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To your Information:

Lamontt Bear:

 American Native of the Kiowa, Oklahoma (USA)

 Impressions from Oklahoma – On a Journey back to the “Internalized Places”

 In this contribution I introduce some examples of the photo work of Lamontt Bear. These are testifying a life having been stamped by the ancestors, by the nature, by traditions like also by technology, and by men…

With the photography LB has discovered the medium for himself, which can transport to the outside his look at the world grown in a special way… In addition I have enclosed by quotations of Lamontt Bear as also of Carol Whitney:

“Art Touches Art – 43”

 You find the contribution if you select on HOME “Art Touches Art” on the above.

Information about the complete previous contents of the category Art Touches Art” you find by selecting “Art Touches Art” on HOME on the right on the outside.

 Renate Hugel 

 

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To your Information:

Ronald Anderson, Native American Artist (Oklahoma, USA), 2001:

During a conversation about art

 With “Art Touches Art – 41 + 42”, I introduce the works of art “The Blanket Woman” (41) and “Apache-Dance” (42).

With my texts to this I give insights into a small part of reality of American natives.

 To be found under “Art Touches Art”

Renate Hugel 

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To your Information:

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Jereldine Redcorn: “The Queen of Clay”

  – Caddo – Native American Artist –

(Norman, Oklahoma, USA)

“Art Touches Art – 40” is about Jereldine Redcorn. In addition, one learns in this why the White House finds mention into this.

To be found under “Art Touches Art”

Renate Hugel 

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To your Information:

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Roland Schneeweiss

(Bulgarian artist with German roots):

“Kukeri”

At reading this contribution, “Art Touches Art – 38”,

you will experience an art-meeting with a Bulgarian tradition!

You find the contribution if you select on HOME

“Art Touches Art” on the above.

Information about the complete previous contents of the category Art Touches Art” you find by selecting

“Art Touches Art” on HOME on the right on the outside.

 Renate Hugel 

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To your Information:

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Carol Whitney: „Wichita’s Burning“

To this large-sized acryl picture on canvas (by Carol Whitney) I write in my contribution

“Art Touches Art – 37”.

You find the contribution if you select on HOME “Art Touches Art” on the above.

Information about the complete previous contents of the category Art Touches Art” you find by selecting

“Art Touches Art” on HOME on the right on the outside.

Renate Hugel 

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To your Information:

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Tobias Robles Monroe (Comanche)

 – Native American Artist –

 In her second contribution

Juanita Pahdopony

introduces the

Native American Artist,

Tobias Robles Monroe (Comanche), –

on her page

„Oklahoma Art Updates – 2“.

Under „Art Touches Art – 36“

I have interpreted a work of art done by

Juanita Pahdopony

– together with a dedication.

                                                                  Renate Hugel

Picture details, above:

“Stompers in the Spring” (Tobias Robles Monroe)

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To your Information:

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Willi Griephan: The “Hat Tree”

Today I want to point to this that I had written about the tree sculpture “Hat Tree” of Willi Griephan (from Bremen, Germany) in “Art Touches Art – 33”.

After the end of my interpretation is following a representation by Willi Griephan himself to his person, motivation and design-intention what had led to the “Hat Tree”:

To be found under “Art Touches Art”

 To the photo indicated above:

This is a cut photo of the “Hat Tree” of 2001, taken by me

Renate Hugel 

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For the Memory:

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“Oklahoma Art Updates – 1”

Jayden NiCole Hatfield:

 – Native American Artist –

Photo above: Illustration of the work of art Cheyenne Girl” by Jayden NiCole Hatfield

Under “Oklahoma Art Updates – 1”,

Juanita Pahdopony has published  her first article with the following title:

Jayden NiCole Hatfield:  “A Mover and Shaker”

Into this she introduces the interesting artist

Jayden NiCole Hatfield –Together with quite a number of picture examples.

To be found under “Oklahoma Art Updates”

Renate Hugel 

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To your Information:

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Ronald Anderson: „The Car Sculpture“   – Artist American Natives (Oklahoma, USA) 

In “Art Touches Art – 34” I write about the „Car Sculpture“ of Ronald Anderson which is standing as a testimony of the coincidence of presence and past and about the caused effects to the identity-finding of American natives.

 To be found under „Art Touches Art“

Renate Hugel 

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To your Information:

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Heinz Hugel

 Artist from Bremen (Germany)

In “Art Touches Art – 32” I write about a large-sized work of art of Heinz Hugel, whom the artist had given the title www.communication. It had arisen in Gracemont, Oklahoma, in the year 2001.

OR: What do old ceiling- paneling have to do with communication?

To be found under „Art Touches Art“ – – – Renate Hugel

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To your Information:

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“Oklahoma Art Updates – 1”

 Jayden NiCole Hatfield:

– “Self-Taught“ Native American Artist –

Photo above: Illustration of the work of art Cheyenne Girl” by Jayden NiCole Hatfield

Juanita Pahdopony has published under “Oklahoma Art Updates – 1” her first article with the following title:  Jayden NiCole Hatfield:  “A Mover and Shaker”

Into this she introduces the interesting artist Jayden NiCole Hatfield – together with quite a number of picture examples.

To be found under “Oklahoma Art Updates”

Renate Hugel

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Reference to a New Category

Created with Nokia Smart Cam

Renate Hugel

 For your Information:

 As I, Renate Hugel (from Bremen, Germany), had already mentioned, I have completed part1 („The Symposium“). I am preparing the start of part 2 („The Return-Visit“) at present.

See under „Art Touches Art by Renate Hugel“

Furthermore I would like to inform you that Juanita Pahdopony (from Oklahoma, USA) as a co-author wants to inform about current art in Oklahoma. She will edit her contributions under

„Oklahoma Art Updates by Juanita Pahdopony“.

 Below she introduces herself personally.

 Renate Hugel

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Juanita Pahdopony: Current Art in Oklahoma

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Juanita Pahdopony

Hello, my name is Juanita Pahdopony, and I am a life-long Comanche artist. My first memory involves looking at a famous German print of two young children crossing a rickety bridge under the protection of a beautiful angel. Surely, it was a grand beginning for things to come.

In 1990, I graduated with a M.Ed. in gifted and talented education with an emphasis on American Indian/Alaskan Native populations and my minor was Art Therapy. Later in my life, I was a faculty, then the Dean of Academic Affairs, and after my retirement, I served as an ‘interim’ President of Comanche Nation College.

