CURRENT MOON

Sunday, May 29, 2016

Red Overtone Dragon/ Red Solar Skywalker - Spectral Serpent Moon of Liberation, Day 28





Genesis, 1993, Jaune Quick-to-See Smith.  




Jaune Quick–to–See Smith (born 1940) is a Native American contemporary artist. Her work is held in the collections of the National Museum of Women in the Arts, the Smithsonian American Art Museum, the Whitney Museum of American Art, and Museum of Modern Art in New York City.

Born January 15, 1940 in St. Ignatius, a small town on the Flathead Reservation on the Confederated Salish and Kootenai Indian Reservation, Montana, Jaune Quick–to–See Smith is an internationally renowned painter, print maker and artist. Her first name comes from the French word for "yellow" (jaune), from her French-Cree ancestry. Her middle name "Quick-to-See" was given by her Shoshone grandmother as a sign of her ability to grasp things readily.

She earned a BA in Art Education from Framingham State College, Massachusetts, and an MA in Art from the University of New Mexico. Smith has been awarded four honorary doctorates from Minneapolis College of Art and Design, Pennsylvania Academy of the Arts, Massachusetts College of Art and the University of New Mexico. In 2015 she received an honorary degree in Native American Studies from Salish Kootanai College, Pablo, MT.

Smith has been creating complicated abstract paintings and lithographs since the 1970s. She employs a wide variety of media, working in painting, printmaking and richly textured mixed media pieces. Such images and collage elements as commercial slogans, sign-like petroglyphs, rough drawing, and the inclusion and layering of text are unusually intersected into a complex vision created out of the artist’s personal experience. Her works contain strong, insistent socio-political commentary that speaks to past and present cultural appropriation and abuse, while identifying the continued significance of the Native American peoples. She addresses today’s tribal politics, human rights and environmental issues with humor.

A guest lecturer at over 185 universities, museums and conferences around the world, Smith has also shown her work in over 100 solo exhibitions. Her work has been reviewed by The New York Times, Art News, Art In America, Art Forum, The New Art Examiner and many other notable publications. She also organizes and curates numerous Native American exhibitions and serves as an activist and spokesperson for contemporary Native art. She is included in many private and public international collections, including The Whitney Museum of American Art, The Museum of Mankind, Vienna, Austria; The Museum of Modern Art, Quito, Ecuador; the Smithsonian American Art Museum, the National Museum of Women in the Arts, and The Museum of Modern Art, NY. Smith’s work is included in many important museum collections: Museum of Modern Art, NY, NY; Whitney Museum of American Art, NY, NY; Metropolitan Museum of Art, NY, NY; Brooklyn Museum, NY; Smithsonian Museum of American Art, Washington, DC; the Walker Art Center, Minneapolis, MN; New Mexico Museum of Art, Santa Fe; Victoria and Albert Museum, London; Museum for World Cultures, Frankfurt, Germany and Museum for Ethnology, Berlin.

Among other honors, she has received the Joan Mitchell Foundation Painters Grant, a Lifetime Achievement Award from the Women's Caucus for the Arts, the College Art Association’s Committee on Women in the Arts Award, the 2005 New Mexico Governor’s Outstanding New Mexico Woman’s Award, and the 2005 New Mexico Governor’s Award for Excellence in the Arts (Allan Houser Award). Smith also has been admitted to the New Mexico Women’s Hall of Fame.

Her collaborative public artworks include the terrazzo floor design in the Great Hall of the Denver Airport; an in-situ sculpture piece in Yerba Buena Gardens, San Francisco; and a mile-long sidewalk history trail in West Seattle,

Recent awards include a grant from the Joan Mitchell Foundation to archive her work; the 2011 Art Table Artist Award; Moore College of Art & Design, PA, Visionary Woman Award for 2011; Induction into the National Academy of Art 2011; Living Artist of Distinction, Georgia O'Keeffe Museum, NM, 2012; the Switzer Distinguished Artist Award for 2012, and the Woodson Foundation, Lifetime Achievement Award in 2014. Smith also holds honorary doctorates from the Pennsylvania Academy of the Arts, the Minneapolis College of Art and Design, Massachusetts College of Art and Design and the University of New Mexico. In 2015 she received an honorary degree in Native American Studies from Salish Kootanai College, Pablo, MT.

