©DCAF 2014 Do Duplicate - Dry Creek Artsdrycreekarts.com/wp-content/uploads/2014/08/DCAF-2014...Cowboy is commemorated by a boxed set of an inlaid spear point bowie and handy utility

AMERICAN WEST

TRAPPINGSAMERICAN

WEST

TRAPPINGSNº 23

©DCAF 2014 Do Not Duplicate

AMERICAN WEST

TRAPPINGSAMERICAN

WEST

TRAPPINGSNº 23

SEPTEMBER 27 - DECEMBER 7, 2014

Schedule of Events The Dry Creek Arts Fellowshipin partnership with the Museum of Northern Arizona

presentSEPTEMBER 2723rd Annual Trappings of the American West: Opens with a Dry Creek Arts Fellowship and Museum of Northern Arizona Member’s Preview Sale and Artist Reception. Members and Artists will enjoy lively conversation and the first opportunity to purchase fine and functional art of contemporary horse culture.

SEPTEMBER 28 – DECEMBER 7Trappings Open to the Public: Tuesday thru Saturday 10 AM – 5 PMSunday NOON – 5 PM

SEPTEMBER 28, OCTOBER 25 & 26, NOVEMBER 29 & 30Tricks of the Trade DCAF artists will demonstrate their skilled trades in the exhibition gallery. This will include tooled leather, sculpture, engraving, or rawhide braiding.

SEPTEMBER 28Healing the Range with Cowboys: Dan Dagget, one of the original founders of Trappings, is returning to the show this year. Dagget is an author of two books on ranchers and environmentalists working together, one of which was nominated for a Pulitzer Prize. Lately, Dagget has been revealing the benefit “Cowboying” can bring to the range via the process of rephotography — comparing photos as much as 120+ years old with photos of the exact same place today.

OCTOBER 19Riding the Rim - 12th Annual Cowboy Poetry Gathering: Poets from around the state will stir up the air as only cowboys can with poetry, song, and open-range entertainment. This gathering brings the Arizona cowboy into perspective, looking at stereotypes, the history of the cowboy in the state, and also the living tradition.

OCTOBER 25 & 26The Wilbur-Cruce Colonial Spanish Horse - Arizona’s 1st Horse: Mark O’Hare, Padre Eusebio Kino historian, and Maureen Kirk-Detberner, Wilbur-Cruce horse expert, will present their documentary work on the living legend, Arizona’s Wilbur-Cruce horse. They are Padre Kino’s horses, the Arizona State Heritage horse, and a strain of Colonial Spanish horse. Their combination of great beauty, athleticism, and historic importance makes this breed a major contributor to Arizona’s Western heritage. This program will be a part of the Museum’s 11th Annual Celebraciones dela Gente Festival.

OCTOBER 28, NOVEMBER 4, 11, & 18Expressive Arts Discovery: Cowboy Poet Tom Weathers will lead a remarkable workshop for eight patients from the Flagstaff Cancer Center. The group will meet weekly in the Trappings exhibition, and each patient will choose several pieces of artwork to write about. Completed verse will be formatted with images of the artwork and then installed in patient waiting rooms of the Cancer Center.

NOVEMBER 15The Grandest Ride: Award-winning photographer Tom Brownold will present documentary images based on his recent work at the Grand Canyon. His subjects are the sure-footed mules of the South Rim and their important transportation of supplies and visitors over the past century.

COVER IMAGE: Red Wall at Willow Creek Photograph by Adam JahielTHIS PAGE: Mesa Morning Oil Painting by Pete Plastow (photo credit Bill Godschalx)


WCasey Backus – Ammon, IdahoJoe Beeler – Sedona, ArizonaTeal Blake – McLeod, MontanaLynn Brown – Bluff Dale, TexasTom Brownold – Flagstaff, ArizonaBill Burke – Flagstaff, ArizonaClay Christensen – Lehi, UtahT.R. Chytka – Belle Fourche, South DakotaDoug Cox – Gardnerville, NevadaDan Dagget – Sedona, ArizonaJudy Jones Dalton – Cottonwood, ArizonaRay Dorwart – Guthrie, OklahomaDavid Edwards – Flagstaff, ArizonaArne Esp – Hardin, MontanaStephanie Ferguson – Millsap, TexasLarry Fuegen – Prescott, ArizonaJerry Galloway – Dumas, TexasJim Gilmore – Alamosa, ColoradoHeather Hafleigh – Berkeley, CaliforniaGloria Hammond-Keys - Jordan Valley, OregonJeff Hanson – Monticello, UtahJimmy Harrison – Wickenburg, ArizonaTom Hirt – Penrose, ColoradoBrian Hochstrat – Midvale, IdahoHarold Holden – Kremlin, OklahomaJames Holmes – Santa Fe, New MexicoNeil Hunt – Sedona, ArizonaJennifer Inge – Creede, ColoradoAdam Jahiel – Story, WyomingSam Jones – Flagstaff, ArizonaAlvin Kawamoto – Hawi, HawaiiSusan Kliewer – Sedona, ArizonaDoug Krause – Red Bluff, CaliforniaPaul Krause – Prescott, ArizonaPeter Kretzmann – Prescott, ArizonaMia Larocque – Tucson, ArizonaMehl Lawson – Bonita, CaliforniaThomas Lorimer – Sedona, ArizonaErnie Marsh – Meeteetse, Wyoming

