Category Archives: Art touches Art by 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…

Lamontt Bear: “Wind Turbine in the Fog”

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…

Lamontt Bear: “Wind Turbines”

 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

 

“The Ceremonial-Tipi”

Lamontt-Bear: Tipi-Shadows”, 2017

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

 

Here, Lamontt Bear personally introduces himself:

 Lamontt Bear in the Portrait

 It had been my concern to receive a portrait photo. What I have got, this were three photos.

Why?

According to my understanding Lamontt Bear had not been content with a representation of his outward appearance. It rather is for him about what his personality arranges:

The solitude in the mountains had become a part of his person and had stamped his personality with that. What the photo in the middle shows symbolically.

Furthermore, the photo below shows a situation in which Lamontt Bear is in a meditative condition. The lights-situation of the photo lets merge LB with the landscape in the Wichita Mountains.

The photo shows for me that LB had acquired the ability to let himself in on the quite being of the nature.

 His former deep experience of solitude had stamped his person of this manner that he could open himself to the world later! – Like the portrait-photo above points.

With other words: Lamontt Bear has summarized his life which has stamped the growth of his personality with these three photos to his person!

Renate Hugel

Selfportrait by Lamontt Bear

One of his internalized Places

(in the Wichita Mountains)

Lamontt Bear, meditative

 Photos: Lamontt Bear

 

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 –

72_A_JereRdcrn_5_Effgs_Scan

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):

72_A2_Jereldn01_000075

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“

72_d_zwei_brbt_2001

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”)

72_hh_die_zwei_dkl_000050

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.

72_dkrgsblbgrbn_scan

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

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 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

 

„Art Touches Art – 38“

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Picture Details: Roland Schneeweiss  (Bulgarian artist with German roots): „Kukeri“ – Engrave

Roland Schneeweiss: “Kukeri”

 Or: Art-Meeting with a Bulgarian Tradition

Remark first of all: Unfortunately, it had not been possible for Roland Schneeweiss (R.S.) to fly together with us to Oklahoma in the year 2001. This had been very a pity – for all of us, particularly for himself.

Some time ago, R.S. had sent me some copies of some of his artworks. He wished that I write a contribution for him to the Art-Meeting in Oklahoma…  Renate Hugel

“Kukeri” is the title of the engrave-work to be seen above. With that, Roland Schneeweiss (R.S.) refers to an Old Bulgarian tradition during carnival.

Analogously, Schneeweiss has written for me the following lines to this:

These folklore-dancers are called „Kukeri”. Their dances symbolize the fertility. While dancing they are carrying wooden sabers against the bad.”

At first the observer looks into quite a number of eye couples who belong to the mask-carriers. A concentration of masks lets appear them in an enormous presence.  Above and on the sides the picture edge is determined by dynamically set lines and triangles – in different thickness.  Through this R.S. lets the observer feel the enormous energy which the mask-carriers expend during the dances. Altogether, this graphic work therefore works as a part from a much larger crowd of mask-carriers. Apparently they are wearing masks having been carried out differently. The facial expression worked mainly straightly and angularly is common to them – beyond organically tracking face features.

A saber mentioned above by R.S.for the fight against the bad – is held up in the above on the left of the picture. This fight is meant against the bad one at itself. A certain abstraction is lying in this, and, how I think, primarily philosophical thinking: For, the used energy for the defense is not aimed at another person or persons also not against other groups. How, the bad one at itself is defined and where can it be found? I will seek an answer to it by following further traces which prove the determination of the dancers for the defense of the bad one:

It can be recognized in the foreground that in addition also cowbells are carried. By the movements during the dances they are made sound. R.S. has shown the cowbells in their form-variety and condensed them to a complete composition on his work of art. That way, the cowbells can be perceived in any case and simultaneously as well they “can be heard in any case”!

