Western Perspectives: Fine Arts Blog

Chessney Sevier and the Wheelright Museum, Santa Fe

As mentioned in the July "E&A: Exhibitions & Acquisitions", one of our most talented artists has recently been chosen for a momentous show at the prestigious Wheelright Museum of the American Indian in Santa Fe.  Chessney Sevier will be launching a five month long one-woman show on November 15, 2008.  This is a major accomplishment for any artist, but particularly for Chessney as she is still an artist early in her career.  There is no confusion about the quality of Chessney's work nor her future as an artist.

"From November 15, 2008, through April 19, 2009, the Wheelwright Museum of the American Indian will exhibit Works by Chessney Sevier, a Northern Arapaho artist from Wyoming. The exhibition will include copper-plate etchings and paintings from the artist’s private collection." - (Official Announcement)

Chessney is currently producing additional works fro Lovetts Gallery which we will announce upon arrival.

Additional information can be seen at Chessney's personal blog, found here:  http://www.chessneysevier.com/

2008 Prix de West: Comments, Compliments, Complaints

First let me say, if you get bored reading this, feel free to alternate between the on-line catalog of Prix de West images found here!

So...I have waited an additional week before posting my thoughts on this year's Prix de West.  For those of you unfamiliar with this show, the Prix de West is the preeminent western art show in the United States.  Many of today's most talented artists produce western or western themed pieces specifically for the Prix de West, with a few exceptions thematically.  A small handful of the artists typically included are Howard Terpning, Martin Grelle, Bill Anton, Craig Tennant, Bruce Green, Morgan Weistling, William Acheff, Harold Holden, and many, many more.  The show typically proceeds as following: Friday - Patrons arrive and enjoy seminars by artists, academics, and arts professionals, a brunch, and a cocktail party with the artists.  Saturday - There are a few more speakers, then the proceeding big sale.  Following the close of Saturday's sale the show then hangs through the end of September.  Due to unforeseen occurrences back in Tulsa, our participation this year was made brief, thus restricting our experience to Friday.  This being so, Friday is what I will recount.

After stopping at the local Conoco, filling up, getting some coffee, a banana, and a granola bar, I was on the road by 7:15 a.m. and on my way to Oklahoma City for the 9:00 a.m. seminars associated with the Prix de West being held at the National Cowboy and Western Heritage Museum (formerly the Cowboy Hall of Fame).  Having arrive at the museum on time, I waited briefly for Christina Burke, Curator of Native American and Non-Western Art at the Philbrook Museum of Art.  Christina had decided to attend this years Prix de West for two reasons.  The first, is because I invited her!  The second, is that her friend and Curator of Native American Art at the National Cowboy and Western Heritage Museum, Steve Graff (I believe that's his proper title), had help put together an amazingly fresh program for this years seminars, and had also extended an invitation to her.  As Christina and I enter the conference room, a few minutes late, she immediately sees an open table that happen to be quite a find!  We ended up sitting with Jane Aebersold, Curator of Ceramics at the Fred Jones Jr. Museum of Art at the University of Oklahoma, Amber Sharples, Visual Arts Director for the Oklahoma Arts Council, Dr. Jack Rushing, Professor and Associate Dean of Graduate Studies at the University of Texas at Dallas & University of Oklahoma, Norman, and Scott Hale of Native American Art Appraisals, Inc..  Quite a loaded table and one you wouldn't typically expect to find at a western show like the Prix de West. 

As the first speaker had already begun, we quickly took our seats, postponing introductions until the first break.  The speakers proceeded as follows: Diana Pardue of the Heard Museum in Phoenix.  Her talk was titled "Contemporary Southwestern Jewelry", named after her corresponding book.  Dr. Joseph Traugott of the New Mexico Museum of Art, Santa Fe.  His talk was titled "Gustave Baumann's Southwest."  Dr. Suzan Campbell of the Eitlejorg Museum, Indianapolis.  Her talk was titled "Spirit of Place: Landscapes of New Mexico."  Dr. Jack Rushing III of the University of Texas, Dallas & University of Oklahoma, Norman.  His talk was titled "Allan Houser: An American Master."

