Dolores Lewis Garcia | |
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Born | 1938 Acoma Pueblo, New Mexico, USA |
Known for | Pottery |
Style | Traditional Puebloano |
Parent |
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Dolores Lewis Garcia (born 1938) is a Native American potter from Acoma Pueblo, New Mexico, US. [1] She is known for her traditional style. She continues to work at the Acoma Pueblo, producing pottery including the heart-line deer, hoof prints, and other abstract patterns. [2]
Garcia was born on the Acoma Pueblo in New Mexico, and is one of nine children born to Acoma potter and matriarch Lucy M. Lewis, who taught many of her children the traditional pottery-making process rooted in their ancient tradition, [3] including potters Anne Lewis Hansen, Mary Lewis Garcia, Emma Lewis Mitchell, Drew Lewis, and Carmel Lewis. Garcia was received her early education (1945 to 1955) in the Albuquerque Public School, where she was reprimanded for speaking her Native language. In 1990 she received a fellowship to the Institute for Advanced Study at Indiana University in Bloomington. [3]
Utilizing the skills taught by her mother, Garcia engages a traditional style when creating her decorative and utilitarian works. [3] She was the first to use Mimbres designs in her work, which was at the suggestion of Dr. Kenneth M. Chapman from the Museum of New Mexico. [4] Garcia is particularly known for her pottery designs such as the heart-line deer, hoof prints, and other abstract patterns. She and her sister Emma are adamant speakers against the use of commercial castware and artificial pigments, and continue to share their work at the Acoma Pueblo through workshops and demonstrations that are offered to the public. [3]
Her work has been featured in numerous collections including "The Legacy of Generations: Pottery by American Indian Women" and "Seven Families in Pubelo Pottery", exhibited at institutions such as Maxwell Museum of Anthropology and the National Museum of Women in the Arts. [3]
Nampeyo was a Hopi-Tewa potter who lived on the Hopi Reservation in Arizona. Her Tewa name was also spelled Num-pa-yu, meaning "snake that does not bite". Her name is also cited as "Nung-beh-yong," Tewa for Sand Snake.
Acoma Pueblo is a Native American pueblo approximately 60 miles (97 km) west of Albuquerque, New Mexico, in the United States.
Maria Poveka Montoya Martinez was a Puebloan artist who created internationally known pottery. Martinez, her husband Julian, and other family members, including her son Popovi Da, examined traditional Pueblo pottery styles and techniques to create pieces which reflect the Pueblo people's legacy of fine artwork and crafts. The works of Maria Martinez, and especially her black ware pottery, are in the collections of many museums, including the Smithsonian, the Metropolitan Museum of Art, the Denver Art Museum, and more. The Penn Museum in Philadelphia holds eight vessels – three plates and five jars – signed either "Marie" or "Marie & Julian".
Lucy Martin Lewis was a Native American potter from Acoma Pueblo, New Mexico. She is known for her black-on-white decorative ceramics made using traditional techniques.
Rose Cata Gonzales (1900–1989) was born in Ohkay Owingeh Pueblo in the U.S. state of New Mexico. She is known for her original carved blackware pottery, and for traditional pottery in the Ohkay Owingeh Pueblo style.
Maria Margarita "Margaret" Tafoya was the matriarch of Santa Clara Pueblo potters. She was a recipient of a 1984 National Heritage Fellowship awarded by the National Endowment for the Arts, which is the United States government's highest honor in the folk and traditional arts.
Juanita Suazo Dubray also known as Juanita DuBray, is a Native American potter from Taos Pueblo, New Mexico. She is a lifelong resident of Taos Pueblo and descends from an unbroken line of Taos Pueblo natives. Her mother Tonita made traditional micaceous pottery for utilitarian use. She became interested in the micaceous pottery tradition in 1980 after a career of working as a pharmaceutical technician.
Marie Zieu Chino (1907–1982) was a Native American potter from Acoma Pueblo, New Mexico. Marie and her friends Lucy M. Lewis and Jessie Garcia are recognized as the three most important Acoma potters during the 1950s. Along with Juana Leno, they have been called "The Four Matriarchs" who "revived the ancient style of Acoma pottery." The inspiration for many designs used on their pottery were found on old potsherds gathered to use for temper. Together they led the revival of ancient pottery forms including the Mimbres, Tularosa and other various cultures in the Anasazi region. This revival spread to other potters who also accepted the old styles, which led to new innovative designs and variations of style and form.