Today, I’m once again retired and devote my time to others’ art, my art, and writing. H. Renate Hugel, her husband Heinz and I have been friends for decades and each of us have a love of art and sharing it. I hope you enjoy the art we select for your enjoyment.  Juanita Pahdopony

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For your Information:

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Renate Hugel: In this Moment…

Under „Art Touches Art“

I have completed – with “Art Touches Art – 28”

Part 1: „The Symposium“

 It follows soon

 Part 2: „The Return Visit“.

 To be found under “Art Touches Art”

Renate Hugel

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Ronald Anderson – Native American Artist

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Illustration above: Part from the photo collage of Ronald Anderson (see: „Art Touches Art – 28“)

 For your Information:

Into “Art Touches Art – 28” I write about the Tree Sculpture of Ronald Anderson and about this, which way the idea “symbol: Chair” had taken, geographically like also in the definition of the symbolism.

With that I describe the “initiation” for the artistic discussion with the “symbol: Chair” up to the Tree – Sculpture “Mother’s Day” of Ronald Anderson.

 To be found under “Art Touches Art”

Renate Hugel

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For Your Information:

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The signature of Sherman Chaddlesone (a part of the picture “without titles”, on a collapsible card) – – – Gouache, felt-tip on carton, Anadarko, Oklahoma/USA, 2001

 For Your Information:

 This card contacted us by mail from Oklahoma. I gave the small work of art (on this collapsible card) the title “Arrival of a “Group of Blue Riders” – – –  I am working out in in my interpretation how to understand this title, to be found under “Art Touches Art – 27”.

 To be found under “Art Touches Art”

Renate Hugel

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For Your Information:

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Ronald Anderson: The Gallery “pro art” (part) – – – Ink drawing on watercolor painting carton, Bremen (Germany), 2000

For Your Information:

In “Art Touches Art – 26” I write about the “Farewell”. Ronald Anderson’s ink drawing “The Gallery pro art” shows the desire “to hold” the place of the meeting tight. An older work of Roland Schneeweiss points that it is to value the solitude absolutely but also in the studio of one’s own…

Main however I give a summary of the outer facts of the symposium in this contribution.

To be found under “Art Touches Art”

 Renate Hugel

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For Your Information:

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Above there is to be seen a part of the picture „Thinking Out“ of Ronald Anderson 

This section shows the church „St. Stephanie“ in Bremen, (Germany), an „Indian peace cloud“, a section  of the river „the Weser“, the green of a lawn on the Weser dyke, impressions of teepees in trees, as well as a bare person on a bicycle.

Got curious?

Under „Art Touches Art – 25“

 I have interpreted the complete work of art and have followed the trains of thought like Ronald Anderson (Native American Artist and member of the Chickasaw tribe from Tishomingo Oklahoma) had “formulated” them pictorially on his work of art.

To be found under “Art Touches Art” – – –  Renate Hugel

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For your Information:

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Sherman Chaddlesone (June 2nd 1947 – August 17th 2013)

For your information: I have completed “Art Touches Art – 24”, by now. In this contribution I write about Sherman Chaddlesone‘s way of working so as I can “read” it by regarding his works known to me.

To be found under „Art Touches Art“

Information to the Portrait above:

Renate Hugel: „The Memory of Sherman Chaddlesone“ – – – Pencil drawing on transparent paper; behind this a part of a photo*, 16 x 25, 5 cm, 2014 – – – * Part from a photo taken during the Kiowa Black Leggings Ceremony nearby Anadarko, Oklahoma, 2001          Renate Hugel

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Note to a New Contribution

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Margaret Hettrick

For your Information:

 I have completed “Art Touches Art – 23”, by now. In this contribution I write about the small work of art “Anticipation” of Margaret Hettrick. This is situated on a wood block and, with that it is part of a piece of teamwork, the so-called “block-picture”.

Regarding the work of art “Anticipation” I feel empathy and simultaneously I recognize a creative solution to represent the inhuman situation from which the Natives of America had had to suffer.

The reason, why I am of this opinion, this I have exactly worked out in my contribution no. 23.

To be found under “Art Touches Art” – – – Renate Hugel

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Note to “Art Touches Art 22”

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Renate Hugel

“Art Touches Art” – art-meetings of a special way”

I have completed “Art Touches Art – 22”, by now. With my work of art “Singing of a Young Day” I have created an „Ode to the Art“. And I appreciate the special working atmosphere – which had adapted in the course of the symposium – at the same time with my work…

To be found under “Art Touches Art”

Renate Hugel

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Note to a New Contribution:

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heinz hugel

I have completed “Art Touches Art – 21”, by now:

With his work of art, The Last Tree, heinz hugel has created a stage for a tree-remains. This stage appearance makes it possible for the former powerful tree among others to “report” of his permanent and laborious growing during his former existence. In my interpretation, I translate this “body language” into our verbal language…

To be found under “Art Touches Art”

Renate Hugel

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For Your Information:

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Kelly Church

For Your Information:

 “Art Touches Art – 20” is completed now. Into this, I interpret the acryl picture   “The Beaver” of Kelly Church (an Anishnabe Native American from Michigan). – – – My question: What does the painting of Kelly Church tell about the beaver?

 To be found under „Art Touches Art” – – –  Renate Hugel

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Remark to Ronald Anderson:

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Ronald Anderson, 2000 – (Bremen, Germany)

Remark to Ronald Anderson:

Whoever has read my contributions under “Art Touches Art” from the beginning will be surprised that there has been a change to Ronald Anderson (R. A.) (Native American Artist) regarding his tribe membership. I would like to explain this here briefly:

I had completed “Art Touches Art – 19”, 19, Ronald Anderson’s niece Cynthia Adams has asked me to change the tribal membership of her uncle. She writes to this:

He is NOT Apache (we know now that this) was cited incorrectly in one of the books that he’s been referenced in / he doesn’t remember which one started the Apache referencing – but it was an error…
He is Chickasaw, Choctaw and Cherokee (American Native). He is a member of the Chickasaw Tribe out of Tishomingo Oklahoma.

We are beginning the process of getting his life’s work recognized and beginning to archive documentation at the Chickasaw Cultural Center.

Chickasaw, Choctaw and Cherokee are the three American Indian bloodlines we have documented lineage from. However, you can only be a member of ONE tribe… We are members of the Chickasaw Tribe.

Ron and his brothers and sisters were scattered in different Indian schools throughout their childhood so were labeled from different tribes”*.