Nancy Martiny – May, IdahoCurt Mattson – Cave Creek, ArizonaRon & Shoni Maulding – Saint Ignatius, MontanaKathy McCraine – Prescott, Arizona Gary & Clara McGlasson – Spokane, WashingtonLesley McKeown – Prescott, ArizonaBob McLean – El Paso, TexasBruce Meier – Wickenburg, ArizonaVel Miller – Atascadero, CaliforniaJohn Mincer – Fallon, NevadaBill Nebeker – Prescott, ArizonaKyra Oellig – Flagstaff, ArizonaWhit Olsen – Canistota, South DakotaAlex Pappas – Ignacio, ColoradoBob Park – Phoenix, ArizonaSharon Paulin – Pine Valley, CaliforniaBev Pettit – Skull Valley, ArizonaPete Plastow – Castle Valley, UtahHoward Post – Queen Creek, ArizonaBob Ray – Parowan, UtahCynthia Rigden – Kirkland, ArizonaJohn Running – Flagstaff, ArizonaRaechel Running – Tucson, ArizonaAllison Schmidt – Marble Canyon, ArizonaTom Paul Schneider – Pearce, ArizonaChessney Sevier – Glendo, WyomingCathy Smith – Santa Fe, New MexicoJennifer Jesse Smith – Santa Fe, New MexicoJesse Smith – Pritchett, ColoradoBob Stephens – Pine, ArizonaCarson Thomas – Wickenburg, ArizonaPaul VerBurg – Kingman, ArizonaRicardo Vigil – Los Ranchos, New MexicoNate Wald – Lodge Grass, MontanaRygh Westby – Sedona, ArizonaLogan Willemsma – Guthrie, OklahomaStar Liana York – Abiquiu, New MexicoLen Yule – Sasakwa, Oklahoma

2014 Invited Artists

Dust – Fields Home Ranch Gather Photograph by Heather Hafleigh

elcome to The 23rd Annual Trappings of the American West Exhibition.

The Dry Creek Arts Fellowship invites you to take part in a celebration that honors the work of 80 artists from 14 Western states and Hawaii. They have each been chosen for their outstanding skills of mastered artistic excellence. Trappings is a contemporary exhibition that combines fine and functional art of the American West—on foot and horseback.

With its collective presence, Trappings of the American West evokes the adventurous hero—the real and imaginary cowboy, who lives not only in song and story, but from an artist’s pen and brush. From beautifully tooled saddles to engraved spurs, the artwork found in Trappings is authentic, functional, and contemporary.

Over the years, Trappings has grown in scope and variety because of artistic opportunities that are part of the exhibition’s history. This year we welcome seven new artists and welcome back one of the co-founders of Trappings—Dan Dagget. Their work is highlighted in the catalog, and whether it is a photograph or a miniature saddle, every piece has a story behind it—something that gives the viewer a sense of place and time, as well as a sense of the artist.

On behalf of the Board of Directors and Staff of the Dry Creek Arts Fellowship, it is a great honor to dedicate this catalog to Dr. Robert G. Breunig and his wife Karen Enyedy for their gracious invitation for Trappings to return to the Museum of Northern Arizona.

