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Dextra Quotskuyva Nampeyo

Dextra Quotskuyva at her house near Second Mesa, 2016.

Dextra Quotskuyva Nampeyo

Pottery by Dextra Quotskuyva.

Dextra Quotskuyva Nampeyo

Few potters to have had such impact on their art as Dextra Quotskuyva Nampeyo.  She is a great-granddaughter of Nampeyo of Hano, descending through her eldest daughter, Annie Healing.  For almost forty years, she has been one of the most creative, innovative and influential potters at Hopi.  She is also the mother of famed painter Dan Namingha and potter Hisi Quotskuyva.  She taught Steve Lucas, Loren Ami, Yvonne Lucas and Les Namingha to make pottery, resulting in a nearly unprecedented influence in Hopi pottery. Dextra continues to use the bee-weed plant for the black and native clay slips for the red. Dextra's pottery can be found in the permanent collection of numerous museums and has been the subject of a book and exhibition at the Wheelwright Museum, entitled, "Painted Perfection."

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Quotskuyva, Dextra – Miniature Jar with Butterflies (1980’s)

This is an incredibly intricate miniature by Dextra Quotskuyva.   It was made in the early 1980’s and the top half and neck are stone polished. The jar has a butterfly pattern painted with a white clay on two of the sides.  Note as well how Dextra carved into the clay to create an open space for the bodies of the butterflies.  The sides are painted with flowers and the neck with a rain pattern. The lower half of the bowl is matte in contrast to the polished top. The jar is painted with kaolin clay (white), red clay and bee-weed (black).  It was traditionally fired so that there are blushes and color variations around the surface.  It is signed on the bottom with bee-weed, “Detra” with an ear of corn representing the Corn Clan.  Note as well that the base is polished in contrast to the sides which are matte.   The bowl is in very good condition with no chips, cracks, restoration or repair.  Dextra has been the subject of a retrospective of her pottery at the Museum of Indian Art and Culture called, “Painted Perfection“.

$ 1,400.00
Quotskuyva, Dextra – Eagle & Earth Seedpot (1980’s)

This is a very highly detailed bowl by Dextra Quotskuyva.   It was made in the early 1980’s when Dextra was experimenting with the white clay slips. This bowl is slipped on the top and bottom with the white clay.  The top has one of her few very realistic presentations of an bird.  Here the eagle is painted on the polished white clay with bee-weed (a plant).  The eagle has more realistic elements and above the eagle are very highly detailed fine-line clouds and rain patterns.  It is these delicate lines for which Dextra was quickly known in her painting.  Do you see how the the eagle is not painted symmetrically from the head to the tail feathers?  This is a reflection by Dextra on the work of Nampeyo of Hano, who typically would have a stylized asymmetry to her designs!  The red band around the side of the bowl is stippled to give it texture an the feel of “the earth”. The bowl was traditionally fired so that there are blushes and color variations around the surface.  It is signed on the bottom with bee-weed, “Detra” with an ear of corn representing the Corn Clan.  The bowl is in very good condition with no chips, cracks, restoration or repair.  Dextra has been the subject of a retrospective of her pottery at the Museum of Indian Art and Culture called, “Painted Perfection“.

$ 3,200.00
Quotskuyva, Dextra – “Reflecting from the Four Corners of the Earth” (1982)

This is a fascinating bowl by Dextra Quotskuyva.   It was made in 1982 and the title of the piece is, “Reflecting from the Four Corners of the Earth”.  The bowl is thin walled and made with two different Hopi clays. The early 1980’s were definitely a period of experimentation for Dextra. When the bowl is turned over, the two clays can be seen swirling together in the matte, unpolished surface.  It is also this unpolished surface which gives the bowl a distinctive texture when being held.  The top of the bowl is slipped with a white kaolin clay and then painted with bee-weed (black).  The intricate designs are perfectly painted.  The title of the reflections is perfectly represented in the design!   The bowl was traditionally fired so that there are blushes and color variations around the surface.  It is signed on the bottom with bee-weed, “Detra” with an ear of corn representing the Corn Clan.  Note as well that the base is polished in contrast to the sides which are matee.   The bowl is in very good condition with no chips, cracks, restoration or repair.  Dextra has been the subject of a retrospective of her pottery at the Museum of Indian Art and Culture called, “Painted Perfection“.  This piece is pictured on page 39 of the book, “Painted Perfection”.