Recent solo exhibitions include: 2015: "Art After the Drought" at the Museum of Texas Tech University in Lubbock, TX; 2014: "Water and War" at the The Bernstein Gallery in The Woodrow Wilson School of Princeton University. "Artists and Arts Workers" in the Robert E. Elberson Fine Arts Center at Salem College, and an exhibit at the Maudeville Art Gallery at Union College in Schenectady, NY. 2013: "Water and War" at the Accola Griefen Gallery in New York City.




IMIX



Kin 161: Red Overtone Dragon


I empower in order to nurture
Commanding being
I seal the input of birth
With the overtone tone of radiance
I am guided by the power of universal water.



Through the Cube, imaginal and phenomenal planes of reality are joined into a unified whole.*



*Star Traveler's 13 Moon Almanac of Synchronicity, Galactic Research Institute, Law of Time Press, Ashland, Oregon, 2015-2016.







The Sacred Tzolk'in 





Anahata Chakra (Silio Plasma)





Saturday, May 28, 2016

Yellow Self-Existing Sun/ Yellow Galactic Human - Spectral Serpent Moon of Liberation, Day 27







"Creative Hands", Pablita Velarde, 1976. 



Pablita Velarde (September 19, 1918 – January 12, 2006) born Tse Tsan (Tewa, "Golden Dawn") was an American painter.  Velarde was born on Santa Clara Pueblo near Española, New Mexico. After the death of her mother when Pablita was about five years old, she and two of her sisters were sent to St. Catherine's Indian School in Santa Fe. At the age of fourteen, she was accepted to Dorothy Dunn's Santa Fe Studio Art School at the Santa Fe Indian School. There, she become an accomplished painter in the Dunn style, known as "flat painting".

Her early paintings were exclusively watercolors, but later in life she learned how to prepare paints from natural pigments (a process similar to, but not the same as fresco secco). She used these paints to produce what she called "earth paintings". She obtained the pigments from minerals and rocks, which she ground on a metate and mano until the result was a powdery substance from which she made her paints.

In 1939, Velarde was commissioned by the National Park Service under a grant from the Works Progress Administration (WPA) to depict scenes of traditional Pueblo life for visitors to the Bandelier National Monument.

Following her work at Bandelier, Velarde went on to become one of the most accomplished Native American painters of her generation, with solo exhibitions throughout the United States, including her native New Mexico, as well as Florida and California. In 1953, she was the first woman to receive the Grand Purchase Award at the Philbrook Museum of Art’s Annual Exhibition of Contemporary Indian Painting. In 1954 the French government honored her with the Palmes Académiques for excellence in art.

In a 1979 interview she said, "Painting was not considered women's work in my time. A woman was supposed to be just a woman, like a housewife and a mother and chief cook. Those were things I wasn't interested in."

Velarde's work is exhibited in public and private collections including the Museum of New Mexico, the Bandelier National Monument museum, the Museum of Indian Arts and Culture, in Santa Fe, the Avery Collection at the Arizona State Museum, the Ruth and Charles Elkus Collection of Native American Art, and in the Smithsonian National Museum of Natural History.

In February 2007 a yearlong exhibition opened at the Museum of Indian Arts and Culture in Santa Fe, New Mexico memorializing Pablita Velarde and her time spent at Bandelier National Monument. A collection of 58 paintings from the 84 works that Monument officials commissioned Velarde to produce between 1939 and 1945 went on display. Pablita's grand daughter, Margarete Bagshaw owns a gallery in downtown Santa Fe that is named after Pablita's Tewa Name - "Golden Dawn". The gallery is the Exclusive Estate Representative of both Pablita Velarde and her daughter, Helen Hardin.


AHAU




Kin 160: Yellow Self-Existing Sun


I define in order to enlighten
Measuring life
I seal the matrix of universal fire
With the self-existing tone of form
I am guided by the power of intelligence
I am a polar kin
I convert the yellow galactic spectrum.



Through practice we come to realize that it is not only in doing, but in refraining from doing that we learn.*



*Star Traveler's 13 Moon Almanac of Synchronicity, Galactic Research Institute, Law of Time Press, Ashland, Oregon, 2015-2016.








