Trading Post Times Trading Post Times Trading Post Times Trading Post Times A chapter in River Trading Post history ended on May 31, 2013 as River Trading Post said fare- well to Santa Fe. The difficult decision to leave the great old adobe gallery was driven by a difficult economy in the overall art market, which hit Santa Fe and Canyon Road in a significant way. During its nearly nine year run on Canyon Road, River Trad- ing Post made many great friends. We would especially like to thank them for making River Trading Post, Santa Fe, the wonderful place that it was. R IVER T RADING P OST B IDS F AREWELL TO S ANTA F E W HEN I T C OMES T O I NDIAN A RT , W HAT I S A N I NDIAN ? Since 1990, the test of Ameri- can Indian Art authenticity has been guided by the Indian Arts and Crafts Act . The act is a truth-in-advertising law that prohibits misrepresen- tation in marketing American Indian or Alaska Native arts and crafts in the United States. Under the act, it is illegal to offer, display or sell any art or craft in a manner that falsely suggests it is Indian produced. Under the Act, an Indian is defined as a member of any federally or State recognized Indian Tribe, or an individual certified as an Indian artisan by an Indian Tribe. In March 2013, Rep. Nick Ra- hall II [D-WV3] introduced a bill to clarify (change) the defi- nition of an Indian and an In- dian Organization. Under the proposed bill, an individ- ual artist would no longer be re- quired to be a tribal member, or certified by an Indian Tribe. The artist would simply have to belong to an “Indian Organiza- tion” that is chartered as a sec- tion 501(c)3 organization within the State where the or- ganization is headquartered, and that is dedicated to preserv- ing Native American principles, traditions, culture, history, lan- guage and arts. The Indian Arts and Crafts Association has taken a strong position against the bill. We believe that Rep. Rahall’s proposed exclusion of Tribal requirements under the present Act undermines the principle of authenticity, and opens the door to anyone to stake a claim as an Indian artist. American Indian art is driven by the many American Indian cultures...all of which are tri- bally based. We maintain that this is as it should be. For the protection of consumers, collec- tors, and true American Indian artists. Volume 10, Issue 3 July:September 2013 SPECIAL POINTS OF INTEREST: • Santa Fe Indian Market, Santa Fe, NM. August 17 - 18. • Traditional Pueblo Arts Pottery Exhibit and Sale Ongoing River Trading Post, Scottsdale Scottsdale, AZ • Indian Summer Festival. Milwau- kee, WI. September 6 - 7. River Trading Post INSIDE THIS ISSUE: Native Art: It Isn’t Just For Grown Ups 2 Favorite Places: Hoodoo Land 3 Protect Your American Indian Art Collection 3 Collector’s Treasure: The Apache Basket 4 Ancestor’s Song Closes Out 2 Congressman Nick Rahall II wants to redefine an American Indian Artist.
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Trading Post TimesTrading Post TimesTrading Post TimesTrading Post Times
A chapter in River Trading Post
history ended on May 31, 2013
as River Trading Post said fare-
well to Santa Fe.
The difficult decision to leave
the great old adobe gallery was
driven by a difficult economy in
the overall art market, which
hit Santa Fe and Canyon Road
in a significant way.
During its nearly nine year run
on Canyon Road, River Trad-
ing Post made many great
friends. We would especially
like to thank them for making
River Trading Post, Santa Fe,
the wonderful place that it was.
R IVER TRADING POST B IDS FAREWELL TO SANTA FE
WHEN IT COMES TO INDIAN ART, WHAT IS AN INDIAN?
Since 1990, the test of Ameri-
can Indian Art authenticity has
been guided by the Indian Arts
and Crafts Act .
The act is a truth-in-advertising
law that prohibits misrepresen-
tation in marketing American
Indian or Alaska Native arts
and crafts in the United States.
Under the act, it is illegal to
offer, display or sell any art or
craft in a manner that falsely
suggests it is Indian produced.
Under the Act, an Indian is
defined as a member of any
federally or State recognized
Indian Tribe, or an individual
certified as an Indian artisan by
an Indian Tribe.
In March 2013, Rep. Nick Ra-
hall II [D-WV3] introduced a
bill to clarify (change) the defi-
nition of an Indian and an In-
dian Organization.
Under the proposed bill, an individ-
ual artist would no longer be re-
quired to be a tribal member, or
certified by an Indian Tribe.
The artist would simply have to
belong to an “Indian Organiza-
tion” that is chartered as a sec-
tion 501(c)3 organization
within the State where the or-
ganization is headquartered,
and that is dedicated to preserv-
ing Native American principles,
traditions, culture, history, lan-
guage and arts.
