Publication - Indian Arts and Crafts Association

THE WORLD’S LEADING AMERICAN INDIAN ARTS ALLIANCE
VOL. 2 ISSUE 2 • SUMMER 2013
$5 US
314 N River St., Dundee, IL
7003 E. Main St., 102, Scottsdale, AZ
866-426-6901
rivertradingpost.com
Hopi Polychrome Plaque
WELCOME
The diversity, beauty and evolution of American Indian Art never ceases to amaze. It is a world of
fine art that constantly changes and reaches into totally new realms while at the same time holding
onto the time honored traditions of the many American Indian cultures, which are as diverse as the art itself.
This issue of the IACA Journal will illustrate the amazing evolution of bead work, from the days of the Hudson Bay Trading Company,
to the use of beads in cutting edge fashion trends of today.
While traditional roots run deep, the artistic expression of those traditions have broken the barriers that may have been accepted in
earlier times.
As usual, a special thank you to the advertisers that help to make the IACA Journal possible. Enjoy.
IACA Board of Directors
Joseph Zeller, President
Retail Representative
River Trading Post
East Dundee, IL
Kathi Ouellet, Treasurer
Retail Representative
River Trading Post
Scottsdale, AZ
Cliff Fragua, Vice President
Jemez Pueblo
Artist Representative
Jemez, NM
Beth Hale, Secretary
Collector Representative
Albuquerque, NM
Pam Lujan-Hauer
Taos Peublo
Artist Representative
Albuquerque, NM
Ron Mitchell
Cherokee
At-Large Representative
Wagoner, OK
Pahponee
Kickapoo & Potawatomi
Artist Representative
Elizabeth, CO
Kent Morrow
Wholesale Representative
Shiprock Trading Post
Farmington, NM
IACA-EF Board of Directors
Pahponee, President
Kickapoo & Potawatomi
Elizabeth, CO
Kathi Ouellet, Treasurer
River Trading Post
Scottsdale, AZ
Cliff Fragua, Vice President
Jemez Pueblo
Jemez, NM
Joseph Zeller
River Trading Post
East Dundee, IL
Dee Dowers, Secretary
Scottsdale, AZ
Ron Mitchell
Cherokee
Wagoner, OK
Pam Lujan-Hauer
Taos Pueblo
Albuquerque, NM
Michael McNair
Albuquerque, NM
Tim Blueflint
Chippewa/Comanche
Boulder City, NV
Michael McNair
Retail Representative
Albuquerque, NM
www.iaca.com | (505) 265-9149
1
»
IACA PRESIDENT’S MESSAGE
«
IACA is The World’s Leading American Indian Art Alliance... has been
for nearly 40 years.
Over those years, some things have changed, and some have not. The mission of IACA, “To Promote,
Preserve and Protect Authentic American Indian Arts and Crafts” hasn’t budged an inch since it was
crafted back in 1974. The IACA Seal continues to be the industry standard of authenticity.
This year, IACA has taken leadership on two fronts in protecting American Indian Arts.
Joe Zeller, IACA President
IACA Mission
Statement
To promote, preserve and
protect authentic American
Indian arts and crafts
One was our expression of deep concern to the U.S. Congress about the potential ban of coral as a
component of American Indian jewelry. This effort was coordinated through our Washington, D.C.
legal council, Drinker, Biddle & Reath. IACA also registered opposition to a bill sponsored by Representative Nick Rahall (D-WVA) that would redefine an American Indian under the current Indian Arts
and Crafts Act. Both of these acts are still pending. (You can learn more about each of these initiatives
on the IACA website).
Some things have changed to keep pace with the times and to better serve IACA members. For example, the IACA website has become a great resource for members. From on-line membership renewals,
to downloading IACA in-store merchandising support, to providing white papers and marketing
insights and financial facts, the IACA website is more useful and relevant to members than ever. And,
the IACA Facebook page has become a great source of information, and fun for people everywhere.
During the coming months, IACA and IACA-EF will roll-out a series of educational brochures for
collectors, schools and anyone interested in learning about American Indian Art.
After nearly 40 years, some things have changed. But the roots are deep, and the core principles of
IACA remain clear and focused.