The ringing of cowbells gets a weighty meaning with that! I will get on the track of it by considering which association the metal sound is producing: The world is all right if the life insurance “cow” – as the food-donating – has not been got lost! So the sound of the bells associates: Feeling oneself protected because the bells are proving this that life is secure (by the existence of the cow) and everything runs well. The bad, however, does not know any reliability and, therefore cannot interpret the cowbell-ringing in this way either. For the bad, the ringing merely is an infernally noise! And the dancers want to chase away the bad exactly through this.

Another indication for the reinforcements of the fight against the bad is the facial expression of the masks. These are arranged mainly angularly what emphasizes their determination in their facial: The people behind really want to chase the bad! That the bad does not have any chance, the masks of the dancers confirm furthermore with their ”extended tongue” – of which one of such a mask is lying in the field of vision of the observer in front on the right. I find this detail meaningfully in connection with this, because: With an extended tongue, all inner feelers are blocked and cannot get into an inner contact with the opposite person – or even to absorb something of the spiritually of the person.

The dance of the Kukeri symbolizes the fertility, such R.S. had formulated it. As described above, the main concern of the dancers consists in fighting against the bad. So, the fertility stands apparently for the good: Everything which is good for living lets the good arise. To carry fruits, this is the result of infinitely many actions which collaborate in nature.  And this means not to act against the laws of nature. Then, the growth in the nature and of the nature wants to happen undisturbed with the aim to produce new fruits… This excellent performance of reproduction, inwardly natural balances, culminating in the fertility, which owe the people to the vegetative processes within all living ones! If such a balance is disturbed, nature answers on this with corresponding negative consequences. It is an act of understanding of correlations, in order to realize, to what the so-called bad can be put down! … And these consequences had been caused by having been careless! Because: Attentiveness is an inner attitude which keeps everything in the balance, the outer like also the inner world!

With that, the fight against the bad is not only meant for outer disastrous natural phenomena but primarily for one’s own “inner human” who can stimulate or block the natural processes by one’s inner attitude!

I would like to mention in this place what R.S. – analogously – further has written for me: Nowadays the masks are called “wisdom” jocularly in Bulgaria. This is an ironic reference to the scientist Albert Einstein of whom a portrait photo exists with an extended tongue.…

My thoughts to this: Does Einstein, with this pose, take distance of his own scientific discovery???

It might have become conscious to him that his scientific knowledge requires the purified and responsible person. The good and the bad are lying quite close together and are a question of an inner attitude – of everybody man…

Interpretation: Renate Hugel

To the Person of Roland Schneeweiss 

 (Bulgarian artist with German roots)

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Roland Schneeweiss:

Left photo: From the year 2000 during the symposium in Bremen, Germany

Right photo: From the year 2015 in Burgas, Bulgaria (in front of the announcement of his exhibition in September 2015, on the occasion of his 80th birthday on the 25th 07th 2015)

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Roland Schneeweiss: “Karnobat in the 19th century”

(Hometown of R.S., Bulgaria)

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Roland Schneeweiss: “The Advancement”

(Art in the Public Room of Karnobat, Bulgaria, Concrete)

Roland Schneeweiss

 was born in Leisning (Saxony in Germany) in 1935. By the chaos of war his family came to Bulgaria. He has grown up and been socialized there in the small town Karnobat. He studied art at the Academy of Arts in Sofia.

Works of art of Roland Schneeweiss are in the Bulgarian National Gallery in Sofia durably as well as in many other galleries of the country, and in the Graphic Gallery in Pittsburg (USA).

Roland Schneeweiss lived and worked on 1988 in Rotenburg (Wümme), a town which is located between Hamburg and Bremen (Germany).

He had got a profession with interesting tasks and devoted himself to the graphical documentation of archeological finds and knowledge among others, in which he had been very interested and what had brought him much joy. His “Studio on the Meadow” had been the place for his artistic activities. Today, he already lives some years in Karnobat (Bulgaria) again.

