianArts #AmericanIndianArtist #AmericanIndianFineArts #SupportNativeArts #SupportNativeArtists

It’s Wildlife Wednesday! This painting by Ojibwe artist James Simon Mishibinijima is titled “Porcupine and his Quills”. Born in 1954 in on Manitoulin Island, James Simon Mishibinijima grew up in Wikwemikong, one of the few Unceded Territories in Canada. Mishibinijima means “Birchbark Silver Shield.” Mishibinijima was given the name James Alexander Simon by missionaries who found his name difficult to pronounce. Among his early teachers was Francis Kagige, an artist and neighbour, and recognized as one of the important pioneers of Wikwemikong art. Kagige had one of the few painting studios in the community. Mishibinijima would frequently visit his elder there where he was given his earliest instructions in painting. Kagige also shared teachings about their Ojibwe culture and told the young artist his stories. The community’s elders and Mishibinijima’s relatives also imparted oral histories and described the myths and legends that are part of his cultural heritage. On the back of the painting, Mishibinijima wrote the following story regarding the artwork: “A story from the elders: One time, long ago when the Great Spirit was making his animals, he saw what the bear was doing to the porcupine. He was punishing him for nothing. So the porcupine warrior asked him many times to leave him alone, but the big bear kept badgering him. And behind a bluff near the rose bush, the bear cornered the porcupine. And the Great Spirit said enough; he went to the porcupine’s rescue. And by grabbing the thorns off the rose bush, he planted them on the porcupine and the bear never bothers him, never again.” #Ojibwa #Ojibwe #OjibwaArt #OjibweArt #OjibwaArtist #OjibweArtist #NativeArt #NativeArts #NativeAmerican #NativeAmericanArt #NativeAmericanArts #NativeAmericanArtist #NativeAmericanPainting #NativeAmericanCulture #Indigenous #IndigenousArt #IndigenousArts #IndigenousArtist #FirstNations #FirstNationsArt #FirstNationsArtist #AmericanIndian #AmericanIndianArt #AmericanIndianArts #AmericanIndianArtist #AmericanIndianFineArts #SupportNativeArts #SupportNativeArtists

Today marks the April full moon and features the work of Seminole/Creek artist Edmond Joshua, Jr. and this untitled 1989 painting. The April moon goes by many names. The Abenaki of Maine call it sogalikas (sugar maker moon), while the Algonquin callit suquanni kesos (when they set indian corn). For the Anishnaabe it is known as iskigamizige-giizis(oog) (broken snowshoe moon), for the Assiniboine it is tabehatawi (frog moon), for the Cherokee it is kawohni (flower moon), for the Choctaw it is Hash Bissi (moon of blackberry), for the Comanche it is tahma mua (new spring moon), for the it is kiskipizun (gray goose moon), for the Creek it is tasahcee-rakko (big spring moon), for the Haida it is xiit kungáay (migratory geese moon), for the Hopi it is kwiyamuyaw (moon of windbreak), for the Kalapuya it is amanta kotantal (time for pounding camas), for the Lakota it is wihakaktacepapi wi (when wives crack bones for marrow), for the Mohawk it is onerahtokha (budding time), for the Shawnee it is poosh kwiitha (half moon), for the Shoshone it is badua’-mea’ (melting), for the Tlingit it is x’eigaa kayaani dis (budding moon for plants and shrubs), and for the Zuni it is li’dekwakkya lana (great sand storm). (from Western Washington University) #Seminole #SeminoleArt #SeminoleArtist #CreekArtist #CreekArt #MuscogeeCreek #Mvskokvlke #NativeArt #NativeArts #NativeAmerican #NativeAmericanArt #NativeAmericanArts #NativeAmericanArtist #NativeAmericanPainting #NativeAmericanCulture #Indigenous #IndigenousArt #IndigenousArts #IndigenousArtist #FirstNations #FirstNationsArt #FirstNationsArtist #AmericanIndian #AmericanIndianArt #AmericanIndianArts #AmericanIndianArtist #AmericanIndianFineArts #SupportNativeArts #SupportNativeArtists

This untitled work was created by Cheyenne artist Archie Blackowl. It is the companion piece to the dancer posted last month. They make quite the pair! Archie Blackowl had many occupations including teacher, juror at the Philbrook Indian annual, muralist, civil service employee, Walt Disney studio employee, industrial painter for the aircraft industry, and artist. Blackowl is generally considered to be one of the more important Oklahoma traditional painters. Blackowl’s work captures the traditional Southern Plains culture and life. His paintings, generally in tempera or mixed media, depict scenes of dancers or ceremonies in the Flat style of the Dorothy Dunn school or Bacone style of painting. Blackowl was best known for his stylized dancers adorned with traditional regalia and lack of backgrounds, as well as works upon the unforgiving blackboard. Blackowl’s devotion to traditional style flat painting has inspired many contemporary artists across the United States. His art is a legacy to which many young Native artists look to for information of tradition and technical skills. #Cheyenne #CheyenneTribe #CheyenneArt #CheyenneArtist #NativeAmericanDance #NativeAmericanDancer #NativeArt #NativeArts #NativeAmerican #NativeAmericanArt #NativeAmericanArts #NativeAmericanArtist #NativeAmericanPainting #NativeAmericanCulture #NativePride #Indigenous #IndigenousArt #IndigenousArts #IndigenousArtist #FirstNations #FirstNationsArt #FirstNationsArtist #AmericanIndian #AmericanIndianArt #AmericanIndianArts #AmericanIndianArtist #AmericanIndianFineArts #SupportNativeArts

This 2007 work by Delaware/Cherokee artist Don Secondine, Jr. is titled “Coup Shirt”. Before earning the right to wear a war shirt, an indian man had to prove himself as an outstanding warrior. Only those men who showed wisdom and strength, repeatedly unprecedented bravery in combat, were known for their selfless character, concern for others and the welfare of the tribe were honoured with the right to wear this kind of shirt. For example, the Lakota men, who were given such a right were called “the shirt wearers “. Making a war shirt was considered a sacred activity. Such a shirt was considered to be endowed with spiritual power and strength. The shirts were mostly made out of tanned hides, most often white-tailed deer, pronghorn or bighorn sheep. Two to four hides were needed for one shirt, depending on the particular pattern. Both the front and rear part of the shirt always consisted of one hide each, other hides were used for the sleeves. ( from matotope.com) #Cherokee #CherokeeArt #CherokeeArtist #Delaware #DelawareTribe #DelawareArt #DelawareArtist #NativeArt #NativeArts #NativeAmerican #NativeAmericanArt #NativeAmericanArts #NativeAmericanArtist #NativeAmericanPainting #NativeAmericanCulture #NativePride #Indigenous #IndigenousArt #IndigenousArts #IndigenousArtist #FirstNations #FirstNationsArt #FirstNationsArtist #AmericanIndian #AmericanIndianArt #AmericanIndianArts #AmericanIndianArtist #AmericanIndianFineArts #SupportNativeArts #SupportNativeArtists

