May 1-31
Every Tues & Thurs (6:30-8:30 p.m.), and Sat
(10a-3p) for the month of May 2012. First Class May 1st
Location: IPCC Art Classroom Bldg.
Registration Fee: $220.00 All materials included.

Or at the Indian Pueblo Cutlrual Center
Call Kay 505-212-7052

Workshop Description:
The style of silver-work made by Dyaami is called repousse relief decoration. This is a bronze-age metalworking technique in which a malleable metal is ornamented or shaped by hammering from the reverse side. They start with flat stock sheets of sterling, copper or brass ranging from 30 to 12 gauge thickness. Their handmade tools are fashioned from old files and tool steel bar. These tools feature hand-wrought designs, finished with heat treatment to make them strong and hard. The tooled designs are stamped into the measured flat sheets of silver with a hammer, creating an impression of that design. A ball-pin hammer is used to push the designs out. Other tools include rawhide mallet, files, sheet-metal shears and a jeweler's saw. The only modern equipment used in this work is the oxygen-acetylene torch and the buffing wheel, which give their finished pieces a high quality polish.

BIOGRAPHY of Dyaami Lewis....A Tribe of Men, Labeled as Artisans, with Reputations to Defend

The first metals to touch the Lewis family hands were those from the village of Acomita on the Pueblo of Acoma. Wilber and Clyde Hunt, two great uncles of Alvin Lewis, spent years holding iron and steel in place to be worked and forged to make wagons and their personal tools. Eventually Wilber and Clyde refocused their talents into the art of the silversmith.

Alvin Lewis' first hands-on experience with silver smithing came when he was fifteen. His trademark was established as the Arrowhead in 1922. The idea came to him from a birth mark on his right leg, which looked like an arrowhead. From 1925 to 1938 he worked as an apprentice silversmith with Gaines Trading Post in the city of Santa Fe, New Mexico. When WWII broke out he moved to the San Francisco Bay Area to build warships for Todd Shipyards in Oakland from 1942 to 1967. In 1968 Alvin opened his first store at 231 Valencia St. in the Mission district of San Francisco located below the American Indian Center. That same year Greg Lewis found his Grandfather Alvin in the city and asked if he could learn the family art of silversmithing. Alvin became Greg's mentor and teacher.

In 1979 Greg moved his family to the Village of Paguate on the Laguna reservation, where he resides today. He continues to implement all the techniques that his grandfather taught him. In 1980, Dyaami, meaning "Eagle" in the Keresan language, was born into this family of metalsmiths. At the young age of eight, Dyaami picked up his first tools and began his apprenticeship under his father's guidance. Today he is a master silversmith.

Over the years, Greg and Dyaami have continued to trade and purchase only natural turquoise from the mines in Nevada and Arizona. All the turquoise is hand cut and set by Greg and Dyaami. Greg remarks,''My designs are a combination of my grandfather's patterns and my own creation. These include various animals such as bears, eagles, lizard, roadrunners, turtles, fish, etc." Some of the custom order pieces can be made in as little as 30 minutes. A concho belt, with is intricate designs and need for meticulous detail, can take up to a week to make.

Greg's father, Joe Lewis, who lives in Bruneau, Idaho is also an accomplished jeweler and graphic artist. Joe, Greg and Dyaami pride themselves in keeping the "old style art" alive after four generations. Now the fifth generation is starting with grandson, Lucien, who is eight years old and has picked up the tools to create his bracelets and rings. Dyaami's two sons, Lorenzo and Estevan, will also be taught the family time-honored skills and traditions of silver smithing. It is very important to Greg and Dyaami that the art is kept in the family and passed on to the future generations of the Lewis family.

Greg and Dyaami have their shop and business in the Village of Paguate. They continue to work daily along side each other creating art in the fashion that Alvin and his great uncles started. They are proud of their family tradition and the desire to keep this art of silver smithing alive in each other and in their children and their children of the future.

Textured Painting Class (Beginning and Intermediate)
with Gregory Analla Isleta & Laguna Pueblos
June 2nd & 3rd (10a.m. - 3p.m.) | IPCC Pueblo Art Room | All Materials Included
Limited Enrollment | $95

Class Description
Come and experience the use of adding different textures into your painting repertoire with sculptor/painter Gregory Analla. Participants will use a variety of texture gels along with learning the techniques of creating your own mixture of acrylic bonding substrates and sand with various pigments to achieve the rough painting surfaces that Gregg has come to be known for in his work. Gregory will also give a brief history on how his painting technique was developed over the years as well as teaching key points on Pueblo history, culture and symbolism.

