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Here in the Land of Enchantment, cultural history and the natural environment interweave in ways distinct to the Southwest. Alongside the other Four Corners states, New Mexico shares a heritage rooted in rich traditions and profound resilience - a legacy that continues to inspire communities today. Though colonial expansion, the influx of tourist economies, and invasive archeological practices have forever altered the trajectory of these communities, New Mexico remains home to 19 Native Nations that have continuously inhabited these ancestral lands for centuries. 

It is important to understand that pottery has been utilized for practical needs by agrarian societies such as Southwest Native Americans for thousands of years. While more nomadic societies such as Plains Native Americans relied on materials suited for migratory patterns. “Settled agricultural communities required durable containers for everyday survival, leading Southwest potters to engineer specialized vessels for gathering, preparing, and storing essential resources.” (Frank & Harlow)

Here in the Southwest, pottery has served as utility to help aid the everyday lives of Native Americans for thousands of years. Form is functionality, and beautiful designs on smooth, polished slip indicate the communities from which they originate. Or the influence of neighboring communities which they associate and exchange ideas with.

Small vessels such as water jars feature thin, hand-built walls designed for hauling large volumes of water throughout the day. Every aspect of the form serves its purpose: a narrowed rim and neck prevent spillage during transport, a full belly maximizes water capacity, and a concave foot rests securely on the curve of the bearer's head. 

Large vessels for preparation and storage have convex bottoms to easily nestle into the soft earth floors of adobe homes. Rims are much narrower, and bellies hand built as large as the firing process can withstand. Walls are built thick, increasing the weight, which is possible for societies that can settle for long periods of time. These forms would have been very heavy, and engineered to keep out rodents.

Dough bowls represent another critical utilitarian form, specifically engineered for kneading and rising bread. However, Indigenous communities did not immediately adopt Spanish baking traditions; it took over a century after contact for communities to integrate wheat flour and yeast-risen bread into their diets. Prior to wheat's introduction in the late sixteenth century, Southwestern communities had no need for these broad, low-walled vessels. Instead of above-ground dome ovens, they used pit ovens or baked corn flatbreads—like piki bread and tortillas—indoors on flat, hot stones. Following Spanish colonialism, these forms emerged to accommodate flour-based breadmaking, and Spanish-style hornos (outdoor ovens) served as a clear testament to how Native ceramic practices evolved alongside changing foodways. (Frank and Harlow, p. 45-48). 

Pueblo Pottery forms experienced a transition period in the late 1800s; pottery forms shifted in size and shape to accommodate tourists arriving on the AT&SF Railroad (completed in 1881). This period saw a decline in utilitarian pottery, replaced both by tourist-driven wares and new metal alternatives. “During the late 1800s, some Pueblo potters began creating decorative pieces of pottery inspired by images of glass and dinnerware seen in magazines and newspaper advertising. In addition to traditional pottery forms, vases, pitchers and other pots with fanciful handles, ash trays, and animal figurines were made” (Pueblo Pottery Collective). It was never present in indigenous ideologies that one must sign their name to pottery - this is how art historians and Native American communities distinguish between historic and modern pottery in this region. 

Even the United States in general saw this transition in everyday life. According to Freddie Wilkinson at National Geographic, “the most harmful effects of the Industrial Revolution might have been changes that families had to make. Before the revolution, most people worked with their families on farms or in shops.” So, we can imagine then how this affected Native Americans whose culture relied, and still relies, on the interconnectedness of kinship, community and reciprocity over a market economy. 

Around the turn of the century, these vessels shifted from the spirit and femininity inherent in their original designs as their functional necessity faded. Women were at the center of the craft and usage thereof. When we create materials out of necessity over centuries, it is understandable that these objects naturally start to incorporate soulful and personal elements. If not all along. And as economies transition, usually by force, from gift giving to market based, we lose the fact that "gifts from the earth or from each other establish a particular relationship, an obligation of sorts to give, to receive, and to reciprocate" (Kimmerer, p. 25). Thriving communities inspire creativity. 

This leaves me to ponder: had major institutions - such as the Smithsonian, the American Museum of Natural History, Harvard’s Peabody Museum, and the Penn Museum - not removed so many sacred artifacts from Native Nations, and had Indigenous communities not been forced into a market economy, would these pottery traditions have ever waned? While we may never have definitive answers, contemporary Native American artists continuously blend the traditional pottery forms of their ancestors with new perspectives that reflect today's world. Championing their living culture through art. 