The Indian Arts and Crafts
Association has taken a strong
position against the bill.
We believe that Rep. Rahall’s
proposed exclusion of Tribal
requirements under the present
Act undermines the principle
of authenticity, and opens the
door to anyone to stake a claim
as an Indian artist.
American Indian art is driven
by the many American Indian
cultures...all of which are tri-
bally based. We maintain that
this is as it should be. For the
protection of consumers, collec-
tors, and true American Indian
artists.
Volume 10, Issue 3 July:September 2013
SPECIAL POINTS OF INTEREST:
• Santa Fe Indian Market, Santa
Fe, NM. August 17 - 18.
• Traditional Pueblo Arts
Pottery Exhibit and Sale
Ongoing
River Trading Post, Scottsdale
Scottsdale, AZ
• Indian Summer Festival. Milwau-
kee, WI. September 6 - 7.
R i v e r T r a d i n g P o s t
INSIDE THIS ISSUE:
Native Art: It Isn’t Just For Grown Ups
2
Favorite Places: Hoodoo Land
3
Protect Your American Indian Art Collection
3
Collector’s Treasure: The Apache Basket
4
Ancestor’s Song Closes Out
2
Congressman Nick Rahall II wants to redefine an American Indian Artist.
Trading Post Times Page 2
Think back to your childhood. Did your parents or grandparents take you to museums or art galler-
ies? Did you take art classes in school? Did you go exploring in the Southwest on summer road
trips?
This is why we love Native art today. Exposure. The more we touch the land and experience the
culture of the people who live there, the more we understand how both geography and the history of
the people who inhabit that land, influence the creation and interpretation of their art. From utili-
tarian vessels, created to hold water or grain, to highly decorated contemporary pottery that we are
loath to dust for fear of scratching it, we can trace the evolution of culture and the value of the form.
Did you repeat the experiences you had as a child with your children or grandchildren? Certainly
there are few opportunities in schools anymore as art classes have all but disappeared. Galleries
tend to be stuffy and children are generally unwelcome. At River Trading Post we welcome young
visitors, and encourage them to explore and even touch the great American Indian art in our galler-
ies. Kids are genuinely interested in seeing and hearing about the art.
We contend that children should be encouraged to experience the land, the culture and the art of
many people. So parents and grandparents, aunts and uncles, it’s up to you. Take the young ones
in your life to galleries, museums and on road trips. Those experiences will create memories that
they will hold forever, and will pass on to their children.
NATIVE ART: IT’S NOT JUST FOR GROWNUPS
River Trading Post encourages
young ones to use the “One
Finger Touch” when they see a
piece that they like
Many people ask about the symbols incorporated into Cliff Fragua’s Ancestor’s Song. We think that
part of the appeal of this sculpture is understanding what each component means to Cliff, and we thought we would pass his interpretation on to you.
Jemez is a matriarchal society, and this sculpture represents the reverence that each member of the Pueblo has for women and their role as givers of life.
The womb-like opening which shelters the pottery is surrounded by what is often called the spiral of
life. The pottery itself is life-sustaining, and is made from Mother Earth. It represents all that Mother Earth gives us.
The tablita (or headdress) represents clouds in the Pueblo culture. The hair represents rain pouring
from the clouds and goes all the way to the ground -- which is critical to life in the desert.
The turquoise necklace reflects the beauty of the inner being or soul of a woman, and the shell, which is attached to the necklace represents the ocean – the place from which all life springs.
The triangle motifs on the edges of the shawl are vibrations – sound vibrations, if you will – which are like music or the songs of the ancestor’s. Music surrounds the woman, bringing the ancestors to
her through sound. (Notice this formation resembles an inverted bass clef and the entire sculpture resembles a treble clef.)
Cliff is one of our favorite artists. He has produced a body of work that is incomparable in the Na-
tive art world. Among that work, Ancestor’s Song stands out as one of his finest.
River Trading Post has been fortunate to feature this limited edition bronze and assist many people in acquiring it. For information about one of the three remaining pieces, please contact us.
ANCESTOR’S SONG: R ICH W ITH MEANING,
THE EDITION CLOSES OUT
Just three Ancestor’s Song remain, including the last of the edition #25/25. The molds and casts were destroyed following production of issue #25.
