Louise Goodman | |
|---|---|
 Coiled pot in fired clay with piñon pitch, ca. 1986, by Louise Goodman Smithsonian American Art Museum | |
| Born | December 25, 1937 Cow Springs, Navajo Nation, Arizona |
| Nationality | Navajo |
| Known for | Ceramics |
| Spouse | Eddie Goodman sr. |
Louise Rose Goodman (born December 25, 1937) is a Navajo folk artist and ceramicist.
A member of the Biih Bitoodnii (Deer Spring) clan, Goodman learned pottery making from her sister-in-law, Lorena Bartlett. Her range of work includes standard jars and bowls produced in a wide variety of shapes including a significant amount of animal forms such as chickens, rams, dogs, squirrels, bears, lions, elephants, and other domestic and wild creatures. Goodman turned to creating animal figures, already common among contemporary Navajo potters, when she noticed a decline in demand for her more functional clay pots. [1] One of the most innovative styles of pottery Goodman developed is a modified coil pot, in which the coils are obliterated only on the interior surface. [2] [3]
Goodman's work has been exhibited at the Museum of Northern Arizona in Flagstaff, Arizona, the Heard Museum in Phoenix, the Wheelwright Museum of the American Indian in Santa Fe, New Mexico, the Navajo Nation Museum in Window Rock, Arizona, and the Smithsonian American Art Museum in Washington, D.C. [2]
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".
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.
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.
Nathan Youngblood is a Native American potter from Santa Clara Pueblo, New Mexico, United States.
Julián Martínez, also known as Pocano (1879–1943), was a San Ildefonso Pueblo potter, painter, and the patriarch of a family of Native American ceramic artists in the United States.
Tammie Allen is a contemporary Native American potter, enrolled in the Jicarilla Apache Nation.
Martha Hopkins Struever (1931–2017) was an American Indian art dealer, author, and leading scholar on historic and contemporary Pueblo Indian pottery and Pueblo and Navajo Indian jewelry. In June 2015, a new gallery in the Wheelwright Museum of the American Indian, was named for her. The first permanent museum gallery devoted to Native American jewelry, the Martha Hopkins Struever Gallery, is part of the Center for the Study of Southwestern Jewelry.
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.
Faye Tso (1933–2004) was a Navajo potter and herbal medicine healer. Her pieces are known for their nontraditional imagery of corn maidens, warriors, and dancers, whereas Navajo pottery typically has little decoration. Born in Coal Mine Mesa, Arizona, Tso was relocated with other Navajos to Tuba City, Arizona in 1974 because of a land dispute between the Navajo and Hopi tribes. She returned to dig her clay at Coal Mine Mesa, where she also gathered pinon from which she extracted the pitch resin used to coat and seal her Dineh pottery. In 1990, the Arizona Indian Living Treasures Association designated Tso as a living treasure. Her husband and son are medicine men and use Tso's pots in their ceremonies.
Nicholas Herrera (born July 11, 1964) is an artist in the Northern New Mexico Santero tradition, also known as El Rito Santero.
Alice Williams Cling is a Native American ceramist and potter known for creating beautiful and innovative pottery that has a distinctive rich reds, purples, browns and blacks that have a polished and shiny exteriors, revolutionizing the functional to works of art. Critics have argued that she is the most important Navajo potter of the last 25 years.
Rose Williams was a Navajo potter credited with renewing interest in the Navajo pottery tradition.
Christine McHorse, also known as Christine Nofchissey McHorse, was a Navajo ceramic artist from Santa Fe, New Mexico.
Mamie Deschillie (1920–2010) was a Navajo folk artist.
Betty Manygoats is a Navajo artist known for her ceramic work. She lives and works at Cow Springs on the Navajo Nation in Arizona in the American Southwest.
Deborah Clashin, also known as Debbie Clashin, is a Hopi-Tewa Tobacco Clan potter.
Ida Sahmie is a Navajo potter. Sahmie combines Hopi traditional pottery making methods and Navajo iconography in her work. She has work in the Smithsonian American Art Museum and the Wheelwright Museum of the American Indian.
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.
Clifford Beck, Jr. was a Navajo American painter, illustrator, photographer and educator born in Keams Canyon, Arizona. He exhibited his work across the United States and is known for his work in oils and pastels, particularly his portraits of older native people.
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