The Sacred Tzolk'in 






Manipura Chakra (Limi Plasma)





Friday, May 27, 2016

Blue Electric Storm/ Blue Resonant Monkey - Spectral Serpent Moon of Liberation, Day 26






"His Hair Flows Like a River". T.C. Cannon.




Tommy Wayne Cannon (September 27, 1946–May 8, 1978) was an important Native American artist of the 20th century. An enrolled member of the Kiowa Tribe with Caddo and French descent, he was popularly known as T.C. Cannon.

Cannon grew up in Zodaltone and Gracemont, Oklahoma. His parents were Walter Cannon (Kiowa) and Minnie Ahdunko Cannon (Caddo). His Kiowa name, Pai-doung-a-day, means "One Who Stands in the Sun." He was exposed to the art of the Kiowa Six, a group of Native American painters who achieved international reputations in the fine art world and who helped developed the Southern Plains-style of painting. Stephen Mopope and Lee Tsatoke Sr. were particularly influential on the young artist.

T.C. Cannon enrolled in the Institute of American Indian Arts of Santa Fe in 1964, where he studied under Fritz Scholder (Luiseño). After graduating from IAIA, he enrolled in the San Francisco Art Institute but left after two months and enlisted in the army. As paratrooper in the 101st Airborne Division, Cannon was sent to Vietnam from 1967 to 1968. During the Tet Offensive, he earned two Bronze Star Medals. He was also inducted into the Black Leggings Society, the traditional Kiowa warriors' society.

While still stationed in Vietnam, Cannon had a breakthrough in his art career. Rosemary Ellison, curator of the Southern Plains Indian Museum in Anadarko, Oklahoma, included him in a major traveling exhibit, Contemporary Southern Plains Indian Art.

In 1972, Cannon and fellow artist Fritz Scholder had a two-man exhibition at the Smithsonian Institution's National Collection of Fine Arts, titled Two American Painters. Cannon produced a large body of work over the next six years, in preparation for his first one-man show, scheduled to open at the Aberbach Gallery in New York in October 1978. On May 8 of that year, however, he died in an automobile accident. After a delay, the show opened on December 10, 1979, as T.C. Cannon: A Memorial Exhibition. Featuring 50 works by Cannon, the show traveled to such locations as the Heard Museum, the New Mexico Museum of Art, and the Buffalo Bill Historical Center.

Cannon was an artist-in-residence at Dartmouth College in Hanover, New Hampshire; Colorado State University in Fort Collins, Colorado; and the United States National Park Service. In 1988 he was inducted into the National Hall of Fame for Famous American Indians in Anadarko




CAUAC



Kin 159: Blue Electric Storm


I activate in order to catalyze
Bonding energy
I seal the matrix of self-generation
With the electric tone of service
I am guided by the power of abundance.



On Earth, the last planet analphs are stored in the archaic depths of mind as legends and myths, such as the Greek legend of Icarus, who flies too close to the sun and melts his artificial wings.*



*Star Traveler's 13 Moon Almanac of Synchronicity, Galactic Research Instiute, Law of Time Press, Ashland, Oregon, 2015-2016.





The Sacred Tzolk'in 





Visshudha Chakra (Alpha Plasma)






Thursday, May 26, 2016

White Lunar Mirror/ White Rhythmic Dog - Spectral Serpent Moon of Liberation, Day 25







APACHE Chief Cochise after Civil War.





Cochise (/koʊˈtʃiːs/; Cheis or A-da-tli-chi, in Apache K'uu-ch'ish "oak"; c. 1805 – June 8, 1874) was leader of the Chihuicahui local group of the Chokonen ("central" or "real" Chiricahua) and principal chief (or nantan) of the Chokonen band of the Chiricahua Apache. He led an uprising against the American government that began in 1861. Cochise County, Arizona is named after him.

Cochise (or "Cheis") was one of the most noted Apache leaders (along with Geronimo and Mangas Coloradas) to resist intrusions by European Americans during the 19th century. He was described as a large man (for the time), with a muscular frame, classical features, and long black hair, which he wore in traditional Apache style. He was about 6' tall and weighed about 175 lbs. In his own language, his name Cheis meant "having the quality or strength of oak."

