Native American Collections Digital Resource Pilot Project

The Ralph T. Coe Center for the Arts has received a $100,000 grant from the Henry Luce Foundation to support a pilot project aimed at revitalizing its Collection Management System. The pilot project will focus on making the database more culturally accurate and inclusive, reflecting multiple perspectives and communities represented within the collection. As part of the pilot program, the Coe Center will collaborate with living artists, relatives, and communities represented in the collection to gather culturally relevant information and narratives. This process will help to ensure that the collection accurately represents and respects Native American cultures and traditions. The Coe Center will facilitate meetings, on-site visits, and documentation through a digital archive process.

“We are thrilled to receive this grant from the Luce Foundation, which will enable us to take an important step towards making our collection more culturally accurate and inclusive,” said Rachel de W. Wixom, Executive Director of the Ralph T. Coe Center for the Arts. “We hope this pilot program will serve as a model for similar organizations and contribute to a process that reasserts authorship to Native American artists and community members.”

Guest Collaborators

Dr. Wendy Cegielski and Duane Reid
The Little Shell Tribe of Chippewa Indians of Montana on site visit, December 12, 2024

Find The Little Shell Tribe of Chippewa Indians of Montana Online:
https://montanalittleshelltribe.org/our-culture/
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The Little Shell Tribe of Chippewa Indians of Montana traces its origins to the Anishinaabe, Cree, and Métis peoples of the northern Great Plains and Great Lakes regions. Emerging from the Pembina Band of Chippewa in the 19th century, the Tribe became a distinct community under the leadership of Chief Little Shell III during negotiations with the U.S. government over land and treaty rights. After refusing unfair terms in the McCummber Ageement 10 CentTreaty, the Tribe faced displacement and marginalization, eventually settling in Montana. Despite enduring decades of hardship and lack of federal recognition, the Little Shell Tribe maintained its cultural identity and traditions. In 2019, the Tribe achieved federal recognition, affirming its rightful place as a sovereign people and enabling greater efforts to preserve its unique history, blending Anishinaabe, Cree, and Métis heritage.

At the core of the Tribe’s efforts to protect and revitalize its heritage is the Tribal Historic Preservation Office (THPO), which safeguards cultural knowledge, sacred items, and ancestral connections. The Little Shell THPO identifies cultural items and ancestral remains in institutions nationwide. A key part of this initiative is the development of the Little Shell Cultural Heritage Database, a critical resource for preserving and sharing the Tribe’s history. This database will house records of ancestral ties, cultural artifacts, and other vital information to ensure the Tribe’s legacy is protected for future generations. As part of these efforts, Little Shell THPO Duane Reid and Dr. Wendy Cegielski visited the Coe Center for the Arts to review collections that may have ancestral connections to the Tribe. Their work reflects the Tribe’s ongoing commitment to honoring and preserving its rich and enduring heritage.

Duane Reid is an enrolled member of the Little Shell Tribe of Chippewa Indians of Montana. He was born in the local Little Shell community in Choteau, MT. His family moved to the Flathead Indian Reservation, where he spent his teenage years, eventually working as a wildland firefighter for the local tribal dispatch. In his late 20s, Duane enrolled in courses at Salish Kootenai College, eventually majoring in the Tribal Historic Preservation major. After graduating with a bachelor’s degree, Duane was chosen to be the THPO for the Little Shell Tribe. He went on to the University of Montana, earning a master’s degree in Anthropology. Duane is passionate about playing fiddle music with his family, who study and practice traditional Metis fiddle songs. He passionately works as the Little Shell Tribes NAGPRA coordinator and THPO to identify, preserve, protect, and perpetuate the rich culture and heritage of the Little Shell Tribe.

Dr. Wendy Cegielski is a dedicated advocate and researcher focused on the cultural preservation and historical documentation of the Little Shell Tribe of Chippewa Indians of Montana. Born and raised in Chicago, IL, she received her doctorate in archaeology from Arizona State University. Cegielski is deeply interested in computational archaeology, Indigenous history and spirituality, and the application of modern technologies to cultural preservation. By utilizing her technical knowledge and collaborating with the Tribe’s THPO and community members, Cegielski contributes to projects safeguarding the Little Shell Tribe’s rich heritage, including the Little Shell Cultural Database and the Tribe’s repatriation efforts. She currently lives in Denver, CO.

