Santa Clara Pueblo "Singing Water Village", also known as "Village of Wild Roses" is a census-designated place (CDP) in Rio Arriba County, New Mexico, United States and a federally recognized tribe of Native American Pueblo people.
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.
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.
Anita Louise Suazo is a Native American potter from Santa Clara Pueblo, New Mexico, United States.
Nathan Youngblood is a Native American potter from Santa Clara Pueblo, New Mexico, United States.
Nora Naranjo Morse is a Native American artist and poet. She currently resides in Española, New Mexico just north of Santa Fe and is a member of the Santa Clara Pueblo, part of the Tewa people. Her work can be found in several museum collections including the Heard Museum in Phoenix, Arizona, the Minneapolis Institute of Art in Minnesota, and the National Museum of the American Indian in Washington, DC, where her hand-built sculpture piece, Always Becoming, was selected from more than 55 entries submitted by Native artists as the winner of an outdoor sculpture competition held in 2005. In 2014, she was honored with a NACF Artist Fellowship for Visual Arts and was selected to prepare temporal public art for the 5x5 Project by curator Lance Fung.
Roxanne Swentzell is a Santa Clara Tewa Native American sculptor, ceramic artist, Indigenous food activist, and gallerist. Her artworks are in major public collections and she has won numerous awards.
Jody Folwell-Turipa is a Puebloan potter and artist.
Tammy Garcia is a Santa Clara Pueblo sculptor and ceramic artist. Garcia translates Pueblo pottery forms and iconography into sculptures in bronze and other media.
Paul Joseph "Speckled Rock" Tafoya was a Native American artist who was noted for his paintings, bear fetishes, bronze sculptures of Native American dancers, and redware and blackware pottery. A member of the Tewa and a resident of the Santa Clara Pueblo in New Mexico, Paul was the owner of the Merrock Galeria, which featured the work of contemporary pueblo artists.
Angela Tafoya Baca was a Native American artist who was known for her redware and blackware pottery, especially melon bowls and bowls featuring a bear paw design. She had one of the longest careers of the potters in Santa Clara Pueblo in New Mexico. She was a member of the Tewa and a resident of Santa Clara Pueblo.
Rose B. Simpson is a mixed-media artist who works in ceramic, metal, fashion, painting, music, performance, and installation. She lives and works in Santa Clara Pueblo, New Mexico. Her work has been exhibited at SITE Santa Fe ; the Heard Museum ; the Museum of Contemporary Native Art, Santa Fe (2010); the National Museum of the American Indian, Smithsonian (2008); the Denver Art Museum; Pomona College Museum of Art (2016); Ford Foundation Gallery (2019); The Wheelwright Museum of the American Indian (2017); the Minneapolis Institute of Art (2019); the Savannah College of Art and Design (2020); the Nevada Museum of Art (2021); Whitney Museum of American Art, and the Norton Museum of Art (2024).
Michael Naranjo is a Native American blind sculptor. Born in Santa Clara Pueblo, NM in 1944, he is a member of the Tewa Tribe. He was raised in Taos, New Mexico. The son of the ceramic artist Rose Naranjo, he made first contact with pottery and art by the side of his mother. He was drawn into the army and served in Vietnam War. During the patrol the Viet Cong soldier threw the grenade that took his sight and maimed his right hand. During the convalescence period he started sculpting in clay. Gradually sculpting became his passion and profession. The first models were made in clay, wax and papier-mache, some were cast in bronze. Later, he used stone in his art. His favorite topics are Native American warrior, a hoop dancer, a female nude, a child, a soldier, a bear or fish or bird.
Joy Navasie was a Hopi-Tewa potter. Her work has been recognized globally.
Susan Folwell is a Native American artist from Santa Clara Pueblo, New Mexico, known for her work in the ceramic industry. Her work ties in Native designs and history and has been used by Folwell to demonstrate her viewpoints on society and politics. Folwell has been described by the Heard Museum as an "innovator in Pueblo pottery".
Jason Garcia is a contemporary Native American artist in the United States, who was born in Santa Clara, New Mexico. His work has been exhibited the Smithsonian in Washington D.C, the Heard Museum in Phoenix, the Palm Springs Art Museum, and many more. He won the 2018 Mentor Fellowship Award under the Native Arts and Cultures Foundation amongst many others.
Helen Shupla (1928-1985) was an American potter from Santa Clara Pueblo, New Mexico.
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.
Jody Naranjo at Indian Market, 2009 