Cochise and the Chokonen-Chiricahua lived in the area that is now the northern region of Sonora, Mexico; New Mexico and Arizona, which they had settled in sometime before the arrival of the European explorers and colonists. As Spain and later Mexico attempted to gain dominion over the Chiricahua lands, the indigenous groups became increasingly resistant. Cycles of warfare developed, which the Apache mostly won. Eventually, the Spanish tried a different approach; they tried to make the Apache dependent (thereby placating them), giving them older firearms and liquor rations issued by the colonial government (this was called the "Galvez Peace Policy"). After Mexico gained independence from Spain and took control of this territory, it ended the practice, perhaps lacking the resources (and/or possibly the will) to continue it. The various Chiricahua bands resumed raiding in the 1830s to acquire what they wanted after the Mexicans stopped selling these goods to them.

As a result, the Mexican government began a series of military operations in order to stop the raiding by the Chiricahua, but they were fought to a standstill by the Apache. Cochise's father was killed in the fighting. Cochise deepened his resolve and the Chiricahua Apache pursued vengeance against the Mexicans. Mexican forces did capture Cochise at one point in 1848 during an Apache raid on Fronteras, Sonora, but they exchanged him for nearly a dozen Mexican prisoners.

Beginning with early Spanish colonization around 1600, the Apache in their territory suffered tension and strife with European settlers until the greater part of the area was acquired by the United States in 1850, following the Mexican War. For a time, the two peoples managed peaceful relations. In the late 1850s, Cochise may have supplied firewood for the Butterfield Overland Mail stagecoach station at Apache Pass.

The tenuous peace did not last, as European-American encroachment into Apache territory continued. In 1861 the Bascom Affair was a catalyst for armed confrontation. An Apache raiding party had driven away a local rancher's cattle and kidnapped his twelve-year-old son (Felix Ward, who later became known as Mickey Free). Cochise and his band were mistakenly accused of the incident (which had been carried out by another band, Coyotero Apache). Army officer Lt. George Bascom, invited Cochise to the Army's encampment in the belief that the warrior was responsible for the incident. Cochise maintained his innocence and offered to look into the matter with other Apache groups, but the officer tried to arrest him. Cochise escaped by drawing a knife and slashing his way out of the tent Cochise may have been shot as he fled.

Bascom captured some of Cochise's relatives, who apparently were taken by surprise as Cochise escaped. Cochise eventually also took hostages to use in negotiations to free the Apache Indians. However, the negotiations fell apart, because the arrival of U.S. troop reinforcements led Cochise to believe that the situation was spiraling out of his control. Both sides eventually killed all their remaining hostages. Cochise went on to carry out about 11 years of relentless warfare, reducing much of the Mexican/American settlements in southern Arizona to a burned-out wasteland. Dan Thrapp estimated the total death toll of settlers and Mexican/American travelers may have reached 5,000, but most historians believe it was more likely a few hundred. The mistaken arrest of Cochise by Lt. Bascom is still remembered by the Chiricahua's descendants today, who describe the incident as "Cut the Tent."

Cochise joined with his father-in-law Mangas Coloradas (Red Sleeves, Kan-da-zis Tlishishen), the powerful Chihenne-Chiricahua chief, in a long series of retaliatory skirmishes and raids on the white settlements and ranches. The Battle of Dragoon Springs was one of these engagements. During the raids, many people were killed, but the Apache quite often had the upper hand. The United States was distracted by its own internal conflict of the looming Civil War, and had begun to pull military forces out of the area. It did not have the resources to deal with the Apache. Additionally, the Apaches were highly adapted to living and fighting in the harsh terrain of the southwest. It was many years before the US Army, using tactics conceived by General Crook and later adopted by General Miles, were able to effectively challenge the Apache warrior on his own lands.

At Apache Pass in 1862, Cochise and Mangas Coloradas, with around 500 fighters, held their ground against a New Mexico-bound force of California volunteers under General James Henry Carleton until caisson-mounted howitzer artillery fire was brought to bear on their positions in the rocks above.