Participation in International Art Exhibitions:

From 1965:

  • Participation in “Exhibitions of Bulgarian Art“ in

Austria, Algeria, India, Spain, Cuba, Mexico, UDSSR,

Germany and in the USA

  • Repeated participation in the “Biennale for the modern Graphic“ in Varna, Bulgaria (from 1981)
  • Repeated participation in the „International Art Exhibitions“ in the Cultural Center Jockrim near Landau (1981 – 1985)
  • Participation in International Exhibitions in Vienna (1990), Austria, New York City, USA (1995) and in Lahti, Finland (1998)

Individual and Community Exhibitions in Germany: Syke, Lemgo, Bremen, Buchholz, Rotenburg (Wümme), Brunswick, Lilienthal (near Bremen) and Hamburg

Other Activity and Awards:

  • Artistic Inner Design and “Art at the Building“ in “Ethnic Graphic and Historical Museums” of the country Bulgaria (from 1965)
  • “Monumental, Plastic and Picturesque Wall Design” in Bulgaria and in Moscow (from 1965)
  • Medaillion for 1300 years Bulgarian State (1984)
  • Medal of the Bulgarian Minestry of the Arts for Art, Kyrill and Methody III (1984)
  • Medaillion for Wall Design of the Bulgarian Inner Department of Commerce (1986)
  • Member of the Bulgarian Artist Union (since 1970)
  • Member of the Organisation „Art in the Province r. a.“, Lower Saxony, Germany (since 1991)
  • Founder Member of the Group „Quintum“, Bremen, Germany
  • Participation in the exhibitions at the completion of the symposium “Attempt of an Encounter: Native American Artists – European Artists”: Artist of American natives, European artists, in Bremen, Germany, 2000
  • Participation in FOOTPRINT INTERNATIONAL 2014 in Norwalk, USA
  • Exhibitions in Bourgas and Karnobat, 2015 (Bulgaria), 2015 (Bulgarien)
  • Participation at 18th International Exhibition in Varna, 2015 (Bulgaria)
  • 2016 Participation: International Watercolor Triennal Exhibition – Varna (Bulgaria)

Reference to originator:

My listing of the life data, as also of those ones of the artistic activities of Roland Schneeweiss, refer to a composition which Schneeweiss himself had worked out once for himself. The details on his exhibitions as of 2014 refer from the correspondence with R.S. They do not lay any claim to completeness.

Renate Hugel

Remark 1: Current stand: To Roland Schneeweiss I have written the contributions “Art Touches Art – 8, 14 and 38”.

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.

 

 

“Art Touches Art – 37”

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Carol Whitney (American):  “Wichita’s Burning”

Acryl on canvas; approx. 120 cm x 200 cm (Emergence year is not known to me)

(Private Property)

“Wichita’s Burning”

 Wichita’s Burning” is the title of this large-sized acryl picture of Carol Whitney (CarWhi). In this impressive size, it seems, together with the devoted, engaged way of painting of CarWhi, like homage of a wonderful of the wonderful countryside of the ‚Southern Plains’…

The Southern Plains extend over three federal states: Kansas, Oklahoma and Texas. In Oklahoma, the Wichita Mountains are part of those plains. Their name reminds that this area had been the origin region of the “Wichita Indians”. Today, in this area of the Wichita Mountains the “Wichita Mountains National Wildlife Refuge” is situated, that is a national park for wild animals living I liberty.

The bison established again are among others included of course.

As an artist, the following words reflect my experience of Whitney’s work. – Renate Hugel, author: The landscape dipped in celestially colored light is a purely scientifically explicable phenomenon of the refraction. With the help of this fact, people’s ecstasy is not explainable caused by this inking.   If I think of the memory of our body cells, though, perhaps these ‘understand’ the transformation happening: The “diversion and breaking” of light waves which then appear in other colors. It is seeing change and metamorphosis which something mystical holds in itself. For, being demanded inwardly to go through a metamorphosis, this takes much necessaries from our inner person as of courage and determination… We are asked to break through straight lines and to allow other prospects of perception, for example…

Carol Whitney also surely had been overwhelmed by the excellent feeling of the deep respect for this natural spectacle. At the same time, she had let herself in for it to captivate this ecstatic moment of that light play on canvas – in adequate size!