During the lunch break all of the proper introductions were made, cards exchanged, and oddly colored pink rice avoided.  Also during the extended lunch period, we watched as artist Jim Wilcox painted on stage, had an opportunity to talk with all of the speakers/authors and have any books signed.  It was here that I made my way over to speaker/author Diana Pardue of the Heard Museum in Phoenix to talk with her about her book "Contemporary Southwestern Jewelry."  A very pleasant woman with kind eyes, I expressed to her how much we have enjoyed her book as it was one of three references that Lovetts Gallery utilized in familiarizing ourselves with Southwest Native American jewelry, ultimately leading to the representation for some of the featurd artists here in the Midwest.  Diana will, hopefully, be joining us in Tulsa before too long as she has obvious ties to and interest in the Philbrook Museum of Art's long-term loan Adkins Collection.  And maybe she would like to participate in our Gallery Talks Series!!!  It was at this point that I could have departed back to Tulsa, having been totally pleased with the outcome of the event, however, the most exciting part was still to come, the cocktail reception.

After some gallery hopping in OKC and lunch at a local bar we returned to the museum for the cocktail reception.  As you may imagine, this is a high-dress affair.  Most attendees are sporting their best western apparel, Native American jewelry, custom boots, and hats.  The buzz at an event like this very much what most people associate with the art industry, even though this type of an event accounts for only the most minimal part of our industry's lifestyle.  It was an intermingling of high-end collectors, artists, gallery owners, museum professionals, curators, and academics.  It was as this point that we were able to walk through the galleries displaying all of the work for Saturday's show and sale.  Most of the artists were on hand near their works and available for questioning, adoration, obsession, or whatever!  I personally spent time talking with Martin Grelle, who was surprisingly humble and personable.  He also dropped a mention of coming to Tulsa in the near future...possibly for the Rendezvous Show hosted by Gilcrease Museum!  I also spent some time with Bill Owen and as expected from our phone conversations, he is every bit of the rancher/artist, eye patch included!  He said that his workload, commissions included, have grown so overwhelming that they are discussing the possibility of starting to turn down work!  We also saw John Free Jr., Harold Holden, Tim Cherry, Morgan Weistling, Bruce Green, etc.

Although the work was great, for the most part, the artists interesting, and the evening entertaining, there was something missing from the show.  After thinking about it for a week, I have concluded that the show was slightly askew...the first and most obvious being Howard Terpning, who did not participate this year.  The second was more of an oddity than something missing; a combination of a lack of greater diversity of art deemed "western" coupled with the heavily Native American artist themed seminars.  You can count the number of native artists in the Prix de West on one hand, yet there were two days worth of quality seminars about Native Art.  I wonder if somebody within the administration is pushing for an expansion of offerings???  Thirdly, I thought the overall quality of the work was a step down from the previous year.  This is not to say there were no amazing jaw-dropping pieces, because there were.  However, there were pieces from different artists that looked very similar, as well as pieces that did not hold enough merit of their own to be in the show (although I am sure these were socio-political entries).  Lastly, instead of a singular blind draw sale of the items, there was also a silent bid auction, and a sealed bid auction.  The sealed bid items were set at a minimum bid.  If you wanted to make a bid it had to be at least as high as the minimum, sealed in an envelope, and made entirely without the knowledge of what any other bidder bid.  This seems out of step with the Prix de West.  And, although this is an argument for another time, price inflation in the art industry, especially in the Western genre is at an all time high.  By offering a sealed bid, it would seem that the Prix de West is contributing to the inflation bubble that will, invariably, burst.

Overall, although not perfect, Prix de West 2008 was a great time with much gained.  We look forward to next year!  Remember, the show hangs through the end of September as well as being available for viewing via the website.

