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in every room a story of the art in every room a ... - La Fonda Hotel

in every room a story of the art in every room a ... - La Fonda Hotel

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The Santa Fe Indian School was founded <strong>in</strong> 1890 and it was <strong>the</strong>re <strong>in</strong> 1932 that<br />

Dorothy Dunn began The Studio School. Her goal was to encourage young<br />

Native Americans to develop a style based on <strong>the</strong> students’ Native traditions.<br />

Harrison Begay became one <strong>of</strong> her students. Dunn believed <strong>the</strong> students<br />

had <strong>in</strong>nate <strong>art</strong>istic ability. She taught <strong>the</strong>m to pa<strong>in</strong>t <strong>in</strong> a flat, heavily outl<strong>in</strong>ed,<br />

and colorful style <strong>in</strong>fluenced by <strong>the</strong> rock, wall, and buffalo hide pa<strong>in</strong>t<strong>in</strong>gs <strong>of</strong><br />

<strong>the</strong> past. She also encouraged <strong>the</strong>m to depict <strong>the</strong>mes from Native American life.<br />

Although Dunn’s approach may have been appropriate for <strong>the</strong> time, it was<br />

supplanted when <strong>the</strong> new Institute for American Indian Arts (IAIA) opened<br />

<strong>in</strong> 1962—an organization that fostered broader creative expression. Begay<br />

graduated from The Studio School <strong>in</strong> 1939 as salutatorian, and he cont<strong>in</strong>ues to<br />

pa<strong>in</strong>t <strong>in</strong> <strong>the</strong> “Studio Style.”<br />

<strong>La</strong> <strong>Fonda</strong>’s corridors, meet<strong>in</strong>g <strong>room</strong>s, and guest <strong>room</strong>s have always held works<br />

<strong>of</strong> contemporary Native American <strong>art</strong>, a tradition that expanded when <strong>the</strong><br />

Ballens took ownership <strong>of</strong> <strong>the</strong> hotel. It cont<strong>in</strong>ues to this day. The Ballens acquired<br />

two pa<strong>in</strong>t<strong>in</strong>gs by Shonto Begay, who was born <strong>in</strong> <strong>the</strong> Navajo Nation near<br />

Shonto, Arizona.<br />

Many guest <strong>room</strong>s are<br />

decorated with handpr<strong>in</strong>ted<br />

silkscreens<br />

from Tewa Enterprises<br />

established <strong>in</strong> Santa Fe <strong>in</strong><br />

1951 by Harrison Begay,<br />

who is recognized as<br />

<strong>the</strong> fa<strong>the</strong>r <strong>of</strong> 20th<br />

century Navajo <strong>art</strong>.<br />

52 53<br />

The largest <strong>of</strong> his <strong>La</strong> <strong>Fonda</strong> pa<strong>in</strong>t<strong>in</strong>gs is S<strong>in</strong>ce Night’s Victory III (1997). In<br />

correspondence with <strong>the</strong> author, Begay said it depicts <strong>the</strong> ancient D<strong>in</strong>é w<strong>in</strong>ter’s<br />

night game Keesh Je’ or “shoe game.” “Only <strong>in</strong> <strong>the</strong> w<strong>in</strong>ter when <strong>the</strong> animals<br />

are hibernat<strong>in</strong>g can you s<strong>in</strong>g and play <strong>the</strong>ir games,” Begay said. “This p<strong>art</strong>icular<br />

piece shows kids play<strong>in</strong>g <strong>the</strong> game.” In <strong>the</strong> early days <strong>the</strong> night creatures and<br />

<strong>the</strong> day creatures wanted <strong>the</strong> world to be all night or all day, so <strong>the</strong>y played <strong>the</strong><br />

game to see who was <strong>the</strong> most powerful. They hid yucca roots <strong>in</strong> buried<br />

boots and tried to guess which boot conta<strong>in</strong>ed <strong>the</strong> root. When dawn came and<br />

<strong>the</strong>re was no w<strong>in</strong>ner, <strong>the</strong>y realized that both night and day and all <strong>the</strong> seasons<br />

had <strong>the</strong>ir place <strong>in</strong> <strong>the</strong> world.<br />

Artist Unknown<br />

“Untitled”<br />

Hand-pr<strong>in</strong>ted Silkscreen

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