Linda Cornell Stedman Executive Director


Handforged Damascus Steel blade with carved Damascus guard, Bloody Basin plume agate from Arizona, carved 14K gold handle wrap. A custom leather sheath with Sterling silver throat and tip accompany the knife. All work by Larry Fuegen (photo credit Point Seven Studio)

Cutting a Swell –Dan Dagget’s Work is a Finishing Touch of Style

Not every artist paints a cowboy, but those who do mean it. Paintings and sculptures depicting the life and traditions of a working cowboy are almost as old as the cowboy, for the very image of the West and the cowboy as the symbol were irresistible to any frontier artist with a blank canvas and palette of colors. In 1955, the Cowboy Hall of Fame and Museum was established (now the National Cowboy & Western Heritage Museum) to showcase this enormous body of unique art. Works by Frederic Remington and William Herbert Dunton, both born before 1900, are prime examples of the glorification on canvas of the cowboy’s intrepid life—living in the saddle, on the range, by the campfire, a horse and a dog for companionship, and maybe a knife for whittling or a harmonica or guitar for entertainment. Long before Trappings of the American West came on the art scene, there were Western art shows being exhibited around the world, for the lure of this mysterious lifestyle has always had global appeal. Dan Dagget, knifemaker and bronze sculptor who was a featured artist in the first Trappings exhibition in 1986, has an insightful perspective on the different flavor of this show and why it was special and continues on, some twenty-eight years after its inception.

“ There is so much colorful stuff that goes in the cowboy paintings and with the mystique of the West—the landscape, the cowboys’ clothing, saddles, hats, boots. These things are colorful and show the pride of what cowboys did, the spirit of it. There were already cowboy shows with paintings and sculptures, but to show the trappings of the cowboy brought out the color and spirit of the cowboy, and that is why the show really caught on.”

Each cowboy employs an individual style to show the pride for what he does through his clothing and trappings. There is a beauty and purpose in every trapping that is chosen, and that includes the knife he carries. Folklorist Elaine Thatcher summed it up in the first Trappings catalog, “I can see by your outfit that you are a cowboy.” Dan Dagget, who started his craft as a banjo maker, keeps this in mind when creating his knives. Inspired by knifemaker Dwight Towell, he refined his own style and became one of the first knifemakers to do inlay in the wood. He also prefers Desert Ironwood because “it’s the best for knives.” A simple but solid statement that a cowboy would appreciate. The grain is also striking in its variety and richness, a deep-souled wood. Perfect for a cowboy’s knife.

“ A cowboy without a knife is only partially equipped. He needs his knife for saddle repair, veterinary work like picking a rock out of a horse’s hoof, for self-defense, and for cleaning a trout for dinner,” said Dagget. “It needs to be sharp because it is a utility piece, but it also reflects the character of a particular cowboy, as does his bits, spurs, and saddle, and it has to fit and be wearable.”

No doubt any cowboy wearing a Dan Dagget knife has one that will not only look good but last him a lifetime of hard work. As Diane McGee, the former director of the Coconino Center, noted about Trappings in 1986, “Art is any creation that’s elevated to the status of an individual expression. To me that means every mother’s son who ever rode the range (not to mention his hardware) was a work of art.” —Interview of Dan Dagget by Claudine Taillac

KNIFE

Dan Dagget – Sedona, AZDavid Edwards – Flagstaff, AZLarry Fuegen – Prescott, AZ

Peter Kretzmann – Prescott, AZ

The Longhorn Legacy

The heart of the history of the American West was formed after the Civil War, when large herds of wild longhorns were gathered in Mexico and Texas and driven north to what are now Wyoming, Montana, and other western states. This “Longhorn Legacy” of the American Cowboy is commemorated by a boxed set of an inlaid spear point bowie and handy utility knife originally made by Dan Dagget for the Second Annual Trappings of the American West in 1987.


LOGAN WILLEMSMA

“ For eight years following high school, I traveled as a bareback bronc competitor with the Professional Rodeo Cowboys Association (PRCA), the Texas Rodeo Cowboys Association (TRCA), and the Colorado Pro Rodeo Association (CPRA). After my rodeo career, I spent time working in South Dakota and Colorado. Last October, I returned to my home town of Guthrie, Oklahoma, to work full-time in my father's shop – LJ’s Saddlery. With his help, he is teaching me how to have a strict eye for detail to produce fine-quality cowboy horse gear. I am also influenced by saddlemakers Rick Bean and Monty Reedy.”

This saddle has a 15 ½” Wade tree, with a four

button seat. It features leather tooled California

poppies - part flower carved and basket

stamped, with a Carlos border. The exposed

stirrup leathers have a 7⁄8” flat plate rig with 4” Monel stirrups. The

saddle has Sterling silver conchos and a

Guadalajara horn.(photo credit

Heidi Stevens)

CARSON THOMAS is a second-generation saddlemaker, being raised in saddle shops and cow camps from the Wolf Mountains in Montana to the Sonoran Desert in Arizona. As a new artist in Trappings, Carson is known throughout the Western United States and 36 foreign countries for his custom saddles. His work is in strong demand by the working cowboy and horseman, as well as collectors and many well-known personalities.