22nd Annual Red Earth Arts Festival Review

Today marks the beginning of one Oklahoma's longest running Native American shows, the 22nd Annual Red Earth Arts Festival.  Last night, however, was the awards ceremony and winner's preview party.  This is my retelling. 

 

After driving two hours to Oklahoma City from Tulsa...yes, it took two hours...and no I did not get lost, rather it was the 60 mph cross wind on the turnpike, cars on the side of the road, and seemingly pointless and never ending one lane turnpike construction that hampered my efforts.  Well, regardless, two hours later I arrived at the Cox Communications Event Center, right in the heart of downtown Oklahoma City, across from the Ford Center, and adjacent to Bricktown.  "Where are all of the cars?", I asked myself.  "Hmm...that's strange.", I thought.  After 3 trips around the entire circumference of the Cox Center I resigned to park in a nearby parking lot and simply walk the two hundred yards to what might be the right front doors.

 

Having completed my struggle through the wind gauntlet, I coolly tugged on one door, in a row of of about 40, I entered into the cavernous lobby that was filled with all of 10 people prepping volunteer and ticket tables for today's event.  I stood, somewhat impatiently, in a very short line (which technically I am not sure two people quantify a line), for about 10 minutes.  Finally I was directed to the par-tay.

 

I arrived just in time to hear the announcements of ribbons for some of our very own.  Troy Anderson ribboned in sculpture, Lisa Rutherford in pottery, and Gary Yazzie in painting.  In addition I watched Joel Queen ribbon for both sculpture and pottery and our friend Matt Bearden ribbon in painting.  After the MC concluded his announcements, the veil was lifted and we were allowed to walk into the darkened preview room.  Most people were ensnared by the tempting food tables, but Tony Tiger and I pushed on, being two of the first to make our rounds in the gallery and to see the who's and what's we had been anticipating.

 

I was pleasantly surprised with a good handful of the works.  Beyond the accomplishments of our artists there were very strong works by jeweler Kenneth Johnson, stone sculptor Kelly Byers, ceramic by Judy & Lincoln Tafoya, and a very interesting piece by a painter named Cole Cathey.  Joel Queen showed two pieces, one in his well know ceramic polished black with relief style and an all together impressive woven wire basket that stood about 3 feet high.  Lisa Rutherford had two new high polished pots, which she just recently learned to do.  Tony Tiger offered two characteristic pieces in his historic style.  Hung across from Tony was a new piece by Matt Bearden, that I must say, is probably the strongest piece I have seen of his.  It was of a nearly 5 foot buffalo in his identifiably powerful color palette.

 

Three trips through the gallery, notes and photos taken, I had the opportunity to talk with a few new collectors, the owner of Standing Buffalo Gallery in Norman, western artist Gary Yazzie, and a pottery collector after my own heart.  I watched as he picked up every pot he was interested in, spin it around in his bare hands, trace the contours with his palms, and finger every lip.  This was completed much to the dismay of surrounding viewers.  He then turned to me and said, "What's the point if you can't touch them?"  I agreed with a smile and then slowly backed away in case he was to be tackled by big guys in black suits!

 

Two and one half hours later, it was time to head back up to Tulsa.  As a whole, the evening was a success...but I must make one rather severe criticism.  The layout of the preview party was terrible.  Many items, paintings in particular, were very poorly lit.  Moreover, the information tags for most hung items were attached to the rears of the pieces, totally hiding the name of the artist's and titles from the viewer.  Don't misunderstand.  It was a good party...a fun and exciting time, but it was a noticeably lack luster attempt to display the works properly.  The festival booths themselves will no doubt be better displayed and lit, thanks to the showing artists.

 

I would encourage anyone that has the time this weekend to head down to OKC for the 22nd Annual Red Earth Festival.  There are certainly some pieces worth purchasing and some artists worth meeting!