Cited Sources:

Division of Rare and Manuscript Collections, Cornell University Library. Guide to the Hemenway Southwestern Archaeological Expedition Papers, 1886-1896. 

Frank, Larry and Harlow, Francis. Historic Pottery of the Pueblo Indians, 1600–1880 West Chester: Schiffer Publishing, 1990, p. 45–48. 

Jaffe, Logan, et al. “America’s Biggest Museums Fail to Return Native American Human Remains.” ProPublica, 11 August 2026. 

Kimmerer, Robin Wall. Braiding Sweetgrass: Indigenous Wisdom, Scientific Knowledge and the Teachings of Plants. Milkweed Editions, 2013, p. 25.

Wilkinson, Freddie. “Industrialization, Labor and Life.” National Geographic, 30 May 2025.

Pueblo Pottery Collective. Pueblo Pottery Stories in Clay: Historical Context, Vilcek Foundation. 01 August 2023.

Ancestral Symbols, Modern Masterpieces:

Documenting the Sacred Narratives and History of the Hopi People

Marking a half-century of stewardship in the arts, Adobe Gallery is proud to celebrate its 50th Anniversary with a landmark exhibition opening this Memorial Day weekend. This premier event explores the profound spiritual and historical narratives of the Hopi people through a masterfully curated selection of paintings by the revolutionary collective, 'Artist Hopid.' Established in 1973 by visionaries Michael Kabotie, Delbridge Honanie, and Neil David, Sr.-and soon expanded to include the significant contributions of Terrance Talaswaima and Milland Lomakema-this movement fundamentally redefined the trajectory of modern Hopi art, bridging the gap between ancient iconography and contemporary expression.

Learn More Here

An interpretation of a contemporary Hopi modern master painting, honoring the collective themes, iconography, and palettes of the 17 works featured in the Artist Hopid exhibition:

Ancestral Symbols, Modern Masterpieces: Documenting the Sacred Narratives and History of the Hopi People

The image seamlessly bridges ancient geometric abstraction with rich cultural storytelling. In the center, a striking ceremonial composition incorporates elements from "Faces of Whippers" and "Three Katsinas," showcasing abstract spirit faces and Katsina profiles layered with rich textures. Encircling the composition is a stylized circular border representing the unity and cycle of the Hopi world.

Throughout the piece, traditional Hopi symbols are woven together: fine vertical red lines signifying life-giving rain descending to the earth, star-like motifs representing corn tassels and spiritual radiance, and stylized rain clouds from the "Cloud Blowers" and "Shalako Rain Spirits" themes. The scene is grounded by abstract figures resembling "Three Buffalo Dancers" and corn people, with stylized horizons evoking a "Summer Sunset." The entire piece uses a sophisticated palette characteristic of Milland Lomakema and the collective, dominated by deep earth tones-terracotta, rich ochre, sage green, and sand-rendered with a clean gouache-like application that rejects the flat "Bambi Style" in favor of deep geometric abstraction and symbolic complexity.

The $2.6 Billion Rebound:

Why Art Remains the Ultimate Economic Safe Harbor

In the world of high finance and fine aesthetics, few things signal a market's health quite like the major spring auction season. This week, a headline from The New York Times caught our eye: "3 auction houses aim to sell $2.6B worth of art in week."

As Christie's, Sotheby's, and Phillips prepare to move a staggering amount of inventory, the story beneath the numbers is one of resilience, strategic investment, and a return to "trophy" assets.

The Current Landscape: A Bullish Turn in Uncertain Times

The art market has spent the last few years in a state of "retrenchment"-a period of pulling back and re-evaluating. However, despite global headwinds including inflation and geopolitical instability, the luxury art industry is feeling bullish again.

According to the report by Tim F. Schneider, Julia Halperin, and Zachary Small, the industry is projecting sales 60% higher than last May. This isn't just about spending money; it's about a flight to quality. We are seeing a pivot away from the "speculative bidding" on ultra-contemporary artists that defined the last few years, and a return to "canonical works"-the blue-chip investments that hold their value regardless of the headlines.

Why Invest in Art During This Economy?

