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Leonidas Tapia | |
|---|---|
| Born | (unknown) |
| Died | 1977 |
| Nationality | American Pueblo |
| Occupation | Puebloan potter |
| Spouse | Jose Blas Tapia |
| Children | Mary Trujillo (b. 1937); Tom Tapia (b. 1946) |
Leonidas Tapia (?-1977) was a Puebloan potter from Ohkay Owingeh, New Mexico, United States.
She was the wife of Jose Blas Tapia and mother of Mary Trujillo (born 1937) and Tom Tapia (b. 1946). Leonidas made traditional San Juan polychrome redware bowls, jars and wedding vases. She also made micaceous pottery. Some of the designs she used on her pottery include the water serpent, kiva steps and clouds. Leonidas participated in the Santa Fe Indian Market from 1970 to 1976.
Tapia's son, Tom Tapia, learned to make pottery by working with his mother. He works in the sgraffito style and has won numerous awards for his pottery. He also makes pottery with his wife Sue Tapia. Tapia's daughter, Mary Trujillo, married Helen Cordero's son, Leonard, from Cochiti Pueblo. She learned to make storyteller figures from her mother-in-law Helen who was the first and most famous maker of Cochiti storytellers and has won numerous awards.
Cochiti is a census-designated place (CDP) in Sandoval County, New Mexico, United States. A historic pueblo of the Cochiti people, one of the Keresan Nations, it is part of the Albuquerque Metropolitan Statistical Area. The population was 528 at the 2010 census. Located 22 miles (35 km) southwest of Santa Fe, the community is listed as a historic district on the National Register of Historic Places.
Santo Domingo Pueblo, also known Kewa Pueblo is a federally recognized tribe of Native American Pueblo people in northern New Mexico. A population of 2,456 live in structures some of which date from circa 1700; in Sandoval County described by the U.S. Census Bureau as a census-designated place.
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.
Anita Louise Suazo is a Native American potter from Santa Clara Pueblo, New Mexico, United States.
Arthur and Hilda Coriz were Native American husband and wife potters from Santo Domingo Pueblo, New Mexico, United States. They signed their pottery as "Arthur and Hilda Coriz."
Diego Romero is an American Cochiti Pueblo visual artist. He is known for ceramics and pottery, and lives in New Mexico.
Helen Hardin was a Native American painter. She started making and selling paintings, participated in the University of Arizona's Southwest Indian Art Project and was featured in Seventeen magazine, all before she was 18 years of age. Creating art was a means of spiritual expression that developed from her Roman Catholic upbringing and Native American heritage. She created contemporary works of art with geometric patterns based upon Native American symbols and motifs, like corn, katsinas, and chiefs. In 1976 she was featured in the PBS American Indian artists series.
A Storyteller Doll is a clay figurine made by the Pueblo people of New Mexico. The first contemporary storyteller was made by Helen Cordero of the Cochiti Pueblo in 1964 in honor of her grandfather, Santiago Quintana, who was a tribal storyteller. It looks like a figure of a storyteller, usually a man or a woman and its mouth is always open. It is surrounded by figures of children and other things, who represent those who are listening to the storyteller. The motif is based on the traditional "singing mother" motif which depicts a woman with her mouth open holding one or two children.
Helen Cordero was a Cochiti Pueblo potter from Cochiti, New Mexico. She was renowned for her storyteller pottery figurines, a motif she invented, based upon the traditional "singing mother" motif.
Tales of the Cochiti Indians is a 1931 work by Ruth Benedict. It collects the folk tales of the Cochiti Puebloan peoples in New Mexico. The book is considered an important work in the discipline of feminist anthropology. Following development of the "culture and personality" school of anthropology by her colleague Edward Sapir and influenced by Margaret Mead, Benedict sought psychological patterns in the stories she collected.
Lisa Holt and Harlan Reano are a husband-and-wife team of Pueblo potters and artists from northern New Mexico. They have been making pottery together in 1999, they use traditional Cochiti pottery techniques and create modern work.
Virgil Ortiz is a Pueblo artist, known for his pottery and fashion design from Cochiti Pueblo, New Mexico. Ortiz makes a variety of pottery, including traditional Cochiti figurative pottery, experimental figurative pottery, traditional pottery vessels. His clothing and jewelry designs are influenced by traditional Native American pattern and aesthetics. He is best known for his edgy pottery figures, his contemporary take on the traditional Cochiti pottery figures (monos) from the late 1800s.
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.
Mary Ellen Toya (1934–1990) was a Jemez Pueblo potter of the Water Clan. She was active ca. 1950–1990, and was known for creating some of the largest Storyteller figures.
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 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".
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.