Attending a seminar, entitled Tres Culturas, allowed me to explore the history, diversity, and artistic heritage of New Mexico’s Native American, Hispanic, and Anglo cultures. Through this experience, I was able to better understand the ways in which these cultures are forever intertwined (the good, along with the bad and the ugly…) and how the art produced then and now is a reflection of these relationships and circumstances. This experience supports the general approach that I take when teaching art, which is to ask students to consider culture as a driving force for artists; it is through contextual understanding of time and place that we can better know why art is the way that it is at any point in history. Further, this type of cultural exploration encourages tolerance and discourages prejudice, helping to deepen awareness of self and of the human condition (which art documents).
Left: A Tres Culturas statue at El Santuario, Chimayo, NM
The (very) full days were packed with informative and educational activities in and around the Santa Fe area. While I can’t possibly explain it all, I will list the daily itinerary (with active links, if reading this as a PDF) (and brief commentary) and highlight just a few of the experiences that were of notable impact.
Day 1: After a general introduction of the tres culturas, a talk by John Reyna, member of the Taos Pueblo (what a special person with such a powerful story of his people, one that history classes do not always tell); New Mexico Capitol Art Collection (an amazing collection that makes visible the importance that New Mexico’s government places on the value of art and artists); Georgia O’Keeffe Museum (I’ve always loved her work and this museum helped me to learn even more about this very strong and influential woman; I was especially interested in learning about the art teachers who most influenced her - and why/how - did you know that she studied at UVA for a bit?)
Day 2: El Rancho de las Golondrinas (a living history museum - think Colonial Williamsburg but at 7,000 ft above sea level!); Museum Hill: Museum of Indian Arts and Culture and the Museum of International Folk Art (both of these museums are INCREDIBLE - and they remind me, again, of the importance of museums - and the people whose collections turn into museums; the former is exhibiting pottery that was once in the possession of the Smithsonian but is now being returned to the rightful Pueblo owners)
Day 3: Petroglyph National Monument (the images made on the rocks are awe-inspiring connections to an ancient past but also remind us of the deep and sacred connection to the earth that continues in the descendants of native peoples); Indian Pueblo Cultural Center (there is so much that I didn’t know I didn’t know…); Maxwell Museum of Anthropology (UNM) (in addition to the interesting and educational anthropological history exhibits, I was WOWED by “Six Thousand Years of Chinese Ceramics” - sure, not one of the cultures that we were focused on yet another reminder of just how important art is to understanding global history)
Day 4: Georgia O’Keeffe’s house in Abiquiu (how amazing to stand where she stood and to look at the same views that she made famous in her paintings); Poeh Cultural Center and the Roxanne Swentzell Tower Gallery (another walk through Native American History and then learning about a contemporary artist whose native roots and experience give her work depth and meaning that can often get lost in our “modern” world); visit to the studio of abstract artist, Carol Miraben (her “strata” series was especially impactful, given the desert landscape and the many possible metaphors; also of interest were her insights on being a working artist who navigates the disconnect between personal and commercial production)
Day 5: Coe Foundation (“Ted” Coe just started collecting things; collectors are as important as artists -without them, we would lose opportunities to connect with the work that artists make…but the act of collecting should be respectful of the people whose work is being collected); home visit/traditional lunch at the Santo Domingo Pueblo (the host family made all the food in traditional ways, including the bread, which was cooked in the “horno”; exhausting work that is done the same way it has been done for centuries - because…. tradition); Meow Wolf (holy cow - how do I explain this fully immersive art experience that brings a narrative to life with visual and audio polyphony, live music, performative experiences and interactivity; it’s beyond words, you just have to experience it yourself - at least check out the website)
Before and after Days 1 - 5: In addition to the structured itinerary, I was able to take part in additional opportunities on my own, just by being there and by having my eyes/mind open to the experience. Being present in the region - with its magnificent geology, was pure joy. Not only did I escape the Richmond humidity but I had my mind blown by the majesty of the landscape and the *attempted* comprehension of exactly how it got that way.
Above: Miles and miles and miles of geological wonder - and to imagine how the native peoples lived in such harmony with this harsh environment - and how their artistic production was an interpretation of and necessity for this sustaining relationship. West of the Rio Grande river, Albuquerque, NM.
Above: When Georgia O’Keeffe looked out her studio window, this is what she saw. It was incredible to stand in this exact spot! While her artistic interpretations took an abstract approach (or did they?) they were no less connected to this place. Abiquiu, northwest of Santa Fe, NM.
Maria Martinez and Jaune Quick-to-See Smith remain two of my favorite Native American artists and I was thrilled to experience their work firsthand. Additionally, I now have a longer list of artists to admire and to highlight in my curriculum - as well as a more comprehensive understanding of traditional and contemporary Native American and Hispanic art in general.
Below/left: When I entered the gallery, awestruck at the Maria Martinez pottery on display, the owner asked, “would you like to hold one?” Um….YES, PLEASE! Below/right: me, very happily standing by a beautiful lithograph by Jaune Quick-to-See Smith
Below/left: I can’t express how special it was to meet this wonderful lady - Peregrina “Peggy” Garcia is from the Santo Domingo Pueblo and she embodies the beauty, spirit, and traditions of Native American people. In just a few, short moments she offered me life-wisdom that I will hold dear to my heart, always. Below/right: These images can still speak, if you are willing to listen…
I realize that this letter barely scratches the surface and, truthfully, it will take me quite some time to process all that I have experienced - and to devise ways to most effectively incorporate it into my curriculum. To that end, I plan to start building a page on my website, in order to organize the myriad information, images, and resources that I have collected. I anticipate that I will be working on this throughout the school year and far beyond but I have already brainstormed some start-of-the-year activities inspired by what I learned on this trip.
