European Stars And Stripes (Newspaper) - November 18, 1987, Darmstadt, Hesse                                Magazine Indian jewellers line up their wares in Albuquerque . Below sculptor Doug Hyde at work in Albuquerque. American new dimensions new directions by Matt Mygatt associated press a Merican Indian Art is in he midst of second Renaissance with a new generational contemporary artists prod icing work beyond the traditional but still drawing on Arich cd Tural heritage in the world of native american Arl. As deep and As great As it is. You could never have these exotic artists unless you have Irie wealth of such a foundation on which  says Charles Dailey. Museum director of the ins Itule of american Indian Art in Santa be  Indian Art Mas nourished and expanded into new areas since us Golden age in the 1930s, when the canons for traditional naive american Art were loomed Dailey says Indian Art historically was associated with the Well being of a culture he says ii supported and enhanced a person s relationship and Harmony Wilh nature and the universe Bui contemporary artists Combine the past Wilh 20th Century images and interpret them in their modern Art they re thinking about space  Dailey says they re living in the 2qth Century they know the past and ils images and interpret them into a new Century this is my personal opinion but up until inc 930s All native american Art was either a entered on Njie or else it was so fragmented the eskimos did their Art the seminoles did theirs there was no National school or awareness or Cross culture Ever. I was a landmark occasion in 1932 when the Santa be Indian school was established As the first of the important schools Lor the Indian people it realty Aan i lust an Ait school but it had an Art program " Dorothy Dunn who founded the first department of Pam log Al the school and who Laughl there came up with some Basic canons on Trade Jonat Indian Art Dailey says she was very definitive in the forms we san she said were iradmonal.1 he says. The second Renaissance in Indian Arl in the past 25 years or so. Dailey says has allowed Lor the very wednesday. November 18, 1987 firs time the Opportunity Lor Young people logo any place they wanted to go in their work they arc no longer restricted by the confines or the cultural Barneis which said you Are nol to depict this or that because it was t Nghil " jewelry makers Are breaking out of traditional liar Luoise Coral Jet Shell and Silver. Thoy Are using Blue Lapis Lazuli deep Blue a unto. Deep Green Malachino. Deep Blue Covel Lile purple Sugi Lite and Blue iailiincc5.st-? Ament left Nold. Craftsmen Wilh Grealer Access to Grinders Cullers and Pencil thin torches Are producing work thai is etching Betler prices and enabling them to make a living. Jim Ostler manager of Pueblo Zemi arts and crafts says Tini jewelry is becoming i Rwy Jinni Imp the Channel work is Heller. Pieces Are becoming so much More delicate not As big maybe " craftsmen Are becoming More skilled by improving on whal they have Learned from their la mimics one will Lind that it s the Young people in their 20s who Are doing such extraordinary work Ostler says. They be just gone a slip further than if -.,i  potters Are using new techniques such As selective lining in which Carbon on Black pottery is burned away revealing red Clay. They can Burn away Carbon on a Turtle s toenails. Or Mako bands on traditional Black pots with red  Dailey says Graffito potters etching the slip or thin lop Coaling off pots and leaving a design is becoming More refined. Sometimes other Clay colors Are rubbed indoor Over the design or painted into  says Bob Andrews a gallery owner in Albuquerque. N m Clay storytellers and nativity scenes Are growing in popularity. Bailey says Western pop culture influenced Young Radical a lists in the 1960s to try new directions in their paintings. Traditionally to says Indian artists were instructed to paint Deer this Way Trees this Way. Al this was based on Tine research in preceding years " but the artists could Only go so far in detail and then there was concern about repetition to break out o the Mold some artists began Iryma More modern slip approaches. If you were a Sioux person who was doing a Wall painting or a Tepee painting of a Man on horseback you Wou a draw the horse and  Dailey says. In modern Arl you would do the same picture but leave out the legs you can do the idea of a Buffalo and horse. That was foreign to he development of Indian  Daley says that Wilhour constant progression and development Arl wiil go downhill sculpture Lor example has blossomed from primitive pieces in Sandstone or Wood to abstract pieces in Industrial steels and Bronze. One of the things i be always admired is  says Allan he user a sculptor in Santa be who once taught Al the Institute. Seeing innings thai Appeal to me Are things that have been almost completely abstracted. I be been All Over the country and All Over the world it s Given me a broader Outlook to whal has happened and in makes me think a Lille harder trying to Como up Wilh something that s completely unique. I be tried to go Back and do a lot of research 1 love a who i am and w Here i m from i m very proud of if Iti trying to make the Best Al what i know and doing it in a very contemporary approach Many sculptors Are doing Beautiful pieces thai will sell in the marketplace but a lot of them Aie gelling too commercial minded Houser says. Also inferior copies of american Indian Jewery Aie being produced overseas. Andrews says the Success of american Indian arts and Cratts and their increasing value has led to a plethora of rollers in the past couple of decades it s drawn a lol of talented people Back  pottery and a lol of other people into pottery in a mass production Type  he says Dailey says the Institute established in 1962, never has taught modern Art. And we Don t Leach traditional Art we do teach skills and Lech que for a culture to be healthy we be always fostered Bolh ends of the spectrum " the stars and stripes Page 13