Today’s work features Jemez Pueblo artist Richard Chinana. For decades, the Jemez Day School has produced artists of many different mediums. Much of its success dates back to the arrival of Kiowa artist Al Momaday in 1947. For 20 years, Al was the principal and art teacher at the school, encouraging the artistic endeavors fo the students. This piece, entitled “Corn Dancers” was created at the Jemez Day School in 1964 under Momaday’s guidance. The school stamp is on the back and an exhibition label for the New Mexico State Fair - Indian Building, along with a selling price of $12. #Jemez #JemezPueblo #JemezArt #JemezArtist #PuebloIndianArt #IndianPuebloArt #NativeArt #NativeArts #NativeAmerican #NativeAmericanArt #NativeAmericanArts #NativeAmericanArtist #NativeAmericanPainting #NativeAmericanCulture #NativePride #Indigenous #IndigenousArt #IndigenousArts #IndigenousArtist #FirstNations #FirstNationsArt #FirstNationsArtist #AmericanIndian #AmericanIndianArt #AmericanIndianArts #AmericanIndianArtist #AmericanIndianFineArts #SupportNativeArts #SupportNativeArtists

This 1986 untitled work was created by Hopi/Laguna Pueblo artist Joe Maktima. Shapes are used as a means to communicate. Triangles are basic elemental designs of many different Native American cultures. The usage of the shape can represent many things…clouds, the tipi, family, the arrow or arrowhead, or if placed on top of each other, they become prayer feathers or figural representations of people. The most widely and universally used protective/blocking symbolism in the northeast region is the triangle shape. It was adaptable in many ways and forms. Some times it had dual usage of containing the invited spirit while at the same time blocking out uninvited spirits. #Hopi #HopiArt #HopiArtist #Laguna #LagunaPueblo #LagunaArt #LagunaArtist # NativeArt #NativeArts #NativeAmerican #NativeAmericanArt #NativeAmericanArts #NativeAmericanArtist #NativeAmericanPainting #NativeAmericanCulture #NativePride #Indigenous #IndigenousArt #IndigenousArts #IndigenousArtist #FirstNations #FirstNationsArt #FirstNationsArtist #AmericanIndian #AmericanIndianArt #AmericanIndianArts #AmericanIndianArtist #AmericanIndianFineArts #SupportNativeArts #SupportNativeArtists

This 1971 painting by Creek artist Fred Beaver is titled “Creek Stickball Players”. Stickball is one of the oldest organized sports in North America. Written accounts date back to 1729 and stickball courts/playing fields have been found dating back to the 400’s A.D. When disputes arouse between tribes or communities, stickball provided a peaceful way to settle the issue. These games were hard-fought contests thad could involve as few as twenty or as many as 300 players and could last for several days. #FredBeaver #CreekArtist #CreekArt #MuscogeeCreek #Mvskokvlke #NativeArt #NativeArts #NativeAmerican #NativeAmericanArt #NativeAmericanArts #NativeAmericanArtist #NativeAmericanPainting #NativeAmericanCulture #NativePride #Indigenous #IndigenousArt #IndigenousArts #IndigenousArtist #FirstNations #FirstNationsArt #FirstNationsArtist #AmericanIndian #AmericanIndianArt #AmericanIndianArts #AmericanIndianArtist #AmericanIndianFineArts #SupportNativeArts #SupportNativeArtists

If you're here you care about supporting Native artists and communities. I believe there is no better way to support than empowering Native youth with cultural knowledge and the right education for them. @thegreatlakesnative is doing her part in making that happen with these tees! When you purchase one, you'll also receive some 💣 stickers and a portion of the proceeds go to the Lumbee ambassadors towards scholarship opportunities for local students. Check out my stories for a direct link to the Support Indigenous Tee! #supportindigenousartists #supportindigenousbusiness #supportnativearts #lumbee #nativeownedbusiness

It’s Wildlife Wednesday! This untitled 1988 painting was created by Cree artist Isaac Bignell. Isaac Bignell was a Cree painter, born in 1958 on the Pas Reserve, 400 miles north of Winnipeg in Manitoba. Isaac moved to Winnipeg, then to Minneapolis and later to Vancouver. Outside of a few art classes Isaac was a self-taught painter, who developed his own style of sponge painting of wildlife images distinguished by flowing lines. “My art is strongly influenced by the traditional ways of my people. I was brought up to live off the land from an early age. Hunting and trapping, living in harmony with the earth has taught me to respect the animals and the spirit and power of nature.I hoop dance and sing Pow Wows to maintain my cultural heritage. Through art and dancing I attempt to influence native people to continue their cultural ways; the gift that was given to us by the Great Spirit.” Isaac died at the peak of his career at the age of 37, but his art remains as his legacy. ( from sa-cinn.com) #Cree #CreeArt #CreeArtist #WoodlandArt #WoodlandArtist #NativeArt #NativeArts #NativeAmerican #NativeAmericanArt #NativeAmericanArts #NativeAmericanArtist #NativeAmericanPainting #NativeAmericanCulture #NativePride #Indigenous #IndigenousArt #IndigenousArts #IndigenousArtist #FirstNations #FirstNationsArt #FirstNationsArtist #AmericanIndian #AmericanIndianArt #AmericanIndianArts #AmericanIndianArtist #AmericanIndianFineArts #SupportNativeArts #SupportNativeArtists

This untitled contemporary work was created Cheryl Grunlose from the Confederated Tribes of the Colville Reservation. The Confederate Tribes of the Colville Reservation consist of twelve individual tribes. Those tribes are: Chelan, Chief Joseph Band of Nez Perce, Colville, Entiat, Lakes, Methow, Moses-Columbia, Nespelem, Okanogan, Palus, San Poil, and Wenatchi. The tribes’ traditional territories in the Pacific Northwest once encompassed most of what is now known as eastern Washington state and extended into British Columbia, Idaho, and Oregon. Eight of these related bands are the names of rivers that flow off of the eastern slopes of the North Cascades or the Okanagon Highlands. The Nez Perce are the descendants of Chief Joseph band which came from Northeast Oregon. As part of the conditions of surrender Chief Joseph and his band were not allowed to return to their home in Oregon and were eventually re-located to the Colville reservation after the so called “Flight of the Nez Perce” in 1877. The Nez Perce (not including the small group re-located to Colville) are located on the Nez Perce Indian Reservation in West central Idaho along the Clearwater River. In 1872, the Confederated Tribes of the Colville Reservation was formed by executive order under President Ulysses S. Grant for the purpose of occupying the Colville Reservation. It was a large area encompassing a wide variety of habitats and resources. Later the reservation was reduced, and some of the best lands were excluded, made available for settlement by European Americans. #Colville #ColvilleTribes #ColvilleArt #ColvilleArtist #NativeArt #NativeArts #NativeAmerican #NativeAmericanArt #NativeAmericanArts #NativeAmericanArtist #NativeAmericanPainting #NativeAmericanCulture #NativePride #Indigenous #IndigenousArt #IndigenousArts #IndigenousArtist #FirstNations #FirstNationsArt #FirstNationsArtist #AmericanIndian #AmericanIndianArt #AmericanIndianArts #AmericanIndianArtist #AmericanIndianFineArts #SupportNativeArts #SupportNativeArtists