Theresa Secord (Penobscot)
August 21 – 23, 2024

Find Theresa Online:
https://www.theresasecord.com
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Instagram: theresabaskets

We would like to thank Theresa Secord for visiting the Coe as part of our Native American Collections Digital Resource Pilot Project. The pilot project enhances the accuracy of our database by incorporating information and perspectives from artists and community members. What we learn through these visits and collaborative reviews allows us to augment and correct information and update outdated terminology. Theresa’s visit focused specifically on the Wabanaki baskets in the Coe’s collection. During her visit, she reviewed over sixty-five baskets within the collection. 

Theresa has been a Penobscot basket maker since 1988. She learned in a traditional setting from Penobscot culture bearer and first language speaker, Madeline Tomer Shay on Indian Island, Maine. Now an elder herself, she seeks meaning in her work by weaving baskets that herald climate issues in Wabanaki territory. She has taught many apprentices and continues to mentor. As the founding director of the Maine Indian Basketmakers Alliance for twenty-one years, she advocated for elders and next-generation basketmakers, helping to foster a new generation of basketmakers. At this stage in her career, Theresa sits on two major museum boards and acts as an advisor to other organizations where she continues to advocate and effect change for Indigenous artists and art.

Among several honors for this work and for her artistic excellence, she received a lifetime achievement award, the National Heritage Fellowship from the National Endowment for the Arts in 2016.  In 2009, she was honored with the First Peoples Fund’s Community Spirit Award, and in 2003, the Prize for Creativity in Rural Life was presented by the Women’s World Summit Foundation at the UN in Geneva, Switzerland, for helping basket makers rise out of poverty.

Roy Henry Vickers (Gitxaala/Hieltsuk/Haida), CM OBC
July 17 – 18, 2024

Find Roy Online:
https://royhenryvickers.com
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Instagram: royhenryvickersgallery

Canadian artist ROY HENRY VICKERS is best known for his limited edition prints. He is also a world-renowned printmaker, painter, carver, author, sought-after keynote speaker, and designer. Influenced by his mixed heritage, he developed a unique artistic style, which is identifiable through its clean lines, vivid colours, and natural themes drawn from the rugged beauty of BC’s West Coast. By merging the uncomplicated, stylized forms of his aboriginal ancestry with the realism of European art, Roy brings two worlds together and creates vibrant images that speak to a universal spirit. His artwork is held in museums and private collections across Canada and the world and is mostly sold through his artist-owned and operated gallery. The gallery is a traditional northwest coast longhouse Roy built in 1986 in the village of Tofino.

Roy Henry Vickers was born June 4th, 1946, in Greenville, British Columbia. His father was a fisherman with half-Tsimshian, half-Heiltsuk ancestry; his mother, a teacher of British heritage. The Vickers family lived in Kitkatla, Hazelton, and Victoria. In 1973, Roy began studying traditional Native art at the Gitanmaax School of Northwest Coast Indian Art in Ksan, BC.

Over the years, Roy has received many honours for his work. In 1987, at the Commonwealth Summit in Vancouver, the original painting of Roy’s “A Meeting of Chiefs” was the official gift of the Province of British Columbia to Queen Elizabeth II. Between 1987 and 1995, Vickers was the artistic advisor for the Vancouver International Airport’s new terminal where some of his work is still prominently displayed. During the Vancouver Summit in 1993, former Soviet leader Boris Yeltsin and former U.S. president Bill Clinton received artist’s proofs of Roy’s print “The Homecoming” as the Province’s official gift. In 1994, he was included in the MacLean’s Honour Roll of most influential Canadians. In 1998, he received the Order of British Columbia in recognition of his significant contributions to society. In 2003, Roy received the Queen’s Golden Jubilee Medal for his contributions to Canadian culture, and in 2007 was awarded the prestigious Order of Canada. In 2018, Roy received a Grammy nomination for his design work on the 19-disc box set of recordings by The Grateful Dead.