He has become well-known in the art world for his masterful work in scale saddles and gear. Over the past 36 years he has created one-of-a-kind works of art including one scale saddle that sold for $33,500.00. Sculpting in clay and wax, Carson has taken another step in creating saddles with works of art in bronze.

The Arizona Brush Popper. This ½ size or scale saddle is

on a Will James tree. It is full basket stamped with matching

tapaderos, nylon rope, and a stylistic saddle stand made

of Arizona Native Mesquite. Saddle by Carson Thomas(photo credit Laura Bovee)

SADDLE

Doug Cox – Garnersville, NVJeff Hanson – Monticello, UTBrian Hochstrat – Midvale, ID

Alvin Kawamoto – Hawi, HINancy Martiny – May, Idaho

Bruce Meier – Wickenburg, AZBob Ray – Parowan, UT

Carson Thomas – Wickenburg, AZRicardo Vigil – Los Ranchos, NMLogan Willemsma – Guthrie, OK


RYGH WESTBYWOULD-BE MAVERICK

There are a good number of unbranded or “Maverick” cattle left in Arizona, due to the difficulty of the terrain. Cattle can easily elude the roundup, and ownership of the unbranded stock comes into question. In addition, such feral cattle will “spoil” their more domestic cousins, teaching them their wild and woolly ways. Periodically, ranchers may employ “contractors” to come in and clean the wild cattle off their range. These men often work for a percentage of the cattle caught. They are the cowboy’s cowboy.

SAM JONES is a new Trappings artist and has been painting plein air watercolor landscapes for over twenty-five years. Originally from Salt Lake City, Utah, he grew up in a household of artists where he was inspired and encouraged to paint at an early age.

“ My paintings usually begin on location. When I start a painting, I try not to have too many expectations about where it might lead me. I try to paint as directly as possible and not to labor over any one part of the painting, especially early in the process. As humans we tend to see things quickly and easily. We see the big picture first then the details emerge. My paintings progress from the general to specific as well.”

ABOVE: Scorups Remuda Oil Painting by Pete Plastow (photo credit Bill Godschalx)BELOW: Rodeo Joe Oil Painting by Paul VerBurg

PAINTING

Teal Blake – McLeod, MTLynn Brown – Bluffdale, TX

Harold Holden – Kremlin, OKSam Jones – Flagstaff, AZ

Thomas Lorimer – Sedona, AZCurt Mattson – Cave Creek, AZ

Vel Miller – Atascadero, CAPete Plastow – Castle Valley, UTHoward Post – Queen Creek, AZ

Cynthia Rigden – Kirkland, AZChessney Sevier – Buffalo, WY

Cathy Smith – Santa Fe, NMPaul VerBurg – Kingman, AZRygh Westby – Sedona, AZ

LEFT: Bench Marker Watercolor by Sam JonesBELOW: Would-Be Maverick Oil Painting by Rygh Westby (photo credit Paul Berg)


Handforged one-piece Chihuahua Style spurs with carved heelbands and shanks, 2.5-inch handmade steel rowels, with custom straps with engraved 2-inch Sterling silver conchos. Made by Larry Feugen (photo credit marchettiphoto.com)

Mi Corazon Sculpture by Susan Kliewer (photo credit Michael Thompson)

“ This piece is for all the sweethearts in the world. Rebecca is a Mexican-Indian woman I love to use as a model. When she and her husband took that pose naturally, I knew this was my next sculpture. All my life I’ve heard ‘Mi Corazon’ (my heart) in Latin love songs and loved the words. The title really came before the piece.”

Leading the West Sculpture by Susan Kliewer (photo credit marchettiphoto.com)

“ I’ve always loved functional art - what a better purpose than holding a great collection of books! This set of bronze bookends portrays the classic cowboy horse with all the trappings of ranch life and the classic Native American horse, featuring a shield, pipe and a medicine bag.”