$ 4,400.00
Quotskuyva, Dextra – Bowl with Red Tail Hawk Design

This is a traditional bowl by Dextra Quotskuyva.  She is certainly one of the great innovators among Hopi-Tewa potters.  Her work began with more classic imagery and then has evolved over the years to more unique and stylized designs. This piece is from the mid 1980’s, which can be see in the color of the red clay, as well as her signature.  The bowl has a series of Red Tail hawk tail feathers painted in four sections.  Separating each of them is a triangular design, which represents the back and wings of the birds.  The red areas are stone polished and the black is painted with bee-weed (a plant). The bowl is traditionally fired so that there are blushes and color variations around the surface.  It is signed on the bottom with bee-weed, “Detra” with an ear of corn representing the Corn Clan.   The jar is in very good condition with no chips, cracks, restoration or repair.  Dextra has been the subject of a retrospective of her pottery at the Museum of Indian Art and Culture called, “Painted Perfection“.

$ 5,350.00
Quotskuyva, Dextra – Mini Bowl with Bat Wing Design (1976)

This miniature bowl by Dextra Quotskuyva was made in 1976.  Dextra is certainly one of the great innovators among Hopi-Tewa potters.  Her work began with more classic imagery and then has evolved over the years to more unique and stylized designs.  The bowl has the classic bat wing design painted on the surface in four sections.  Each of the wings is very tightly painted with Dextra’s fineline work.  The bowl was traditionally fired so that there are blushes and color variations around the surface.  It is signed on the bottom with bee-weed, “Detra” with an ear of corn representing the Corn Clan.   The jar is in very good condition with no chips, cracks, restoration or repair.  Dextra has been the subject of a retrospective of her pottery at the Museum of Indian Art and Culture called, “Painted Perfection“.

$ 1,100.00
Sale!
King, Charles S., “Spoken Through Clay”

Spoken Through Clay

A NEW  RELEASE SPECIAL:  $95.00, including shipping (US)! Check out the new review in the Denver Post!

 Just a few things which make this book unique!
*   The size!  The book is 11.75″ x 14.25″ and weights over 8 pounds!
*  The photography of the pottery is stunning, emphasizing the individual pieces.
*  Each caption is the artist discussing the individual piece on the page.
*  The artist “biographies” are from interviews with the artists and they discuss their art, culture, lives and history.
*  Organization: The book is not organized by pueblo or family, but entails new ways to think about the future of Native pottery.
*  Printing in Italy gives the book very high quality color and paper.
* The photos of the living artists were taken by Will Wilson using a tin-type process. He was a recipient of the 2107 New Mexico Governor’s Award for the Arts in photography!
*  The book features work by more than 30 contemporary potters and more than a dozen important historic potters.
*  There are essays by myself, Peter Held and Eric Dobkin.  They add to the overall understanding of the project a historic perspective.

_____________________________________________

August 18, Pasatiempo Review

“Charles S. King’s new book, Spoken Through Clay: Native Pottery in the Southwest, The Eric S. Dobkin Collection, is spectacularly heavy —which is a problem from a practical standpoint, because once you open it, you won’t want to put it down. With dreamy tintype artist portraits by Diné photographer Will Wilson, dazzlingly crisp images from Addison Doty, and intimate first-person essays written by dozens of artists, the book is a visually delicious, intellectually consuming foray into historic and contemporary Southwestern pottery. In short, prepare to swoon.