She had reacted to this excellent feeling with all her energy characteristic of her!

In this place I would like to let report here Carol Whitney personally, how her picture had arisen: “… …The fire-line defining the Wichita Mountains that night was a magical experience I had years ago… when driving home from a Comanche dance.  I was astonished seeing the brilliant line of flame outlining the mountains otherwise shrouded in the blackness of night. Below the prairie darkness revealed barely distinct forms of buffalo grazing at the foot of the mountains.  My mind captured the mystery of the scene… making it possible for me to take the memory back to my canvas and paints …. preserving the magic of that night.” (Carol Whitney)

The photo below shows Carol Whitney. She just is about to restore her work of art in order to show it in one of the final exhibitions, and to be more precise in her gallery „Heaven“. (2001)

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Directly in front of her location, grasses of every kind are growing, themselves weighing just in the stream of air and dipped into bright fiery orange. There, the observer so to speak sees every single blade of grass. While looking further roams behind the details are losing themselves and now are “pulled together” to a streak. The orange-colored stripe goes about into a dark orange sometime. This streak finally borders on a green-gray stripe. There to behind, the grass zone changes into a solid underground with short vegetation. When looking exactly silhouettes of some bison which graze there can be agreed.

The mountains then rise behind this stripe. Their steep fronts seem in a dark orange which lets suspect the rock behind.  Horizontal “ribbons” are shining as bright as the level of the front location seeming also being dipped into a bright orange. Those “ribbons” therefore correspond in the fiery of the grass-strip-orange and therefore create the connection of front and background: Everything seems to be cached by the fiery glowing!

In the light shade, the dark round mountain tops lie in front of an slightly covered sky.…

                                                Interpretation: Renate Hugel

Carol Whitney  (American)

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Carol Whitney’s Artist Statement: “My Life as an Indian Captive”:

“For the last 40 years my art has been inextricable linked with Oklahoma’s Native American people and our rugged Southern Plains environment.

At 72, I present my experiences of this unique world through sculpture, painting, poetry, pottery…” (See also “Art Touches Art – 30”)

(Quotation: Carol Whitney, 2009)

Renate Hugel

“Art Touches Art – 36”

– Juanita Pahdopony –

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Juanita Pahdopony  – Native American Artist: “Comanche Education”

Mixed-media with collage, oil pastel, acrylics, and pencil, size: 18 x 24 feet, or 53 cm x 36, 6 cm.

This is an art work by Juanita Pahdopony, an enrolled citizen of the Comanche Nation.

Dedication:

I, Renate Hugel, would like to put my interpretation under the following statement which had elected Juanita Pahdopony once, too, as a basic principle to her work of art „Comanche Education“ and which points to today’s scientific knowledge:

“Already in the womb, the fetus hears his mother tongue”.

“Comanche Education”

I start with the statement of Juanita Pahdopony (JuPa) for her work of art “Comanche Education” which she had given me in writing in 2015 while we had already verbally heard it in the year 2001:

“This is a Mixed-Media art work by Juanita Pahdopony, an enrolled citizen of the Comanche Nation. It was traded to German artist Heinz Hugel. The title is, “Comanche Education”, and represents wistful thinking of what might have happened if the Comanche and other tribal nations had control of our own education. After all, the impact of boarding schools and the history of displacement dealt a devastating blow on tribal language, culture, and history of Indigenous Nations.”… (On the whole Juanita Pahdopony)

The work of art “Comanche Education” lets the observer look at a blackboard: The black of the blackboard-color associates – together with the typically white of the panel-chalk – the situation “school”. This will arouse memories of one’s own spontaneously of “school” at the very first look. Furthermore, the awkwardly drawn lines, the printed letters of the words (written consciously precisely), like also the wipe-traces indicated in some places, seem emphasizing the scene…

But what do the words written here mean? …

The realistic representation of the blackboard-scene – almost unreal – is opposite to the fantastic picture-creations on the upper picture edge as well as on the approximately lower half of the picture-surface. This hard contrast seems to dip the picture parts just mentioned into a dream atmosphere…

The upper picture edge is determined by an area in gray colors. The gray somehow seems to have got into movement.