(* = literal quotations of Cynthia Adams; what is in brackets have I analogously completed according to my sentence structure.)

Ronald Anderson is a member of the Chickasaw tribe with that from Tishomingo Oklahoma.

On request of Ronald Anderson and Cynthia Adams I have typed in this in all previous contributions to R. A. correspondingly.

The fact that Ronald Anderson has still taken this step in his high age has given an idea how his identity-question must have employed him in his complete life very much!

Renate Hugel

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For Your Information:

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Ronald Anderson

I have completed “Art Touches Art – 19”, by now. Into this I describe the large-sized work of art with the title “Mit Liebe” (“With Love”) of Ronald Anderson (artist of American natives, a member of the Chickasaw Tribe out of Tishomingo Oklahoma). With this work Ronald Anderson has managed to show it, what does perception make blind and through what this is opened again! To be found under “Art Touches Art”      Renate Hugel

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For Your Information:

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Jereldine Redcorn

For Your Information:

I have completed “Art Touches Art – 18”, by now. Into this I describe for instance what the hand has to do with memory or which “inner cause” Jereldine Redcorn has for reworking the ceramics of her Caddo-ancestors true to the originals. To be found under “Art Touches Art”  Renate Hugel

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Updated

A personal note:

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Renate Hugel:  „Light Filled Trains of Thoughts“ – – –  Watercolor and -crayons – – –  Art in the size of a credit card – – – 2013

I have begun to update my personal homepage* and to offer the texts bilingually (English + German). “File-Card-Art” (Karteikarten-Art) and “Bag-Art” (Taschenkunst) (=TaKu“ = Art in the size of a credit card), as well as my Vita are already completed.  *   www.other-q.com/renate-hugel   – – – Renate Hugel

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Reference to a Sad Anniversary

I have made a new contribution under the category Into Memory of Sherman Chaddlesone“. Cause for this is the first anniversary after the death of Sherman Chaddlesone. The title of the new contribution is: “In Memory of Sherman Chaddlesone” – – – Renate Hugel

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Note to „Art – Touches – Art – 8”: Part II

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Symbol of the Encounter

 This symbol stands for the encounter of Indian artists with European artists – It is simultaneously the result of a „cooperation“ of Jereldine Redcorn (Caddo – Native American) and Roland Schneeweiss (ethnic German artist from Bulgaria) in the year 2000

 I have written a second part and have added it to the first one of „Art – Touches – Art – 8“. In my first interpretation I have worked out that „communication and understanding are more than an intellectually sorting of the opposite person into prefabricated stencils of thoughts“. – – – Now (in part II) I have performed a change of the line of sight and tried to look at the symbol from „Indian view“…       Renate Hugel, 2014

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Under one Roof

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Renate Hugel:  Under one Roof – – –  Mixed Technology / 29,5 cm x 41,5 cm / 2013

Under one Roof

Inside – Outside – – – only seperated by a membrane – – – same as an eardrum – – – conducts vibrations – – – from outside to inside – – – from inside to outside

Inside – Outside – – – the membrane „tent wall“ protects – – – connects all roofs nevertheless – – – by its permeability – – – Sharerd privacy – – – the ego lives through the us-feeling

Inside – Outside – – – the membrane promises safety – – – but split-second – – – we leave it today – – – with a mouse click only – – – and expose ourselves into a jungle… – – – of thoughts and intentions! – – –                                       Renate Hugel

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Art has woven a Tender Gauze

72_Artwoven_img929Renate Hugel: Art Has Woven A Tender Gauze – – – – Series: „Falls of Fold” – Gouache, watercolor painting colors, collage with different papers, among others tissue paper (In behind with lyrical text fragment of Renate Hugel) – – – 23×38 cm in a frame of 40×60 cm – – – 2000                                       (Arisen during the symposium time: „Attempting an Encounter“).

Text fragment behind the picture: Art has woven a Tender Gauze – – –  Art has woven a tender gauze…  There has been a time coming together, working together, laughing, speaking, eating together…  And an atmosphere developed of creative abound, urging to be expressed and to come into reality – – –  Pictures have been created, telling about our thoughts – – –  And art has woven that tender gauze…  Renate Hugel, 2000

„Art Touches Art – 44“

Carol Whitney (American):

“Woman with Attitude” Acryl on Canvas

 

“Woman with Attitude”

Information for the readers:

My interpretation will appear soon. Carol Whitney would like to give and formulate important background information. This will last for some time.

Renate Hugel

Remark 1: Current stand: To Carol Whitney I have written the contributions Art Touches Art – 30, 37 and 44.

Remark 2: Information about the complete previous contents of the category “Art Touches Art” you will find by selecting Art Touches Art” on HOME on the right on the outside.              Renate Hugel

“Art Touches Art – 43”

Lamontt Bear – Part I

Lamontt Bear:  “Sunset Mount Scott, Oklahoma”,  Oklahoma (USA), 2011

Lamontt Bear: (American Native of the Kiowa)

Impressions from Oklahoma – On a Journey back to the “Internalized Places”

In this current contribution I introduce photos of Lamontt Bear (LB) (Kiowa native of America). His photos touch by their strength and intensity: He awards an increase to the natural spectacle offering him to the absolute beauty of itself by putting his chosen subject so into scene that it does not only reflect the intensity of the colors but also banks them up to celestial beauty…

Looking at the shown photo series as a whole (see below this text), I get the impression as if a certain philosophy is inherent in the individual picture topics of LB.…

To recognize this, at first I deal with the personal background of LB:

Of course I would first of all like to let LB personally come to word: “I am sending these pictures of the places, I find solitude…Wichita mountains wildlife refuge – Ft. Cobb Lake. As a child and now an adult, spent a lot of days in these places with my grandfather whom taught the closeness to our native heritage.”… (Quotation of Lamontt Bear)

To him, the Kiowa grandfather, it had been existentially important to pass on the inheritance of his own ancestors to his children and grandchildren! When Lamontt Bear had grown up to a young man, then, for his grandfather had come the time to instruct his grandson now into – what according to custom of the ancestors – a Kiowa has to learn:  

He should receive the education which was provided for a young man in the past as the right education!

The Kiowa grandfather went therefore with his grandson Lamontt Bear to the Wichita Mountains, climbed the Mt. Scott together with him or they went for fishing to the Ft. Cobb Lake.