 

 

The Correlation of Fine Art and Personal Relationships

We are all very, if not overly, familiar with the "great" works of our pasts.  Some of us may even value these pieces beyond stepping stones in artistic evolution or simple stills of other lives.  However, the vast majority of us have no clear concept of what makes a piece of art "great."  We know what television says is great art, we may remember what some art classes in high school or college said, and we may even know what B&N, Borders, or Amazon have to say...but in a world where we see thousands of pieces of art each year, via our ever increasing digital lifestyles, and these being in addition to the countless hours of patronization I know we all spend at our local galleries, museums, and cultural centers, our own opinions and connections may have been lost, stolen, or freely given away to the abyss of artistic mediocrity that lies in wait.  Not that I would include all people in this gross generalization, nor would I assume to account for a comprehensive list of contributing factors of this declination, however, I can assuredly state one factor...and I believe I can trace a path back for us from the mediocrity...or at least I can tread one myself.

If I was to look around my home, at each piece of art, what can I say about that work.  I can tell you how I feel when I look at it.  I can tell you where I bought it or who gave it to me.  I might even be able to portend a meaning or two.  Now you might say, "I don't need to know anything about the works, I just need to know that they make me feel something."  This is a valid argument and one I am not quite addressing here.  My interest is not in the needing to know, rather in the wanting.  I am keenly interested in the on-going relationship we have with the works we surround ourselves with...I am interested in the mental, emotional, and resulting physical effects of these works.  I am interested in interaction and connection.  Now, my poster of National Lampoons European Vacation doesn't quite apply (although, it strangely could), however, my original painting by Artist Smith does.  I can tell you many of the things mentioned above, but I can not tell you anything about the artist, other than what was included on the bio sheet on the back of the painting.  Here lies the problem.  I lack a personal relationship with the artist.

How can I, a collector, a gallery director, lack personal relationships with the artists producing the work?  How can I understand the work, contextualize it, and communicate it to other collectors if I don't experience first hand what birthed that piece?  How can I talk about the aesthetics of a piece as if they were separate from the forces that created it?  These are not simple questions and surely they do not have simple answers, however, I feel that by putting forth the effort to marry personal history, contemporary occurrence, emotional status, and which way the wind blows with the image I stand and look at every day that I might begin to pull myself up and out of the abyss of mediocrity.  The works I surround myself with and those that I connect with other collectors may serve as waypoints to a more meaningful and fulfilling environment, both aesthetically and mentally/emotionally.

To help me along my own path, I am beginning a series of interviews (i.e. lunches, dinners, drinks, etc.) with many of the artists I collect and many of those that we at Lovetts represent.  Now many of these I already spend a great deal of time with and know quite well...however, I feel I have been remiss or maybe even lazy in connecting with some.  I will be conducting these interviews over the next several months and relaying each of them here.  I believe this process will be a fulfilling one, hopefully encouraging and educating you as well.

New York Times Takes Note of Tall Grass Prairie

"Path" by Claudia Patrick

Although a little off topic, this essay was forwarded to me by a client and I thought it truly worthy of taking note. 

Columnist Timothy Egan takes a moment to reflect on the inherent beauty that is often overlooked right here in Oklahoma. http://egan.blogs.nytimes.com/2008/05/28/restoration-row/

Blue Dome, IAO, Prix de West, Eiteljorg......

Ummm....wow.  This would not be the time to sit around with your friends or co-workers and complain about how there is simply a lack of cultural events to attend.  However, this is a great opportunity to step anonymously directly into the heart of the art scene in, around, and affecting Oklahoma!

The next few shows on our program are as follows:

• MayFest - May 15th - 18th
• Blue Dome Arts Festival - May 16th - 18th
• IAO May Exhibit featuring Whitney Forsyth - May 17th
• Red Earth Festival - June 5th - 8th
• Prix de West - June 13th - 14th
• Eiteljorg Indian Market - June 21st - 22nd
• Five Civilized Tribes Competitive Art Show - June 29th - 31st

Unfortunately, due to a nephew's 1 year birthday I will be unable to attend Mayfest and Bluedome this year, of which a few of our artists and friends are participating; contemporary mixed media artist Shan Goshorn and Cherokee Heritage Museum curator and GreenArtMag founder, Mickel Yantz.  This being so, I would appreciate any feedback, reviews, criticisms, photos, etc. that you may have.  Let me live vicariously and I too will share the amazing experience a 1 year old watching as adults open HIS presents and act surprised for him!!!