This masterful piece is the work of Ohkay Owingeh artist Thomas Edward Montoya. It is a large, intricate, untitled piece. Thomas Edward Montoya (1952–2009), Than Ts’áy Tas, was a member Ohkay Owingeh (formally known as San Juan Pueblo). Tommy received a degree from the California College of Arts and Crafts, and did graduate work at the University of California at Berkeley. In addition to painting, he has worked as a graphic designer, freelance illustrator, photographer, and for four years as a technical illustrator for Los Alamos National Laboratory. He has published a children’s book, and has won awards for his artwork at Southwestern Association for Indian Arts (SWAIA) Indian Market in Santa Fe. Tommy also has a series of Pueblo Revolt sketches displayed in the Indian Pueblo Culture Center (IPCC) permanent museum exhibition, We Are of This Place: The Pueblo Story (from indianpueblo.org) #OhkayOwingeh #OhkayOwingehArt #OhkayOwingehArtist #SanJuanPueblo #PuebloIndianArt #OhkayOwingehPueblo #IndianPuebloArt #NativeArt #NativeArts #NativeAmerican #NativeAmericanArt #NativeAmericanArts #NativeAmericanArtist #NativeAmericanPainting #NativeAmericanCulture #NativePride #Indigenous #IndigenousArt #IndigenousArts #IndigenousArtist #FirstNations #FirstNationsArt #FirstNationsArtist #AmericanIndian #AmericanIndianArt #AmericanIndianArts #AmericanIndianArtist #AmericanIndianFineArts #SupportNativeArts #SupportNativeArtists

This untiled work was created by Alaska Native artist Robert Mayokok. The arctic and subarctic come alive with crowberries (paurngaq), boreal blueberries (kigutangirnaq), and cranberries (kimminnaq), and the much-coveted cloudberry (aqpik). Families hike to ancestral harvesting spots, buckets in tow to reap the bounty of the land. “Salmonberries and blackberries are carefully picked by hand, but the others are picked quickly in a seemingly chaotic manner. Women place small buckets or baskets beneath the shrubs. The shrubs were then stroked with a special instrument resembling a short-handled pitchfork…or whacked with a spoon or a dipperlike implement known as a qalutaq. This knocked the berries off the stems and into the container without damagaing them. #Inupiaq #Eskimo #EskimoArt #EskimoArtist #Inupiat #InupiatArt #InupiatArtist #NativeArt #NativeArts #NativeAmerican #NativeAmericanArt #NativeAmericanArts #NativeAmericanArtist #NativeAmericanPainting #NativeAmericanCulture #NativePride #Indigenous #IndigenousArt #IndigenousArts #IndigenousArtist #FirstNations #FirstNationsArt #FirstNationsArtist #AmericanIndian #AmericanIndianArt #AmericanIndianArts #AmericanIndianArtist #AmericanIndianFineArts #SupportNativeArts #SupportNativeArtists

It’s been a while since I’ve purchased an Edmond Joshua, Jr. piece, but I received this one this week. With so many paintings of his in my collection, there are only a couple of years I don’t have a piece of Edmond’s represented, but now I can cross 1975 off the list! The painting is titled “Seminole Warrior II”. The Seminole Nation of Oklahoma is the largest of the three federally recognized Seminole governments, which include the Seminole Tribe of Florida and the Miccosukee Tribe of Indians of Florida. Its citizens are descendants of the approximately 3,000 Seminoles who were forcibly removed from Florida to Indian Territory, along with 800 Black Seminoles, after the Second Seminole War. The few hundred Seminoles remaining in Florida fought against US forces in the Third Seminole war, and peace was made without their defeat. Today, descendants of those people have formed two federally recognized Seminole tribes, along with the unorganized Traditionals in Florida #Seminole #SeminoleArt #SeminoleArtist #CreekArtist #CreekArt #MuscogeeCreek #Mvskokvlke #NativeArt #NativeArts #NativeAmerican #NativeAmericanArt #NativeAmericanArts #NativeAmericanArtist #NativeAmericanPainting #NativeAmericanCulture #Indigenous #IndigenousArt #IndigenousArts #IndigenousArtist #FirstNations #FirstNationsArt #FirstNationsArtist #AmericanIndian #AmericanIndianArt #AmericanIndianArts #AmericanIndianArtist #AmericanIndianFineArts #SupportNativeArts #SupportNativeArtists

This untitled 2010 work was created by Inuit artist Peter Ragee Peter Ragee is a well established artists who work in prints , drawing as well as carving. He was raised by his parents Sakkeassie and Evalourjuk. His father was a great carver and Peter learned at a young age from him about Inuit art. His style is spiritual but also contemporary taking from experiences on the land Peter draws with much detail and uses vivid colors to depict the culture of the Inuit. His prints are widely known across the Baffin region of the territory and even though he lives in Iqaluit he has roots in Cape Dorset where he grew up. Ragee has over 100 works in other public collections in Canada. (from the Art Gallery of Greater Victoria) #Inuit #InuitArt #InuitArtist #CapeDorset #NativeArt #NativeArts #NativeAmerican #NativeAmericanArt #NativeAmericanArts #NativeAmericanArtist #NativeAmericanPainting #NativeAmericanCulture #NativePride #Indigenous #IndigenousArt #IndigenousArts #IndigenousArtist #FirstNations #FirstNationsArt #FirstNationsArtist #AmericanIndian #AmericanIndianArt #AmericanIndianArts #AmericanIndianArtist #AmericanIndianFineArts #SupportNativeArts

🌟A closer look •••> Highlighting Ms Stormi in our SACRED GROUND Collection. Named after the artist’s daughter; Ms Stormi 💕 Eugenia Stanley @emstanley.creations (Diné) who lives on the Navajo Reservation created the original design on a loom from her sheep’s wool. Eugenia has been weaving for 15 years from passed on traditions from her mother. Eugenia has carried on presenting her signature and traditions through her practice. We have a full write up of her inspirations for each rug on our website! Please have a view and discover these beautiful stories ✨ Available on WWW.TRADEGOODSNATION.COM 🌟 Celebrating and Supporting Indigenous Artists and Makers🌟 #SacredGroundCollection #IndigenousArtistry #NativeArtists #SupportNativeArts #IndigenousArtists #SupportIndigenous #ShopAuthentic #OnlineShop #TradingPost #TradeGoodsNation #shoprugs