After the phase of the introduction time had been ended, the grandfather went back and left the Wichita Mountains. Lamontt Bear was left to himself in this total emptiness of the mountains now.

Because, to be able bearing solitude, this it is, what has to be learned – with that this is the great worthwhile aim of his Kiowa ancestors. They knew that this experience lets the young person mature and leads to inner strength by having a good look at oneself. This indicates to find one’s peace at long last, too.

Learning how to survive, as also to communicate with nature, these are further learning goals having been extremely important to his Kiowa ancestors.

In the course of the years, furthermore LB had attained an inner familiarity to nature and for her rhythmical changes within a day, month or within a year.

So he himself almost had become part of this nature surrounding him because he reacted to everything unexpected intuitively meanwhile! And his nature had got strengthened, quiet and patient because he had coordinated humanly wanting such, to be mutually agreed with the nature!

He could nevertheless be energetic and think purposefully. Because his action framework corresponded just as intuitively to his inner attachment to nature!

The descendant of the famous White Bear* had become a recognized member of his family, like also of his complete social environment now!

(* White Bear, the famous warrior from the 1800s years)

Included, there were his Kiowa relatives and others Kiowa families, well-known to him and there were Cheyenne relatives and others Cheyenne families well-known to him at the same time, too. Because: Lamontt Bear has a Kiowa father and a Cheyenne mother. They had remarked very well that something special had become from LB:

“One of his Cheyenne uncles said he is like the special warriors who were known as the bravest protectors in the old days.  Lamontt Bear is a mix of the old and current ways.”  (Quotation of Carol Whitney)

The recognition, which the young Lamontt Bear had got within the family and of friends, this had been good for Lamontt Bear! And he embodied as well all pride and courage now, like his people did it!

He was therefore integrated and identified himself with his people, the natives in the southwest of Oklahoma!

Of course the world around him worked quite differently!

He could and did not want to negate this!

LB had decided therefore to get involved in this world, as well!

LB learned a profession. It also had drawn him to the distance, to people elsewhere in the world. He likes to look back at it, that he has worked in many countries among others also in Germany…

From the experience of solitude it had drawn him to the people and had become cosmopolitan…

He says of himself today that he has lived really many lives!

Meanwhile, he likes to go to the places of his youth again. The feeling of once had changed – also the position! This insight had got him to this, to integrate a new element into his life: the camera!

With his “special accumulated experience” Lamontt Bear has a considerable “capital” which demands him at the same time to express this with his photos such, so that something of his experience is transported to the observer!

 There are the photos on which LB lets the celestial beauty of the nature play the leading role by having put them into scene perfectly.

Other subjects show further places which had been familiar to LB – on the Mt. Scott, in the Wichita Mountains, at the Ft. Cobb Lake or in the Wichita Mountain Refuge

With his photos, LB does not only integrate the time with his grandfather and the solitude. He also devotes himself to the technology topic which had accompanied him during his work and had determined his thinking in this period. I think for example of the photo “Wind Turbine in the Fog”. I find fascinating, at this photo how the original technical subject can be recognized merely as a “quotation (on the left photo page, one wing of the wind turbine is running beveled over the picture). This one is shining in the orange color of the light surrounding him. Such, the photo is determined by the gleam of light in the diffuse environment, the fog. Technology is stepping down in face of the nature event…

On another photo, LB has picked out wind turbines as a central theme. Also here, nature determines the event. A dramatic sky dominates the scene and the complete picture-room. With the chosen perspective LB makes clearly visible how small man is basically – in the face of nature. For this, he has gone (with his camera) onto the level of the brushwood which can be seen in the foreground of the narrow country stripe. Out of this viewpoint, some of the clouds seeming dangerous touch almost the earth. The above, is dived in black, like also a part of the country stripe, while the between lets suspect the extension of the sky-room! Those immense extents of the sky and event qualify the size and stability of the wind turbines – and their braces of steal are playing (in the perception of the observer) with the thin branches of the brushwood in the foreground…

 The photos on which LB banks the beauty of nature also have drama. Nature follows the changes of the proportions of the powers and their dynamics is neutral, does not refer to the welfare or drift of man…

This is surely a message which transmits us, as observer, Lamontt Bear with his photos.

And this message shows his young years in which he “has breathed with nature”…

Renate Hugel  

 For the end I would like to quote Carol Whitney, who accompanies LB since some years on his ways, back to the places of his childhood:

 “Lamontt-Bear’s vision sees beyond the mechanical recording of nature.  He captures the magic of light, mass and structure.  He perceives beauty beyond words… through his mind and experience of nature.

His camera is the tool with which he shares his vision.

His Native American roots provide the crystal lens conveying what he sees.”… (Carol Whitney)

Lamontt Bear: “Double Rainbow”, 2011

Lamontt Bear: “Look at the Wichita – Mountains”, 2011

Lamontt Bear: “Top of Mt Scott”, 2011

Lamontt Bear: “Sunset over Oklahoma – Country”, 2015

Lamontt Bear: “Tree-Portraits after the Storm”, 2015

Lamontt Bear: „Inundation after a Storm“, 2015

Lamontt Bear: “Wind Turbine in the Fog”, 2015

Lamontt Bear: “Longhorn at Wichita Mountain Refuge”, 2015

Lamontt Bear: “Me, Fishing at Ft. Cobb Lake”, 2017

Lamontt Bear: “April Moutain Whispers”, 2017

Lamontt Bear: “Fishing Stars”, 2017

Lamontt Bear: “Sunglasses-Fishing”, 2017

Lamontt Bear: “Wind Turbines”, 2017

Lamontt Bear: “April Moutain Whispers”, 2017

Lamontt-Bear: “The Ceremonial-Tipi” – Tipi-Shadows”, 2017

(Taken during Kiowa Memorial Day Weekend – and sent afterwards to me)

Remark 1: Current stand: To Lamontt Bear I have written the contribution “Art Touches Art – 43”.

Remark 2: Information about the complete previous contents of the category „Art Touches Art“ you will find by selecting „Art Touches Art“ on HOME on the right on the outside.