»
IACA EDUCATION FUND PRESIDENT’S MESSAGE
«
IACA-EF is pleased to continue to be actively involved with the most
up to date, educational activities for IACA.
Our recent Artist of the Year Competition, Banquet and Award Ceremony, and Business of
Art Seminar were well received by our Members and Guests.
Congratulations to our new Artist of the Year, JT Willie!
We were grateful to have had Artist/Musician Adrian Wall in a live solo performance for our
Banquet. Beautiful!
Heywood Big Day, your dedication and offering of Traditional Native prayers and songs,
brought a sacred presence to our entire gathering, during our Albuquerque Wholesale Market.
Martha and Phillip Mann, John Holverson, Tom Renner, Carolyn Carpio, Dave Eversmann,
Miranda Zeigler, Brian Lush, Board Members of IACA and IACA-EF, your volunteer contributions are greatly appreciated and so valuable to every aspect of our programs and events.
Thank you so very much for your generosity and support!
We continue to receive great input from our Members. This is so important. Your ideas and
suggestions help to shape our programs and events going forward. Please continue to do so!
We hope this Summer Journal is both informative and inspiring.
Migwetch,
Pahponee
2
IACA Journal | Summer 2013
Pahponee
Kickapoo/Potawatomi
IACA-EF President
IACA-Education Fund
Mission Statement
To build cultural preservation and
appreciation for the arts of indigenous peoples of North America
through education
TABLE OF CONTENTS
Volume 2, Issue 2 • Summer 2013
Welcome . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
Presidents’ Messages . . . . . . . . . . . . . . . . . . . . . . . . . 2
Wingz of Power
Native american Jewelry, Pottery,
Smudge Herbs and Feathers
2013 Artist of the Year, JT Willie. . . . . . . . . . . . . . . 4
American Indian Beadwork: A Little History . . . . 5
Retail Profile: The Prairie Edge Story . . . . . . . . . . . 6
From Traditional to Haute Couture. One Bead
at a Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Museum Profile: The Field Museum. . . . . . . . . . . . 14
IACA Markets: Beauty, Action, Friendship,
Authenticity. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
IACA JOURNAL
Publisher
Editor in Chief
Managing Editor
Art Direction
Copy Editors
Ad Production
Journal Committee
Advertising Sales
Contributing Photographer
IACA Education Fund
Pahponee
Joe Zeller
Yvonne Swartz
Kathi Ouellet
Dee Dowers, Beth Hale
Brian Lush
Dee Dowers, Brian Lush, Beth Hale
Mike McNair, Kathi Ouellet
Pahponee, Sam School, Joe Zeller
Brian Lush
David Eversmann
Visit Us At:
www.wingzofpower.com
www.wingzofpower.net
www.navajo-turquoise-jewelry.com
IACA EDUCATION FUND
4010 Carlisle Blvd. NE, Suite C
Albuquerque, NM 87107
505.265.9149
505.265.8251 fax
www.iaca.com
www.iaca-educationfund.org
We do our best to check all copy and images. If we have made an error or omission,
please accept our apology and contact the office to let us know.
All rights are reserved. Articles may be reprinted for educational non-commercial
purposes with permission.
Don Standing Bear
Creations
PO Box 73361
Fairbanks AK 97907
907.322.3202
standingbear@mosquitonet.com
www.standingbearcreations.com
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JT WILLIE
ARTIST OF THE YEAR
Diné Artist JT Willie Takes IACA
2013 Artist of the Year Honors
A truly talented young man from Navajo country has taken his place among the 32
renowned artists that include the prestigious IACA Artist of The Year honor in their
award portfolio.