It has to be assumed that the original gray is monotonous and therefore reflects the dreary weekday of the American natives after they had been forced to give up their language, their traditions and their culture.

In the “dream time” shown here the dullness of this gray is drifting away to the background and gets brightened by poetic appearing gray-graduations which make the gray seem ice-blueish or gray-whitey, for example. The clear line traces are spirals which seem to shift on the time and such are leading back into the past mentioned above…

Arrived there in this past, this blackboard slides itself into the dream-consciousness so that it seems concrete and real. A reality which exists only in the dream: There are to be seen words of the Comanche language on the chalk lines which we can read but not understand. The languages of the American natives have been largely lost. Nowadays, engaged natives “reconstruct” these languages – as far as just possible. Juanita Pahdopony who also deals with the language of her ancestors could give me the translation of the words (written down here by her) to me:

Sari = Dog

Wahoo= Cat

Kahoo = Cat

Ko Ko Kahni = Chicken coop or chicken house

Numu Kutsu = Comanche Cow or Buffalo

The represented “blackboard scene” seems very real as I had already mentioned above and this, although it is a dream vision. In fact, the day-consciousness actually steps down while sleeping and dreaming. The dream event seems real to it for the time at which we are in the dream event. Exactly this is that what JuPa says with her way of painting.

On the lower half of her picture or the blackboard, JuPa has painted this, what she would have wanted for the children of her ancestors: Part of this is the school building, a modest house, which can be seen next to the left side of a T-shirt, both on the right side of this lower area. Trousers and shirts also can be recognized because JuPa would have enjoyed having a school for the children of her ancestors where they can wear school clothes and where they would have been taught in their own language and culture!

 Developing oneself and developing self-confidence, this would have wanted JuPa for the children of her ancestors!

Such, every child would have become a “star” with a radiant self-perception!

The represented stars show it clearly: An inner shining radiating to the outside can establish itself only in such a way. The personality of these young people would have been getting a healthy one! But it had been the sad reality to sink in the dull gray because their parents unfortunately had been not able to pass on to them something else (in their desolate situation)! On the visit of the boarding schools the children then had been separated from their parents. There, their thinking had grown into a thoughts- and speech-world, holding in it the feeling, behavior and thinking of completely different cultures – having been established over centuries, even millennia! At the same time, their own culture had been gone lost for the young people!

With this work of art, Juanita Pahdopony draws one’s attention to these inner processes! Therefore, her positive thoughts and longing wishes which she has expressed in her work of art “Comanche Education” are for her ancestors.…               Interpretation: Renate Hugel

 

To the Person of Juanita Pahdopony  (Native American Artist)

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Juanita Pahdopony (Comanche)

Juanita Pahdopony: “… 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…”     Juanita Pahdopony

Remark:

The text above is a part of the text on HOME (of January 1st, 2016) of Juanita Pahdopony where she had written to her own person in order to introduce herself as a co. author under “Oklahoma Art Updates by Juanita Pahdopony”.                                                              Renate Hugel

 

Remark 1: Current stand: I have written the contribution “Art Touches Art – 36” to Juanita Pahdopony under “Art Touches Art”.

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.   Renate Hugel

“Art Touches Art – 35”

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

“Following the Ragweed Sun Dance”, Ledger Art:

Print on Arches – paper + watercolor; 60 x 43 cm / 2000

“Following the Ragweed Sun Dance”  by Sherman Chaddlesone:

An Example for the „Ledger Art“

For Sherman Chaddlesone (ShCh) his prints had been an important part of his artistic activity on “arches” paper.