BRONZE

T.R. Chytka – Belle Fourche, SDJim Gilmore – Alamosa, COHarold Holden – Kremlin, OKSusan Kliewer – Sedona, AZ

Curt Mattson – Cave Creek, AZVel Miller – Atascadero, CABill Nebeker – Prescott, AZ

Cynthia Rigden – Kirkland, AZCarson Thomas – Wickenburg, AZ

Rygh Westby – Sedona, AZStar Liana York – Abiquiu, NM

BIT & SPUR

Arne Esp – Hardin, MTLarry Fuegen – Prescott, AZJerry Galloway – Dumas, TXBrian Hochstrat – Midvale, IDErnie Marsh – Meeteetse, WY

John Mincer – Fallon, NVTom Paul Schneider – Pearce, AZRicardo Vigil – Los Ranchos, NM


TOP RIGHT: Packers at First light at the top of The South Kaibab TrailABOVE: Packers on the return trip to the rim on The South Kaibab Trail Photographs by Tom Brownold

12TH ANNUAL COWBOY POETRY GATHERING & EXPRESSIVE ARTS DISCOVERY PROGRAM

Cowboy poetry comes from a long tradition of oral lore that consists of traditional stories, narrative poetry recited from memory and poems sung to simple tunes. Subject matters are diverse, using metaphors of the range, a wry sense of humor, and a rich vocabulary unique to the cowboy. Nika Nordbrock will lead this year’s Gathering with seven Arizona poets, three of whom are also musicians. One such creative fellow is Flagstaff resident Tom Weathers. As part of the Expressive Arts Discovery Program, Tom will lead a poetry workshop for eight patients of the Flagstaff Cancer Center.

THE GRANDEST RIDE: TOM BROWNOLD

These two images are part of a captivating body of work by award-winning photographer Tom Brownold, based on his recent documentary at the Grand Canyon. His subjects are the sure-footed mules of the South Rim and their important transportation service of supplies and visitors over the past century.

HEALING THE RANGE WITH COWBOYS: DAN DAGGET

“ In our society, it’s not hard to figure out why we have turned to compliance to deal with land management issues in the West. Our society defines what is ‘natural’ as that which is not created by humans, i.e., not artificial. From this definition arises the almost universally held assumption that the way to heal nature is to reduce the impact of humans.”

The same eroded area healed using cattle and restoration grazing practices— seeds, hay for mulch, and a herd of cows. (photo credit Dan Dagget)

An eroding area on which protection from grazing had been used as the best land management practice. (photo credit Dan Dagget)

ABOVE: Dragoon Mountain Spanish Barbs Hacienda San Gabriel, Dragoon Mountains, AZ RIGHT: Spanish Barb Horse, Hildalgo Hacienda San Gabriel, Dragoon Mountains, AZ Photographs by Raechel Running

THE WILBUR-CRUCE COLONIAL SPANISH HORSE - ARIZONA’S 1ST HORSE

“ The Spanish horse was made to build the West, and that he did. They were brought here from Rancho Dolores in Mexico, the headquarters of Father Kino, who brought them from Spain – a fine breed of Barbs that were brought to Spain by the Moors. The Spanish horses thrived in the desert and were horses of the day. They had speed, stamina, intelligence, and companionship for their rider.”

Eva Antonia Wilbur-Cruce “A Beautiful, Cruel Country” U of A Press-1987

Mark O’Hare, Padre Eusebio Kino historian, and Maureen Kirk-Detberner, Wilbur-Cruce horse expert, will present their documentary work on the living legend, Arizona’s Wilbur-Cruce horse. Coming from the lineage of Father Kino’s horses, the Arizona State Heritage horse is a descendant of the Colonial Spanish horse.

My name could be Caiden, Braden, or Trace you need to put a name to my face.I’m a cowboy you see from my clothes & my hat, it don’t git much better than that.Then my Pa came along he gave me this rope, I figured he thought I’d act like a dope.I practiced and practiced and pretty soon, my Ma called me in and said it was noon.They got me a cow it was made out of wood, I threw and I threw and I got pretty good.Then one day I practiced and caught me the cat. Ma said “No son you shouldn’t do that”.So I went out to the barn and caught me the dog.

“No No!! Son you practice on the log”.I moved onto the livestock the rope in my hand. I threw hard & true I knew how to stand.The pig ran & hid, that didn’t matter. The chickens ran fast and really did scatter.I knew better than to go after the horse, he bigger than me and I might get tossed.Then came the dog. Pa said, “I’m sorry, you are being a brat”.It was gonna hurt him more than me, do you believe that?He paddled, he spanked, he gave me a blister. That was the day I lassoed my sister.

By Deirdre Moran, Cancer Survivor

Expressive Arts Discovery ProgramHashknife Colt SalePhotograph by John Running © 2007


KATHY MCCRAINE

Photographer Kathy McCraine is a new artist to Trappings this year. She grew up on a ranch south of Prescott, Arizona, and has been photographing for magazines and advertising for more than 40 years.