The other great event I'll be missing is the IAO Gallery opening for our very own ceramicist and  University of Tulsa arts professor, Whitney Forsyth.  Although the exhibit will be on display until the 30th of May, tonight is the opening and reception, which we all know is the best opportunity to get free drinks and to schmooze with the artist!!!  In addition to the pieces that Whiney will be displaying at the show, Lovetts Gallery currently has four pieces on display, including a new 36" x 36" wall installation titled Spiral.

As for the rest of the schedule, things are looking promising.  Red Earth, in Oklahoma City, is just a brief jaunt down the road to the capital.  We are looking forward to seeing more from the new series, Fancy Dancer, by Stephen Wood...and maybe he'll finally have a few of his nudes done!!!  I won't hold my breath on that one!

Again in Oklahoma City and in our own backyard, we have the largest and most successful Western themed show in the United States, the Prix de West.  This show collects many of the worlds most talented western, wildlife, and landscape painters, including Howard Terpning, John Free, Bill Anton, Morgan Weistling, Steve Hanks, and dozens more.  It is a very special event with a very deserving amount of buzz.  This is truly a don't miss event for any collector or artist looking to be inspired.

Right on the heels of the nation's top western show, we have one of the nation's premier Indian Markets in Indianapolis, IN, the Eiteljorg Market.  In it's 16th year, this has proven to be an incredible and unique market full of younger, or at least more contemporary works, with heavy emphasis on Native jewelers.  One of this years featured artists is the much sought after potter and sculptor, Jody Naranjo.  Also showing at the Eiteljorg this year are Cherokee potter Lisa Rutherford, contemporary mixed-media artist Tony Tiger, the multi-talented Stephen Wood, famed Kickapoo potter Pahponee, and the Cherokee master potter Jane Osti.

And although definitely not the last event of the summer, the Five Civilized Tribes will be hosting it's annual Competitive Art Show at the very end of June.  I will provide more information on this show as we get a little closer.  If you have never been to this show, let me tell you a little secret...after you have spent most of your energy and money at the event we can drive about 20 minutes over to Canebrake to relax a bit...I won't explain it...just check it out...it - is - AWESOME!

Wayne Muskett - Shaping the Narrows

During the Lovetts Gallery Grand Re-Opening event we introduced a wealth of new artists to Oklahoma.  In addition to the more traditional two and three dimensional mediums we already represent, Lovetts has expanded representation to some of the top Native jewelers in the country, including Liz Wallace, A.C. Garcia, Myron Panteah, Wayne Muskett, etc. 

Muskett, who is brilliantly featured in renowned jewelry expert Mark Bahti's book "Silver & Stone: Profiles of American Indian Jewelers", nearly sold-out in his very first showing with us.  His 1/4" inlay bracelets, known as Narrows were gone before the night was half over.  The pros to this occurrence are obvious, the cons, however, were that the majority of attendees were left unexposed to Wayne Muskett's work.  So the next morning we got on the phone with Wayne and asked him to replenish our inventory and add some new pieces as soon as he could.  As of yesterday, we had eight new pieces by Wayne, of which two have already sold!  I will try to get photos of these pieces later today, add them to Wayne' page and update the blog with some of the images.

We are very excited to bring these jewelers to Oklahoma.  Jack and I are still amazed with how little exposure these incredible artisans have received outside of Santa Fe and Phoenix.  It is our plan to continue a slow exploration and expansion into the jewelry field.  This being said, we are always open to suggestion and introduction.  By no means have we achieved a level of expertise in this field, however, with the helpful advice and guidance of a few key critics in the field, we are bright eyed for the future!