According to scout John C. Cremony and historian Dan L. Thrapp, the howitzer fire sent the Apaches into an immediate retreat. But Carleton's biographer, Aurora Hunt, wrote, "This was the first time that the Indians had faced artillery fire." Geronimo later recalled in his autobiography that his people were winning the fight until "you fired your wagons at us." The Battle of Apache Pass was one of the rare pitched battles the Apaches fought against the United States Army. Normally, the Apaches' tactics involved guerrilla-style warfare. Capt. Thomas Roberts was persuaded by this conflict that it would be best to find a route around Apache Pass, which he did. Gen. Carleton continued unhindered to New Mexico and subsequently took over as commander of the territory.

In January 1863, Gen. Joseph R. West, under orders from Gen. Carleton, captured Mangas Coloradas by luring him into a conference under a flag of truce. During what was to be a peaceful parley session, the Americans took Mangas Coloradas prisoner and later murdered him. This fanned the flames of enmity between the encroaching Americans and the Apache. Cochise believed that the Americans had violated the rules of war by capturing and killing Mangas Coloradas during a parley session. Cochise and the Apache continued their raids against American and Mexican settlements and military positions throughout the 1860s.

Following various skirmishes, Cochise and his men were gradually driven into the Dragoon Mountains but used the mountains for cover and as a base from which to continue attacks against the white settlements. Cochise evaded capture and continued his raids against white settlements and travelers until 1872. In 1871, General Oliver O. Howard had been ordered to find and treat with Cochise and in 1872, accompanied by 1st Lt Joseph Alton Sladen, who served as his aide, Howard came to Arizona to negotiate a peace treaty, and with the help of Tom Jeffords, who was the Apache leader's only white friend, a treaty was negotiated on October 12, 1872.

After making peace, Cochise retired to his new reservation, with his friend Jeffords as agent, where he died of natural causes (probably abdominal cancer) in 1874. He was buried in the rocks above one of his favorite camps in Arizona's Dragoon Mountains, now called Cochise Stronghold. Only his people and Tom Jeffords knew the exact location of his resting place, and they took the secret to their graves. Cochise's descendants are said to reside at the Mescalero Apache Reservation, near Ruidoso, New Mexico.



ETZNAB



Kin 158: White Lunar Mirror


I polarize in order to reflect
Stabilizing order
I seal the matrix of endlessness
With the lunar tone of challenge
I am guided by the power of heart.



The point of activating sacred sites is to transform the psychic energy of the human species in resonance with a cosmic template or map planted on the Earth.*



*Star Traveler's 13 Moon Almanac of Synchronicity, Galactic Research Institute, Law of Time Press, Ashland, Oregon, 2015-2016.






The Sacred Tzolk'in 




Svadhistana Chakra (Kali Plasma)







Wednesday, May 25, 2016

Red Magnetic Earth/ Red Overtone Moon - Spectral Serpent Moon of Liberation, Day 24









“Indian Encampment, after Blakelock,” Fritz Scholder, ©1977, lithograph.




Fritz Scholder (October 6, 1937 – February 10, 2005) was a Native American artist. Born in Breckenridge, Minnesota, Scholder was one-quarter Luiseño, a California Mission tribe. Scholder's most influential works were post-modern in sensibility and somewhat Pop Art in execution as he sought to deconstruct the mythos of the American Indian. A teacher at the Institute of American Indian Arts in Santa Fe in the late 1960s, Scholder influenced a generation of Native American students.

Scholder knew what he had to do at an early age. As a high school student at Pierre, South Dakota, his teacher was Oscar Howe, a noted Yankton Dakota artist. In the summer of 1955, Scholder attended the Mid-West Art and Music Camp at the University of Kansas. He was voted Best Boy Artist and President of the Art Camp. He studied with Robert B. Green at Lawrence. In 1956, Scholder graduated from Ashland High School in Wisconsin and took his freshman year at Wisconsin State University in Superior, where he studied with Arthur Kruk, James Grittner, and Michael Gorski. In 1957, Scholder moved with his family to Sacramento, California, where he studied with Wayne Thiebaud. Thiebaud invited Scholder to join him, along with Greg Kondos and Peter Vandenberg in creating a cooperative gallery in Sacramento. Scholder’s first show received an exceptional review. Scholder’s next one-man exhibition was at the Crocker Art Museum in Sacramento. His work was being shown throughout the region, including the California Palace of the Legion of Honor in San Francisco. Upon graduation from Sacramento State University, where he studied with Tarmo Pasto and Raymond Witt, Scholder was invited to participate in the Rockefeller Indian Art Project at the University of Arizona in 1961. He met Cherokee designer Lloyd Kiva New and studied with Hopi jeweler Charles Loloma. After receiving a John Hay Whitney Fellowship, Scholder moved to Tucson and became a graduate assistant in the Fine Arts Department where he studied with Andrew Rush and Charles Littler. There, he met artists Max Cole, John Heric and Bruce McGrew. After graduating with an MFA Degree in 1964, Scholder accepted the position of instructor in Advanced Painting and Contemporary Art History at the newly formed Institute of American Indian Arts in Santa Fe, New Mexico.

