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
in every room a story of the art in every room a ... - La Fonda Hotel
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<strong>La</strong> <strong>Fonda</strong>’s collection also<br />
conta<strong>in</strong>s a set <strong>of</strong> six small<br />
bronzes by Joe L. Jojola<br />
<strong>of</strong> Isleta Pueblo, Thurr-<br />
Shun “Sun Ris<strong>in</strong>g”. His<br />
sculptures at <strong>La</strong> <strong>Fonda</strong><br />
represent <strong>the</strong> ceremonies<br />
performed by Mounta<strong>in</strong><br />
Spirit Dancers throughout<br />
<strong>the</strong> summer to celebrate<br />
<strong>the</strong> com<strong>in</strong>g <strong>of</strong> age <strong>of</strong><br />
Mescalero girls.<br />
The collection also <strong>in</strong>cludes Mescalero Apache Mounta<strong>in</strong> Spirit Dancers, Libayé<br />
& Maiden, a set <strong>of</strong> six small bronzes by Joe L. Jojola <strong>of</strong> Isleta Pueblo, known<br />
as Thurr-Shun (“Sun Ris<strong>in</strong>g”). Jojola was born and raised at Isleta Pueblo but<br />
has a close relationship with <strong>the</strong> Mescalero Apache. His sculptures at <strong>La</strong> <strong>Fonda</strong><br />
represent <strong>the</strong> ceremonies performed by Mounta<strong>in</strong> Spirit Dancers throughout<br />
<strong>the</strong> summer to celebrate <strong>the</strong> com<strong>in</strong>g <strong>of</strong> age <strong>of</strong> Mescalero girls.<br />
Mateo Romero, Ryan S<strong>in</strong>ger, and Marla Allison collaborated on an imag<strong>in</strong>ative<br />
project for <strong>La</strong> <strong>Fonda</strong>. Rio Grande Pueblo Girl (2009) consists <strong>of</strong> three pa<strong>in</strong>t<strong>in</strong>gs—<br />
one by each <strong>of</strong> <strong>the</strong> <strong>art</strong>ists—made up <strong>of</strong> 32 square panels that <strong>the</strong> <strong>art</strong>ists move<br />
around from time to time and from pa<strong>in</strong>t<strong>in</strong>g to pa<strong>in</strong>t<strong>in</strong>g. “Pa<strong>in</strong>t<strong>in</strong>gs move, colors<br />
change, arrange, re-arrange,” <strong>the</strong>y expla<strong>in</strong>ed <strong>in</strong> correspondence with <strong>the</strong> hotel.<br />
“Imag<strong>in</strong>e pa<strong>in</strong>t that is <strong>in</strong> motion, pa<strong>in</strong>t that brea<strong>the</strong>s, <strong>in</strong>tuitive, emotional, unfired,<br />
and ephemeral. These are some <strong>of</strong> <strong>the</strong> ideas that we had as we approached this<br />
collaborative pa<strong>in</strong>t<strong>in</strong>g project.”<br />
58 59<br />
Mateo Romero was born and raised <strong>in</strong> California but traces his roots to Cochiti<br />
Pueblo through his <strong>art</strong>ist fa<strong>the</strong>r, Santiago Romero. He was a Ronald and Susan<br />
Dub<strong>in</strong> Artist Fellow at <strong>the</strong> School for Advanced Research (S.A.R.) and has won<br />
many prizes at Indian Market.<br />
Joe L. Jojola<br />
“Mescalero Apache Mounta<strong>in</strong><br />
Spirit Dancers, Libayé<br />
& Maiden” 1999<br />
Bronze<br />
Navajo <strong>art</strong>ist Ryan S<strong>in</strong>ger won <strong>the</strong> first “Adult Smile Award” at <strong>the</strong> 2008 Indian<br />
Market. In a 2011 <strong>art</strong>icle <strong>in</strong> <strong>the</strong> Albuquerque Journal, S<strong>in</strong>ger is quoted as say<strong>in</strong>g, “I’ve<br />
always been k<strong>in</strong>d <strong>of</strong> go<strong>of</strong>y, comedic. I guess it’s a Native th<strong>in</strong>g, a way <strong>of</strong> cop<strong>in</strong>g<br />
with th<strong>in</strong>gs, like stereotypes and racism.”<br />
Marla Allison is from <strong>La</strong>guna Pueblo. She is also represented <strong>in</strong> <strong>the</strong> collection<br />
by her pa<strong>in</strong>t<strong>in</strong>g Cottonwood and Deer (2010) as well as several o<strong>the</strong>r works. In<br />
her Artist’s Statement she says, “My <strong>art</strong> is what lets me connect <strong>the</strong> past to<br />
my future. My pa<strong>in</strong>t<strong>in</strong>gs are based on <strong>the</strong> contemporary, which borrows from