| A SPOTLIGHT ON THE JOURNALISM YOUR SUBSCRIPTION HELPS BRING TO LIFE. |
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Kara Edgerson | Manager of Digital Operations
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| This week, we’re diving into a fascinating series by The Arizona Republic’s reporter, Debra Utacia Krol, who spent months exploring the world of Native art and the artists behind it. Her work takes us on a journey through history, creativity and resilience, showcasing how Indigenous artists honor their traditions while pushing boundaries in contemporary art. |
| From uncovering the secrets of spotting counterfeit Native art to introducing us to the bold “art rebels” challenging conventions, Deb’s stories are as vibrant and compelling as the art itself. |
| I caught up with her to learn more about what inspired this series, the challenges Native artists face, and what’s next for the future of Indigenous art. |
| Here’s what she had to say: |
The inspiration behind the series
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| Your series explores the rich tapestry of Native art, from traditional works to groundbreaking modern creations. What initially inspired you to dive into this project? Was there a moment or conversation with an artist that sparked your passion for telling these stories? |
| I’ve always been interested in art. But my interest was really sparked when I started covering Native arts in the early 2000s and it’s been an interest of mine ever since. Some of the artists I cover have become lifelong friends and I’ve always wanted to delve into how the Native art world became so popular and why it’s dominated by non-Native businesses. |
Balancing tradition and innovation
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| Many of the artists you featured skillfully blend heritage with modern techniques. How do these creators honor their cultural roots while pushing the boundaries of what Native art can be? Is there a piece or artist that particularly stood out to you as emblematic of this balance? |
| Let’s take artists like Pat Pruitt and Marlowe Katoney. Pruitt uses ancient Laguna Pueblo motifs in his ultramodern jewelry and metal sculptures, while Katoney weaves contemporary imagery using timeless Navajo weaving techniques. Both honor their tribal cultures but in different ways. |
Challenges and triumphs of ‘art rebels’
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| In your article about Native artists breaking the mold, you highlighted figures like Pat Pruitt, who challenge expectations with bold, unconventional approaches. What are the biggest hurdles these “art rebels” face, and how are they carving out space for their vision in both Native and broader art communities? |
| Some of the biggest hurdles these artists face is the resistance by collectors and business owners to new ways of creating art that’s rooted in ancient cultures. Early on, art shows rejected contemporary works by Native artists, who then protested against what they saw as discrimination and attempts to force them to keep making “Indian” art. But as artists like Oscar Howe, Jaune Quick-to-See Smith, Fritz Scholder and Charles Loloma continued challenging those notions and created work that reflected their artistic vision, people started realizing their talent and ability to break the mold. And then of course, Jeremy Frey set the “box” on fire with his artistic basketry. |
Combating counterfeit art
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| Your reporting shed light on the issue of counterfeit Native art, which undermines both the economic and cultural value of authentic works. What did you discover about the efforts to protect Native artists and educate buyers? How do these challenges shape the future of Native art in an increasingly global market? |
| There are many dedicated people working to combat the tsunami of counterfeit art that floods American storefronts and even art venues. However, those people and the policies developed to protect Native art and artists from fake works are woefully insufficient to halt more than a trickle. Native artists must do more to legally protect their works by trademarking or copyrighting their work, and the federal government must devote more resources and personnel – and change some policies to close loopholes in how counterfeit work is marketed – in order to better address the issue. |
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| Native art has a rich history but young artists want to expand its roots and move things in different directions. What is the future of Native art? |
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