Scholder has always worked in series of paintings. In 1967, his new series on the Native American, depicting the “real Indian,” became an immediate controversy. Scholder painted Indians with American flags, beer cans, and cats. His target was the loaded national cliché and guilt of the dominant culture. Scholder did not grow up as an Indian and his unique perspective could not be denied. Scholder resigned from IAIA in 1969 and traveled to Europe and North Africa. He returned to Santa Fe and acquired a small adobe house and studio on Canyon Road.

In 1970, Tamarind Institute moved from Los Angeles to Albuquerque. Scholder was invited by Tamarind to do the first major project, a suite of lithographs, Indians Forever. It was the beginning of a large body of work in that medium for the artist. Scholder/Indians was published by Northland Press, the first book on Scholder’s work. In the same year, Scholder had his first one-man show at the Lee Nordness Galleries.

He had become a major influence for a generation of Native American artists. He was invited to lecture at numerous art conferences and universities including Princeton and Dartmouth. In 1972 an exhibition of the Dartmouth Portraits opened at Cordier and Ekstrom in New York to favorable reviews. In the same year, Adelyn D. Breeskin of the Smithsonian American Art Museum visited Scholder and suggested a two-person show of the work of Scholder and one of his former students. Scholder chose T. C. Cannon. The show opened in Washington, D.C. to good reviews and traveled to Romania, Yugoslavia, Berlin, and London. Scholder was invited to have a one-man show at the Basil V International Art Fair in Switzerland in 1974. After Basel, Scholder traveled to Egypt and painted the sphinx and pyramids.

In 1975, Scholder did his first etchings at El Dorado Press in Berkeley, California. Scholder's work was explored in a series on American Indian artists for the Public Broadcasting System (PBS). Other artists in the series included R. C. Gorman, Helen Hardin, Allan Houser, Charles Loloma, and Joseph Lonewolf. Also in 1975, a book of his lithographs was released by New York Graphic Society. Scholder discovered monotypes in 1977. His first exhibition of photographs was shown at the Heard Museum in 1978, documented by Indian Kitsch, a book published by Northland Press. A miniature book of Scholder’s poetry was produced by Stinehour Press in 1979. In 1980, Scholder was guest artist at the Oklahoma Art Institute, which resulted in a PBS film documentary, American Portrait. His second retrospective opened at the new Tucson Museum of Art in 1981. Scholder drew lithographs at Ediciones Poligrafa in Barcelona and was guest artist at ISOMATA, USC at Idyllwild, California and again at the Oklahoma Arts Institute.

In 1982, Scholder acquired a loft in Manhattan. A major monograph was published by Rizzoli International, and Scholder returned to Egypt at the invitation of famed archeologist Kent Weeks. In 1983, Scholder received a New Mexico Governor's Award for Excellence in the Arts.[3] Scholder was named lifetime Societaire of the Salon d'Automne and exhibited at the Grand Palais in Paris in 1984. The following year, he was honored with the Golden Plate Award from the American Academy of Achievement. In 1991, Afternoon Nap was published, the first in a series of book projects by Nazraeli Press in Munich. Scholder received five honorary degrees from Ripon College, the University of Arizona, Concordia College, the College of Santa Fe and the first honorary degree from the University of Wisconsin–Superior. A humanitarian award from the 14th Norsk Hostfest followed.