Vera Chino Ely is a Native American potter from Acoma Pueblo, New Mexico. She is the youngest daughter of Marie Z. Chino, who was also a potter. Vera learned from her mother.
Helen Naha (1922–1993) was the matriarch in a family of well known Hopi-Tewa potters.
Art of the American Southwest is the visual arts of the Southwestern United States. This region encompasses Arizona, New Mexico, and parts of California, Colorado, Nevada, Texas, and Utah. These arts include architecture, ceramics, drawing, filmmaking, painting, photography, sculpture, printmaking, and other media, ranging from the ancient past to the contemporary arts of the present day.
Dextra Quotskuyva Nampeyo was a Native American potter and artist. She was in the fifth generation of a distinguished ancestral line of Hopi potters.
Rick Dillingham (1952–1994) was an American ceramic artist, scholar, collector and museum professional best known for his broken pot technique and scholarly publications on Pueblo pottery.
Juanita Inez Ortiz, also known as Inez Ortiz was a Native American Cochiti Pueblo artist, specializing in pottery. She is of the Herrera family of Pueblo potters in New Mexico, whose work is often found in art collections and in art museums. She was from the Cochiti Pueblo in Cochiti, New Mexico.
Laurencita R. Herrera (1912–1984) was a renowned Native American Cochiti Pueblo artist, specializing in traditional Cochiti figurative pottery called storytellers and her pottery vessels. She is of the Herrera family, a renowned family of Pueblo potters in New Mexico, whose work is often found in art collections and in art museums. She was an actively making pottery between the 1930s through the 1970s and is known as one of the, "finest Cochiti potters of that era".
Priscilla Namingha Nampeyo was a Hopi-Tewa potter who was known for her traditional pottery. Namingha mined her own clay and created her own pigments for her large pots. Her work is in the collection of several museums and cultural centers.
Black-on-black ware is a 20th- and 21st-century pottery tradition developed by Puebloan Native American ceramic artists in Northern New Mexico. Traditional reduction-fired blackware has been made for centuries by Pueblo artists and other artists around the world. Pueblo black-on-black ware of the past century is produced with a smooth surface, with the designs applied through selective burnishing or the application of refractory slip. Another style involves carving or incising designs and selectively polishing the raised areas. For generations several families from Kha'po Owingeh and P'ohwhóge Owingeh pueblos have been making black-on-black ware with the techniques passed down from matriarch potters. Artists from other pueblos have also produced black-on-black ware. Several contemporary artists have created works honoring the pottery of their ancestors.
Pueblo pottery are ceramic objects made by the indigenous Pueblo people and their antecedents, the Ancestral Puebloans and Mogollon cultures in the Southwestern United States and Northern Mexico. For centuries, pottery has been central to pueblo life as a feature of ceremonial and utilitarian usage. The clay is locally sourced, most frequently handmade, and fired traditionally in an earthen pit. These items take the form of storage jars, canteens, serving bowls, seed jars, and ladles. Some utility wares were undecorated except from simple corrugations or marks made with a stick or fingernail, however many examples for centuries were painted with abstract or representational motifs. Some pueblos made effigy vessels, fetishes or figurines. During modern times, pueblo pottery was produced specifically as an art form to serve an economic function. This role is not dissimilar to prehistoric times when pottery was traded throughout the Southwest, and in historic times after contact with the Spanish colonialists.
Rachel Concho is a Native American artist and potter of the Acoma Pueblo. She is best known for her painted seed jars: small circular pots, nearly closed except for a small hole at the top, used for storing seeds from one harvest for planting in the next. She draws inspiration from ancient designs of the Acoma Pueblo including from shards associated with the Mimbres culture, which flourished in what is now New Mexico and Arizona from about 200 CE to the Spanish conquests of the sixteenth century. Concho has won many prizes for her work, including "Best in Show" at the Santa Fe Indian Market of 2000. Her seed jars have entered the permanent collections of several museums, including the Smithsonian Institution.
Kenneth M. "Chap" Chapman (1875–1968) was an art historian, arts administrator, anthropologist, writer, teacher, and researcher of Native American art and culture in Santa Fe, New Mexico. The New Mexico Archive said of Chapman: "An advocate of Indian arts, his endeavors led to the revitalization of Pueblo pottery, the founding of the first Indian Fair and the Indian Arts Fund."