“Honoring Ledger Quilt” by Susan
Hudson (Dine’)
2013 IACA ARTIST OF THE
YEAR CATEGORY WINNERS
Other winners in the 2013
competition include:
• Jewelry - Lapidary:
Jimmy Calabaza (Kewa)
“Dance Shell” 2-strand turquoise necklace with sterling silver beads
• Jewelry - Metalsmithing:
George “Shukata” Willis (Choctaw)
Untitled. Sterling silver bracelet with
Choctaw Designs
• Pottery:
Pam Lujan-Hauer (Taos Pueblo)
“Aquiline Six Directions Vase” Taos
micaceous clay burnished directionally
to accentuate the shape
• Textiles:
Susan Hudson (Dine’)
“Honoring Ledger Quilt” Inside out
Ledger Quilt that honors Native
POW/MIA from the 4 Directions
• Traditional Crafts:
Mary Lou Big Day (Crow)
Untitled. Fully beaded Crow women’s
moccasins
• Mixed Media:
JT Willie (Dine’)
“Indian Girls Go To Balls Too”
Beaded gown
• New Member Artist of the Year:
Veronica Poblano (Zuni)
“Corn Goddess” gold necklace
4
“Indian Girls Go To Balls Too”
Beaded gown by JT Willie, IACA
2013 Artist of the Year and winner
of the Mixed Media Category
IACA Journal | Summer 2013
JT Willie’s work breaks through the boundaries of art and into
the world of high fashion with his contemporary and stylish
array of beaded gowns, beaded shoes and beautifully beaded
accessories.
Willie is of the Taabaaha (Waters Edge
People) and born for the Tachiinii (Red
Running into the Water People). He
holds two masters degrees and is pursuing his PhD in political science. Willie
also is the Marketing Director of the
Navajo Arts and Crafts Enterprise.
JT told the IACA Journal that he
frequently is asked about his focus on
beadwork, which is not at all common
to Navajo people, and is more akin to
the work of people from the Plains area.
He explains. “In college, I became best
friends with kids who were Kiowa/Comanche. They knew beadwork, and I
learned beadwork and loved doing it. I
just kept going and going and going with
it. In fact, my beadwork has paid for
most of my college expenses.”
A major inspiration to JT Willie is
2009 IACA Artist of the Year, Alfred
Joe. Though their art is quite different
(Alfred Joe is a renowned jeweler) the
exceptional beauty and quality of Joe’s
work set the standard of beauty and
quality that became JT’s yard stick.
To JT, one of the keys to success as
an artist is the willingness to accept
criticism, both positive and negative. JT
says, “Criticism of any kind is a good
thing. It means that your work is being
recognized, and making a point. My
advice to any artist is to just keep doing
what you do, and learn from criticism.”
JT Willie is staking his position in the
world of wearable art and fashion.
Expect to hear much more from this
talented artist in the years ahead. He is
just getting started.
American Indian Beadwork
A LITTLE HISTORY
Glass beads were traded for thousands of years in early civilizations
worldwide. In addition to glass bead trading, ancient American Indians
also traded beads made of antler, bone, copper, shell, clay, stone and other
materials. The ancient American Indian beads were typically large in size
and used for self-adornment in necklaces, earrings or clothing.
In the northern homelands of the porcupine, American Indians originally
used the quills of this animal to decorate and colorfully adorn many items,
including knife sheaths, birch bark boxes, breastplates, horse gear and other
items of importance. The porcupine quill decorative technique had been in
place since the 6th century.
© Doug James | Dreamstime.com
Meanwhile, the art of making glass beads was taking hold in Venice, Italy
during the 14th century. An industry was created around the glass bead,
and spread throughout Europe. The very finest beads were produced in
Bohemia (formerly Czechoslovakia, currently the Czech Republic).
By the middle of the 16th century, the
Hudson Bay Trading Company was trading the imported glass beads throughout the Woodlands and Plains Indian
territories for furs that were sent back to
Europe. The Spaniards were also trading
beads into New Mexico in order to find
the Seven Cities of Gold. Soon, American Indians established their own trade
networks and economy based on these
trade beads.
The glass bead became a major currency between the
early Europeans and the American Indian. So valuable
were the beautiful glass beads to American Indians that
Manhattan Island was traded for by Dutch immigrant,
Peter Stuyvesant, of the Hudson Bay Trading Company,
in 1647 for approximately $24 in glass beads.
greater and easier opportunity to embellish the object with beautiful imported
trade beads.
Today, the creation of stunning and precision beadwork continues, one bead at
a time. Many tribes still create original
designs which depict stories and images
of long ago. As contemporary designs
and patterns continue to emerge, the
design elements in the beadwork have
blended with the sharing of designs
across Tribal lines.