Unlike many artists, Scholder was keenly aware of the impact of recognition he received; this was especially true with respect to his inclusions in books and magazines. Rightfully, he pointed out that once his contributions were named and illustrated in hard copy---later to be treated as reference materials--- his place in art history would be relatively secure. His selection of appropriate galleries was likewise conscious, although throughout his career, he remained loyal to one of the first galleries to believe in his work, the Tally Richards Gallery in Taos, New Mexico. For several years, Tally's gallery routinely sold out its annual offerings of Scholder's work, helping to keep this gallery afloat for the remaining 11 months.

On August 25, 2009, Governor Schwarzenegger and Maria Shriver announced that Scholder would be one of 13 California Hall of Fame inductees for that award. His work was then featured at The California Museum's exhibit of the work and contributions of that year's Hall of Fame laureates. The induction ceremony was on December 1, 2009 at the Museum in Sacramento. Scholder's Future Clone sculpture was included in a scene in Darren Aronofsky's 2010 film Black Swan, in which it has been described as "chilling like a Baselitz painting, all devoured face and wings, an evil spectre".



CABAN



Kin 157: Red Magnetic Earth


I unify in order to evolve
Attracting synchronicity
I seal the matrix of navigation
With the magnetic tone of purpose
I am guided by my own power doubled.



Cosmic Science provides a key tool for understanding and activating multidimensional para-normality.*



*Star Traveler's 13 Moon Almanac of Synchronicity, Galactic Research Institute, Law of Time Press, Ashland, Oregon, 2015-2016.






The Sacred Tzolk'in 





Ajna Chakra (Gamma Plasma)





Tuesday, May 24, 2016

Yellow Cosmic Warrior/ Yellow Self-Existing Star - Spectral Serpent Moon of Liberation, Day 23






Abstract Crown Dancer I
Abstract Crown Dancer 1 , 1991
The most complex of the fabricated bronze editions Allan Hauser created late in his career.
Nearly 120 patterns are used to craft this modern form of the Apache's most revered dance figure.




Recognized as one of the most important American artists of the 20th Century, Allan Houser has left a lasting legacy for all future generations. Renowned as  sculptor, painter, and teacher, Allan Houser's work is featured in museums, and private and corporate collections throughout the world.

Born on June 30, 1914, Allan C. Haozous was to become known as Allan Houser, one of the 20th Century's most important artists. Allan's parents, Sam and Blossom Haozous were members of the Chiricahua Apache tribe, who were held as prisoners of war for 27 years. Allan's father was with the small band of Warm Springs Chiricahuas when their leader, Geronimo left the reservation and later surrendered to the U.S. Army in 1886 in the northern Mexican state of Chihuahua. 

Allan's father was among the women and children jailed at the Castillo de San Marcos in St. Augustine, Florida, and Allan's mother was born in the prison camp at the Mount Vernon Barracks, Alabama where surviving members of the tribe were sent in 1887. As a final solution, the last of the Chiricahuas were sent to Fort Sill, Oklahoma where they remained captives for 23 years. Freed at last in 1914, a majority of the tribe returned to New Mexico to join with the Mescalero Apaches for whom a reservation had been created. Allan's parents, however, were with a small group of families who chose to stay in Oklahoma and create farms in the Apache and Lawton communities. Allan was born just months after their release, the first child born out of captivity.

Growing up on the farm, Allan labored with crops of cotton and alfalfa and helped support the family growing vegetables and raising livestock and horses. At an early age he became interested in the images he saw in magazines and books. He soon began making his own drawings and carvings. In 1934 a notice for an art school in Santa Fe attracted his attention, and he enrolled in the Painting School at the Santa Fe Indian School. Commonly known as the Dorothy Dunn School after its prominent teacher, Allan became its most famous student and by 1939 his work was exhibited in San Francisco, Washington D. C., and Chicago. In the same year he received a commission to paint a mural in the Department of Interior building in Washington, and its success led to a second mural commission there in 1940.

Allan married Anna Marie Gallegos in 1939, and together with three young sons they moved to Los Angeles in 1941 where Allan sought employment during the war effort. It was here that Allan would have the opportunity to visit museum exhibitions of European modernists such as Brancusi, Arp, Lipschitz, and Henry Moore, whose work would have a lasting influence on Allan as his own style evolved in the succeeding decades.