Renate Hugel

“Art Touches Art – 42”

Ronald Anderson (Native American Artist):

“Apache-Dance”,  Acryl on Recycling-Cardboard, 80×57 cm, 2000

Dance of Apaches in the Night

 Ronald Anderson had painted the acryl-painting on hand on recycling cardboard (with the measures 80X57 cm) during the symposium in Bremen in summer 2000. With his picture he directs the observer into a typical dance scene of the Apaches:

The dancers move around a brightly flickering fire, short wooden swords carrying in their hands. The persons in the shade of the fire seem to be gloomy with their black-white upper part of the body-painting, the skirt and the boots, like also the construction striving up on their heads: The base forms a horizontal slat there of which on the right and left long sticks tower while between this about three to four candles are shining. To give the whole support, this construction is held together with a ribbon and fixed at the body (bright rues on the upper parts of the body). With that, it gets clear that the dancer, in the picture in front on the left, can be seen from behind. The same applies to the small person being besides of this dancer on the right.

The dancer who is lit up by the light of the flames brightly, however, is behind the fire.

When the look is changing now – from the details to the general view -, then a common energy between the person-group is getting perceptible: With a dreamy-walking safety the dancers are moving here according to a spiritualized structure of the course – while the fire is in the center.…

For me, it is obviously that the center lit up by the fire shall lead the dancers to their personal inner shining-center… – as a prerequisite for this to light up one’s own spirit and to clear the thoughts.…

The full moon appearing in the picture on the right is pointing out that this “Apache Dance” takes place in the night. I consider the symbolic-power of the “night” (standing for unconsciousness) as an expression for the will to inspiration: She, the night, is able to strength the connection of consciousness to the unconscious… However, the huge power of nature – manifesting into landscape, into animal or plant – does make possible identification and orientation for the dancers directed towards their own energy: The dancers will be touched and will absorb the spiritual quiet and strength of the nature in its being-that-way.…

In this place, my memory returns to the year 2001:

It already had got dark this day we had spent with the Kiowa Black Leggings Ceremony (see to this: “Art Touches Art – 41”). As already mentioned in the previous contribution, there had been a meal at the completion of the ceremony together with the family Chaddlesone who had invited us in her eating-pavilion. We finally thought to set off and say goodbye to our hosts. We, altogether eight persons, had reached the venue with the car and everyone got in there now again.

From the keyword “car” I stray a little now and would like to mention that in fact, our visit had been planned really perfectly. This meant that for the far distances in the field of the country Oklahoma, we had been dependent on a car. And Ronald Anderson had provided it: If I remind it correctly, it had been his brother-in-law, who had helped us in a generous way – in his function as a parish priest of the FELLOWSHIP OF AMERICAN INDIANS CHURCH in Chickasha, OK. The minibus with which we were allowed to drive carried this signature with great characters. Our gratitude for it I would like to confirm in writing here once again, said verbally already!

We remarked soon that Ronald Anderson for the journey home had taken a way appearing strange! It had got darker and darker! On the right and on the left of the narrow street we could perceive in the deep black contours of edges of a forest or simply the pure black, obvious above fields. For me it had been inconceivable how he could orientate himself in this labyrinth from black, without any lights! However, Ronald Anderson was apparently able: With an extremely high safety he turned into a crossing street, left it again and drove on in this darkness, unimpressed!

Suddenly – for us – he got slower, however, did not stop but stayed with the low speed. At the same time he had looked to the left. We followed his look at a wide field under the black sky, while the shadows showed beginning woods on the left of it…

However, the field had released the look on a scene!

We recognized three persons – in seated position – who executed movements with their arms and short swords at high attention and concentration. They had carried the construction on their heads with burning candles as can be seen in the above acryl picture of Ronald Anderson. These dancers apparently were in another phase of the ceremony than represented in the picture.…

Although only a very short perception of the event had remained to us while passing – but, this brief impression had achieved this to confront us with another reality of identity-finding!

More intensely, a contrast could not have got experience-able:

We just had left the Kiowa Black Leggings Ceremony where we had spent the complete day and experienced a well-organized program there with at least 800 (or more?) participants or spectators of the Kiowa tribe. They had had the chance to give identity to each other in addition to the lived traditions each other with that.

And now this!

A pitiful small group opposed forgetting there! …

Interpretation: Renate Hugel

 

Ronald Anderson

Native American Artist –

Ronald Anderson, 2001: During a conversation about art

Remark 1: Current stand: To Ronald Anderson I have written under “Art Touches Art” the contributions “Art Touches Art – 1, 13, 19, 25, 29, 34 and 42”. Furthermore you find a “remark to Ronald Anderson” on HOME (from the 24th of July 2015).

In addition, there is a mention under “Art Touches Art – 16” (the contribution to the teamwork “block-pictures”).

Remark 2: The contributions under “Art Touches Art” refer in part 1 (“Art Touches Art – 1 to 28”) to the symposium “Attempt of an Encounter – Five Native American Artists meet five European Artists”. This had taken place in Bremen (Germany), in the year 2000. Whoever would like to ask about the genesis of the symposium can scroll back till “Art Touches Art – 1”, then continue scrolling back till Information about ‚Art Touches Art‘; after that you find then the „Chronology of the Past History“.

In part 2 (as of “Art Touches Art – 29”), the contributions refer to the return visit in Oklahoma (USA) in the year 2001.

Note: (of the 24th  of  07th  2015):  See on HOME: “Remark to Ronald Anderson”

Renate Hugel

„Art Touches Art – 41“

– Renate Hugel –

Renate Hugel: “The Blanket-Woman”, Acryl on Carton,

28x41cm, or 39×52, 5 cm (with sides opened out), 2001

The Blanket-Woman

This picture, “The Blanket-Woman”, I had worked in the “Heaven” (see: “Heaven”: “Art Touches Art – 31”) and painted with acryl on a carton-lid, inclusive of the four sides of the lid. Therefore, at first my work had been three-dimensional. For the transportation I had solved the adhesion of the sides, though. On the photo above, the four open sides can be recognized.

The spontaneously sedate subject-composition consists of elements, painted associatively, and of color-areas between blue, red and pastel green. Furthermore, on some areas and subjects, gesticulatory scratching can be recognized.

In its statement, The Blanket-Woman refers to an experience which had been behind a few days at the time then:

We guests had been invited at taking part in the Kiowa Black Leggings Ceremony taking place every year.

This ceremony is the annual main event, the great Pow Wow, of the Kiowa – tribe. It is causing community and identity with that for all tribe members.

A teepee set up specifically was on a big area, put from the platform on the left side. The color design of the teepee-jacketing corresponds to the tradition: One half of the teepee-cloth is yellow-black with stripes going horizontally. The remaining cloth is of white color, in the upper part up to the top, however, of red color. The wood bars of the teepee are rising beyond the top – as usual. The American flag can be seen blowing in the wind on one of these bars. The entrance of the tent is situated on the side which points towards the small piece of woodland behind this*.