Again, I sincerely thank you for this amazing opportunity.
Kori Mosley
Art I, II, III, Art Club/NAHS
Maggie L. Walker Governor's School
1000 N. Lombardy St.
Richmond, VA 23220
kmosley@gsgis.k12.va.us
http://www.mosleyart.com/
Left: A Tres Culturas statue at El Santuario, Chimayo, NM
The (very) full days were packed with informative and educational activities in and around the Santa Fe area. While I can’t possibly explain it all, I will list the daily itinerary (with active links, if reading this as a PDF) (and brief commentary) and highlight just a few of the experiences that were of notable impact.
Day 1: After a general introduction of the tres culturas, a talk by John Reyna, member of the Taos Pueblo (what a special person with such a powerful story of his people, one that history classes do not always tell); New Mexico Capitol Art Collection (an amazing collection that makes visible the importance that New Mexico’s government places on the value of art and artists); Georgia O’Keeffe Museum (I’ve always loved her work and this museum helped me to learn even more about this very strong and influential woman; I was especially interested in learning about the art teachers who most influenced her - and why/how - did you know that she studied at UVA for a bit?)
Day 2: El Rancho de las Golondrinas (a living history museum - think Colonial Williamsburg but at 7,000 ft above sea level!); Museum Hill: Museum of Indian Arts and Culture and the Museum of International Folk Art (both of these museums are INCREDIBLE - and they remind me, again, of the importance of museums - and the people whose collections turn into museums; the former is exhibiting pottery that was once in the possession of the Smithsonian but is now being returned to the rightful Pueblo owners)
Day 3: Petroglyph National Monument (the images made on the rocks are awe-inspiring connections to an ancient past but also remind us of the deep and sacred connection to the earth that continues in the descendants of native peoples); Indian Pueblo Cultural Center (there is so much that I didn’t know I didn’t know…); Maxwell Museum of Anthropology (UNM) (in addition to the interesting and educational anthropological history exhibits, I was WOWED by “Six Thousand Years of Chinese Ceramics” - sure, not one of the cultures that we were focused on yet another reminder of just how important art is to understanding global history)
Day 4: Georgia O’Keeffe’s house in Abiquiu (how amazing to stand where she stood and to look at the same views that she made famous in her paintings); Poeh Cultural Center and the Roxanne Swentzell Tower Gallery (another walk through Native American History and then learning about a contemporary artist whose native roots and experience give her work depth and meaning that can often get lost in our “modern” world); visit to the studio of abstract artist, Carol Miraben (her “strata” series was especially impactful, given the desert landscape and the many possible metaphors; also of interest were her insights on being a working artist who navigates the disconnect between personal and commercial production)
Day 5: Coe Foundation (“Ted” Coe just started collecting things; collectors are as important as artists -without them, we would lose opportunities to connect with the work that artists make…but the act of collecting should be respectful of the people whose work is being collected); home visit/traditional lunch at the Santo Domingo Pueblo (the host family made all the food in traditional ways, including the bread, which was cooked in the “horno”; exhausting work that is done the same way it has been done for centuries - because…. tradition); Meow Wolf (holy cow - how do I explain this fully immersive art experience that brings a narrative to life with visual and audio polyphony, live music, performative experiences and interactivity; it’s beyond words, you just have to experience it yourself - at least check out the website)
Before and after Days 1 - 5: In addition to the structured itinerary, I was able to take part in additional opportunities on my own, just by being there and by having my eyes/mind open to the experience. Being present in the region - with its magnificent geology, was pure joy. Not only did I escape the Richmond humidity but I had my mind blown by the majesty of the landscape and the *attempted* comprehension of exactly how it got that way.
Above: Miles and miles and miles of geological wonder - and to imagine how the native peoples lived in such harmony with this harsh environment - and how their artistic production was an interpretation of and necessity for this sustaining relationship. West of the Rio Grande river, Albuquerque, NM.
Above: When Georgia O’Keeffe looked out her studio window, this is what she saw. It was incredible to stand in this exact spot! While her artistic interpretations took an abstract approach (or did they?) they were no less connected to this place. Abiquiu, northwest of Santa Fe, NM.
Maria Martinez and Jaune Quick-to-See Smith remain two of my favorite Native American artists and I was thrilled to experience their work firsthand. Additionally, I now have a longer list of artists to admire and to highlight in my curriculum - as well as a more comprehensive understanding of traditional and contemporary Native American and Hispanic art in general.
Below/left: When I entered the gallery, awestruck at the Maria Martinez pottery on display, the owner asked, “would you like to hold one?” Um….YES, PLEASE! Below/right: me, very happily standing by a beautiful lithograph by Jaune Quick-to-See Smith
Below/left: I can’t express how special it was to meet this wonderful lady - Peregrina “Peggy” Garcia is from the Santo Domingo Pueblo and she embodies the beauty, spirit, and traditions of Native American people. In just a few, short moments she offered me life-wisdom that I will hold dear to my heart, always. Below/right: These images can still speak, if you are willing to listen…
I realize that this letter barely scratches the surface and, truthfully, it will take me quite some time to process all that I have experienced - and to devise ways to most effectively incorporate it into my curriculum. To that end, I plan to start building a page on my website, in order to organize the myriad information, images, and resources that I have collected. I anticipate that I will be working on this throughout the school year and far beyond but I have already brainstormed some start-of-the-year activities inspired by what I learned on this trip.
Again, I sincerely thank you for this amazing opportunity.
Kori Mosley
Art I, II, III, Art Club/NAHS
Maggie L. Walker Governor's School
1000 N. Lombardy St.
Richmond, VA 23220
kmosley@gsgis.k12.va.us
http://www.mosleyart.com/