While traditional markets (like stocks and crypto) can be volatile, fine art offers a unique set of advantages for the modern investor:

1. A "Safe Harbor" in Inflationary Seas The article notes that works by masters like Jackson Pollock and Mark Rothko act as the "equivalent of safe harbor." When the value of currency fluctuates, tangible assets-especially those with historical significance-tend to retain or increase their value.

2. Scarcity and Provenance Unlike digital assets or mass-produced goods, the supply of masterpieces is finite. The current auction season is fueled by estates of legendary patrons like S.I. Newhouse and Agnes Gund. As Betsy Bickar of Citi Wealth notes, "You can't invent better provenance for some of these pieces."

3. Art as a Store of Value Charles Stewart, CEO of Sotheby's, highlights that in a "world that feels very fragile," art remains a "very good store of value." It is an asset class that exists outside the immediate reach of AI-driven market disruptions and short-term political cycles.

The Shift from Speculation to History

One of the most interesting takeaways from the current market shift is the move away from "imperfect headliners" (like the infamous $6.2 million banana) back to substantive, historical works. The market is maturing. Investors are no longer just looking for the next big trend; they are looking for "trophy artworks" that define art history.

Final Thoughts

Whether you are a seasoned collector or an artist looking to understand the value of your own craft, the current $2.6 billion auction goal proves one thing: Art is not just a luxury; it is a cornerstone of wealth preservation. In an era of digital uncertainty, the physical, emotional, and historical weight of a masterpiece remains an unparalleled investment.

Sources:

• Schneider, T. F., Halperin, J., & Small, Z. "3 auction houses aim to sell $2.6B worth of art in week." The New York Times.

• Market Insights via Christie's, Sotheby's, and Phillips Spring Auction Forecasts.

• Economic Commentary by Citi Wealth and Sotheby's Executive Leadership.

A fair and important point to raise: Is AI used in any of the photography on your website?

Transparency is vital, especially when it concerns the representation of Indigenous cultures and traditional arts.  Here is a direct and thoughtful response to this feedback while maintaining the integrity of our gallery:

We hear you, and we appreciate your feedback. You are correct-specific images are generated using AI tools to serve as a visual illustration of the process, rather than a historical photograph.

We understand why that might be disappointing. In the world of fine art and antiquities, 'authenticity' is everything. Here is why we occasionally use these illustrations:

• Respecting Privacy & Tradition: Traditional Pueblo bread-making and pottery-working are often private or sacred activities. Many historical photos are under strict copyright or were taken without the full consent of the subjects. AI allows us to create a respectful 're-enactment' of the atmosphere without infringing on private ceremonies or families.
• Contextual Storytelling: Our goal is to help collectors visualize how a utilitarian piece-like a Laguna dough bowl-was actually used in a home. Since high-resolution, color photography didn't exist when many of these historic bowls were first used, these images help bridge that gap for the modern eye.
• The Art Remains the Star: We want to be very clear: while the illustrative background might be tech-generated, the artworks we sell are 100% authentic, hand-wrought National Treasures.

We agree with you that nothing beats the soul of a real human moment. We will continue to use AI sparingly and strictly for demonstration, ensuring that the focus remains on the incredible, real-world skill of the Pueblo artists. These National Treasures are, in our opinion, highly undervalued, and we want to do everything we can to show the world the beauty of the life they came from.

The short answer is that they refer to the same sacred beings, but the difference lies in linguistics, respect for cultural preference, and the evolution of how the Hopi language is written.

Here is a breakdown of why you see both terms:

1. The Linguistic Shift (Phonetics)

• Kachina: This is the older, Anglicized spelling that became popular in the late 19th and early 20th centuries. Anthropologists and early collectors wrote it phonetically based on what they thought they heard. The "ch" sound was an approximation of the native pronunciation.

• Katsina (plural: Katsinam): This is the more accurate spelling based on the modern Hopi Dictionary. In the Hopi language, the sound is closer to a "ts" (as in "cats") than a "ch" (as in "church").

2. Cultural Preference

Most contemporary Hopi people and scholars prefer the spelling Katsina. It is seen as a more respectful and accurate representation of their own language. Many galleries and museums (like the Smithsonian) have transitioned to "Katsina" to align with the wishes of the Pueblo communities.

3. The "Three-Fold" Meaning

Regardless of the spelling, the term refers to three distinct but connected things in Pueblo (primarily Hopi and Zuni) culture:

1. The Spiritual Beings: Powerful spirits that bring rain, fertility, and protection. They are the messengers between the people and the Creator.