Exactly opposite to this area, there had been set up a big platform for the visitors, the spectators. The rows of seats went along on the lengthways side of the area mentioned above. The further rows of seats behind this were ordered in steps up at the same time so that the visitors from all places could pursue the ceremony.

Talking about the spectators, I mean approximately eight hundred persons. They were mainly American Natives of the Kiowa – except us guests. Other exceptions were the partners who belong to another tribe, but had accompanied their partner, however.

Remark to * (see in the text above): People had partly arrived from far away and had the possibility in the small piece of woodland of staying there. Most of arrived had parked their station wagons or also trailer here. Whoever, in the evening, still wanted to drive home had built up tents or pavilions already in the morning, predominant “eating pavilions”.  

For the Course of the Ceremony:

The complete ceremony followed a fixed order of items on the agenda:

  • The address: It had begun with the message that there had started a war in Afghanistan. Prayers and serious words had followed since many young American natives had been drafted from their rows.
  • According to an old Kiowa-tradition the women of the “victorious warriors*” started with the dance of the women.

 The dance of the young warriors* had followed. The fact that many of the young men were missing had been announced worriedly (see item 1).

Remark to *: The term “warrior” had been very requiring habituation for us since we are adjusted rather pacifist. Actually, we had experienced the American natives as very kind and benevolent people for whom it had been natural to take us guests in their rows and to let take part in their traditions. We had therefore experienced them as peaceful people.

Now, this genuine ceremony, however, is the “recurring theme” to the “bloodline” of their ancestors and therefore the passed on terms are most natural for the Kiowa natives.

  • The next entrance started with young American natives who had had the task of leading the veterans and accompanying them on the stage. All these men had been obliged to serve in Vietnam. Here on the stage, they executed now the Dance of the Veterans.

Also Sherman Chaddlesone belonged to the group of the veterans (see to this:Art Touches Art – 11”).

This item on the agenda is – after my feeling – not exclusively an appreciation of their “successes in the war” as it perhaps had been thought in the past. With this ceremony the Afghanistan-veterans feel taken in the circle of the community. There they feel a security helping them to process injuries – suffered from physical and, or also from spiritual injuries…

The Dance of the Veterans had felt drawn on a long time very much; it had been executed by all involved with seriousness and dedication. After the completion of this dance of the veterans, till now uninvolved women from the spectator crowd finally entered the dance-floor to follow dancing. It was important to wrap oneself in a blanket: This was the phase of the “Blanket-Dance”. Margaret Hettrick (see: „Art Touches Art – 6 + 23“), from Texas arrived, in order to be present at the ceremony, had also gone onto the dance-floor and had wrapped herself in a blanket, before. Sometime Sherman Chaddlesone’s sister had come to my husband Heinz and me, wrapped us in a blanket respectively and had led us to the dance-floor!

Later, we had learned that we were the first Germans to whom this honor of the con-dance had been granted!

Such a magnanimous and friendship-bringing-about gesture we had felt as a great mark of confidence!

After the ceremony of The Dance of the Veterans having been completed, then there had followed: The Defeated Death.

As a whole, the “Dance of the Veterans” follows a particular choreography. Each step has to be carried out exactly. This information should draw our attention on the niceties which had been hidden for us – the “clueless-ones”. Therefore we could not get aware of these minimal movement-changes either of the complete construction.

This, what we had been able to recognize, however, had been how great the physical effort must have been, together with a highly concentration for hours during the ceremony: At the end, Sherman Chaddlesone had dropped down obvious exhaustedly on his seat.

The last item on the agenda of the complete ceremony had been then a naming-ceremony for a small child: People from the environment of the young family had given presents to each other. Many people had gone onto the event-area for this and had put bags down there provided with nameplates. The names of the present-giver and present-receiver had then been read out. During the naming-ceremony banknotes had been put down in front of the young parent couple.

After the event finally had been ended, the crowd dissolved itself: Many natives had started for the way home, but there had also been numerous persons arrived from far, who wanted to stay overnight in their tents, pavilions, trailers or station-wagons in the small piece of woodland. At first one went, however, into the prepared eating pavilions. Also the family Chaddlesone had prepared an eating pavilion and all of us had been guests invited to be at the meal together present! Once again we had been overwhelmed by the great hospitality, warmth and kindness which had been brought to us!!!

The sound of the drum continued to have an effect still energy-giving into us. Nonstop the drummers had drummed during the complete ceremony of the Kiowa Black Leggings to the different items on the agenda of this afternoon and had played an important role with that.

In connection with this, it seems probably difficult to understand that I had painted a flute on the outside on the right in my acryl picture The Blanket Woman which shows the color of its surroundings and is situated in a long distance to the “Blanket Woman”.

The whole afternoon I had had this vague feeling as if softly moved air had got into vibration and seemed having radiated sensitive flute tones between the people: A common atmosphere under the people whom something far away inwardly moved, something from a far temporal distance. …

The drums had made audible the energy and rhythm of the actors. The atmosphere of the people on this had spoken differently – had been celebrated by a common inner vibration, however…

This inwardly having been moved, I had heard like an inconspicuously, almost breathed singing or flute-playing from the past: a soft sound had laid in the air, simultaneously like an easily rough breath which seemed to come from a wide distance as uniting memory of the ancestors and the past.…

Everyone had had the chance during the complete ceremony “to sing their very own melody, belonging to all of them”

The memory of the ancestors is a respectful gesture which finds its expression in carrying out the tradition and is intended as empathy for the destiny of the ancestors.  

We had saved in our memory the undisguised warmth towards us. Simultaneously the intensive dedication of all involved (the watching like also the active persons) to the traditions of their own ancestors had impressed me! Particularly I recognized this in the respect for their ancestors and in the seriousness at all their actions…

Some years ago, I had found a photo which I had taken during the “Black Leggings Ceremony” in 2001. This had seemed suitable to me as an example of what I had explained above. It also had inspired me to the work of art “Mother and Daughter Following the Ceremony“ – Or: “Keeping Creates a Strong Ribbon” (2012).

