Monthly Archives: April 2017

“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.


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

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 

“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