This diminutive, untitled work is by San Ildefonso Pueblo artist J.D. Royabal. The Koosa Clown, sitting on a small stool eating watermelon while a skunk hides behind a drum, waiting and hoping to grab some watermelon for himself is a classic, lighthearted motif depicted in J.D. Roybal’s work. He was also a master of miniature works such as this one which is a small, 2.5” x 3”. Roybal had a wonderful sense of humor and never ran out of ideas to present the clowns in humorous actions. José Desiderio (J.D.) Roybal (1922 - 1978) Oquwa (Rain God) was born at San Ildefonso, the son of Tonita and Juan Cruz Roybal who were well known and respected potters. He was a nephew of famous artist Alfonso Roybal (Awa Tsireh). He did a bit of painting in the 1930s but was not very productive until the 1950s. He was most productive in the 1960-1970 decade. His most popular subject matter was his rendition of the Tewa Clowns known as Koshare or Koosa. #SanIldefonso #SanIldefonsoPueblo #SanIldefonsoArt #SanIldefonsoArtist #Avanyu #PuebloIndianArt #IndianPuebloArt #NativeArt #NativeArts #NativeAmerican #NativeAmericanArt #NativeAmericanArts #NativeAmericanArtist #NativeAmericanPainting #NativeAmericanCulture #NativePride #Indigenous #IndigenousArt #IndigenousArts #IndigenousArtist #FirstNations #FirstNationsArt #FirstNationsArtist #AmericanIndian #AmericanIndianArt #AmericanIndianArts #AmericanIndianArtist #AmericanIndianFineArts #SupportNativeArts #SupportNativeArtists

It’s Wildlife Wednesday! This untitled painting was created by Kiowa artist Lee Monette Tsatoke. Kiowa artist Lee Monette Tsatoke was named Tsa To Kee (Hunting Horse). Descended from Kiowa chiefs Santak and Santanta, Tsatoke inherited his interest and talent in art from his famous father Monroe Tsatoke, oneof the Kiowa Six artists. He did not become actively involved in art until he received encouragement at his school, Riverside Indian School in Andarko, OL from his teachers Acee Blue Eagle, Ruth Cox, and Susie Peters (the government worker who did much to encourage his father in his early, formative years). Tsatoke also performed a a fancy war dancer in the Kiowa Dance Troupe. #Kiowa #KiowaArt #KiowaArtist #OklahomaArt #OklahomaArtist #NativeArt #NativeArts #NativeAmerican #NativeAmericanArt #NativeAmericanArts #NativeAmericanArtist #NativeAmericanPainting #NativeAmericanCulture #NativePride #Indigenous #IndigenousArt #IndigenousArts #IndigenousArtist #FirstNations #FirstNationsArt #FirstNationsArtist #AmericanIndian #AmericanIndianArt #AmericanIndianArts #AmericanIndianArtist #AmericanIndianFineArts #SupportNativeArts

This dynamic, colorful work was created by Blackfeet artist Terrance Guardipee. “Terrance is an enrolled member of the Blackfeet Nation of Montana, and illustrates his personal experience of Blackfeet culture in combination with his educational experience in his artwork. Terrance was raised in the Blackfeet homeland in northern Montana, and as a result, the cultural life and history of the Blackfeet people became a foundational part of Terrance’s identity. Moreover, Terrance regularly participates in the traditional Blackfeet ceremonies often depicted in his artwork. Terrance’s understanding and personal knowledge of authentic Blackfeet history and traditional culture is expressed in his work. Terrance lived in Montana until he attended the Institute of American Indian Arts located in Santa Fe, New Mexico, where he studied two-dimensional arts. His educational experience at IAIA enabled Terrance to incorporate the contemporary color palate he is known for in a manner that is consistent with Blackfeet tradition. Presently, Terrance resides in Seattle, Washington.” ( from terranceguardipee.com). Terrance is well known for his exemplary ledger artwork. You can follow them yourself on Instagram: @terranceguardipee #Blackfeet #BlackeetArt #BlackfeetArtist #Blackfoot #BlackfootArt #BlackfootArtist #NativeArt #NativeArts #NativeAmerican #NativeAmericanArt #NativeAmericanArts #NativeAmericanArtist #NativeAmericanPainting #NativeAmericanCulture #NativePride #Indigenous #IndigenousArt #IndigenousArts #IndigenousArtist #FirstNations #FirstNationsArt #FirstNationsArtist #AmericanIndian #AmericanIndianArt #AmericanIndianArts #AmericanIndianArtist #AmericanIndianFineArts #SupportNativeArts

This masterful, untitled 1949 painting is the work of Diné/Navajo artist Quincy Tahoma. Quincy Tahoma was born near Tuba City, Arizona on Christmas Day 1921. Tahoma’s native name, Water Edge or Near Water, is not a translation of his Diné name but is the name of his mother’s clan. Tahoma studied art in Santa Fe, New Mexico, from 1936 to 1940, where he attended the Santa Fe Indian School. He was one of many Navajo painters among the most successful artists to be trained by Dorothy Dunn at the Studio, at the Santa Fe Indian School. Other Navajo painters in that program at the time included Harrison Begay, Gerald Nailor, Sr. and Andy Tsinajinnie. He was active in sports and set a district track record in 1940. After serving in WWII, he established himself as a full-time artist and shared his studios in the Southwest with artists who are now well established. In 1939 Tahoma exhibited at the Art Gallery of the Museum of New Mexico in Santa Fe and was touted as a promising new artist. His work was exhibited at the Museum of New Mexico in 1949 (the year this painting was created), the Oklahoma Museum of Art in 1978, the Koogler McNay Art Museum in Texas in 1990 and the Heard Museum in Phoenix in 1996. #Diné #DinéArt #DinéArtist #Navajo #NavajoArt #NavajoArtist #NativeArt #NativeArts #NativeAmerican #NativeAmericanArt #NativeAmericanArts #NativeAmericanArtist #NativeAmericanPainting #NativeAmericanCulture #NativePride #Indigenous #IndigenousArt #IndigenousArts #IndigenousArtist #FirstNations #FirstNationsArt #FirstNationsArtist #AmericanIndian #AmericanIndianArt #AmericanIndianArts #AmericanIndianArtist #AmericanIndianFineArts #SupportNativeArts