“ Through my photography, I am dedicated to documenting and preserving the ongoing heritage of the American cowboy, ranching, and the West. As a rancher, I am privileged to know my subjects personally, to ride with them, and to spend time in their world. Thus, I am able to photograph them naturally, without staging or posing the shot. With minimal post-processing, I use light and shadow in sepia tones to invoke mood and a timeless quality to the print.”

KYRA OELLIG

" A Flagstaff native, privy to the exploration of light and the natural world, my camera is my compass…The photographic work I enjoy is a fusion of my love for nature, travel, relationships and visual communication. Since 1996, I have enriched my life with the power of imagery from the classic photographic style of film and darkrooms to the digital realm of cameras and computers. The broad spectrum of my style comes from my true passion and appreciation of light; its rich and powerful energy carried by time, space, and emotional appeal. For me, photography is not just a record of a physical presence but also a documentation of the encounter between the subject’s energy and myself. We live in a world of idealism and what draws me to a subject is something more cosmic...it’s a feeling that I have to explore where words don’t come as easily. I am a recorder of truth."

TOP: Cataract Sentinel Photograph by Kathy McCraineMIDDLE: The Calm Before the Storm Photograph by Kathy McCraineBOTTOM: Windy Day on the Cataract Photograph by Kathy McCraine

ABOVE: Winged Messenger Photographs by Kyra Oellig

BELOW: Going Home Photograph by Bev Pettit

PHOTOGRAPHY

Tom Brownold – Flagstaff, AZDavid Edwards – Flagstaff, AZ

Heather Hafleigh – Berkeley, CAAdam Jahiel – Story, WY

Mia Larocque – Tucson, AZKathy McCraine – Prescott, AZ

Kyra Oellig – Flagstaff, AZBev Pettit – Skull Valley, AZ

John Running – Flagstaff, AZRaechel Running – Tucson, AZ


Gloria Hammond-Keys grew up on a cattle ranch in very rural northern

Nevada. Her artistic inspiration comes from four generations of

family tradition, the environment, and a fascination with design. After

graduating from high school, she went to college and moved around the West to Reno, San Diego, and

the Salem/Portland area. Living in these various cities, Gloria

experienced different cultures, architecture, style, fashion, art, and food. In combination, these

influential elements can be seen in her horsehair mecates – the

co-existence and interaction of natural colors, textures, and

un-natural colors.

As a new artist in the Trappings exhibition, Gloria’s masterful

work has evolved from traditions passed down from her great-

grandmother, grandmother, and mother. Using both natural and dyed colors of horse mane hair, her mecates are innovative and

visually different. The Dry Creek Arts Fellowship encourages this kind of

artistic exploration.

“My fascination with twisting original color and design patterns together inspire spontaneous ideas. I seek to capture and expand the depth of a

functional piece of traditional art – to catch a glimpse, and then to reveal

its accompanying emotional weight; its anticipation, reflection, isolation,

longing and transcendence.”

CATHY SMITHBeaded Buffalo Scrotum Bag

A tribute to the horse and buffalo culture, it is a fully beaded buffalo scrotum. They were traditionally Lakota women’s

tobacco bags (or small pipe bag for a woman). It is brain-tanned deerskin, antique Venetian

seed beads, a running horse and rideron each of the four sides. It took two

months to complete the beadwork.(photo credit Pete Weidenfeller)

HITCHED HORSEHAIR

Casey Backus – Ammon, IDClay Christensen – Lehi, UT

Gloria Hammond-Keys – Jordan Valley, ORJennifer Inge – Creede, CO

(Worked Horsehair)Doug Krause – Red Bluff, CA

Shoni & Ron Maulding – San Ignatius, MTAlex Pappas – Ignacio, CO

TOOLED LEATHER

Doug Cox – Gardnersville, NVJudy Jones Dalton – Cottonwood, AZ

Doug Krause – Red Bluff, CANancy Martiny – May, ID

Alex Pappas – Ignacio, COBob Park – Phoenix, AZ

Sharon Paulin – Pine Valley, CACathy Smith – Santa Fe, NM

LEFT: Tooled Purse by Bob Park

ABOVE: Mecate by Gloria Hammond-Keys (photo credit Heidi Stevens)


ABOVE: Pawnee Skull Buckle: Engraved by Jennifer Jesse Smith (photo credit Peter Weidenfeller)BELOW: 1851 Trophy Buckle: Sterling silver, Shuibichi, Shakudo and 24K Gold Engraved by Neil Hunt (photo credit Tori Hunt)