2. The Masked Dancers: The men in the community who personify these spirits during ceremonies in the plazas and kivas.

3. The Dolls (Tihu): The wooden carvings (traditionally made from cottonwood root) given to children, not as toys, but as educational tools to help them learn about the different spirits.

A Legacy of Stewardship: Treasures from the Collections of Friends

There is a profound sense of responsibility that comes when we are entrusted with the estates of dear friends. These aren't just "items" to us, but they are the physical manifestations of the passion and discerning eyes of people we knew and respected.

A Note on Our Responsibility

To the families who have trusted us with these collections: we thank you. Our goal is not simply to "sell" these items, but to act as stewards, ensuring that every katsina doll, every strand of turquoise, and every vessel finds a home where its history will be told and its beauty respected.

Photography Standards & Digital Integrity

At Adobe Gallery, we have spent 50 years honoring the artistry of the Southwest. Our goal is to translate the physical beauty of an art object — its texture, color, and presence — into a digital format that allows you to collect with confidence from anywhere in the world. We utilize professional studio tools to document our collection and occasionally employ AI to help you visualize an item's scale and character in a home environment.

To achieve this, we follow a rigorous set of standards in our digital presentation:

Technical vs. Contextual Imagery

We provide two distinct types of imagery for our collection:

• Technical Portraits: These are captured in our gallery studio under controlled, neutral lighting. These images are color-corrected using professional software (like Adobe Lightroom, Photoshop and InDesign) to ensure the most accurate representation of the artist's original pigments and natural condition.

• Contextual Visualizations: We occasionally use advanced digital tools, including Artificial Inteligence (AI), to place an object in a "living" environment, such as a studio or a traditional Santa Fe home. These images are intended to help you visualize scale, size, and lifestyle fit. 

• The Science of Color: Why Screens Vary Despite our best efforts, digital images can never perfectly replicate the experience of seeing a piece in person. This is due to several technical factors:

1. RGB vs. Print: Most digital screens use a three-color light system (RGB or RED, Green, Blue), whereas professional printing and the physical world operate on a more complex spectrum using four colors.
2. Screen Calibration: Every device — from a Smartphone to a high-end desktop monitor — is calibrated differently. A turquoise stone may appear more green on one screen and more blue on another.  Because digital screens (RGB) render colors differently than physical light, we provide multiple views to capture each piece's true nuance; however, please note that AI-generated environments are illustrative and may contain minor inaccuracies. The full depth and pigment of these masterworks are best realized in person or within your own home.
3. Lighting Environments: A piece of pottery will look different under the morning sun of a Santa Fe window than it does under the incandescent lights of a gallery. We provide multiple photos in varying light to help illustrate these shifts.

Our Commitment to Transparency and Ethics

To maintain absolute integrity, we never use digital tools to obscure defects or imperfections.The tools we use — whether it is the precision of Adobe Lightroom, Photoshop or InDesign for our layouts or modern visualization software — are employed to enhance your experience as a collector. However, we believe that art is a physical experience. We always encourage collectors to visit the gallery to see a piece "in the flesh" for real-time viewing.

"The true life of a piece is only fully realized when it enters your home and lives in your light."

Gamut Image Source: Getty Images

"Given the widespread popularity of Walt Disney productions, it is not surprising that Taos Pueblo artist Pop Chalee's work has been dismissively labeled as 'Bambi art,' or imitative of the stylized, wide-eyed animals popularized by the Walt Disney Studio. HOWEVER, Pop Chalee first began painting forest images in 1936; the Disney studio did not begin sketches for bambi until 1937, and the film was not released until 1941.

Source: BLOG: NATURE AND CULTURE, FRIDAY, APRIL 27, 2007 (this will take you to another website)

When pottery is referred to as "utilitarian," it often overlooks the pueblo people's perspective. While pottery may serve utilitarian purposes, it holds deeper meanings for the potters. They do not view their vessels as mere utensils. This is evident in the time and effort potters invested in beautifying a water jar, treating each vessel as a sacred gift from Mother Earth.

The use of the terms "prehistoric," "historic," and "utilitarian" is not necessarily wrong or insensitive, provided we understand them as descriptive terms and acknowledge the significance of vessels at the pueblo, beyond their utilitarian function. As collectors, we admire the beauty of a vessel with its elaborate designs and appreciate the effort put into making it so.

