A PASSAGE TO INDIA: 2008

Top 13 Native American Art Events in early 2009

A Welcome Letter From Washington, D.C.

While the letter, from the Federal Trade Commission, U. S. Department of the Interior, was addressed to "Dear Sir or Madam," we considered the letter quite formal. We also considered it good news.

It announced that the FTC is working with Indian Arts and Crafts Board to enforce provisions of the Indian Arts and Crafts Act.

We received the letter because the FTC found our web sites – all four of them apparently – on the Internet. That’s good news.

The letter was to remind us – and others we presume – that items offered for sale as American Indian-made or Alaska Native-made must have been made in fact, by Native American Indians or Alaskan Natives.

The letter goes on to state, “…it is illegal to offer or display for sale, or sell any art or craft product in a manner that falsely suggests it is Indian produced , an Indian product or the product of a particular Indian tribe. Under the Act, Indian is defined as a member of a federally or officially State recognized Tribe, or as a formally certified non-member Indian artisan of the federally or officially State recognized Tribe of their descent.”

The Federal Trade Commission Act also prohibits “unfair or deceptive acts or practices in commerce.” Enforcement actions have been brought against “persons and businesses selling art works through false representations about artists, about authenticity of the works, or about the investment attributes of the art work.”

We applaud this newly aggressive approach to protecting buyers and discouraging fraudulent sellers. As dealers who always have refused to sell items that we cannot verify as Indian or Alaskan made without specifying that they are NOT Native-made, we are happy to see the Feds actively doing their duty.

An environment in which buyers and collectors can trust that the people who sell to them are telling the truth and promising the reality about art as an investment is good for everyone.

That being true, it is also true that frauds and charlatans will continue to try to cheat the law and their customers. It is up to all of us to call them out. If you purchase an item under what you consider to have been false premises, let the seller know. It may simply be a mistake. If it is, any legitimate dealer will refund your money, and relabel the item correctly.

If you see this behavior repeated, however, please contact the FTC so that the perpetrators may be prosecuted, and their fraudulent activities ended.

More information about the Indian Arts and Crafts Act can be obtained at www.IACB.DOI.gov. The website also has a down-loadable brochure guide, “How to Buy Genuine American Indian Arts and Crafts.”

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This message is brought to you by Aboriginals: Art of the First Person, with web sites at Native-JewelryLink, Native-PotteryLink, TribalWorks and ZuniLink, where you can trust that you are buying the real thing.

