It Runs in the Family
All too often, artists are stereotyped as antisocial loaners, hiding away in their studios as they pursue their unique visions in painting, sculpture, and other media. Yet historically arts were produced in a workshop setting where apprentices studied techniques under more seasoned artists. The idea of a solitary painter was unthinkable before the mid-nineteenth century; until tube paint was mass manufactured, apprentices would make paint for the workshop by grinding pigments with oil and other binders, a process that is laborious and the product -- the paint -- was difficult to store, often placed in a pig's bladder. Many if not most of these workshops were run as family businesses, frequently staffed by children. For example, the Venetian Renaissance painter Jacopo Bellini brought his sons Gentile and Giovanni Bellini and his son-in-law Andrea Mantegna to train in his workshop, all of whom continued to become noted artists in their own right. Even daughters were invited into the workshops; Baroque painter Orazio Gentileschi trained his daughter Artemisia, who had a successful painting career across Italy in her own right.
Even with the introduction of manufactured art supplies, including brushes, paint, and pastels, artists continued to learn from their parents. This is especially true in the Southwest, where many artists learned from their parents, grandparents, and even great-grandparents. Scholars including Susan Peterson in Pottery by American Indian Women: The Legacy of Generations and Rick Dillingham in Fourteen Families in Pueblo Pottery have noted the familial connections in artistic families, especially in families of potters.
Nampeyo of Hano (1859-1942), a Hopi-Tewa potter, innovated a style known as Sikyátki Revival which has continued in different forms over more than four generations. Nampeyo was inspired by the pots and sherds found at Hopi First Mesa where she was born, which have unique shapes, colors, and designs. The ollas curve dramatically, usually lower and wider than those from other Pueblos, with cream and orange tones unique to Hopi. The designs feature swirling elements, especially the Migration pattern. Nampeyo’s family helped with all aspects of the process, from gathering and processing the clay to painting and firing the vessels. Nampeyo relied even more on her family after she lost her sight around 1900 when she continued to make pottery and the decorations were painted by her husband, daughters, and other family members, especially her daughter Fannie. Nampeyo’s family has continued to produce Sikyátki Revival pottery, including her grand-daughters Daisy Hooee and Elva Nampeyo, her great-granddaughter Dextra Nampeyo Quotskuyva adapted and intensified the Sikyátki Revival style. Her dramatically curved pots were decorated with unique designs but smaller and denser. Nampeyo’s descendants also include the Namingha family; painter and printmaker Dan Namingha is Nampeyo’s great-great-grandson and his children, Arlo and Michael, are also prominent artists.
The San Ildefonso potter Maria Martinez (c. 1887-1980) was known for her skill in forming perfectly symmetrical pottery, which was painted by her husband Julian. Together, Maria and Julian innovated the process for creating a Matte Black-on-Polished Black ware, which became their hallmark. To fulfill the strong desire for her work, she brought in her entire family and other members of the community, including her sons Popovi Da, Adam Martinez, and John Martinez, and her daughter-in-law Santana. The family continues to produce art, such as the ceramics by her great-granddaughter Barbara Gonzalez and the paintings by grandson Tony Da.
The Frye family from Tesuque Pueblo also exemplifies how families can encourage excellence in the arts as seen in the Fryes and Friends exhibit at Gallery Hozho. Growing up with their parents and grandparents, Russell, Kelly, and Jacob Frye were given art supplies, especially from their father who taught art. Both of his parents worked in clay and they taught their children to make pinch pots. Their grandparents and great-grandparents were known for their work in the arts, including their great-grandfather, Thomas Vigil “Pan Yo Pin” who produced watercolors.
Russell Frye graduated from the Institute of American Indian Arts in 2015 where he focused on glassblowing and metalwork. Russell compares the technical aspects of these media to cooking since both use sensory experiences and technical expertise. He was inspired by the works of the late glass artist Tony Jojola, who often created pieces based on Southwestern ceramics. Russell’s glass pieces also reflect Pueblo pottery in the shapes and the design elements, such as the Mimbres Rabbit plate which has the design from Mimbres pottery. He also approached his metal pieces like pottery, forming the vessel with a rope of wax just as a ceramist would form a pot with ropes of ceramics. In all his work, Russell incorporates historic Pueblo designs while works unique to the artist.
Kelly Frye also graduated from the Institute of American Indian Arts focusing on painting and metalwork to consider themes of healing from trauma. In her paintings, Kelly explores abstraction from a Southwestern vocabulary, as with her Malevich Pueblo series, painted in watercolor. Based on the architectural details from Ancestral Pueblo sites such as Chaco Canyon with its T-shaped doorways and stone-lined windows, Kelly uses a light palette to incorporate a sense of energy. Kelly is pursuing an MFA in studio arts at IAIA.
Jacob Frye also studied at IAIA, where he pursued ceramics. His work reflects what he learned from his parents and grandparents, demonstrating technical skills in using traditional clay and paint to produce symmetrical forms with careful designs. Jacob explores museum archives to study the history of Pueblo ceramics and is inspired by potters including Nampeyo's Sikyatki-style and Matte black-on-polished black by Maria and Julian Martinez.
For the Frye family and many others, art is not just a profession but a way of life that bridges the past with the present. It’s a means of preserving cultural heritage while embracing innovation and personal expression. Each generation adds its own chapter to the family's artistic saga, enriching the legacy handed down to them. The Frye family’s story is a compelling reminder of how art flourishes within the embrace of family and community. From ancient pottery traditions to contemporary glassblowing and painting, their journey reflects the enduring power of art to transcend time and connect generations. As we celebrate their contributions, we also recognize the broader tapestry of familial artistic legacies that continue to shape the artistic landscape today.