From Women and Vessels in The Song of the Lark and Shadows on the Rock

by ANGELA CONRAD

Their pottery was the most direct appeal to water, the envelope and sheath of the precious element itself" (334). Sharon O'Brien explains how during her sojourn in the canyon, Willa Cather, too, "felt herself recipient of a mode of creativity marked by receptivity rather than self-assertion" (415). She was, according to Sergeant, interested in the ancient women who "under conditions of incredible difficulty" had "made beautiful objects for daily use out of riverbottom clay" (O'Brien 415). Thus when Thea's revelation about art hits her, it is closely tied to the idea of women and spirituality:

The stream and the broken pottery: what was art but an effort to make a sheath, a mould in which to imprison for a moment the shining, elusive element which is life itself,-life hurrying past us and running away. . . . The Indian women had held it in their jars. In singing, one made a vessel of one's throat and nostrils and held it on one's breath, caught the stream in a scale of natural intervals. (334-35)

-          Willa Cather The Song of the Lark (1915)

https://cather.unl.edu/scholarship/catherstudies/11/cs011.conrad

The heartline is used primarily by Zuni Pueblo potters and can be seen in many animals – usually a deer, called a Heartline Deer.  The line from the mouth to the heart signifies the "breath of life."

Specifically, the heartline deer motif is an innovation of the 1860-1870 period (see image below). It was previously referred to as an antelope, the meaning of which was provided by John G. Bourke in 1881:

The line running down from the animal's mouth and terminating at its heart may be described as a "prayer." It is a pictographic invocation to the "spirit of the antelope" to incline the hearts of the antelope on earth to put themselves in the way of the Zunis that they may kill them for food. I made careful inquiries upon this point and know that I have obtained the correct explanation.

GROUNDED IN CLAY the spirit of Pueblo Pottery (go there now)

Grounded in Clay is a collaborative exhibit curated by the Pueblo Pottery Collective and organized by the School for Advanced Research and New York's Vilcek Foundation. The School for Advanced Research, a not-for-profit educational institution, was established in 1907 to advance innovative social science and Native American art. Its 15-acre residential campus sits on ancestral lands of the Tewa people in O'gah'poh geh Owingeh or Santa Fe, New Mexico.

anIt is Black Friday but, more importantly, it is Native American Heritage Day, celebrated annually on the day after Thanksgiving, this year November 25, 2022. It is a day we celebrate the lives of our Native American population and, for many of us, a reminder to look at our collections of Native American art, whether it's a collection of pueblo pottery, Navajo textiles, Native jewelry, Hopi Katsina dolls, Zuni fetishes, or many other beautiful and meaningful creations we appreciate today as art objects.

In weaving, the weft (sometimes woof) is the term for the thread or yarn which is drawn through, inserted over-and-under, the lengthwise warp yarns that are held in tension on a frame or loom to create cloth. Warp is the lengthwise or longitudinal thread in a roll, while weft is the transverse thread. A single thread of the weft, crossing the warp, is called a pick. Terms do vary (for instance, in North America, the weft is sometimes referred to as the fill or the filling yarn).  Each individual warp thread in a fabric is called a warp end or end.  The weft is a thread or yarn usually made of spun fibre. The original fibres used were wool, flax or cotton. Today, man-made fibres are often used in weaving. Because the weft does not have to be stretched on a loom in the way that the warp is, it can generally be less strong.  The weft is threaded through the warp using a "shuttle", air jets or "rapier grippers." Hand looms were the original weaver's tool, with the shuttle being threaded through alternately raised warps by hand.  A useful way of remembering which is warp and which is weft is: 'one of them goes from weft to wight'.  -Wikipedia

More specifically:

"All twill weaves are produced by floating the weft elements over more than one warp at a time to create a raised pattern of color and texture. Three twill-weave techniques were used by both Navajo and Pueblo weavers: plain twill forming diagonal floats; herringbone twill, in which the diagonal floats alternate direction to form a vertical zigzag or chevron pattern; and a diamond twill, in which the herringbone patterns are woven in such a manner as to create concentric diamond patterns." Reference: Kaufman, Alice and Christopher Selser. The Navajo Weaving Tradition 1650 to the Present: page 138.

Santa Fe is a small city but has third largest art market in the United States.  