Vintage Seminole doll collection in Seminole basket

New Wilson Romero Cochiti carved Nativity Set

Honoring All Warriors - Renninger's Mt Dora

Cape Coral Florida Native American Art Gathering

Eiteljorg Museum Acquires Multi-Million-Dollar Art Collection

Indianapolis - December 15, 2008

The Eiteljorg Museum of American Indians and Western Art has announced the gift of the Helen Cox Kersting Collection of Southwestern Cultural Arts, a multi-million-dollar collection of nearly 800 objects, including the best of Southwestern pottery, jewelry and other objects. The collection will be the basis of a forthcoming book and an exhibition in 2010. “It is difficult to overstate the significance of this collection to the field of Native American art and specifically to the Eiteljorg Museum. The Helen Cox Kersting Collection is profoundly important to both,” says John Vanausdall, president and CEO, Eiteljorg Museum. “This stunning group of objects will expand the breadth and depth of the Eiteljorg’s holdings of Southwest materials to a dramatic degree and will enrich the museum visitor’s experience for generations to come. We are grateful for Helen’s generosity, and her trust in the Eiteljorg Museum to be the steward of her life’s work and passion.” Helen Cox Kersting and her collection: Helen Kersting is a native of Belleville, Illinois and a graduate of the Millikin University School of Music (Decatur, Illinois) and attended the Juilliard School of Music (New York City) debuting with the New York Philharmonic Orchestra conducted by Leonard Bernstein. A mezzo soprano, she went to the Cologne, Germany Opera on a four-year contract, met and married Dr. Hans Joachim Kersting and resided in Cologne until her husband’s death in 1999. Kersting is a devoted collector of the best of Southwestern pottery, jewelry, weavings, baskets and other Native American objects. She began collecting as a child, on travels to the American West with her parents. Throughout her life, she has developed knowledge and a strong sense of connoisseurship The Kersting jewelry collection of over 300 items includes belts, boxes, rings, bracelets, necklaces, pins, earrings, bolo ties, hair pins and cufflinks. There are pieces older than the use of artist signatures or hallmarks whose origins are still being researched. Zuni examples by master artists Leo Poblano, Leekya, John Gordon Leak and Dan Simplicio are notable. Many of these examples came originally from the historical collection of trader C. G. Wallace. Among the great jewelers represented in the collection are Charles Loloma, Carl Clark, Vernon Haskie, Denise Wallace, and many others. Elegant silver and turquoise examples abound and there are many high art pieces in silver and gold with opal, coral, diamonds, and other materials. Kersting has been very focused in the creation of her pottery collection of nearly 400 items. A number of prehistoric coiled jars came from her parent’s acquisitions of the 1920s and 1930s, along with quite a few baskets. Historic period San Ildefonso, Santa Clara, Zuni, Zia, Santo Domingo, Cochiti and Maricopa pieces ad significantly to the Eiteljorg collection. While the Eiteljorg has a few pots by Maria Martinez of San Ildefonso, the Kersting collection includes an expansive grouping of Maria’s work in different forms and colors, several with her potter son Popovi Da. Kersting has systematically collected the work of extended families of potters and the list of major pieces reads like a blue book of Southwestern potters. Included are Sarafina, Nampeyo of Hano, Paqua Najo, Gloria Kahe, Les Namingha, Rainy Naja, Dora TsePe, Mary Cain, Margaret Tafoya, Tammy Garcia, Autumn Borts, Daisy Hooey Nampeyo, Steve Lucas, Sharon Naranjo Garcia, Joy Navasie, Jacob Koopee, Helen Cordero, Virgil and Inez Ortiz, Desideria, Tonita Roybal, Susan Folwell, Grace Medicine Flower, Nathan Youngblood, Nancy Youngblood, Roxanne Swentzell, Rondina Huma, Tony Da, Jody Naranjo, Carmelita and Carlos Dunlap and many others. Kersting, who currently lives in Arizona, says, “I have pursued my search for the final custodianship of my cherished Native American collection for a couple of years. The objects always meant very much to my late husband and me. I’d like to tell you of the extraordinary generosity of my German engineer, in whose memory I gift this collection, of his willingness to fly to the US almost every vacation, of spending large sums of money for the acquisition of things originally outside his European and even technical sphere. It is no wonder this intimacy of collecting-devotion earns a special future where it can demonstrate it character and content and be a learning tool of Native Art history for years to come. Simply, I felt and feel all of my hopes could be fulfilled by the Eiteljorg with its vigorous ‘young museum’ mentality.” The acquisition of the Kersting collection represents a watershed moment as the Eiteljorg Museum celebrates its 20th anniversary in 2009 and looks toward the future. Says James Nottage, Eiteljorg Museum vice president and chief curatorial officer, “What makes the Kersting collection so valuable and unique is “that it demonstrates both tradition and innovation in Southwestern native arts by providing important examples from multiple generations of individual families of artists. Through their magnificent work we gain better understanding of how their tribal cultures have survived and thrived.” President John Vanausdall adds, “With acquisition of the Kersting Collection, the museum will devote more energy to collecting and interpreting traditional contemporary arts of Native North America. Through artist in residence programs and our annual Indian Market and Festival, we are bringing living traditions to the museum. As a result of Helen Kersting’s generosity, we can present objects that bear testimony to on-going and developing traditions.” The Eiteljorg Museum of American Indians and Western Art seeks to inspire an appreciation and understanding of the art, history and cultures of the American West and the indigenous peoples of North America. The museum, which opened in 1989, is located in Downtown Indianapolis’ White River State Park. For general information about the museum and to learn more about exhibits and events, call (317) 636-WEST (9378) or visit www.eiteljorg.org.

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Brought to you by Aboriginals: Art of the First Person, and websites at ZuniLink, Native-JewelryLink, and Native-PotteryLink.

How and why Native American Nativity Sets have a place in the home and the heart.

