assisted Highwater on the latter. Highwater's books contain historical overviews with profiles of ndn artists. What is so interesting about this particular exhibition catalog--as it were--is how commercial is its intent. At the end of the book an index lists the artist and the gallery/galleries or other entities that represent the artist's work as well as an artist's web presence. While some might find this blatant plug for sales problematic, I find this amazing--to cut to the chase and indicate to the reader/viewer that these are working artists, professionals who make great art with ndn content/intent/portent. Support them--buy their work not because or just because ndns made the pieces but because the work is valuable and good with a name attached. The book shows that a complex framework supports ndn practitioners of, in this case, fine art. The ndn-run IAIA provides both training and employment for artists. There artists can learn and hone their skills, make connections with other ndn artists, and as professionals meet agents and gallery owners, present their work to the general public, and teach others. Indian markets and galleries provide a marketplace for professional work. This should overshadow the New Mexico connection--perhaps New Mexico
The American Indian Quarterly – University of Nebraska Press
Published: Mar 18, 2008
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