This 1981 painting by Seminole/Creek artist Edmond Joshua Jr. is titled “Kiowa Warrior”. “The Kiowas lived a typical Plains Indian lifestyle. Mostly nomadic, they survived on buffalo meat, gathered vegetables, lived in teepees and depended on their horses for hunting and military uses. The Kiowas were notorious for long-distance raids south into Mexico and as far north as Canada. Even though the winters in their homeland were harsh, the Kiowas tended to enjoy this climate and did not spend much time south of their land. Although in some ways the Kiowas displayed a typical Plains Indian culture, they had an effective and well organized military design and were thought to be one of the most warlike tribes.” ( from kiowatribe.org) #Seminole #SeminoleArt #SeminoleArtist #CreekArtist #CreekArt #MuscogeeCreek #Mvskokvlke #NativeArt #NativeArts #NativeAmerican #NativeAmericanArt #NativeAmericanArts #NativeAmericanArtist #NativeAmericanPainting #NativeAmericanCulture #Indigenous #IndigenousArt #IndigenousArts #IndigenousArtist #FirstNations #FirstNationsArt #FirstNationsArtist #AmericanIndian #AmericanIndianArt #AmericanIndianArts #AmericanIndianArtist #AmericanIndianFineArts #SupportNativeArts #SupportNativeArtists

Scroll through •••> Another highlight from the Sacred Ground Collection, talented artist and musician Randy L. Barton (@randy_boogie) of this awesome rug design in 7 sizes to enjoy in your home 🌟 Randy (dine’) is a multi-disciplined, contemporary artist, designer, dancer, DJ, and music producer from Winslow, AZ known for his visionary abstract paintings, live painting performances, and innovative style. The foundation of his creations derives from the unique combination of his background in hip hop, graffiti art, and the traditional Navajo teachings and ceremonies that began shaping his life at an early age.  Visit more about Randy on our website and our collection of his beautiful rugs. https://www.tradegoodsnation.com/pages/randy-l-barton (link in bio) Celebrating and Supporting Indigenous Artists and Makers🌟 Beautiful rugs made by @americandakota #SacredGroundCollection #IndigenousArtistry #SupportNativeArts #IndigenousArtists #SupportIndigenous #ShopAuthentic #OnlineShop #TradingPost #TradeGoodsNation #shoprugs

As promised yesterday with the feature of Creek/Pawnee artist Acee Blue Eagle’s vintage photography, here is one of the artist’s work. The painting is untitled and undated. An article in American Indian Art Magazine credits Blue Eagle as being one of the key artists who spearheaded the American Indian fine arts movement, stating that he represents “the best of the first generation of painters from an Oklahoma Creek population… Yet these men lived modest lives… originally selling their painting for two-figure sums.” The works that they produced in the 1930s are even more valuable today, selling at auctions in New York and Santa Fe “for 200 to 300-times their original sale prices.” A recipient of numerous awards, Blue Eagle exhibited widely and fulfilled many public commissions, painting murals for several Oklahoma colleges, libraries, and federal buildings. He was named “Outstanding Indian in the United States” in ceremonies at Anardarko in 1958. The Oklahoma Legislature awarded him posthumous honors for services to the state in 1959. A building on the campus of what is now Haskell Indian Nations University is named for him. from indigenousartists.weebly.com) #Pawnee #PawneeArt #PawneeArtist #CreekArtist #CreekArt #MuscogeeCreek #Mvskokvlke #NativeArt #NativeArts #NativeAmerican #NativeAmericanArt #NativeAmericanArts #NativeAmericanArtist #NativeAmericanPainting #NativeAmericanCulture #Indigenous #IndigenousArt #IndigenousArts #IndigenousArtist #FirstNations #FirstNationsArt #FirstNationsArtist #AmericanIndian #AmericanIndianArt #AmericanIndianArts #AmericanIndianArtist #AmericanIndianFineArts #SupportNativeArts #SupportNativeArtists

It’s the first First Friday Photo Feature Day! The first Friday of every month features original, vintage photographs of Indigenous artists acquired over many years of collecting. This undated photograph is of Creek/Pawnee artist Acee Blue Eagle. Creek-Pawnee artist and teacher Acee Blue Eagle was born Alex McIntosh near Anadarko on August 17, 1909. He was known by several names during his childhood. A nickname, “Ah-Say” became “Acee” when he entered school. Professionally, he called himself Blue Eagle, a traditional family surname. Following three years of military service during World War II, Blue Eagle joined the art staff of Oklahoma State University Technological School in Okmulgee. He was in residence there until his death. Up until the 1930s, the United States Bureau of Indian Affairs banned teaching traditional art in designated Indian boarding schools. This restriction was lifted during the Great Depression, when it was suggested that the arts could be a source of income for Native Americans. The “Indian Arts and Crafts Act” of 1935 created a protected category of American Indian art. It is important to distinguish that the governmental concern, in this case, was financial rather than cultural. Native people were encouraged to artistically depict and sell representations of cultural lifeways at the same time they were being forced to assimilate to American culture (from indigenousartists.weebly.com) #Pawnee #PawneeArt #PawneeArtist #CreekArtist #CreekArt #MuscogeeCreek #Mvskokvlke #NativeArt #NativeArts #NativeAmerican #NativeAmericanArt #NativeAmericanArts #NativeAmericanArtist #NativeAmericanPainting #NativeAmericanCulture #Indigenous #IndigenousArt #IndigenousArts #IndigenousArtist #FirstNations #FirstNationsArt #FirstNationsArtist #AmericanIndian #AmericanIndianArt #AmericanIndianArts #AmericanIndianArtist #AmericanIndianFineArts #SupportNativeArts #SupportNativeArtists

This early, untitled work was created by San Ildefonso Pueblo artist Romando “Tse Ye Mu” Vigil in the 1930’s. Avanyu or Awanyu is a Tewa deity, the guardian of water. The name Avanyu, or Awanyu, literally means “water serpent” in the language of the Tewa. Represented as a horned or plumed serpent with curves suggestive of flowing water or the zig-zag of lightning, Awanyu appears on the walls of caves located high above canyon rivers in New Mexico and Arizona. Avanyu may be related to the feathered serpent of Mesoamerica–Quetzalcoatl and related deities. Avanyu is a frequent motif on Native American pottery of the Southwestern United States. Awanyu is represented as a plumed, or horned serpent, who guards waterways and is a harbinger of storms; a protector of the Pueblo people. The earliest representations of Avanyu are from 1000 AD. These were found on Mimbres pottery, a precursor to Pueblo pottery. Archaeologist Dr. Polly Schaafsma, whose research specializes in Avanyu mythology among other subjects, writes, “The horned serpent continues to be revered as an important deity among the Pueblos and is known by various names among the different linguistic groups, including Kolowisi (Zuni), Paaloloqangw (Hopi), and Awanyu (Tewa).” She goes on to write that Avanyu is also “associated with the four (or six) directions, the colors of which the snakes also assume.” #SanIldefonso #SanIldefonsoPueblo #SanIldefonsoArt #SanIldefonsoArtist #Avanyu #PuebloIndianArt #IndianPuebloArt #NativeArt #NativeArts #NativeAmerican #NativeAmericanArt #NativeAmericanArts #NativeAmericanArtist #NativeAmericanPainting #NativeAmericanCulture #NativePride #Indigenous #IndigenousArt #IndigenousArts #IndigenousArtist #FirstNations #FirstNationsArt #FirstNationsArtist #AmericanIndian #AmericanIndianArt #AmericanIndianArts #AmericanIndianArtist #AmericanIndianFineArts #SupportNativeArts #SupportNativeArtists

