Aesthetic Fusions

The history of New Mexico art from the arrival of the railroad in 1870s defines aesthetic fusions that have occurred across cultural divisions.  This process is not without contradictions.  

Josephine Foard, an arts and crafts do-gooder at the beginning of the twentieth century, thought that a larger market would develop for Pueblo pottery if the objects were glazed to be water tight.  She bought fine works like this Acoma jar by Queaustea, glazed it and sold it.  However, the idea was never an economic success, and Pueblo pottery remains unglazed today.  

Maria and Julian Martinez invented a new style of Pueblo pottery, matte on black pottery, and then met buyer expectations by including designs taken from historic and prehistoric images.  T.C. Cannon rethought the history of Native American and U.S. Government relationships through Pop Art paintings.  Rick Dillingham saw Pueblo potters repair pottery that exploded during the firing, and he started making, painting, firing, breaking, repainting, refiring, and then reassembling his works of art.  

Luis Jimenez charts his family’s exodus from Mexico across the Rio Grande in a 12 foot high, fiberglass sculpture.  And James Luna asks viewers to invoke divine guidance rather than political power in his plumbing fixture peace pipe that alludes to the Hot Line that connected Washington and Moscow during the Cold War.

Images from the New Mexico Museum of Art Collections

Untitled (Waterproofed Acoma Jar)
Queaustea and Josephine Foard

Small Globe
Rick Dillingham

Jar with Avanyu
Maria Montoya Martinez and Julian Martinez

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