TOP: The burgundy hat is 100% beaver with a hand-beaded to match hatband and whip stitched with Sworovski Crystals.: Hat by Jimmy Harrison (photo credit Eric Elander)MIDDLE: The bone colored hat has a real shorn calf hide over a 50% beaver brim that is cross laced with dark brown leather lace. The hatband is hand beaded and the longhorn cut outs on each side are backed with the same calf hide. Hat by Jimmy Harrison (photo credit Eric Elander)RIGHT: The Carlsbad Hat by Tom Hirt

Engraving

Arne Esp – Hardin, MTBrian Hochstrat – Midvale, ID

Neil Hunt – Sedona, AZPeter Kretzmann – Prescott, AZ

Ernie Marsh – Meeteetse, WYLesley McKeown – Prescott, AZ

John Mincer – Fallon, NVAllison Schmidt – Marble Canyon, AZ

Tom Paul Schneider – Pearce, AZJennifer Jesse Smith – Santa Fe, NM

Ricardo Vigil – Los Ranchos, NMLen Yule – Sasakwa, OK

hat

Jimmy Harrison – Wickenburg, AZTom Hirt – Penrose, CO


BELOW: Banjo: a conversion of a 4-string Whyte Laydie, with a neck of curly maple and ebony, embellished with bright engraving by Peter Kretzmann.RIGHT: Mandocello: a unique design by luthier William Burke, is made of an ebony fingerboard, a spruce top, with curly maple on the sides and back.FAR RIGHT: Guitar: patterned after a Martin D size. The back is made of curly mesquite, the top is red spruce, and ebony is used for the fingerboard and bridge. (photo credit Paul Berg)

LEFT: Cross Quirt: This 16 plait California-style quirt was made by Whit W. Olson and is adorned with calf hide handle and buttons which have been accented with Walnut dyed interweaves. The quirt is built over a rawhide core and balanced with a lined leather popper. The 12 plait wrist strap is crowned with a cross motif that represents the importance of religion in many of the early settlers of the American West. (photo credit Heidi Stevens)

Whit W. Olson began braiding in 2001, while in college in South Dakota. After moving to Montana, he began to improve after meeting fellow braider and friend Hial Steele. What started out as a part-time job quickly turned into a passion. With the help of Nate Wald, Leland Hensley, and other members of the Traditional Cowboy Arts Association, Whit’s abilities grew even further. Whit’s work can be seen in several exhibitions including Trapping of the American West, Trappings of Texas, Elko Cowboy Poetry Gathering, as well as in many private collections. Today Whit farms and ranches near Canistota, South Dakota, with his wife Megan and their four young children.

“ Only God and a Rawhide Braider can bring a dead cow back to life.” – Whit W. Olson, Ranch & Reata Magazine, January 2013.

ABOVE: Shadow of a Trout: “As a life-long fly fisherman (and advocate of ‘Catch & Release’), this piece is to recognize the over-killing of fish; specifically trout. Globally, there are more trout fishermen than there are fish. We are losing trout fisheries because of climate change – water must be cooler then 70 degrees.” Materials used are linoleum, Ponderosa wood, lead, copper, antler, and vintage photographs. Sculpture by James Holmes (photo credit James Hart)

BRAIDED RAWHIDE

Mehl Lawson – Bonita, CAWhit Olsen - Canistota, SD

Bob Stephens – Pine, AZNate Wald – Lodge Grass, MT

Len Yule – Sasakwa, OK

Other Sculpture

William Burke – Flagstaff, AZJames Holmes – Santa Fe, NM


LEFT: The Phoenix: Boots by Bob McLean Classic Roy Rogers Eagle design, made from black Calf

skin for the main part for the Eagle & trim accents.

ABOVE: Hillbilly Hollywood: Boots by Paul Krause Inspired by the fashions of the same namefrom the 1940s-50s. Vamps and heels are

kangaroo; red goat suede tops featurehand-tooled leather appliqués.

(photo credit marchettiphoto.com)

BOOT

Ray Dorwart – Guthrie, OKStephanie Ferguson – Millsap, TX

Paul Krause – Prescott, AZGary & Clara McGlasson – Spokane, WA

Bob McLean – El Paso, TX

The Bootstrap Award was created in 2011, to honor the life of the late Margo Nuanez-Walker, a longstanding Board Member of the Dry Creek Arts Fellowship, and the work she wanted to see continue in Trappings of the American West. The award is given to an artist who has worked as diligently as she did, to advance their chosen field.

Kenneth R. Trapp, former Curator-in-Charge of the Renwick Gallery of the Smithsonian Museum of American Art, is the juror for the award. Mr. Trapp is an Advisory Board Member of the Dry Creek Arts Fellowship and became friends with Margo when DCAF was set for an exhibition in Washington, DC.