It’s Wildlife Wednesday! This 1945 painting was created by pioneering Taos Pueblo artist Eva “Eah Ha Wa” Mirabal. Born on ancestral land at Taos Pueblo, Eva Mirabal was called, Eah Ha Wa, which means Fast Growing Corn in the Tiwa language. Through visitors to the small village and the interrationships with the different cultures in the Taos community, young Eva learned of a world beyond the Pueblo. Her parents had sat as models for such European-trained artists as the Russian painter Nicolai Fechin and painter and printmaker Joseph Imhof. Their paintings and prints evidently influenced Eva early on. She made her debut as an artist at age 10 when a Chicago art gallery included her work in an exhibition. In the mid-1930s Eva began studying art at the Santa Fe Indian School. Dorothy Dunn, the director of art education, had opened The Studio School in fall 1932. (from womenoftaos.org) #Taos #TaosPueblo #TaosArt #TaosArtist #NewMexicoArt #NewMexicoArtist #PuebloIndianArt #NativeArt #NativeArts #NativeAmerica #NativeAmericanArt #NativeAmericanArts #NativeAmericanArtist #NativeAmericanPainting #NativeAmericanCulture #NativePride #Indigenous #IndigenousArt #IndigenousArts #IndigenousArtist #FirstNations #FirstNationsArt #FirstNationsArtist #AmericanIndian #AmericanIndianArt #AmericanIndianArts #AmericanIndianArtist #AmericanIndianFineArts #SupportNativeArts #SupportNativeArtists

Scroll through •••> Another highlight from the Sacred Ground Collection, talented fashion designer @willow.cahill of 6 new beautiful rug designs in 7 sizes each to admire in your home 🎉 Willow.Cahill, the force behind a brand deeply entwined with the rich cultural tapestry of Blackfeet and Shoshone-Bannock roots, specializes in beautifully designed leather bags and epitomizes slow fashion, championing small, indigenous, woman-led businesses. The bags not only enhance your style but also tell stories rich with cultural significance. Each design originates from digital art, meticulously transferred into physical art 💥 Willow.Cahill shares her inspiration behind her designed rugs representing Blackfeet traditions and we have it on our website 🌟 https://www.tradegoodsnation.com/pages/willowcahilln (link in bio) Celebrating and Supporting Indigenous Artists and Makers🌟 Beautiful rugs made by @americandakota #SacredGroundCollection #IndigenousArtistry #SupportNativeArts #IndigenousArtists #SupportIndigenous #ShopAuthentic #OnlineShop #TradingPost #TradeGoodsNation #shoprugs

This amazingly detailed drawing was created by pioneering Blackfeet artist Hart Merriam “Lone Wolf” Schultz. Lone Wolf was the only son of noted explorer, author, and guide, James Willard Schultz, and his Blackfoot wife, Natahki (meaning “Fine Shield Woman”) near Birch Creek on the Blackfoot Reservation in Montana on February 18, 1882. His mother was a survivor of the Baker massacre in 1870. He was born while his father was away on a trading trip to Carroll, Montana, and while it was the prerogative of the father to name a child in the Blackfoot culture, his mother’s uncle, Red Eagle, named him Nitoh Mahkwii in the father’s absence. However, upon his return the elder Schultz renamed the child Hart Merriam, after his good friend, Clinton Hart Merriam. Lone Wolf grew up preferring his Indian name, continuing to use it throughout his life. His early years were spent on his parents’ ranch in Montana on the Two Medicine River. With his father’s frequent absences as a guide through Glacier National Park, it fell to Lone Wolf and his uncle, Last Rider, to run the family ranch. His maternal grandfather, Yellow Wolf, taught him the rudiments of how to use natural colors and how to draw animals and people. And he sold his first work to a clerk who worked at Kipp’s Trading Post in nearby Browning. With his mother’s death in 1903 he left the ranch and traveled south, finally ending up near the Grand Canyon, where he worked as a cowboy, wrangler, and guide, as well as continuing to practice his art. While at the Canyon, he met Thomas Moran, who encouraged the young man to pursue his art. In 1909 he went to Los Angeles, where he began working in the fledgling film industry, appearing in the one-reelers of James Young Deer. Young Deer was the first American Indian filmmaker and producer in Hollywood, making films for Pathe Films. #Blackfeet #BlackeetArt #BlackfeetArtist #Blackfoot #BlackfootArt #BlackfootArtist # NativeArt #NativeArts #NativeAmerican #NativeAmericanArt #NativeAmericanArts #NativeAmericanArtist #NativeAmericanPainting #NativeAmericanCulture

This large, intricate work utilizing acrylic, sand, and clay was created by visionary Diné/Navajo artist David Chethlahe Paladin. Painting the Dream: the Visionary Art of Navajo Painter David Chethlahe Paladin was published in 1992 by the artist’s widow, Lynda Paladin. This artist credited Marc Chagall, Mark Tobey and Morris Graves as influencing his approach to painting as well as how he treated his subject matter. In addition, the Huichol Indians’ work also impacted the appearance of his art as is evident in this piece. For 2 1/2 years Paladin was a prisoner of war, released finally at Dachau in a near coma state. In 1975 Newsweek cited him as the nation’s “leading Navajo modern artist”. The Santa Fean magazine named him Artist of the Year in 1981. Major exhibitions of his work have taken place at the Amon Carter Museum in Fort Worth (1966), at the Heard Museum (1967, 1975), at the William Penn Memorial Museum in Pittsburgh (1969), at the Albuquerque Museum (1975, 1985), at the American Indian Art Center in New York (1975), at the Navajo Tribal Museum in Window Rock, Arizona (1984), at the San Diego Museum of Man (1985) and at the Museum of Art at the University of Arizona in Tucson (1988). (from savvycollector.com) #Diné #DinéArt #DinéArtist #Navajo #NavajoArt #NavajoArtist #NativeArt #NativeArts #NativeAmerican #NativeAmericanArt #NativeAmericanArts #NativeAmericanArtist #NativeAmericanPainting #NativeAmericanCulture #NativePride #Indigenous #IndigenousArt #IndigenousArts #IndigenousArtist #FirstNations #FirstNationsArt #FirstNationsArtist #AmericanIndian #AmericanIndianArt #AmericanIndianArts #AmericanIndianArtist #AmericanIndianFineArts #SupportNativeArts