This great art form has come to symbolize the challenging, resilient and
long-lasting heritage of the American
Indian.
Tribes who created items using the
porcupine quill soon discovered the
much broader color palette and sewing
techniques used on the tiny glass beads.
© Warren Price | Dreamstime.com
The colorful trade beads began to replace
the traditional porcupine quill in the
design of wonderful moccasins, beautiful
bandolier bags, elaborate horse gear and
stunning dance regalia. The old days of
using the porcupine quill in the traditional manner was diminishing.
Over time, American Indians also added
new clothing styles, which incorporated
the use of wool or cotton, and less traditional use of clothing made of buffalo
hide. The new cloth provided an even
www.iaca.com | (505) 265-9149
5
The Prairie Edge Story
RETAIL PROFILE
By Dan Tribby » Prairie Edge General Manager
Prairie Edge in Rapid City, South Dakota is considered today, by interested people
worldwide, as a premier vestige of contemporary Northern Plains Indian arts and crafts
that reflect their true heritage. It was not always so.
It all started in the early 1980s when a couple of Indiana transplants, Rita and Ray Hillenbrand, moved to Rapid City to look after a cattle ranch they had close by. They had
a deep interest in the local Native American culture but, like most transplants, had little
knowledge of what that culture truly was. It was an up and down learning process and
resulted in Rita being adopted into Elizabeth Fast Horse’s family with Elizabeth’s son,
Charles, a medicine man, being part of Rita’s 1991 funeral along with the local Catholic
Bishop.
Prairie Edge’s first “for sale” item was a Buffalo Skull which
was offered for sale through a stand-alone Kiosk in the Denver
Airport. The Buffalo heads, in their green state, were acquired
from Regional Buffalo Ranchers and were cleaned by non-Native
Americans, myself included. They reflected how important the
Buffalo were to the survival of and Spiritual side of the Northern
Plains Indians, before the Europeans started to arrive.
6
Prairie Edge Trading Co. and Galleries in Rapid City, South Dakota
IACA Journal | Summer 2013
Rita and Ray then switched from cattle
to buffalo on their ranch and used many
parts of their buffalo in their Prairie
Edge work.
Next a mail order catalog was created
and they opened retail stores in Deadwood, SD and Santa Fe, NM. Today,
Prairie Edge is a 15,000 square foot retail
store in Rapid City, SD along with a web
site store. It is owned by Rita and Ray’s
daughter, Mimi, who also owns and operates the Triple Seven Buffalo Ranch.
Prairie Edge sells the art and crafts of
Regional Native American artists whom
many consider the finest alive today.
Some of the artists and their art represented in our gallery are:
• Tim Audiss, Rosebud
beadwork, earth paints: shields, rattles,
fans, shirts, robes
MADE IN CANADA
MADE IN CANADA
Moccasins
Genuine handcraft made by
Native Huron-Wendat
***wholesale only***
• Marty Cuny, Oglala
acrylic paints: dolls, shields, weapons
• Charles Fast Horse, Oglala
beadwork and paints: robes, cradles,
skulls, weapons
• Kevin Fast Horse, Oglala
beadwork: cradles, robes, shirts,
purses, turtle amulets
• Kyle Fast Horse, Oglala
beadwork: bags and purses
• Evans Flammond, Oglala
painted items: robes, ledger art,
weapons, shields
• Mike Haskell, Cheyenne River
silver jewelry
• Jim Little Wounded, Cheyenne
River
quillwork/beadwork: weapons,
shields, drums, horse dance
• Mike McLeod, Chippewa
beadwork/paints: robes, buffalo
skulls, purses, caps
• Don Montelieaux, Oglala
ledger art
• James Star Comes Out, Oglala
beadwork: horse masks, bustles, war
shirts
• Paul Szabo, Rosebud
silver jewelry
• Dawn Yellow Bank, Omaha
beadwork: robes, shields, purses, bags
Many of the artists we acquire work
from have taken the style of aging
or antiquing their works. The main
reason for this is that we are located
in what is the most recent historical
portion of the nation that saw the
last of the “Indian Wars”. This is not
ancient history here, but things that
Grandma’s and Grandpa’s talk about
first hand and with so many collectors
buying up ill-gotten artifacts from
the Great Plains Tribes, we simply
offer an alternative to the purchase
of such artifacts. When a collector
can purchase a newly created piece
of artwork with the peace of mind
that it benefits a family today and still
has the wonderful characteristics of
truly old pieces, everyone benefits.