37th Annual Trail of Tears Winners

2008 Trail of Tears Art Show & Sale Winners

Grand Prize – Joel Queen “Industrial Strength Basket”

Painting
1st- Sharon Irla – Crows Stirring the Magic 2nd- Brett Stokes – Yona 3rd- Mary Beth Nelson - Seven

Honorable Mention - America Meredith – Gvgeyuli, Wadulisi Sharon Irla – A Mothers Prayer K. Henderson – Indian Artifacts

Graphics
1st- John Tiger – Medicine Bird and the Healer 2nd- Betty Fletcher – A Place in Our Hearts 3rd- Carol Theroux – Little Sister

Honorable Mention - Mark Wolfe – Grandma Takes a Rest

Pottery
1st- Joel Queen – Eagle Dancer 2nd- Jane Osti – Three Worlds 3rd- Judith Gunier – Little People Stomp Dance

Honorable Mention - Gina Burnett – Sacred Seven

Basket
1st- Bessie Russell – Mother’s Touch 2nd- Charlotte Coats - Treasures 3rd- Burl Ford – Market Basket

Honorable Mention - Carlene Wiley – Two of Them

Sculpture
1st- Denise Meyers – The Power of Four 2nd- Troy Anderson – The Crane 3rd- Bill Glass Jr. – Call to Arms

Honorable Mention - Diane Starr – Buffalo Pony David Nunneley – Sequoyah Jane Osti – Seed Corn

Miniature
1st- Norma Howard – Fieldworkers End of the Day 2nd- Skip Rowell – No Buffalo 3rd- Joan Hill – Grandmother’s Quilting Lesson

Honorable Mention - Jack McCarter – Unto the Hills

Trail of Tears
1st- Mike Menasco – He who Brings the Reign, also Brings the Tears 2nd- PJ Gilliam Stewart – Phoenix 3rd- Mike Menasco – Into the Wind…Scattered are the Tears of the Receding Nations 2007

People’s Choice Award
K. Henderson – My Heart Rises

The Art Industry: A Four Sided Coin

Good morning. 

First let me say, and disappointingly so, that I have yet to receive the winner information for the 37th Annual Trail of Tears Show that I attended and commented on last weekend.  Sooo...if you know, feel free to let me know!  If not, then I will hopefully have the results later this afternoon.

Now to the thoughts of this morning.  As I was catching up on my morning news, e-mail, and reading I read a blog by Deb Trotter, called The Beginning of a Cowgirl Triptych, over at her blog Cowboy's Sweetheart.  In addition to an always entertaining blog, Deb had this to say in reference to entering some new work into a juried show:

"The show is juried, which means my work may not be accepted. That's the risk we artists take when we enter a juried event. I'm a risk taker. It's not always easy, but I've never been one afraid to take the leap. Every now and then we may get slapped in the face with rejection - but we must allow the rejection to tell us something. The work didn't fit in with the exhibit. The gallery likes your work but doesn't think it will sell. The gallery wants to see more, and you aren't prepared with a body of work. On and on it goes, this frightening realization that one's work may not fit the bill."

This statement is a very intimate depiction of one very important aspect of the Fine Art world.  Deb is referencing the odd and often disconnected relationship between Artists, Brokers, Museums, and Collectors.  We are not talking about Thomas Kinkade or art at your local poster shop, what we ARE talking about are talented artists striving to produce meaningful and relevant works that are both aesthetically pleasing to the collectorship, yet emotionally and mentally rewarding for the artist, museum curator, and, yes, the collector.  I believe that, most often, the general public is unaware of the struggle, commitment, and resolve an artist must have to get their work seen, let alone purchased.  Let me clarify...to get their work seen by people that understand it or at least interact with it, and then to have it purchased for its inherent merit, not just it's decorative adaptability.