Happy National Indigenous Language Day! This untitled work was created by Tesuque Pueblo artist Patrick Swazo Hinds. This particular subject of mother and child was a theme he regularly visited, always infusing it with a delicate softness. Unquestionably the outstanding Tesuque Pueblo painter and one of the most outstanding of all the pueblo artists was Patrick Swazo Hinds (1929-1974) Grey Squirrel. Adopted at the age of 9 by a California family, Swazo grew up off the reservation but returned every summer to Tesuque. It is this exposure to a different way of life that is probably responsible for his style of art and that, in turn, is responsible for his wide appeal and his great success as an artist. Patrick Swazo Hinds (1929-1974) Grey Squirrel was given the name José Patricio Swazo. He was adopted by Dr. Norman A. E. Hinds, honorary member of Tesuque Pueblo and Professor of Geology at the University of California for 45 years. Not long after his adoption, Swazo moved to California where he resided until his death. Swazo-Hinds served in the United States Marine Corps and served in Korea. He received his Bachelor of Arts degree from Oakland, California’s College of Arts and Crafts, followed by additional training at Mexico City College and the Chicago Art Institute. His work is the result of living in two worlds, reflecting a combination of the traditional with a more modern style, a melding of his Native American inheritance by birth with education and his exposure to a wide variety of non-Native artists and their work. Hay’sxw’qa! (Thank you in Lekwungen, Songhees First Nation) #Tesuque #TesuquePueblo #TesuqueArt #TesuqueArtist #PuebloIndianArtist #IndianPuebloArtist #PuebloIndianArt #IndianPuebloArt #NativeArt #NativeArts #NativeAmerican #NativeAmericanArt #NativeAmericanArts #NativeAmericanArtist #NativeAmericanPainting #NativeAmericanCulture #Indigenous #IndigenousArt #IndigenousArts #IndigenousArtist #FirstNations #FirstNationsArt #FirstNationsArtist #AmericanIndian #AmericanIndianArt #AmericanIndianArts #AmericanIndianArtist #AmericanIndianFineArts #SupportNativeArts #SupportNativeArtists

🌟 Scroll through •••> As we highlight from the Sacred Ground Collection, talented weaver and designer @emstanley.creations of 5 new beautiful rug designs in 7 sizes to love and enjoy in your home 🌟 Eugenia Stanley is Tábąąhá (Waters Edge Clan) born for Tódich’ii’nii (Bitter Water Clan) residing in Navajo Nation in Northern, New Mexico with 4 beautiful children and loving husband Derwin Stanley 🌟 Eugenia has been weaving for 15 years from passed on traditions from her mother, Eugenia has carried on presenting her signature and traditions through her practice. We have a full write up of her inspirations for each rugs on our website! Please have a view and discover these beautiful stories ✨ https://www.tradegoodsnation.com/pages/eugenia-stanley (link in bio) Celebrating Indigenous Artists and Makers while giving back to them and supporting culture and communities 🌟 Beautiful rugs made by @americandakota #SacredGroundCollection #IndigenousArtistry #SupportNativeArts #IndigenousArtists #SupportIndigenous #ShopAuthentic #OnlineShop #TradingPost #TradeGoodsNation #shoprugs

This 1970 painting by Diné/Navajo artist Adee Dodge is titled “Nite Chant”. Adolph Bitanny Dodge, or Hashke-yil-e-dale was born in 1911 at Wheatfield, Arizona in the Navajo Nation in northeastern Arizona. He was the grandson of Henry Chee Dodge who was the last head chief of the Navajo Nation, and their first elected Tribal Chairman. While at Bacone Junior College, Dodge was given the nickname “Adee” in respect to his initials, by his teachers. He went on to earn a B.A. from the University of New Mexico in 1935, followed by an M.A. and a Juris Doctorate from Columbia University in 1935 and 1945. Dodge served in the U. S. Army during WWII in the South Pacific, as a Navajo Code Talker.Dodge began to paint actively in 1954, primarily in casein. He was commissioned to paint a mural at the Arizona State University Administration Building. Adee Dodge’s work has been exhibited at the Arizona State Museum, the Heard Museum, the Intertribal Indian Ceremonial and the Peabody Museum. All of his paintings include a bluebird or a square-shouldered swallow or both, symbols from the Navajo creation. #Diné #DinéArt #DinéArtist #Navajo #NavajoArt #NavajoArtist #NativeArt #NativeArts #NativeAmerican #NativeAmericanArt #NativeAmericanArts #NativeAmericanArtist #NativeAmericanPainting #NativeAmericanCulture #NativePride #Indigenous #IndigenousArt #IndigenousArts #IndigenousArtist #FirstNations #FirstNationsArt #FirstNationsArtist #AmericanIndian #AmericanIndianArt #AmericanIndianArts #AmericanIndianArtist #AmericanIndianFineArts #SupportNativeArts

This 1976 painting by Kiowa/Pawnee/Arapaho artist Mirac Creepingbear is titled “Dance of the Eagle”. Mirac Creepingbear (1947-1990) was a self-taught artist deeply inspired by his Native American ancestry and beloved Southern Plains of Oklahoma.  Enrolled Kiowa, and of Pawnee and Arapaho heritage, Creepingbear was born in Lawton, Oklahoma, and spent his youth in Carnegie and Pawnee, Oklahoma.  Although he lacked formal art instruction, Creepingbear often sketched in his youth, eventually turning to painting full-time in 1974 after working as an electrical wireman. Creepingbear’s colorful canvases were often inspired by the stories of family members who revered tradition and ceremony.  His painting style can be best described as realistic and spontaneous.  “I don’t have a set idea before I paint,” he said.  “I just have an image flash into my mind, and I relate it to my feelings. I paint fast to capture the mood in my paintings, before the image starts to change”. Moreover, “Once I get started painting, something takes over.  I don’t know what it is. I don’t try to figure it out. I just roll with the punches” (from Lars Krutak, PhD, Indian Arts and Crafts Board and U.S. Dept. of the Interior, doi.gov) #Kiowa #Pawnee #Arapaho #KiowaArt #KiowaArtist #PawneeArt #ArapahoArt #NativeArt #NativeArts #NativeAmerican #NativeAmericanArt #NativeAmericanArts #NativeAmericanArtist #NativeAmericanPainting #NativeAmericanCulture #NativePride #Indigenous #IndigenousArt #IndigenousArts #IndigenousArtist #FirstNations #FirstNationsArt #FirstNationsArtist #AmericanIndian #AmericanIndianArt #AmericanIndianArts #AmericanIndianArtist #AmericanIndianFineArts #SupportNativeArts