Renate Hugel: „Mother and Daughter Following the Ceremony“

Or: „Keeping Creates a Strong Ribbon“

Mixed Technology, Flake Off Technology (29,5×41,5 cm), 2012

I had this picture worked with black, as also different-colored Indian ink and opaque white. After having taken an outline to the paper, I had to put at first bright, waterproof-colors and further have had to decide which areas have to be saved: Because, my procedure followed now the so-called “Flake-Off-Technology”. In the dried condition all areas I want to be saved I cover now with opaque white. After the white color is dried the complete picture is painted with black Indian ink. When this also has dried again, the picture has to be washed with water. The areas not having been covered with opaque white turn black now (on my picture partly mixed with reddish brown). The – in this phase – wet opaque white under the black Indian ink is bursting together with the black Indian ink. These broken colors can now be washed off and will release the colors under this. In this moment when I want to stop the washing I can save opaque white traces – if wanted…

The Flake-Off-Technology I had chosen because, during the process of this technique, hidden things can be transported again to the daylight… – And therefore this technology can be taken as “a symbol for bringing out the past and with that for bringing out the heavy losses” – …

In the inner attitude of the persons of my picture I see my intention to let get visible the passing-on-strength, on to the children in this: The mother is deepened in concentration and obviously “arrived inwardly” – in expectation of the ceremony. The girl orientates herself at the behavior of the mother, as also at her feelings and her inner attitude…

So the chain of the ceremony-repetitions continues to get a new chain-link with each year at the time.…

My description above of the process of “going back to the roots”, – not only intellectually but also by a physical usewith this I show what creates, corresponding to the inner attitude, an inwardly strength giving a certain size in the here and present to the person!!!!!

Interpretation: Renate Hugel

Renate Hugel

 (Bremen, Germany)

Renate Hugel-Selfy, 2017

www.other-q.com/renate-hugel

Remark 1: Current stand: To Renate Hugel I have written the contributions “Art Touches Art – 9, 17, 22 and 41under “Art Touches Art”.

In addition, there is a mention under “Art Touches Art – 16” (the contribution to the teamwork “block-pictures”).

Remark 2: Information about the complete previous contents of the category „Art Touches Art“ you will find by selecting „Art Touches Art“ on HOME on the outside of the right.

                     Renate Hugel

“Art Touches Art – 40”

– Jereldine Redcorn –

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Jereldine Redcorn:  „Five Effigies“

Ceramic vessels, worked according to the examples of her own ancestors, the CaddoNatives of America, Bremen (Germany), 2000

Remark: Composition of the photos of the five vessels: Renate Hugel. The photo of the head vessel I have processed a little – with consent of JR.

Jereldine Redcorn: The Queen of Clay

(And: Parting of the White House)

About the request and the work of Jereldine Redcorn (JR) (Artist of American Natives, Caddo, from Norman, Oklahoma, USA) I have already written repeatedly:

„Art Touches Art – 2“: „Caddo Ceramic of Jereldine Redcorn“

„Art Touches Art – 10“: „Interval“and „After Columbus“

„Art Touches Art – 18“: „The Feeling Hand”

In Oklahoma we had seen JR (2001) to the common presentations and could visit her also in her home in Norman.

Here I cite a quotation of Jereldine Redcorn because it had inspired me to the contributions about her work:

“Creating Caddo pots becomes a journey with my ancestors. I use the tools, materials and firing methods as close to what, I believe, the old Caddos would have used 500 years ago. The earthenware created truly comes from e –nah – wah – dut, the mother earth.” (Jereldine Redcorn)

The photo below, I had taken 2001 during a celebration event with presentations on the area of the Rose State College in Oklahoma City (Oklahoma, USA):

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I appreciate at this photo that the mathematics teacher J. Redcorn shows herself obliged to her rationality in the condition of attentiveness and concentration there. At the same time, her traditional garment points (together with the traditional jewelry) that (beyond the scientific intellect) closeness to her ancestors belongs to her personality!

By her work, reconstructing the ceramics of her ancestors like also the required production techniques, she succeeded a resurrection of the historical vessels! And this earned her the following title:

“The Queen of Clay“

(see: www.redcornpottery.com)

This, her reputation, had spread apparently over Oklahoma’s limits! It was about eight years ago when JR had totally been out of her mind! – The reason for it?

Former President Obama and his wife Michelle at that time had collected works of art for their new home, the White House, short time after his assumption of office’s post!

One of Jereldine Recorn’s Caddo vessels had belonged to this art collection!

In the meantime (in January 2017), the family Obama has left this domicile again – as known to everyone. Joined in moving had all the works of art – then had been selected with love – and thus also the ceramic vessel of JR

Even today, I know quite exactly how overjoyed Jereldine Redcorn had been about this: To be represented in the White House with a work of her own, this she had felt as recognition on eye-level – not only for herself but for all American Natives!

Exactly this openness towards all people and all forms of art of Barack Obama is worth to me receiving a special mention!

Renate Hugel

Remark 1: Current stand: To Jereldine Redcorn I have written the contributions “Art Touches Art – 2, 10, 18 and 40under “Art Touches Art”.

Remark 2: Information about the complete previous contents of the category „Art Touches Art“ you will find by selecting „Art Touches Art“ on HOME on the right on the outside.

Renate Hugel

 

 

„Art Touches Art – 39“

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Heinz Hugel: “the two…”

Sculpture from find pieces (2001), Stone plate, wood thick boards, metal applications, partly painted with, “red earth” from Oklahoma

Details on the photo-montage: “the two… in front of burned earth” of Oklahoma

View: Photos: 2001, Photo-Montage: 2002, Heinz Hugel

Remark: Heinz Hugel had given his sculpture “the two…” in exchange for Juanita Pahdopony’s work of art “Comanche-Education”. (See to this “Art Touches Art – 36”)

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Heinz Hugel:  „the two“ Or: “Into Ash and in Mourning”

Photo of his own sculpture (back): “the two”  (2001)

“the two”…

September 29th, 2001, was the “peace day”. We (our hosts and we, the guests from Germany) had been invited to take part in the peace ceremony of American Natives in a school in Anadarko. The memory of the victims of “September 11th, 2001”, had been the main concern this year.

To the participants of the peace ceremony belonged besides the pupils like also the teachers of the school the invited guests. As a person responsible we could among others be aware of the principal. In addition, Linda S. Poolaw (Delaware / dramatist, photographer, curator and educationalist*) belonged to the invited guests (*see to this: “Chronology of the Past History” under “Art Touches Art”).

The peace ceremony had started with digging earth, because it had been planned to plant a young tree. It can be seen on the square photo that it had already been planted into the earth; nevertheless, the dug earth-hole still had remained open during the ceremony.…

Some addresses which had referred currently for September 11th of 2001 had followed.