Once the textured surfaces have been applied to the canvas, the participants under the direction of Mr. Analla will explore various painting styles with emphasis on palette knives and in particular the "dry brush approach".
• Price will include a 12"x12"x2" frame stretched and pre-gessoed canvas along with 2 brushes.
• Some paints for your subject matter will be provided for the class including the primary colors, but students are encouraged to bring their own colors if a particular color scheme is desired.
• Please join us for this wonderful glimpse into a modern Pueblo artists mind, as well as an exploration into yourself as a painter working with this truly inspirational medium.

BIOGRAPHY:
A self-taught artist, Gregory prides himself in the ability to "…not only pay homage to my ancestors and heritage through my work, but also to push it into the future." I describe my art as a surreal vision of the entities that make up my culture without sacrificing the integrity of the sacredness of our customs. Art is a gift from the creator and my responsibility to express its spiritual significance.

An artist since childhood Gregg Analla has been honing his painting techniques for many years. A combination of acrylic pigments and sand provide an underlayment for his subject matter and add depth and dimension to his textured canvasses. The Kachinas and symbolisms that exist in his Pueblo culture have always been a major inspiration in all of his works throughout the years, but this imagery has also been influenced by his love for technology and science fiction. Eventually evolving into such subject matter as: stars and galaxies as well as weather patterns, storm clouds and hurricanes. these are attributed to the Native Americans relationship with/affecting the weather. (see: Raindance) If you look closely at one of his paintings one is made immediately aware of the amount of rough texture embedded on the canvas. This technique has taken years to develop and is what Gregory calls his "connection" with his ancestors. "When I wanted to simplify my expressions, I turned to studying the works of our ancestors as they told their stories depicted on cave walls and the images of the petroglyphs. This is when I noticed that their "canvas" wasn't 'smooth' like the painters of today- It was really rough . . . I've been trying to emulate that ever since." As time went on Gregory found himself focusing his attentions on another medium, that of sculpture. "I have always been intrigued by the role of the sculptor and the three dimensional form. As an artist, it seemed like the next logical step." He began sculpting in the mediums of Alabaster, Aspen and limited edition bronzes. The sculpture he creates is influenced by his Pueblo culture, symbolisms, the Kachinas and his love for modern art.

Every Saturday for 4 class sessions
August 18th & 25th and September 1st & 2nd
(9:00 a.m. – 3:00 p.m.)
Materials Needed: Please bring 3 skeins of your choice of 3 different colors. "Red Heart" acrylic brand yarn works best. Traditional colors are: Red, Green and Black.
Limited Enrollment
Registration Fee: $220

Or at the Indian Pueblo Cutlrual Center
Call Kay 505-212-7052

Workshop Description:
The art of weaving is a very ancient tradition among the Pueblos of the Southwest. It is a tradition that pre-dates pottery by several centuries. Sadly, it is one of the art forms that has experienced a sharp decline since the colonization of Pueblo communities. Despite this fact, Pueblo textiles are still very much an integral part of Pueblo culture and identity as they make up the traditional regalia and dress for religious and other special occasions. Louis will teach students the fundamental aspects needed for individuals to understand the history and the ever evolving aspects of Pueblo textile weaving. Students will be able to integrate what they have learned into future works of their own under the guidance of this truly gifted Pueblo weaver.

BIO:
Louie García is a Tiwa/Piro Pueblo weaver whose family originates from southern New Mexico in the Las Cruces/El Paso areas. He is a self-taught weaver as many other Pueblo weavers before him. Having been brought up by his grandfather, García learned from a young age the importance of maintaining Pueblo tradition and cultural values. These teachings have inspired him to offer these classes in the hopes of revitalizing the art of Pueblo weaving and encouraging a new generation of Pueblo weavers.

Pueblo Science Class with Pueblo Educators
Dr. Shelly Valdez, Laguna Pueblo &
Dr. Kirby Gchachu, Zuni Pueblo
September 22, 2012 (10a.m. - 2p.m.)
Limited Enrollment | Fee: $25 per adult; $10 per youthAll materials included

Or at the Indian Pueblo Cutlrual Center
Call Kay 505-212-7052

Workshop Description: Kit that will include 1 styro foam ball (4"); 1-2 Skewers; 1 Chaco Canyon Book- 'Ancient Observatories', or 'Chimney Rock'. Resource list of websites and literature to access for extended learning.