Roy has completed many carvings and totem poles over the years. The 10-meter (30-foot) Salmon Totem for the 1994 Commonwealth Games’ aquatic centre near Victoria is one of his most iconic. He is also the author/illustrator of many books, including Solstice: The Art of Roy Henry Vickers (1988), The Elders Are Watching (1990), Spirit Transformed: A Journey from Tree to Totem (1996), Copperman – The Art of Roy Henry Vickers (2003), The Storyteller (2014), Voices from the Skeena (2019), as well as his best-selling and award-winning children’s books; First West Coast Book series and Northwest Coast Legends series.

In 2004, Roy returned with his family to Hazelton, where he now lives and works on the majestic Skeena River and continuously finds inspiration.

Renée Wasson Dillard (Anishinaabe)
May 22 – 23, 2024

Find Renée Online:
https://www.firstpeoplesfund.org/community-spirit-award-honorees/renee-dillard
TikTok: @reneedillard

Thank you to Renee ‘Wasson’ Dillard for visiting the Coe, where she engaged in a comprehensive review of a select group of Anishinaabe works in the Coe Collection as part of the Native American Digital Collections Pilot Project. This initiative underscores our commitment to enhancing the cultural accuracy and inclusivity of our database, thereby honoring the diverse perspectives and communities represented within our collection. This project includes augmenting information about works and correcting outdated terminology through collaborative review with community members.

During Wasson’s visit, we discussed the items within our collection, including the materials utilized in their creation and their historical contexts. By integrating this valuable insight into our database, we are able to cultivate a deeper comprehension of these works and their intrinsic ties to their respective communities of origin. 

Wasson brings a wealth of expertise to this endeavor. She is a traditional Anishinaabe natural fiber artist and teacher, raised in Anishinaabe communities of Michigan. The art of natural fibers and weaving was passed on to Wasson at an early age, by both her mother and her paternal grandmother. Wasson began weaving her first yarn sash at age nine. Weaving came naturally to her, and thus began a lifetime of artistic expression and community teaching through traditional Anishinaabe approaches. Throughout the years, she has learned from other Anishinaabe community teachers, and today, she continues her path to re-discover knowledge and further sharpen her skills.

Wasson has given countless presentations, consultations, and exhibitions at universities, museums, and community organizations. In 2010, she received the Michigan Heritage Award for her lifetime achievement in Natural Fiber Arts. In 2018, a studio was donated and placed in her backyard where she lives on her reservation. Additionally, Wasson was distinguished with the First People Fund 2022 Community Service Award to acknowledge her impactful contributions to her community and beyond.

Golga Oscar (Yup’ik)
February 26 – 27, 2024

Find Clarence Online:
https://thirdgenerationart.com
Instagram: @quki92

We were thrilled to host Golga Oscar on February 26th-27th at the Coe. Golga, a passionate advocate for preserving Yupik culture and language, currently serves as the Native Arts coordinator for the UAF Kuskokwim Campus in Bethel, Alaska. Golga’s visit was part of the Native American Collections Digital Resource Pilot Project, funded by the Henry Luce Foundation. Thanks to the generous support of the Henry Luce Foundation, the cost of his trip to work in the Coe collection here in Santa Fe was funded entirely. To learn more about Golga and his artwork, visit his website! We extend our sincerest gratitude to the Henry Luce Foundation for their support and to Golga Oscar for sharing his expertise and passion.

As we explored the collection together, Golga generously shared insights into the Yupik works contained within, providing valuable updates on materials, locations, and usage. Golga’s expertise was instrumental in ensuring the accuracy of our identifications, correcting any inaccuracies, and refining our understanding of the Yupik works in the collection. 

During Golga’s visit, we also discussed essential components of the Coe database. The database is where all object information in the collection is housed. Various fields in the database, like region and culture/people, can contain outdated information. The community member discussions, like with Gogla, allow us to update the information within the fields in a culturally appropriate way, enriching the overall information about a work. Collections visits by community members breathe life into the records, offering a nuanced perspective that transcends mere data.

Clarence Cruz (Khaayay) (Ohkay Owingeh)
October 2023

Find Clarence Online:
https://art.unm.edu/profile/clarence-cruz/https://dhainc.org/

Clarence Cruz is Tewa from the Pueblo of Ohkay Owingeh, a traditional potter and Tenure Associate Professor in the Art & Art History Department at the University of New Mexico, where he teaches both undergraduate and graduate level classes. His accomplishments are many, which he says is a tribute to those who believed in him and gave him the gift of a potter. His continued practice as a Pueblo potter extends to other neighboring Pueblos, where he shares the knowledge of pottery making. It is a gift that was given to me and as my mentors have said and taught me and in return, you too must share that knowledge. “You serve a purpose, function, within a place in your community, just like the pottery you create.”