If you’re thinking of this as a coffee-table book, you’ll need to imagine a decently sized coffee table. The book is more than a foot tall and, when opened, two feet wide, but its outsize appearance belies the often delicate beauty of its contents: hundreds of individual pieces of pottery from Eric S. Dobkin’s exquisitely curated collection — arguably the largest and most important of its kind. Gallery owner, author, and Pueblo pottery expert King designed Spoken Through Clay to be approachable for those unfamiliar with Native American pottery. “In the age of social media, I wanted to make the book both visually striking and personal,” King said. The book opens with essays by King, Dobkin, and curator Peter Held, who calls clay “the most archival of materials … seductive, sensuous, responsive, geologic, and malleable.”

“I wanted the end result of the book to be that the reader would connect with the artists in a personal way, beyond just the art, and understand the time it takes to become an artist, to achieve success,” King said. Sprawling yet intimate, Spoken Through Clay introduces its readers not just to the beauty of Southwestern pottery but also to the fascinating stories of the people who make it.Iris McLister, Pasatiempo

____________________________________

“It’s one of the things that makes us who we are. It’s what holds our family together. We are a family of potters. It’s our identity. People don’t realize how much work goes into it just processing the clay and making it. You have to do it with your heart.”—Linda Tafoya-Sanchez

 

FEATURED ARTISTS Grace Medicine Flower • Dextra Quotskuyva • Autumn Borts-Medlock • Jody Naranjo • Harrison Begay Jr. • Jordan Roller • Sara Fina Tafoya • Lonnie Vigil • Margaret Tafoya • Steve Lucas • LuAnn Tafoya • Loren Ami • Toni Roller • Popovi Da • Linda Tafoya-Sanchez • Mark Tahbo • James Ebelacker• Yvonne Lucas • Jeff Roller • Lisa Holt • Harlan Reano • Nampeyo • Jacquie Stevens • Nathan Youngblood • Jacob Koopee Jr. • Jennifer Moquino • Christopher Youngblood • Maria Martinez • Tony Da • Tammy Garcia • Virgil Ortiz • Joseph Lonewolf • Johnathan Naranjo • Nancy Youngblood • Les Namingha • Russell Sanchez • Christine McHorse • Richard Zane Smith • Rondina Huma • Susan Folwell • Dominique Toya • Jody Folwell

Spoken Through Clay features the pottery of iconic Native American artists from historic potters Nampeyo and Maria Martinez, to contemporary potters Tammy Garcia, Virgil Ortiz, and many others, are featured in a new book published by the Museum of New Mexico Press. Spoken Through Clay: Native Pottery of the Southwest showcases nearly three hundred pottery vessels from the acclaimed Eric S. Dobkin Collection, covering a wide range of mostly Pueblo artists from the Southwest.

“The physical scale of the vessels combined with the depth of the contemporary collection [is] breathtaking,” says author Charles S. King. The book is part of a “transitional process of looking to the clay, the vessel, and the potter’s voice and allowing the pieces to stand on the merit of their artistic integrity.”

The book includes portraits and voices of renowned potters speaking about their artistry and technique, families, culture, and traditions. Many of the artists are connected by Pueblos, generations, or family members. Dynamic color photography captures the depth and dimension of the pieces, while the artists provide an illuminating perspective through narrative captions. Artists, academics, collectors, family members, and gallerists add additional insight about the lives, historical context, and importance of these potters and their work.

SPOKEN THROUGH CLAY Native Pottery of the Southwest The Eric S. Dobkin Collection
By Charles S. King Essay by Peter Held

Artist portraits by Will Wilson
ISBN: 978-0-89013-624-9

352 pages, 320 color plates, 40 artist portraits

Publication Date: August 01, 2017
ABOUT THE AUTHOR Charles S. King is the author of Born of Fire: The Life and Pottery of Margaret Tafoya, The Life and Art of Tony Da, Virgil Ortiz: Revolt 1680/2180, and numerous articles on Pueblo pottery. He has served on boards of art associations, judged pottery at prestigious events, and lectures about the art form. His business King Galleries represents many of today’s leading Native potters and important historic works in clay. Charles lives in Scottsdale, Arizona.

$ 125.00 $ 95.00
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