When people think of an artist at work, in many cases those
thoughts are of the painter or sculptor, alone, in his or her studio.
Yet, not all media is created in this fashion. In many instances,
art is a collaborative processa result of several artists
coming together. For those artists involved in printmaking, this
is what draws them to the medium.
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Dennis
Belindo (U.S., Kiowa/Navajo; 1938-2009) 'Kiowa Blackleggins'
(detail), 1990 Serigraph, 14 3/4 x 11 in. Fred Jones Jr. Museum
of Art, The University of Oklahoma, Norman; Gift of Dr. and
Mrs. R.E. Mansfield, 2003 Image courtesy of Artist's Estate
(c) 2015.
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For Navajo artist Melanie Yazzie, what draws her to print making
is the community aspect, she said, because usually
youre working in a community shop and sharing equipment with
other people. When you come together to print, theres always
time shared with other artists.
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Tommy
Wayne 'T.C.' Cannon (U.S., Kiowa/Caddo; 1946-1978) 'Big Soldier,'
1973 Linocut, 39 1/2 x 34 1/2 in. Fred Jones Jr. Museum of
Art, The University of Oklahoma, Norman; The James T. Bialac
Native American Art Collection, 2010 Image copyright courtesy
of Joyce Cannon Yi (c) 2015.
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This sharing of ideas is on display with Enter the Matrix:
Indigenous Printmaking, which opened June 4 at the Fred Jones
Jr. Museum of Art on the University of Oklahoma campus in Norman,
Oklahoma. The exhibit features indigenous art from not only from
North America, but also from New Zealand and Africa.
Yazzie, one of the artists featured in the exhibit, draws not
only on the Dine heritage learned from her parents, Albert and Bessi
Yazzie, and her grandparents, but also from working with other indigenous
printmakers from throughout the world.
We find strength in making artwork together, sharing a
studio space and making prints, Yazzie said. Theres
a support system that comes about from it. We may be from different
communitiesfrom New Zealand, here in the U.S. or from Australiabut
through the artwork that we have, we are seen together, from a distance.
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Wendy
Red Star (U.S., Crow; b. 1981) 'Enit,' 2010 Lithograph, 22
3/8 x 30 in. Image provided by Crow's Shadow Institute of
the Arts, courtesy of the artist (c) 2015.
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In addition to making prints on paper, Yazzie also incorporates
other materials into her worknotably sacks for Bluebird flour,
a brand of flour highly regarded in the Southwest.
At home on the Navajo Nation, we use the Bluebird flour
to make frybread, Yazzie said. Also when I was growing
up, the flour sacks were saved to make curtains or used to cover
meat when we butchered sheep. Way in the past, different people
used it to make clothing or different undergarments. It symbolized
a lot of different things beyond just flour sacks. Most Navajo people,
when they see them, understand that history that it carries. It
reminds them of home, of community, of ceremony.
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Joe
Feddersen (U.S., Colville Confederated Tribes; b. 1953) 'Wyit
View,' 2003 Lithograph, 140 x 30 in. Image provided by Crow's
Shadow Institute of the Arts, courtesy of the artist (c) 2015.
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Another artist with work in the show is Joe Feddersen of the
Colville Confederated Tribes. In his prints, Feddersen finds ways
to use not only traditional designs from woven baskets and sally
bags, but also from designs in the manmade world such as parking
lots and high voltage towers.
They became a way of reassessing what was around me,
Feddersen said about his weaving. A lot of times, the patterns
talked about the land. They talked about the land today.
The Feddersen print selected for this exhibit, Wyit View,
has just such a story. During his 2003 period of study at the Crows
Shadow Institute in Pendleton, Oregon, the Umatilla tribe voted
against continuation of the Wyit View housing addition due to the
presence of a nearby burial site. Originally, Feddersen wanted to
create a print that honored the Umatillas work, but then changed
the meaning of the piece to reflect the tribes decision.
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Dennis
Belindo (U.S., Kiowa/Navajo; 1938-2009) 'Kiowa Blackleggins,'
1990 Serigraph, 14 3/4 x 11 in. Fred Jones Jr. Museum of Art,
The University of Oklahoma, Norman; Gift of Dr. and Mrs. R.E.
Mansfield, 2003 Image courtesy of Artist's Estate (c) 2015.
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The tribe was willing to give all the money back, because
they didnt want to disrupt the site, Feddersen said
about the Umatilla decision at that time. Instead of celebrating
their prosperity, it became to celebrate their integrity, what they
want to do with the land, and how they want to honor the land.
In addition to the works of Yazzie and Feddersen, other artists
in the show include Wendy Red Star, Dennis Belindo, Grey Cohoe,
Benjamin Harjo, Jr., R.C. Gorman and T.C. Cannon. The exhibit shows
through January 2, 2016.
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Benjamin
Harjo, Jr., (U.S., Seminole/Shawnee; b. 1945) 'Singing for
the Rain,' 1993 Monotype, 23 x 17 in. Fred Jones Jr. Museum
of Art, The University of Oklahoma, Norman; Gift of Dr. and
Mrs. R.E. Mansfield, 2003 Image courtesy of Artist (c) 2015.
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Grey
Cohoe (U.S., Navajo; 1944-1991) 'Battle of the Night Birds,'
1967 Etching, 22 3/4 x 19 3/4 in. Fred Jones Jr. Museum of
Art, The University of Oklahoma, Norman; The James T. Bialac
Native American Art Collection, 2010
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Rudolf
Carl 'R.C.' Gorman (U.S., Navajo; 1932-2005) 'Spider Woman,'
1977 Lithograph, 14 1/2 x 11 1/2 in. Fred Jones Jr. Museum
of Art, The University of Oklahoma, Norman; Gift of The Charles
H. and Miriam S. Hogan Collection, 2004 Image copyright courtesy
of Artist's Estate (c) 2015.
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