In 1947 Allan was commissioned by the Haskell Institute in Lawrence, Kansas, to do a memorial sculpture honoring the Native American students from Haskell who had died in World War II. Completed in 1948, this work entitled "Comrade in Mourning" was his first major marble carving. In 1951 Allan moved to Brigham City, Utah, where he taught art at the Inter-Mountain Indian School for the next eleven years. He continued to paint and produce small wooden sculptures, and in 1954 he was honored by the French government with the Palmes d'Acadamique for his outstanding achievement as a teacher and artist.

In 1962 Allan was asked to join the faculty of the newly created Institute of American Indian Arts in Santa Fe. There he created the sculpture department and began focusing his own artistic output on three-dimensional work. As he taught and created sculpture he began integrating the aesthetics of the modernists with his narrative ideas. By the late 1960's he began exhibiting this sculpture and recognition of his unique style grew. Museums and private collectors sought out examples, and his influence became apparent on hundreds of students and other artists. In 1975 Allan retired from teaching to devote himself full-time to his own work. In the two following decades he would produce close to 1,000 sculptures in stone, wood, and bronze, and emerged as a major figure on an international scale. He had nearly 50 solo exhibitions in museums and galleries in the United States, Europe, and Asia, and he continued working tirelessly until his death on August 22, 1994.

www.allanhouser.com




CIB



Kin 156: Yellow Cosmic Warrior


I endure in order to question
Transcending fearlessness
I seal the output of intelligence
With the cosmic tone of presence
I am guided by the power of universal fire.



Once you have a certain number of thoughts or memories stored, then you can use your intelligence and imaginal faculty to apply binary or analogic intelligence.*



*Star Traveler's 13 Moon Almanac of Synchronicity, Galactic Research Institute, Law of Time Press, Ashland, Oregon, 2015-2016.






The Sacred Tzolk'in 





Muladhara Chakra  (Seli Plasma)




Monday, May 23, 2016

Blue Crystal Eagle/ Blue Electric Hand - Spectral Serpent Moon of Liberation, Day 22







Red Seedpot with sgraffito animals and evolution design, 1986, 
Joseph Lonewolf, Santa Clara Pueblo, New Mexico.





Joseph Lonewolf (1932-2014) is a son of noted potters Camilio and Agapita Tafoya, and the brother of Grace Medicine Flower. Beginning in the early 1970's, Joseph Lonewolf revolutionized the world of Santa Clara pottery by incorporating his sgraffito (lightly etching the surface of the clay) and incised (more deeply cut into the clay) designs in his work. He has won numerous awards throughout his career and his work can be found in museums worldwide. He has been featured in numerous books including "The Art of Clay" and has received the prestigious New Mexico Governor's Award for Excellence in the Arts in 2009 and the SWAIA Lifetime Achievement Award.

Well-known for his use of historical methods and his development of sgraffito and bas-relief techniques, Joseph Lonewolf was born at Santa Clara Pueblo is New Mexico. The artist raised the ancient technique of incised pottery to a new art from, creating tiny, delicate pieces often described by critics as “pottery jewels”. Hailed as the “master Indian potter of all time” both abroad and throughout the United States, Lonewolf is also credited as the pioneer of two-tone pottery (red and black), which he creates in a single firing.

While essentially a self-taught artist, the potter learned the techniques of clay sculpturing from his father, Camilio “Sunflower” Tafoya, pottery artist and historical reconstructionist. Combining the traditional procedures used by ancestral potters with contemporary methods, Lonewolf has perfected his own style and means of expression. After the laborious, time-consuming process of creating the clay, forming, curing and scraping it, applying the slip and polishing, the artist is ready to exercise his true creative genius, which is the incising of designs. The one-of-a-kind inscriptions include such ancient Mimbres designs as quail, lizards, scorpions, and kachina faces.
Recipient of innumerable awards, the artist has the distinction of being one of the first Native Americans to have a book, entitled The Pottery Jewels of Joseph Lonewolf, written about his work. His creations have been showcased at such cultural meccas as the Heard Museum in Phoenix, the Wheelwright Museum in Santa Fe, and the Eiteljorg Museum in Indianapolis. (All three have purchased his ceramics for their permanent collections.)


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*Star Traveler's 13 Moon Almanac of Synchronicity, Galactic Research Institute, Law of Time Press, Ashland, Oregon, 2015-2016.






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