Historical Use of Zuni Fetishes

This guest post was written by Zoe Lancaster, a writer and analyst for MBA Admission Essay BlogWith the increasing interest in Zuni crafts, particularly Zuni fetishes, perhaps it's just right to delve on the roots of these masterpieces before they became collectibles. And it's interesting to note that these historical uses of Zuni fetishes have modern followers. Traditional background Traditionally, fetishes were found items, not crafted objects. The Zuni people believed that these stones were spiritual manifestations of the animals they resembled. As such, these fetishes contained the powers and characteristics of these animals. These fetishes were not worshiped as idols, as some early missionaries thought. In fact, these items were merely messengers to the gods and spirits. They assisted in the Zunis' communication with the divine. This can be likened to praying or meditation, wherein channels are used for clearer and more effective spiritual conversation. Using Zuni fetishes To begin to use fetishes, the item can be held by the hands. These can also be placed in front. Prayer and meditation begins. The person needs to keep in mind the intrinsic qualities of the animal symbols before him or her. This is the best way to channel the fetish's most powerful qualities. As Tom Bahti, renowned anthropologist, puts it, they are used to "assist man, that most vulnerable of all living creatures, in meeting the problems that face him during his life. Each fetish contains a living power which, if treated properly and with veneration, will give its help to its owner." Within the web of life Among the different animal fetishes, the holiest are those that have the least relation to man. Say, for example, one has dog and snake fetishes. The snake fetish is deemed more holy because of its distance from man. The dog, on the contrary, lives with man and is therefore closer to man than the divine. Of all animal fetishes, perhaps it is the bear, which is the most valued mediator between man and the divine. This stems from the physical attribute of the animal, as it closely resembles man. At the same time, it is distant to man, and survives life closer to the divine because of its mystery and power. Because of these two traits, tradition values the bear fetish as one of the best channels between man and the gods. When carving fetishes began When the tradition of carving fetishes began, this was first deemed as less powerful than found fetishes. Of these carved items, those done by people who have special wisdom of the healing and spiritual powers of fetishes were said to have greater powers. The sizes of fetishes vary; although typically, one can find them in lengths between three and twelve inches. Each of these carved crafts is a manifestation of the animals they represent. They may have heads of humans, serpents and other animals. Its legs and arms can either be etched or carved. The body of these crafts is made of either stone, clay, shell or bones. Other materials can be used, although these are more seldom. They are made more potent by etchings and symbols on the fetish or the jars they inhabit. Regardless of the owner's background, Zuni fetishes must be cared for and valued as they traditionally deserve. Many Zunis and even outsiders still believe that these crafts are ways toward spiritual upliftment. These traditions should be respected, if not practiced.~~~~~~~~~~~~~Thank you to our guest blogger, Zoe Alexander, for her excellent explanation of Zuni fetish carvings and their relation to owners. William Ernest and Susanne Waites, proprietors of ZuniLink.com Here's an example of a typical crafted Zuni bear fetish carving:

Tribal Art Events in 2009

Our Glass Corn Maiden by Ira Lujan

The Tribal Eye

Avoid Online Scams When You're Shopping for the Holidays

"Every year we see staggering new statistics about how many people are buying gifts online instead of braving traffic, long lines, and parking nightmares at brick-and-mortar stores. During the holidays, many online retailers will also offer breaks on shipping costs—so the advantages of less physical hassle, no sales tax, and potentially free or cheap shipping make online shopping pretty appealing. However, the risks involved in online shopping are persistent as ever. Here are a few key ways you can protect yourself.

1. Use a virtual account number. This is a service that most credit cards now offer. Here's how it works: Log onto your credit card account and with one click you can generate a random credit card number that makes it virtually impossible for anyone to steal your account number while shopping online. When your virtual number is generated, simply enter it into the merchant's form and complete your purchase without revealing your actual card number. This virtual credit card number is only valid for a short period of time-long enough for the retailer to process your transaction, which will be charged to your real credit card account. But if a retailer stores that number and a hacker later breaks into their system, the number will be useless. Please note: Virtual account numbers cannot be used for purchases that require you to show your credit card at time of pick-up (e.g., movie tickets, etc.), because the account numbers will not match.