Trappings artist, Jimmy “The Hat Man” Harrison donated a custom built hat to be awarded to the first recipient. Of that year’s exhibition, Mr. Trapp chose Bob Park’s Hand Tooled Briefcase for its decorative tooling, silverwork, design, and exquisite craftsmanship. In turn, Bob Park tooled a beautiful floral patterned leather notebook with the DCAF logo, for the next recipient. Last year, Mr. Trapp chose an exceptional photograph by Shane Knight. In keeping to the spirit of the Bootstrap Award, a signed print will be given to this year’s recipient.


$25Shoni & Ron MauldingAlienor McCrackenPete PlastowDana & Sandi SchmidtRichard & Sandy Seehusen

$30Jerome & Selma Targovnik

$35Denny & Dianne Dickover

$50Peter BloomerClay ChristensenTerrell DockterRichard GozziKathy MunroBob StephensWalt & Nancy Taylor

$60Suzanne Romero & Faith Walker

$300Nora Mandel & Stewart Carlough

$500Paul & Joann DelaneySuzanne NuanezZia Trust, Inc.

$750Gwen Krause

$1,000Michael & Kathy HardTom & Dianne MathiasGeorge Masek (In Memory of Clay & Florence Lockett)The Joshua Walker Family

$1,500Jan Musial Navajo Arts

$2,000Lee deRhamDerek & Amory Stedman

$100Paul Berg & Jen SaundersLisa BrackinDrs. Robert & Sheila EdgarPatrice HorstmanRobert & Barbara Hunter Jr.Byron & Deanne McKeownJimmie MiyakawaThe Framing Department at Hidden Light

$200Phil & Kay ShuperKim Zanti

$250Gayle Potter Basso (In Memory of Keith Basso)Jose & Judy CruzRoy & Lauri GardnerJeffrey & Angela GlosserEd & Betty MarcusCynthia R. PerinKeith SchaafsmaBill SmithBetty Van Denburgh

TRAPPINGS OF THE AMERICAN WEST would not have been possible without the generous assistance of many individuals and organizations. The Dry Creek Arts Fellowship would like to acknowledge this support that has been essential to the successful production of our exhibition and public programs.

All of the 2014 Artists of the 23rd Annual Trappings of the American West Exhibition

Museum of Northern Arizona

Arizona Commission on the ArtsCowboys & Indians MagazineChristine HenryGreat Circle Media/KAFF RadioFairfield Inn MarriottKNAU – Arizona Public RadioJan Musial Navajo Arts National Endowment for the ArtsNika Nordbrock & Poets of the 12th Annual Cowboy Poetry GatheringJen Saunders DesignBradley C. Scott, CPAKaren Sorenson & Staff of Thornager’sSplendid GraphicsRichard & Carrie TuckerWestern Folklife Center

Board of Directors Jody Beeler • Henry C. Lockett – President • Beverly Miller • Jan Musial

Special Advisors Mei Ling Chun • Larry Fuegen • Kathy Hard • Alvin Kawamoto • Susan Kliewer • Nora Mandel • Karin Offield • Thomas Olsen • Homana Pawiki • Kenneth R. Trapp

Catalog TeamDesign & Style: Paul Berg/Splendid GraphicsJen Saunders Design • Linda StedmanPhotographers: Paul Berg • Laura Bovee • Dan Dagget • Eric Elander • Bill Godschalx • James Hart • Christopher Marchetti • Heidi StevensPeter WeidenfellerPrinter: SmartPressText Scribes: Claudine Taillac • Linda Stedman

Dry Creek Arts Fellowship StaffJason Hasenbank • Kyra Oellig • Linda StedmanKristie Trotter

Event SupportAmory • Cristen • David • Henry • Howdy • Jodi • Judge Judy • Mary • Sat • Shannon • Throttle • and other willing staff members and volunteers of The Museum of Northern Arizona.

Dry Creek Arts Fellowship 2014 Members Acknowledgments

Horse Round-Up Photograph by John Running


DRY CREEK ARTS FELLOWSHIPP.O. Box 23439 • Flagstaff, AZ 860029 2 8 . 7 74 . 8 8 6 1 • d r y c r e e k a r t s . c o m

© 2014


Documents

©DCAF 2014 Do Duplicate - Dry Creek Artsdrycreekarts.com/wp-content/uploads/2014/08/DCAF-2014...Cowboy is commemorated by a boxed set of an inlaid spear point bowie and handy utility