First Activity- Learning about the Equinox/Soltice
Shadow finding of NS & EW Lines (90 degree angle- determine setting sun); building a sun dagger. Participants will monitor shadow hourly and collect data on movement (through observation).

Second Lesson- Discussion on Pueblo Astronomy
Participants will watch clips of sun dagger movements (Soltice project) & Moon cycle (Ron Sutcliff).
Discuss the ideas behind the connection of the sky & earth to Pueblo Culture.
Ideas for discussion: seasons (planting, harvest, hunting)

BIOS: Dr. Kirby Gchachu grew up on the Zuni Pueblo Indian reservation with his nine siblings and maternal grandparents in one home. His father was a heavy equipment operator while his mother worked as a jewelry artist. His father passed away in an unfortunate automobile accident. His mother at 86 continues to be creative with beaded dolls and tend her small waffle garden in Zuni. Kirby was first in the family to receive a college degree and pursued his dream to becoming a doctoral in education. As a child he learned the English language when he attended a Christian Reformed Mission School but remained connected to his roots. Science experimentations came naturally as he was surrounded with nature. He took these ideas as he became a certified educator. His first task was to assist and collaboratively create a school district and secondly to learn and understand the system of western education while maintaining his cultural roots to connecting with nature. Gchachu also became a linguist and collaborated in the development of Zuni orthography. Now Zuni people are able to use computers to write in their language.
His current pursuit is to further understand his ancestral connections through science, mathematics, and language. His studies are focused around Chaco Canyon and the connections through mathematic and science.

Dr. Shelly Valdez is a member of the Pueblo of Laguna Tribe and Hispanic descent. Her educational background includes a Bachelor of Arts in Elementary Education, Master of Arts in Bilingual Education, and Ph.D. in Multicultural Teacher Education focusing on research in the area of Science Education.

She has worked in the area of education for 28+ years and currently owns & manages an educational consulting business, Native Pathways, (NaPs), located in central New Mexico. An important component of NaPs focuses is in the area of world views in science, primarily focusing on indigenous science. Valdez' interest and passion of indigenous science has influenced her approaches in the field of education and partnerships she works with. As part of her work, she is invited to join various educational boards, committees and supports educational programs at local, state and national levels. Her greatest moments in life are spending time with her son, Shpeyiah (Kyle) Swimmer, who is a freshman attending the New Mexico Tech University at Socorro, New Mexico.

Dr. Valdez' vision for the future is to continue to be an active participant and an advocate for influencing worldviews in evaluation and educational opportunities for indigenous people.

Date/Time: 2 Separate Independent Workshops - Saturday/Sunday
Class #1: September 8th & 9th) or
Class #2: September 15th & 16th 10a.m. - 3p.m. each weekend
Registration Fee: $65.00 per workshop
Materials: All materials included.

Or at the Indian Pueblo Cutlrual Center
Call Kay 505-212-7052

Workshop Description:
Dominic Arguero has worked extensively with gourds for the past 15 years. He has exhibited and sold work throughout the country in public and private collections. All students will learn how to open and cut, clean inside and out, design, paint and seal Southwest style gourds.

Please, adults only.
Students will be working hands-on with sharp tools and electronic power tools. Students to bring work clothes. You are going to get your hands dirty. Also, bring artist paint brushes and antique designs that you would like to attempt.  Larger gourds will be available on site for sale if someone is interested in working on a larger scale.

Workshop fee includes small and medium gourds, paint, most brushes and all cutting equipment. Please call 505.603.7613 with questions.

BIO:
Dominique Arquero is an enrolled member of Cochiti Pueblo in New Mexico and has had a long career in the arts. Growing up in a world steeped in cultural richness, his work reflects the intensity of his tribal heritage. Through his ingenuity, Arquero has brought his influence together to create works of art that represent traditional tribal themes, yet lean toward the innovativeness of contemporary pieces. Arquero was born in Santa Fe, New Mexico and received his formal education at the Institute of American Indian Arts in Santa Fe majoring in two-dimensional arts. He received his Bachelor of Arts degree in Visual Arts with a minor in Political Science at the College of Santa Fe.  Aside from teaching, lecturing and hosting numerous shows and Pow-wows, he has participated in many art shows and exhibits across the country while winning awards and honors since the 1970’s. He has also been included in various art publications. He has served in various prestigious organizations such as the Santa Fe Council for the Arts, and the Native American Artist Association, Inc.  Arquero believes he has been blessed with a gift that he needs to express and share with the rest of the world and is fortunate to be able to make a living doing what he loves. His work is his life and his life is his work.