The idea of someone marketing an
artifact that belonged to a casualty of
that time period, and which was taken
from a family member of one of our
artists, customers or employees, is just
not how we want to operate, thus the
alternative of newly created, antiqued
pieces.
1 800 463-6874 Toll free
bastien.industries@qc.aira.com
www.bastienindustries.ca
This evolution of Prairie Edge has
matured to the level where the work
of traditional Northern Plains Indian
artists comes together with the knowledgeable collectors and people who
seek authentic art and crafts of this
type.
I have enjoyed my career with Prairie
Edge and look forward to many more
years to come helping Mimi continue
her parents’ dream that has become a
reality.
Located at:
847 Ninita Street (at St. Francis)
Santa Fe, New Mexico, 87505
TOLL FREE: 866.931.0615 | 505.820.1315
-orShop Online at
www.cghiggins.com
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8
Images from American Indian Center of Chicago’s 58th Annual Powwow at Navy Pier, November 19, 2011.
All images Copyright 2011, All Rights Reserved Warren Perstein Photography LLC. www.perlsteinphoto.com
From Traditional to Haute C
IACA Journal | Summer 2013
Contemporary American
Indian beadwork is alive
and well. Stretching from
the traditional to out of
the box high fashion. Each
piece lovingly brought from
a concept to a work of art.
One bead at a time.
Couture. One Bead at a Time.
Contemporary beaded necklace by Jovanna Poblano.
Photo courtesy of Jovanna Poblano (Zuni)
www.iaca.com | (505) 265-9149
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From Traditional to Haute Couture
Beaded fashion heels
by JT Willie (Dine’)
Beaded jewelry
by Sharon Trudeau (Odawa)
10
IACA Journal | Summer 2013
Above left: Late 19th century
beaded bag (Sioux)
Above right: Beaded Bandolier
Bag Fringe (Ojibwa)
Traditional beaded moccasins
by Mary Lou Big Day (Crow)
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From Traditional to Haute Couture
Beaded necklage, earrings and ring
by Sharon Trudeau (Odawa)
Beaded Wampum Belt by
Don Standing Bear (Metis’)
19th Century beaded martingale (Blackfeet)
12
IACA Journal | Summer 2013
Beaded purse
by JT Willie (Dine’)
Above: Beaded
Bandolier Bag
(Ojibwa)
Traditional beaded
Eagle Pouch
by Sharon Trudeau
(Odawa)
Beaded necklage
by Sharon Trudeau
(Odawa)
www.iaca.com | (505) 265-9149
13
The Field Museum
MUSEUM PROFILE
By Jeri Webb » Director of The Field’s Museum Stores
Today’s museums are far more than dusty warehouses displaying mementos of times
gone by. Their collections, and the people who study them, link past to present to future
– providing us with new ways to understand ourselves and our potential. Chicago’s
Field Museum of Natural History stands proudly among the world’s foremost.
On June 2, 1894, the Field Columbian Museum opened at the former Palace of Fine
Arts Building in Jackson Park (now the Museum of Science & Industry). The vast
majority of its collections were purchased from or donated by exhibitors at the recently-concluded World’s Columbian Exposition, and ranged from the Tiffany collection of
gems to a staggering variety of timbers, fibers, seeds, and other plant-based commercial
products. Because the Palace wasn’t originally designed to be a permanent structure
– and because the collections’ growth rapidly outstripped available storage – it quickly became apparent that a new home for the Museum would be needed. In 1917, the
cornerstone was laid in Grant Park, and on May 2, 1921, the Daniel Burnham-designed
building welcomed the public for the first time – and continues to do so today!