The selected example print above is typical for his mode of operation and statement intention.

At first sight, the detailed approach of operation is standing out. This statement describes both toward the graphic design of the represented subjects like also on the subtly differentiated coloration of all subjects, oriented at the reality. Furthermore ShCh had given his genuine graphic subjects something unmistakable. By these graphic solutions he awarded a re-reconnaissance value to his work which therefore identifies him, ShCh, as the artist. Examples for this are the form of the teepees, the manner of the representation of the persons or that one of the horses to it.

Such, in the result ShCh had created a complete scene: The work introduced here shows the “Ragweed” – Sun Dance – held every year in the past.

In fact, by talking about the represented reality above, a reality is meant from the past!

At the choice of the subjects for his prints Sherman Chaddlesone pursued namely the intention to show the objects, persons and their clothes at a pictorial level genuinely from earlier times. For this he made if necessary intensive enquiries: “That way, he wanted to document things, situations traditions or customs of the past. This one, what had not could be passed on (not because there had not yet been any photography) but, there were hardly or no ancestors who would have been able to pass something on from the former culture to the next generations!” (See to this: „Art Touches Art – 24“)

Sherman Chaddlesone assigned his prints to the “Ledger Art”.

What is meant with that?

The concept “ledger” is translated by “account book” in the dictionary. These account books then were used for the bookkeeping in the 19th century. The individual sides were printed with horizontal parallel lines going narrowly. With vertical lines, the sheets were divided up into different categories.

These account books, when having been full; they were not used anymore and as a rule thrown away.

Sometime, somebody discovered these account books as a paper source:

During the Red-River war or Buffalo-war, the last herd of buffalos living free should be defended. “Many tribe stores were forced to give up in rough winter of 1874 – 1875.””Captain Pratt” wanted to make it possible for the “Indians, taken captive, to take part in the white American culture by education”“He also provided the Indians with pencils, ink, chalks, water-colors and paper”. And these account books or also the separated pages of the clapped-out account books were the medium at which they then could work.

(Source of the expelled quotations to the historical background of the Ledger Art: https://de.wikipedia.org/wiki/Ledger_Art)

 Some of the natives of America then continued also later (after the capture), artistic working and had themselves developed in the course of the time to recognized artists. Thematically, these works had referred to this, in order to document the mostly bad events of the current time, or epoch of then.

These artistic remarks described above were therefore the first “voices” of the American natives as persons affected!

Sherman Chaddlesone had related his prints to the Ledger Art in order to remind to the great performances of these first Native American Artists, and to honor them.

 While the early artists of American natives were holding tight by their art the events which had snatched them from their original life having brought unutterable pain for them, ShCh documented what had been lost of the past life!…

                                             Interpretation: Renate Hugel

In this place I would like to give the word to two members of the Kiowa personally.

During our stay in Oklahoma (2001) we had received a little booklet with the title “The View from Rainy Mountain”. Kiowa artists come to word in this booklet. Sherman Chaddlesone had written some more texts to topics of the Kiowa. For the Sun Dance I quote here Mirac Creepingbear (page 5), Sherman Chaddlesone (page 8):

Mirac Creepingbear (Native American Artist):

“The Sun Dance was the most important tribal ceremony. This annual religious observance brought together all Kiowa tribal members who, throughout the rest of the year, lived in small bands that were politically and economically independent. The Sun Dance served to reaffirm the spiritual and physical unity of the group. There were renewals of kinship ties, arrangement of marriages, exchanges of property, recitations of recent exploits and political maneuvering among high-ranking warriors. Each year’s ceremony was preceded by a bison hunt (remark of Renate Hugel: in order to hunt one single bison), both to feed the participants and to provide the essential bison skin and head to be displayed on the center pole in the sun dance lodge.

The last Kiowa Sun Dance took place in the 1890’s.

