COLLECTIONS SPOTLIGHT with John Goes in Center

During the 2020 COVID-19 lockdown and through the reopening afterward, the Coe Center partnered with First American Art Magazine to present an interactive Zoom series in which Native artists discussed artworks in the Coe Collections. Collections Spotlight brought deep dives into objects from the Coe collection to the public from the artist’s perspective. These events were free and open to the public.

Jhon Goes in Center is an Oglala Lakota metalsmith, carver, dancer, regalia maker, and cultural artist. Born along Rapid Creek, “Indian Camp”, Rapid City, South Dakota Goes In Center is considered one of the early silversmiths in the transitional modern era of Lakota metalwork.

Now based in Rapid City, South Dakota, Goes In Center hails from the Pine Ridge Reservation. He earned his museum studies degree from the University of Colorado and studied metal engraving from nationally renowned firearms engraver John Rohner. Goes In Center will discuss personal adornment in metals by Northern and Southern Plains artists from the 19th century to the present.

My work is nothing more than the creative continuum of my Lakota ancestors.  The use of the Lakota homeland agate tells the Lakota Creation Story of Inyan, the first stone in creation who created the essence of life, water.  My creations are inspired by the flora, fauna, wind, Lakota Song and Ceremony. Inclusively said in the Lakota language, “Heca’ Maka’ Sitomniya”, and so, the natural world is my inspiration.

German silver, which Goes In Center says came from traders, is an alloy of copper, zinc, and nickel. It was also used to make silverware, as it is a strong material. The earrings are dynamic and move and Goes In Center states that they would likely have been worn at a dance.

Goes In Center shares that the star design is associated with the Pawnee, and that there might be variations of star designs around the edges of this work. The deer image may be referring to someone from the deer clan.

Goes In Center shares that he knows that Julius Caesar, the artist who created this necklace, creates his own stamps, such as the tipi image with the letter C on the back.

Goes In Center points out the center zig-zag marks motifs, which he says talk about the power of creation and refer to hunting culture. These motifs are an arrowhead with a lightning mark, which also relates to water. The crescent moon, diamond, and heart all refer to a sense of belonging.

Goes In Center discusses out the variety of skills that Caesar would have had in creating his own tools.

He then moves to talking about the dangling portion of the earring, which he calls a “scissor tail” with a repousse circle. Repousse is a technique of hammering out a shape from the reverse side.

This object is a silver crown made by Bruce Caesar, son of Julius Caesar. Goes In Center talks about the waterbird designs and that they represent spiritual cultural expression. He notes the intricate cutouts and stamps used for the design and then discusses the attached combs so women can wear crowns like this for powwows/dances. The darker areas are textured to create the contrast in the metal; in this case, stippling was used. He says this is a distinguishing technique of the Southern Plains of Oklahoma.

Goes In Center discusses that the nickel silver has been domed, which is another form of repousse. He also notes the moving feathers and discusses how the moving feathers are a particularly nice detail.

Goes In Center talks about a Sundance in the 1870’s called the flat metal dance, which may be related and speaks to the adoption of flat metal, which is used in these broach pins.

The design is of a buffalo made from cut-outs. Goes In Center thinks the pieces are spiritual and relate to the buffalo. He also points out that no soldering is used in the piece and that the pins have a patina from age.

Goes In Center refers to these as “arrowhead earrings” with domed-out half circles. This style of half circles is usually seen on belts. He notes the wrapped wire and feather design that dangles, and suggests that this refers back to hunting culture. Goes In Center estimates that these are from the late 1800s.

Goes In Center talks about this being a highly spiritual depiction of an eagle with a body of the four directions/colors, created from a variety of materials. Goes In Center notes the materials: sterling silver, which is polished, the brass feathers, and the crushed stone oxi, which was filled in spaces. He says the seven feathers represent a sacred number and that the feathers carry prayers.

Goes In Center recognizes the piece by Reed Haskell from the Cheyenne River reservation. Goes In Center points out the bezel setting of the skull design. He also mentions that the feathers are a delineating theme of the Lakota culture.