It's easy to be overwhelmed by the art scene in downtown Santa Fe. The small city has over 250 to 350 (depending on who counts) galleries with pieces ranging from classic to contemporary.  One hundred of those galleries are on Canyon Road, including Adobe Gallery.

Follow Elaine Ritchel, a local art guide and owner of Santa Fe Art Tours, to see how to navigate through it all.   Source: CNN

We recommend Santa Fe Art Tours (this will take you to their website) to learn more about its culture and art. It's something you can only achieve by walking and tours are tailored to your preferences.

Mother-daughter artists Pablita Velarde and Helen Hardin drew from the traditions and imagery of their cultures in the expression of their distinctive yet similar works. At least 19 original paintings from the renowned painters are on view through April 30 at Adobe Gallery in Santa Fe, New Mexico, a celebration of the wide range of styles that the artists employed during their careers.

Velarde (1918-2006), born as “Tse Tsan” or “Golden Dawn” at the Santa Clara Pueblo in New Mexico, was known for her earth paintings. She used mineral and rock elements grounded on a metate and mano, resulting in a powdery substance that was the matter used in her paints. Velarde painted almost exclusively on paper supports, using watercolor and casein in addition to earth pigments, according to the gallery. For years, she worked in a studio she built herself, primarly with pigments she made herself.

Hardin (1943-1984), known as “Tsa-Sah-Wee-Eh” or “Little Standing Spruce,” in the Tewa language, was one of the pre-eminent painters of the 20th century. She saw her style emerge in the 1970s with katsina figure paintings. Her Woman Series works are considered deeply affective and concerned with the physical and intellectual struggle of the artist’s existence. As the gallery describes further, it is “the struggle of woman versus man, patron versus artist, Indian versus Anglo, tradition versus progression, an art of complexity and timeless beauty, a forward looking art yet rooted firmly in the ancient past.”

Al Anthony, owner of Adobe Gallery, says Hardin’s Santo Domingo Garden Bird represents the bird figure that the Santo Domingo artists place on their pottery. “I think maybe Helen just liked it and chose to use it,” he elaborates. “Acoma paint parrots on some of their pots. A lot of artists have reproduced the Acoma parrot.”

Remarkably different in style, Velarde’s Zuni Shalako Ceremony Witnessed by a Santa Clara Artist shows a view of the namesake Zuni ceremony occurring during the first week of December. A written description from the Ball State University website explains the process of preparing for Shalako: “The participants have been practicing all year to perform their duties; seven new houses have been built to welcome the Shalakos (the Giant Couriers of the Rainmakers) and the Longhorns (Rain Gods of the North), and an enormous amount of food is prepared for both residents and visitors. Shalako brings the old year to a close and welcomes the new year, and asks for rain, the propagation of plants and animals, and the health and well-being of its participants. It is also a re-enactment of various important tribal myths.”

Anthony describes it as an all-night, eight-day ceremony, with a public portion in the last day.

“It is basically the blessing of new homes, or remodeled homes,” he continues. “There are usually about four Shalakos, they are representing Gods. They are supernaturals. They are about 10 feet tall. When they build a new house, before they finish it, they leave the living room, or the one big room. They dig the floor down about 4 feet from ground level...They have to do that in order to accommodate their height.”

Anthony continues, “The next morning around sunrise, they have a race down the river. If one of them falls, they figure that is an omen of a disaster for the year. They’re human inside, holding up these 10-foottall structures.”

Ann Marshall, director of curation and education at the Heard Museum in Phoenix, remarks that the work of both artists “demonstrates a joy in experimenting with media and style. It is a quality of the best artists that they refuse to repeat a successful formula, but move on to explore new ways to express their vision.”

As seen in: 

Native American Art, April-May 2016

(download for free here)

Legendary Hopi matriarch Nampeyo of Hano used designs created by her prehistoric ancestors to bring Hopi pottery to the masses in the early 1900s. Today, Hopi potters like Mark Tahbo use Nampeyo's designs as inspiration for their new works. This exhibit, which features works by both of these potters and many others who produced between them, will showcase the ways that today's artists continue to be influenced by those of yesteryear....

View this Special Exhbit Now

2017 Show Catalog: A Century of Hopi-Tewa Pottery: From Nampeyo of Hano to Mark Tahbo

A Century of Hopi-Tewa Pottery Catalog (free download and view now)