2. Make sure you're shopping on a secure site. Look for the padlock icon or a URL that starts with https://. That means your transaction is encrypted.

3. Don't trust emails from "retailers" claiming you need to verify your credit card information. This is almost certainly a scam. Every year millions of emails go out from hackers pretending to be eBay or PayPal customer service and asking consumers to provide information that the actual service already possesses. If you're worried that a retailer really has failed to process your order, go to the site and look up your account or contact their customer service center—don't click on a link in email that could redirect to a dummy site."

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Aboriginals: Art of the First Person brings you this message in anticipation of the Christmas season, as the owners of online sites that offer Native American carvings (ZuniLink), Native American Indian jewelry (Native-JewelryLink), pueblo pottery (Native-PotteryLink) and African, Australian and Arctic tribal art (TribalWorks). We guaranteed both the authenticity of and your satisfaction with any item purchased from our websites. We have been involved in tribal art collecting and selling for 30 years. We welcome your orders via our secure (https) order form.

Australia, the film, debuts.

ZuniLink offers free shipping to military addresses

A monumental chorus of Zuni corn maidens

Ira Lujan blows.........glass

This is Florida. This is living.

Emery Boone, Zuni fetish carver, joins our inventory

Discover the Inuit Art Society

Tribal Artery has been added to blogburst

Australian Aboriginal Art and Tourism - a good-bad fit

News from the world of tribal art from William Ernest and Susanne Waites, proprietors of TribalWorks, a website created by Aboriginals: Art of the First Person Gallery. As someone who has had deep experience in, and deep affection for, both Aboriginal Art and tourism promotion, I was struck by a recent article from the Australia's Herald Sun.It seems a.) that Tourism Australia has launched a new television campaign, to the tune of AU$40 million, promoting travel to Australia by promoting the uniqueness of Aboriginal culture and the rejuvenating effect of experiencing it - or at least, the outback in which it is created, and b.) at least one self-appointed critic has decided to mock it.I have not seen the commercials, which were directed by the same Baz Luhrman who has directed the new feature flick, Australia, starring Nicole Kidman and Hugh Jackman.Such credentials should suggest a cinematic tour de force. And perhaps they will be.The critic, however, takes Tourism Australia to task for using subject material that is obscure and remote. "Obscure" in that the settings for the commercial are parts of Australia that very few people have or ever will visit, comparatively speaking. "Remote" in that these places are very difficult to reach. No easy transportation will take you there from any major Australian port of arrival.Now, I have lived in Australia, not in the outback but in a city every bit as cosmopolitan as cities anywhere in the world. I have traveled to the outback. More than once. It is a fascinating place. Although, it actually is so vast it is several places.Getting there was anything but convenient.I made the trip with Sue because of our pre-existing interest in Aboriginal art. Other than Ayers Rock (ULURU), a geologic oddity that has its own touristic attraction, I doubt that we would have traveled to many, if any of the outback locations, on a holiday. Even more doubtful that it would have been a destination we would have entertained for a holiday if we were not living in Australia.On the one hand, I applaud an effort that promotes awareness and appreciation of this unique culture and its stimulating art products. I hope more people get to know about Australian Aboriginal art and the beautiful, talented people who create it. As an investment in cultural awareness, it certainly can be justified.On the other hand, as a tourism professional, I know what attracts visitors in large numbers. I am afraid that it is not the esoterica of remote out-lands and unknown cultures. Some people will be attracted by having their eyes opened to this different world. But enough to provide an ROI on AU$40 million? Doubtful.Seems to me that this is a exercise in touristic self-indulgence and "look-at-how-enlightened-we-are" national expression. Perhaps, it is a form of emotional reparations for the years during which the European invaders of Australia abused the native population.But, if the idea is to get more people to visit Australia, I share the critic' s opinion that the tried-and-true attractions of beaches, urban attractions, scenery and travel that is not quite so challenging - as offered by Crocodile Dundee (aka Paul Hogan) - are likely to be more fruitful.That aside, I am be pleased that Australian taxpayers are spending their funds to promote Australian Aboriginal art - if only by association.It should be good for all of us who already know the art and love it enough to seek it out for its own sake.

A PASSAGE TO INDIA

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