2 Separate Independent Workshops on Saturday/Sunday
(10m-3p each day)
Class #1: November 10th & 11th) or Class #2: November 17th & 18th
10a-3p| All Materials Included
Limited Enrollment | $60 per workshop

Or at the Indian Pueblo Cutlrual Center
Call Kay 505-212-7052

Workshop Description:
Olivas will teach the fabrication of pine needle baskets using natural materials. She will provide pine needles from trees around her home, as well as natural thread. Over the course of the class, students can expect to go home with a completed 3" diameter basket and endless ideas for work with pine needles. Location: Art Classroom on North Side of Indian Pueblo Cultural Center

Biography:
Mary Lou Olivas was brought up in Ysleta del Sur Pueblo, just east of El Paso, Texas. The Ysleta del Sur Pueblo tribe was established in El Paso immediately after the Pueblo Revolt in 1680, with its founding members originally from Isleta Pueblo in Albuquerque, New Mexico.

Mary Lou currently resides in Los Alamos, New Mexico with her husband, two daughters, and one lovely granddaughter. Mary Lou chose to be a full-time mom, opting to stay at home and raise her children instead of pursuing a career outside of the home. This path provided her with ample time to commit to and develop her art.

Mary Lou enjoys most types of needlework, and is an accomplished garment maker. She enjoys sewing, crocheting, knitting, and embroidery. Mary Lou learned the basics from her mother, who made the clothing that she, her two brothers, and four sisters wore when they were growing up.

About ten years ago, under the mentorship of Joe Val Gutierrez of Santa Clara Pueblo, she undertook weaving traditional red willow baskets. Weaving of the baskets was a natural outgrowth of her needlework skills. Mary Lou is interested in learning new art forms, and is currently studying micaceous pottery at the Poeh Arts Center, under the tutelage of Clarence Cruz.

 

 

Every Tuesday and Thursday throughout the month of April 2013 | $155

Or at the Indian Pueblo Cutlrual Center
Call Kay 505-212-7052

Workshop Description: This class is a basic introduction to several varieties of techniques and mediums. Drawing, color, watercolor, acrylic, and portfolio making will be introduced in each class. Each student will be introduced to the concepts and techniques of each medium with the opportunity for peer critique at the beginning of each class. Each student will be assigned take home projects to be completed by the next meeting. The final class will have opportunities for those that wish to advance in their artistic endeavors such as building portfolios, artist statements, framing and display of finished work and ways in which to enhance your artisan experience whether it be art shows or continued art classes. This class is for the beginner, the intermediate or the just plain curious. *Some supplies will be needed for the class.

BIO: Mallery Quetawki is a tribal member of the Pueblo of Zuni in Zuni, New Mexico.  She received her Bachelor of Science degree in Biology with a minor in Art Studio in the Summer of 2009 from the University of New Mexico. As an artist, Quetawki evokes the powerful history of her people through her art.  Her works include traditional and non-traditional Zuni art such as:  Pottery, sash belt weaving, drawing, painting, and other forms of crafts.  She received her traditional pottery techniques during high school from Mr. Gabriel Paloma (Zuni) and also during her collegiate years under the mentorship of Mr. Clarence Cruz (Ohkay Owingeh).  Other noted teachers and mentors are Mr. Herrin Othole (Zuni) where he taught her 4 years of high school art and Ms. Vera Sprunt from the University of New Mexico whom taught and mentored her in Advanced Drawing and beyond.  Her creations pay homage to her culture by portraying ancient symbols and designs throughout her work.  An important goal of hers is to combine traditional and contemporary Native American art and make it work successfully as one.  Her roots are traditional but with modern influences.  She hones several signature styles and designs one of which is the storyteller owl pottery.  In both her 3-D and 2-D works she also uses cross-hatching as a signature mark for her work.  Other motifs widely seen in her products are butterflies, rosettes, and the rain bird.  Quetawki is currently living and working as an artist as well as a student.  She recently completed a permanent display mural at the main entrance to the Indian Pueblo Cultural Center in Albuquerque.  Other noted works is a set  titled "What Makes a Zuni?" also on permanent display at the Zuni Indian Health Service hospital in Blackrock, NM.  There is also a collaborative display called the Zuni Map Art Project at the A:shiwi A:wan Museum and Heritage center in the heart of Zuni where she also has an oil depiction of the Grand Canyon area and its importance to Zuni tradition.  The Map Art Project was featured in a documentary done by National Geographic on an episode of Wild Chronicles.