Many of the Native American artifacts and specimens currently
housed at The Field Museum were originally exhibited as part
of the World’s Columbian Exposition. Others were presented to
The Field by research collectors. Still others, acquired through
scientific excavations in the southwestern United States and
coastal Peru, among others.
North American representation includes a Northwest Coast collection, with emphasis on the Haida and the Tlingit; an extensive collection from the Hopewell culture of
Ohio; and a particularly strong Plains collection, including a one-of-a-kind assemblage
of Crow shields. Mesoamerican, Central American, and South American highlights
include an exceptional assortment of Maya, Aztec, and Inca ceramics; a striking array of
Andean textiles; gold, redstone, and greenstone artifacts from the Colombian peoples;
and well-preserved pottery, ceremonial artifacts, and musical instruments from Central
Brazil and the Amazon.
© The Field Museum GN91201.JPG
As the Director of the Field’s Museum Stores, Jeri Webb is always in search of new ways
to honor the Museum’s Native American collections, while connecting the visiting
Transforming Tradition: Pottery from Mata Ortiz (2005-6)
14 IACA Journal | Summer 2013
public to the contemporary stories of
those cultures. The Field’s commitment
to dynamic, groundbreaking exhibitions
provides her with ever-changing opportunities.
Webb came to The Field Museum in
2003, after working for nine years as the
Retail Director at the Chicago Symphony
Orchestra. Her enthusiasm for her work
keeps growing.
“I have a deep love of music and the arts,
so it was an honor to go from one worldclass organization to another. The depth
and breadth of the Field’s collection is
truly astonishing, and whenever I look
through the archives, I am always struck
by the power that all of those beautiful
objects hold. I think of the long hours
the artists put into creating those objects,
the challenges they had in finding the
materials to work with, and the skills
they developed based on the teachings of
their mentors. I am deeply honored to
be able to meet and help support these
artists through our sales at the Field
Museum,” she says.
One of the best ways to experience
the sheer breadth of the Field’s collections, the vitality of the cultures from
which they sprang, and their continued
relevance today is to visit the Ancient
Americas exhibit. Opened in 2007, this
19,000-square-foot hall – showcasing
over 2,200 artifacts, plus videos and
interactive displays – is not strictly
arranged by chronology, or by culture;
instead, it tells the tale of the Americas
idea by idea. For example, a section
on Hunter-Gatherers transitions into a
section on Farming Villagers, demonstrating the social changes that came
about as cultures began to experiment
with domesticating plants and animals.
Likewise, a section entitled Powerful
Leaders explores how community life
changed as many individual people
ceded decision-making rights to a few,
while an area of the exhibit devoted to
Rulers and Citizens takes that model one
step further and lays out the rise of centralized governments. The final section,
Living Descendants, introduces video
© The Field Museum GN91203.JPG
Travels of the Crow (2007-9) used 13 artifacts to illustrate the Crow people’s transition from a farming culture to hunters, warriors and nomads.
representatives from many of today’s
Indigenous cultures.
As Webb quickly realized, sweeping permanent exhibits like Ancient
Americas provide a sense of scope,
while smaller gallery installations
allow visitors the chance to focus on
one particular aspect of Native American culture.
She explains, “I am fascinated with the
human drive to be creative, especially
when it comes to everyday and ritual
objects. In my role in buying for the
Museum, I get to bring together arts
and crafts from many cultures around
the world to sell in our stores both
at the Museum and at our two stores
at O’Hare International Airport. On
the continental scale, the Museum’s
Ancient Americas exhibit showcases
pottery from all over the Americas,
and we in turn offer a wide range of
ceramic pieces from North and South
America in the stores. At the more
personal level, our staff members get
to share the stories of inspiration like
that of Helen Cordera from Cochiti.
Visitors come to The Field Museum
from around the world, and it is great
to be able to offer this kind of information to people who may never have
had an opportunity to learn about
these cultures.”
Modern People, Traditional Path:
Figurines From Cochiti Pueblo (2003),
mentioned above, explored the
contemporary work being done to
reclaim a lost southwestern tradition
of figurative pottery. 50 Years of Powwow in Chicago (2003-4), product of a
collaboration between The Field and
the American Indian Center of Chicago, explored the give-and-take between established traditions, cultures,
and languages and an urban world.