A sweat bath (Skal-Quo) is taken prior to entering the sun dance lodge by the participants. It is the cleansing of the whole person”… (Page 5)

(So far to Mirac Creepingbear)

Sherman Chaddlesone (Native American Artist):

 “Our Hearts Lay Heavy on the Ground (old Kiowa saying)

The End of the Sun Dance and the Buffalo

 Now on the reservation, the Kiowa faced a bleak future. The huge herds of buffalo soon vanished before the onslaught white hunters, who killed them only for sport or for their hides, leaving the flesh to rot. It was beyond the Kiowa’s comprehension that the buffalo would be killed in so wasteful a manner; it was beyond the Kiowa vision of man’s relation to earth and nature’s creatures.

By the summer of 1879 the Kiowas could not find a single buffalo on the southern plains for their Sun Dance. Without the horse and buffalo, without their song and dance, the Kiowa lost their cultural identity.

A tribe overrun and engulfed by more numerous adversaries with superior weapons understandably suffered deep psychological wounds.  () Despair and hopelessness formed a shroud over the Kiowas as their hunting grounds were denied them, their religious ceremonies outlawed, and their social system uprooted. The end of the buffalo culture … the Kiowa was defeated.”  (Page 8)

(So far to Sherman Chaddlesone)

A quotation of the cover back of the booklet follows: This publication is a production of The Jacobson Foundation, a cross cultural organization inspired by “The legacy of Oscar Jacobson and The Kiowa Five”.

Reference of the Quotations:

The quotations indicated above are to be found on the pages 5 (Mirac Creepingbear) and 8 (Sherman Chaddlesone) in the booklet “View from Rainy Mountain”. A quotation of the cover back of the booklet follows: “This publication is a production of the Jacobson Foundation, a cross cultural organization inspired by the legacy of Oscar Jacobson and the Kiowa Five.”

– – –

 These quotations, of M. C. and ShCh, are speaking for themselves!

In connection with this knowledge, the work of art (“Following the Ragweed Sun Dance” of ShCh) is getting an enormous meaningfulness: The eyes of the observer are getting opened for a new way of perception – beyond a possibly folkloric way of interpretation: The visualization by a detail-faithful design means an esteem of the identity-giving ceremony of the Sun Dance in a consciously arranged “snapshot” into memory of the ancestors!

Renate Hugel

To the Person of Sherman Chaddlesone  (Native American Artist), 2nd June 1947 – 17th August 2013

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Sherman Chaddlesone (Kiowa) (Picture Details: Renate Hugel:  „The Memory of Sherman Chaddlesone“, Or: “The own Person fulfilled with the Life of the Ancestors” – – – 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)

Sherman Chaddlesone had lived “in Anadarko, Oklahoma; his early training in art was received at home from his father (John Chaddlesone) the famous Kiowa War Chief, Santana – Whitebear) who provided basic instruction in anatomy, portraiture, and pencil sketching. Later he studied art at the Institute of American Indian Art in Santa Fe, New Mexico, during the mid-1960’s and was profoundly influenced by his close friend T.C. Cannon.

Sherman occasionally” had drawn “subject matter from Kiowa calendric records for his ledger style works. The Kiowa and the Sioux were the only tribes to keep such records and a great grandmother of Chaddlesone maintained a calendar in a ledger book, with the first entry being the summer of 1856 and the last being in 1934.”

This information about the person of Sherman Chaddlesone is a quotation from “Native American Art Calendar” of 2001 (Calendar sheet from March 2001).

(Print of the calendar in the year 2000 in Norman, Oklahoma; sponsored of Levite Apache, Jacobson House Native Art Center, American Indian Cultural Society and Tribes Gallery from Norman)

                                           Renate Hugel

Remark 1: Current stand: To Sherman Chaddlesone I have written under “Art Touches Art” the contributions “Art Touches Art – 5, 11, 24, 27 and 35”.

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.

                                           Renate Hugel