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Details on the Photo: Preparing the planting of a young tree + the ceremony

Following, all participants formed a long, approximately oval till circle shaped chain. And everybody got a little bow.

These bow ribbons had got the colors white, black, red and yellow. These are the four colors which stand for the philosophy of life of the American natives:

An every color has a certain meaning. As a whole they form the coordinate system which gives orientation to the people.

To these belong for example the four points of the compass, like also the winds coming from all directions, the four age-sections in the life of a man, there are correspondences at the four seasons also at the day-sections… (See also „Art Touches Art – 16“)

I hereby have outlined the special philosophy only very briefly on which the four colors are based. With their position, assigned to each single point of the compass, to the directions of the wind and, or to the individual age-sections of man for example, this reveals a way of perception showing his and ours dependence of time, of the earth and this of its position and function in the universe…

By this philosophy outlined roughly – built up on the basis of the four colors – having been internalized in their spiritual substance, the American natives had been under the protection of these colors – as an expression of their complete attitude of mind. Therefore these four colors also are named as “the guardians of the spirit”.

Each from the “human chain” should – the row after – approach the young little tree now. At first a little bit tobacco had to be scattered into the earth-hole. Afterwards, the small bow was hung on a branch of the little tree. During the complete action it had been important to think a positive thought or desire.

When everybody then finally had hung his bow into the tree, the completion of the ceremony followed: “The tomahawk was buried” – in double regard:

An American native had done this with his words, his talk. The real action followed to this by a “tomahawk” being put into the prepared hole together with a pipe, the “peace-pipe”

After that, this hole had been filled up with earth.

Finally, dances to music formed the end of the ceremony carried out by young American natives (pupils of the school).

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Details on the Photo: Carol Whitney hangs her ribbon as a symbol for her good thoughts and wishes on the peace tree.

Again and again, our look had fallen now on the small adorned treetop:

There had arisen an atmosphere which – this one seemed to me so – had given this treetop a certain radiation and aura. And exactly this gives the many good thoughts a chance to grow and develop!

Everybody has therefore taken on a responsibility to feel oneself obliged to the “guardian of the spirit” (the four colors) and to be willing to think – what means: to let arise – the good for all people…

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Details on the Photo: The freshly planted small tree carries the ribbons carrying in itself the good thoughts and wishes as “shoot – carrier” which want to grow and to form a good future…

The sculpture “the two” has arisen afterward under the impression of this peace day. Heinz Hugel had collected the material he had discovered and which had been at disposal to him.

In the result a work of art which evokes a collective traumatic experience full of heavy thoughts and feelings had arisen.

The realization by simple wood boards may be confusing for the observer, though. But using the millennia old building-material wood in fact corresponds to the experience of having been lead back to human social behavior in the time of early human societies. The social structure of all early societies then had got comprehensible rules in the “with-each-other”.

It really had been about the “you to you”. At conflicts the human mind should reflect and remember that forgetting quarrel causes or injuries offers the chance for a new beginning. “Burying the tomahawk” in its symbolism, this helps at it.…

The sculpture “the two”, Heinz Hugel had put together – on the photo right above – in front of another photo, on which the earth dried out is shown in the glaring dazzling sunlight of Oklahoma. The brittle, dried out and cracked earth may stand for deserted human relations here…

Right at the top it is to be seen the photo which Heinz Hugel had taken of his own sculpture in the year 2001: “the two”or: “Into Ash and in Mourning”. It shows the back of the sculpture. The light in which the two tower fragments had been dived makes appear them in the smoke and the heat of the inferno and shows the moment before the caving in of the towers. This impression of instability is made grow since Hugel had taken his sculpture so that the stone base carrying everything is not perceptible.

In the middle of the upper photo edge, there are appearing the letters RE. They are standing for “Remembrance” – branded in…

On the right and on the left, the two black stripes symbolize for Heinz Hugel “Ash and Mourning”…

Interpretation: Renate Hugel

To the Person of Heinz Hugel   (Artist from Bremen, Germany)

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Renate Hugel: „Portrait of Heinz Hugel“

Manual Print, 2003 – Relief-Print-Method: Print Plate: Vinyl, Linocut Print Colors

heinz hugel

 1936: Heinz Hugel was born in Bremen.

1976, since: Activity in the artistic area, among others in the adult education

1981, from: Freelance artist

1982: Foundation of a gallery

1990: Joining the artist group “Der Bogen”

1992: Founder member of the group “Quintum” (union of international artists)

2000: Symposium “Encounter of Native American Artists and Artists from Germany (one artist from Bulgaria)” (con-organization)

2001: Study visit to Oklahoma/the USA (“return visit”),

Expansion of the group “Quintum” into “Quintum international”

2002: Certificate of the university Bremen – studies with Professor Uwe Mempel, main emphasis in “Art Practice” – “Experimental Ceramic”

2007: Member of the group “Art in the Province”

2009: Member of the group “Art – Projekt”

2013, from: Retreat because of physical problems

 Exhibitions or Exhibition Participations: (Choice)

Bremen, Borgholzhausen, Herford, Hamburg, Kiel, Kleestadt, Großumstadt, Langenargen (Lake Constance), Loidved (Denmark), Munich, New York, (USA), Oklahoma (USA), Rose State College (Oklahoma City, USA), Tribes Gallery (Norman, USA), Heaven, “International Exhibition” of German and Anadarko Basin Artists (Gracemont, USA), Siklos (Hungary), Tekomatorp (Sweden), Tournus (France), Zwolle (Netherlands)

Several Exhibitions in Niedersachsen (Lower Saxony, Germany):  Bassum, Bruchhausen – Vilsen: Klostermühle Heiligenberg (Cloister Mill Saint Mountain), Delmenhorst, Diepholz, Kirchdorf, Lemwerder, Oldendorf, Osterholz Scharmbeck, Rotenburg, Wümme, Schneesen, Sulingen, Syke, Wagenfeld, Weertzen, Weyhe, Wildeshausen, Worpswede

Heinz Hugel

 Remark 1: Current stand: To Heinz Hugel I have written the contributions “Art Touches Art – 7, 15, 21, 32 and 39under “Art Touches Art”.

Remark 2: Information about the complete previous contents of the category „Art Touches Art“ you will find by selecting „Art Touches Art“ on HOME on the right on the outside.         Renate Hugel