Transforming Tradition: Pottery from
Mata Ortiz (2005-6) told the tale of
Juan Quezada and the rediscovery of
the potting techniques of the Casas Grandes culture and featured a
diverse range of modern handcrafted
pots (or ollas) donated by Leo and
Lois Damkroger. And Travels of the
Crow (2007-9), co-curated by Crow
cultural advisor George Reed, Jr., used
13 artifacts to illustrate the Crow people’s transition from a farming culture
to hunters, warriors, and nomads.
“We are always looking for new work
to support our cultural gifts and
jewelry at the Museum Stores. Being
a part of the IACA has been a tremendous asset to us, both in finding
artists at the IACA shows and through
the listing of artists during the year.
We are proud to be able to display the
IACA symbol in our stores, knowing
that authenticity in what we offer is a
valuable asset both to the artists and
the Museum as well,” Webb says.
Bunky Echo-Hawk: Modern Warrior,
opening in September 2013, features the artwork of a contemporary
Pawnee/Yakama artist, activist, and
educator. Come see what’s in Store!

HUGE SELECTION OF CRAFT SUPPLIES
Bone/Horn Hairpipe, Stone Beads, Heshi,
Magnetic Hematite Beads, Glass Beads,
Silver & Gold Plated Findings, Sinew & Cord
Huge Selection of Navajo, Hopi, Cherokee,
Zuni, Iroquois Items on display in
our retail store. Items include pottery, jewerly,
kachinas, rugs and much more.
Come See Our
8400 Sq. Ft. Retail Store
on I-70, Exit 76
Driftstone Pueblo, Inc
702 W Tower Road
Saint Elmo, Il 62458
618-829-3158
driftstone@frontiernet.net
www.driftstonepueblowholesale.com
FREE
WHOLESALE
CATALOG*
*Wholesale Catalog does not
include any Native American products,
Please Send Copy of State
Business License For Catalog
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15
IACA MARKETS:
BEAUTY, ACTION, FRIENDSHIP, AUTHENTICITY
Each year, IACA Member artists, wholesalers and retailers
gather to bring the finest American Indian Art to the
marketplace.
More than just a market, the IACA Market is a place that
brings together members of every segment of the American
Indian Art community to sell and to buy and to celebrate the
beauty of American Indian Art.
The IACA Market is the largest of its kind in the world.
The IACA Market provides member retailers, galleries and
museums the source for absolutely authentic American Indian
art. All for the benefit of the American Indian Art consumer.
The IACA Markets bring together a community that guarantees the buyer of American
Indian Art assurance of authenticity wherever they see the IACA seal.
Heywood Big Day blesses the IACA Artist
of the Year Ceremony.
www.ameliajoechandler.com
Amelia Joe-Chandler
(Navajo Jeweler)
Presents:
Previous IACA Artists of the Year gather to celebrate the 2013
Artist of the Year.
A Mother’s Prayer Box Pendant
Contact Amelia at:
PO Box 428
Dolores, CO 81323
-or email ajc@ameliajoechandler.com
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IACA Journal | Summer 2013
Buyers from around the world select the finest American Indian
Art from thousands of offerings.
We invite you to
compare our Native
American Jewelry and
Southwestern Native
American Jewelry
selection, quality, service
and price
with
our competition.
Beaded Bracelets by artist Teri Greeves
Museum of Indian Arts and Culture
Colleen Cloney Duncan Shop
Museum Hill
505.982.5057
www.indianartsandculture.org
It’s like discovering
a rare archeological find.
But one that offers
shopping and sales.
CELEBRATING
75 YEARS
1938-2013
Qualla Arts and Crafts is dedicated to preserving centuries-old
Cherokee craftsmanship and the current artists and craftspeople
who keep historic techniques alive by displaying their work in our
store. Get your shopping started at QuallaArtsAndCrafts.com
info@QuallaArtsAndCrafts.org | 828.497.3103
The Indian Craft Shop | U.S. Dept. of the Interior | Washington, DC
www.indiancraftshop.com | 202.208.4056
®
www.iaca.com | (505) 265-9149
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IACA Journal | Summer 2013