The artist is, obviously, at the foundational level of this relationship, producing the works and striving to have them seen.  The collector...well...the collector is the buyer, often purchasing for their complimentary couch colors, but also collecting for the dialogue that a particular piece offers to the viewer.  The museum is there, in part, to bring these works into a permanent collection that comment on our contemporary world and to offer interpretation in grand context.  Then you have me, you have us, the broker.  We are here to connect artists, through their work, to collectors.  We must see the artists works through the relationships we build with the artists themselves.  We are then compelled to share this relationship with receptive collectors.  It all makes a fair bit of sense when put in such overly simplified terms, however, as Deb mentioned in her blog, this is a never ending process of hope and disappointment that hinges on individual perception and sell-ability.

On a side note...this morning's thoughts have given rise to what might be an interesting series of interviews concerning the four sides of the art world: artist, collector, broker, curator...hmmm...maybe I could set up a series of interviews over the next few weeks for a more comprehensive overview of this relationship...we shall see!

Promising Works and Chainsaw Bears

Last night, in Tahlequah, proved to be an interesting and rewarding one. 

I did have the opportunity to meet up with the young and promising artist Dr. Stephen Wood, who chauffeured me to his new studio, which houses an amazing ceramics workshop, complete with giant kiln and natural fire pit, and a tranquil painting pad complete with record player and complimentary sound system, red lounge furniture, bursting book shelves, a lot of Jean Miro, and a nearly all white easel!  I was able to catch a glimpse of Dr. Woods newest series; fancy dancers.  Wood, who did the first piece in the series specifically for the 37th annual Trail of Tears Show, which runs through Sunday, is continuing this series in preparation for the up-coming 16th Annual Indian Market and Festival at the Eiteljorg Museum in Indianapolis.  This series will prove to be an important one.  Dr. Wood explained to me that these pieces are "more about what you are not seeing then what you are".  And as Wood often does, he is incorporating design elements to lead your eye through the painting in the manner that he would like.  Not to give too much away, but Wood points out his usage of circles to lead your eye through the piece, guarding you from focusing on the empty spaces.  So to leave Dr. Wood meant saying goodbye to the 6' chainsaw carved wooden bear that guards his front porch, finishing off my amazing Stoli Elite screwdriver, and fading out the promise of the Fancy Dancers!  Now onto the show.

Mickel Yantz did an amazing job of hanging this long running show, bringing attention to the pieces he no doubt found to be his favorites, while providing equal fare to all.  Busy exploring the works with collectors, taking payment information, and welcoming the pre-show attendees, I had to wait my turn to say "good job".  While waiting, I walked through the show about 3 times and found myself returning the same five or six works.  America Meredith had a witty piece, simply composed, commenting on the "I'm related to a Cherokee Princess" phenomena.  Unfortunately for me, it was sold by the time I made it back around.  There were also new works by Cherokee potter Lisa Rutherford, Cherokee Robot creators Joseph Erb and Roy Boney Jr., Mathew Bearden, Irla, and Bill Glass.  A few of the strongest pieces were by Tony Tiger, Jane Osti and Alphie Peniston.  However, for me, the strongest piece may have been Kevin Pourier's buffalo horn glasses,  absolutely unique and beautiful (thanks to GREGORYP for the image).  The winners in each category, including best in show will be announced today.  Good luck everyone!

I finished off the evening with a trip to the studio of, always enjoyable, Jane Osti, who was throwing an opening for Ben Harjo.  It is a simple pleasure to spend time with Jane.  Her ceramic work is both meaningful and relevant to today and she only continues to increase her skill and refinement, as well as her collectorship!  Jane, in addition to showing at the Trail of Tears, will also be showing at the Eiteljorg and Santa Fe Indian Markets, which means she will have to strap down and cut off all ties to the outside world for a while so that she can produce enough work to take to the markets.  If you are familiar with Jane's work...it rarely ever knows a place between creation and home! 

It was 10:00pm and time for me to head back to Tulsa.  A great pre-show, an eventful evening, some good vodka, and enriching conversations!  A special thanks and congratulations to Mickel Yantz for producing such excellent work...yet again.