This untitled painting was created by Cheyenne artist Archie Blackowl. Archie Blackowl was a Cheyenne artist from Oklahoma who played a pivotal role in mid-20th century Native American art. Archie Blackowl was born in Custer County, Oklahoma, on November 23, 1911. In 1918 Archie Blackowl was placed into an Indian boarding school by the American government. He has this to say about his experience: “When I was about seven years old they took me to this damn Indian school of the government’s and we had to stand in line and they cut my hair off. They just cut my braids off and threw them into a box with all the other children’s braids. My old grandmother went over there and got them and my grand folks stayed at the winter camp all winter to be near me... It was hard being an Indian in them days. Later I learned to be proud.” - The Indians in Oklahoma Blackowl, was educated at Haskell Indian Nations University, studied under Olle Nordmark. Blackowl was a muralist and studio painter, who began painting actively and professionally in the early 1930s. “Leave a mark. Put something down so that when the young people see it they will understand.” –Archie Blackowl, July, 1975 #Cheyenne #CheyenneTribe #CheyenneArt #CheyenneArtist #NativeAmericanDance #NativeAmericanDancer #NativeArt #NativeArts #NativeAmerican #NativeAmericanArt #NativeAmericanArts #NativeAmericanArtist #NativeAmericanPainting #NativeAmericanCulture #NativePride #Indigenous #IndigenousArt #IndigenousArts #IndigenousArtist #FirstNations #FirstNationsArt #FirstNationsArtist #AmericanIndian #AmericanIndianArt #AmericanIndianArts #AmericanIndianArtist #AmericanIndianFineArts #SupportNativeArts

And we’re live! 🌟 Visit Trade Goods Nation’s online shop and enjoy authentic goods 🎉 We’re growing our shop and will be expanding into art, jewelry, and more but kicking it off with a beautiful collection of Indigenous designed rugs from talented Indigenous Artists! 🌟 Showcasing here is the brand new collection from @americandakota called Sacred Ground Collection 🎉 WWW.TRADEGOODSNATION.COM In order: First photo + 2nd + 3rd + 4th : designer @willow.cahill 5th photo : designer @randy_boogie 6th + 7th + 8th : designer @emstanley.creations At Trade Goods Nation, we take pride in offering a meticulously curated selection of authentic Indigenous-designed goods, directly supporting Native American arts and traditions. With each purchase, you’re not just acquiring a piece of art; you’re contributing to the preservation of heritage. 🌿🌎 #SacredGroundCollection #IndigenousArtistry #SupportNativeArts #IndigenousArtists #SupportIndigenous #ShopAuthentic #OnlineShop #TradingPost #TradeGoodsNation #shoprugs

It’s Wildlife Wednesday! This 1950 painting by Diné/Navajo artist Gerald Nailor is titled “Deer and Fawn” Gerald Nailor (1917-1952) was a Navajo painter and was born in Pinedale, New Mexico. His Navajo name is Toh Yah (Walking By the River). After attending the Albuquerque Indian School he moved on to study art at the Santa Fe Indian School (SFIS) where he learned to paint using Dorothy Dunn’s Studio Style technique. Nailor exemplified this style in most of his artwork and was also commissioned to paint murals in the Department of Interior Building in Washington, D.C. and the Navajo Nation Council Chambers in Window Rock, Arizona. In 1937, with his good friend the artist Allan Houser (Chiricahua Apache), he set up a studio in Santa Fe to paint and work on his silkscreen prints. With fellow-artist and classmate Harrison Begay, Nailor founded “Tewa Enterprises”, an art publishing firm specializing in Native American art, especially that of the two founders. Tewa Enterprises became known for the high quality of their silkscreen prints, and one of the first Native-American owned and operating fine art printers. #Diné #DinéArt #DinéArtist #Navajo #NavajoArt #NavajoArtist #NativeArt #NativeArts #NativeAmerican #NativeAmericanArt #NativeAmericanArts #NativeAmericanArtist #NativeAmericanPainting #NativeAmericanCulture #NativePride #Indigenous #IndigenousArt #IndigenousArts #IndigenousArtist #FirstNations #FirstNationsArt #FirstNationsArtist #AmericanIndian #AmericanIndianArt #AmericanIndianArts #AmericanIndianArtist #AmericanIndianFineArts #SupportNativeArts

This 1968 painting by Diné/Navajo artist Roger Lewis is titled “Scouts”. Roger Abel Lewis was born in Pinedale, New Mexico. Also known as Haas’ Kea’ Yeil’ Ha’ Yah’ (Running From Over The Ridge), he painted this piece when he was 20 years old. Three years later, he placed first at the Philbrook Indian Annual which, for more than 30 years (1946 -1979), helped to define and expand the public perceptions of what American Indian art was and could be. Lewis has also shown at the Heard Museum. He is also a noted jeweler and silversmith, spending the last several decades producing quality pieces that are sought after by collectors. #Diné #DinéArt #DinéArtist #Navajo #NavajoArt #NavajoArtist #NativeArt #NativeArts #NativeAmerican #NativeAmericanArt #NativeAmericanArts #NativeAmericanArtist #NativeAmericanPainting #NativeAmericanCulture #NativePride #Indigenous #IndigenousArt #IndigenousArts #IndigenousArtist #FirstNations #FirstNationsArt #FirstNationsArtist #AmericanIndian #AmericanIndianArt #AmericanIndianArts #AmericanIndianArtist #AmericanIndianFineArts #SupportNativeArts

Today marks the March full moon and features the work of Seminole/Creek artist Edmond Joshua, Jr. and this untitled 1995 painting. The March moon went by many names. The Abenaki of Maine call it mozokas (moose hunter moon), the Algonquin call it namossack kesos (catching fish), for the Anishnaabe it is bebookwaadaagame-giizis(oog) (snow crust moon), for the Assiniboine it is wicinstayazan (sore eye moon), for the Cherokee it is anvhyi (strawberry moon), for the Choctaw it is Hash Mali (moon of winds), for the Comanche it is tahpooku mua (cottonball moon), for the Cree it is migisupizum (eagle moon), for the Creek it is tasahcucee (little spring moon), for the Haida it is xitgáas kungáay (noisy goose moon), for the Hopi it is osomuyaw (moon of the whispering wind), for the Kalapuya of Oregon it is atcha-uyu (women dig camas), for the Lakota it is istawicayazan wi (moon of the sore eyes), for the Mohawk it is ennisko:wa (much lateness), for the Potawatomi it is cicakkises (moon of the cranes), for the Shawnee it is shkipiye kwiitha (sap moon), for the Shoshone it is yu’a-mea’ (warming), for the Tlingit it is heentáanáx kayaan’i dis (underwater plants sprout), and for the Zuni it is li’dekwakkya ts’ana (little sand storm). (fromWestern Washington University) #Seminole #SeminoleArt #SeminoleArtist #CreekArtist #CreekArt #MuscogeeCreek #Mvskokvlke #NativeArt #NativeArts #NativeAmerican #NativeAmericanArt #NativeAmericanArts #NativeAmericanArtist #NativeAmericanPainting #NativeAmericanCulture #NativePride #Indigenous #IndigenousArt #IndigenousArts #IndigenousArtist #FirstNations #FirstNationsArt #FirstNationsArtist #AmericanIndian #AmericanIndianArt #AmericanIndianArts #AmericanIndianArtist #AmericanIndianFineArts #SupportNativeArts #SupportNativeArtists