Cruz has had the honor to work side-by-side with renowned Native artists and scholars in the field of Pueblo Pottery of the Southwest such as, Museum of Indian Arts and Culture, School of Advance Research, Maxwell Museum of Anthropology and Poeh Culture Center. He has also traveled to other countries outside of the United States engaging with potters in styles, hand build techniques, material use (clays, slips and pigments), firing techniques, designs, connections to clay within a community, function, purpose, and cultural similarities.

A 2020 Recipient of the Luce Indigenous Knowledge Fellowship, 2012 Awarded “The Lifetime Achievement Allan Houser Legacy Award, Honoring Pueblo Potters”, SWAIA Santa Fe Indian Market. In 2023 a participant with the Pueblo Pottery Collective, Grounded in Clay: The Spirit of Clay Exhibition at the Metropolitan Museum of Art in New York City, with the School of Advance Research (SAR) and Museum of Indian Arts and Culture (MIAC). In 2023 invited by Coe Center, Ralph T. Coe Center for the Arts, Santa Fe, New Mexico as a consultant to look at their collections.

Clarence most resent award in 2023 Honored him with the Research and Creative Works Leadership Award for extraordinary accomplishments in Pueblo Pottery during the Promoted Faculty Reception at the University of New Mexico, In 2023 invited to be part of “Native Soil” in Northern Iraq for two weeks, where he held a weeklong workshop in partnership with the Assyrian community in Bebedeh, Iraq. His next participation will be a seminar in 2024 in Oaxaca, Mexico, with a invite from the University of Arizona (Arizona Archaeological and Historical Society) and the Maxwell Museum of Anthropology, University of New Mexico. In 2009 participated in a Ceramic Faculty Symposium, held in the Jingdezhen Ceramic Institute, China, sponsored by NCECA, National Council on Education for the Ceramic Arts.

Find the Diné Hataałii Association Online:
https://dhainc.org/

Find Bobby Online:
https://www.arcticluxe.com
Instagram: @arcticluxe_

As early as she can remember, Brower’s life has been surrounded by art. Her uncle would carve baleen and ivory and make beautiful jewelry. Her grandmother Emily was also an expert seamstress. Brower’s mother learned sewing techniques from her mother Maryjane who had learned from Brower’s grandmother Emily. Then taught Brower those same techniques.

After High School, Brower had her first child. Then took up sewing with her aunt Florence Brower. Florence inspired her to start skin sewing again. Growing up in her community, she learned to skin sew at the age of 13 during her Inupiat Language class. Brower’s aunt had convinced her to enter the Top of the World baby contest they hold every 4th of July. Over the years, Brower continued sewing and eventually started her small business Hallelujah Designs in 2010. Since then, she has changed the name over to Bobby Itta Designs, and now is Arctic Luxe.

In 2015, Brower decided to sign up for a fashion show with the Alaska Native Heritage Center. This was her start in fashion. Since then, she has shown her work all over Alaska, Washington, New Mexico, New York, and Canada.

Itta has work in the permanent collection of The International Folk Art Museum in Santa Fe, New Mexico. She also is an advocate for MMIWGS, and is working on a touring exhibit with the Bunnell Arts Street Center in Homer, Alaska.

Find Melissa Online:
https://mshaginoff.com
Instagram: @mshaginoff

An Indigenous-centered space that supports Elders, youth, and emerging artists interested in developing their exhibition readiness. Melissa has been published in the Alaska Humanities FORUM Magazine, First American Art Magazine, Inuit Art Quarterly, and the Smithsonian Arctic Studies Center’s Learning Lab. She is a founding member of Luk’ae Tse’ Taas (fish head soup) Comics, a new media collective focused on BIPOC representation in printed narratives. Melissa reclaims power for Indigenous peoples through movements of Land Back and what she calls an eclipsing of Land Acknowledgements. Working with settler communities on her traditional homelands, she is actively part of returning land to Indigenous ownership. Melissa has also created a Land Acknowledgement workshop that is aimed at settler labor and acts of reparations.