Volume 10, Issue 3 Page 3
FAVORITE PLACES : HOODOOS OF UTAH AND ARIZONA
formation about the artist, title,
date, medium, size and current
condition. Also keep purchase
information, such as the gallery
where it was purchased, the
date, and any receipts or cata-
logs where the artwork ap-
peared. You should keep indi-
vidual photographs of the art-
work.
If you are computer savvy, the
best way to do this is with a
database, or other file that in-
cludes a picture of the piece.
Keep a copy of your collection
information with other estate
planning documents in a safety
deposit box, or other place
away from your collection.
This may take a bit of time, but
in the unlikely event that some-
thing unexpected does happen,
you will have a basis for mak-
ing your claim. Better safe than
sorry.
We’ve heard sad tales from
people who have had a treas-
ured piece lost, stolen or dam-
aged and have no basis for fil-
ing either a police report or an
insurance claim. Very sad in-
deed.
So here is a must do tip from us
to you:
Keep Records. You should
create a detailed record of your
art collection that includes in-
PROTECT YOUR AMERICAN INDIAN ART COLLECTION W ITH RECORDS
For piece of mind, be certain to
keep an inventory of your
American Indian art collection.
THREE GREAT COLLECTOR EXPERIENCES
River Trading PostRiver Trading PostRiver Trading PostRiver Trading Post 314 N. River Street
Dundee, Illinois 60118
847-426-6901
7033 E. Main Street
Scottsdale, Arizona 85251
480-444-0001
www.rivertradingpost.com
Whether you are decorating
your home or are an avid col-
lector of fine American Indian
art, you will find River Trading
Post has a great mix of historic
and contemporary art from
over 50 tribal nations.
Come visit. Enjoy!
Dundee
RTP On-Line
Scottsdale
Like soldiers guarding a sacred
spot on this earth, the amazing
Hoodoos are awe-inspiring to
folks traveling the badlands of
the Southwest.
A hoodoo is variously defined
as “bad luck,” “a person or
object that brings bad luck” or
“a fantastically shaped pillar of
rock left behind by eons of ero-
sion.”
Whatever description you
choose, the hoodoos truly are
awe inspiring, making many
skyscrapers of New York and
Chicago look like child’s toys.
Some call these great forma-
tions a “Fairy Chimney,” an
“Earth Pyramid” or a “Tent
Rock.”
Hoodoos are not a specific
place, but they abound in can-
yons, particularly in Arizona
(Chiricahua Mountains) and
Utah (Brice Canyon.)
These canyon soldiers were
formed by weathering proc-
esses, including over 200 freeze
and thaw cycles each
year...over thousands of years.
Rain also helps to sculpt the
hoodoos.
Many hoodoos are capped with
a magnesium-rich limestone
called dolomite...a favorite
stone of Zuni fetish carvers.
A drive through hoodoo terri-
tory early in the morning, or at
sunset is when these creatures
of nature are the most spectacu-
lar...and about the only time
when your camera can capture
their real beauty and colors.
For a breath taking family ex-
perience, a tour through Hoo-
doo land is one of the best.
Hoodoos Dominate Bryce Canyon, Utah
Hoodoo Soldiers Guard a Canyon
Phone: 866-426-6901 www.rivertradingpost.com
314 N. River Street East Dundee, IL 60118
A COLLECTOR ’S TREASURE : THE OLD APACHE BASKET
and was used primarily for
grain storage. But the Indus-
trial Revolution which pro-
duced an abundance of cheap
pots and pans, and the Great
Depression of the 1930’s extin-
guished the need to create the
labor-intense basket.
Today, a few Apache artisans
still create baskets that typically
are coarse twined burden bas-
kets (as shown at the right.)
This is the most traditional
form of Apache basket, and was
used for carrying wood or food.
The earlier burden baskets are
highly collectable, but finding
one that is in great condition
can be pretty hard to do.
One of the most collectible of
American Indian arts is the
Western Apache and Yavapai
Apache basket.
This art form was developed
over thousands of years, and
was lost in less than ten years as
basket makers sought other
lines of work.
The baskets are generally made
of willow and devil’s claw,
plants which are native to
Apache country in Arizona.
They frequently include human
and zoomorphic figures sur-
rounded by crosses, such as the
piece shown at the left.
In earlier times, the Apache
basket was strictly utilitarian,
Arts of Native America
An Apache Olla is one of the rarest and most collectible of all American Indian art forms. A polychrome basket, as shown here, is the most highly prized of the Apache baskets. It is available at River Trading Post, Scottsdale.
The Apache Burden Basket is the most traditional Apache basket, and continues to be made today, primar-ily for the tourist trade.