The Indian Arts and Crafts Board (Part 2)

The Indian Arts and Crafts Board (IACB), an agency of the U.S. Department of the Interior, was created by Congress in 1935 to promote the economic development of American Indians and Alaska Natives (Indians) through the expansion of the Indian art and craft (art) market. The IACB operates three regional museums, conducts a promotional museum exhibition program, and produces a "Source Directory of American Indian and Alaska Native Owned and Operated Arts and Crafts Businesses."

Additionally, the IACB publishes informative consumer education publications which are available from www.doi.gov/iacb. A top priority of the IACB is the implementation and enforcement of the Indian Arts and Crafts Act (Act) of 1990, as amended.

Beaded Deer Medallion (1983) by unknown, Sioux Indian Museum (R.99.1.178)Indian Arts and Crafts Board (IACB), U.S. Department of the Interior

Beadwork: Contemporary Period

The art of beadworking was maintained through the transition from a traditional nomadic lifestyle to the reservation era. Today, contemporary beadwork artists of the Great Plains continue to push the boundaries of the art form. While many Indian artists continue to work in traditional styles and materials, others apply elaborate and pictorial beadwork to a broad spectrum of items from stilettos and baby strollers to parasols and iPhone cases. 

Beaded Tennis Shoes (1987) by Victoria Fire Thunder (Lakota), Sioux Indian Museum (R.99.1.277)Indian Arts and Crafts Board (IACB), U.S. Department of the Interior

The application of beadwork to contemporary objects such as tennis shoes shows the adaptability of Indian artists. Beaded tennis shoes. Victoria Firethunder (Lakota). Canvas, rubber, glass beads; 1987; Sioux Indian Museum (R.99.1.277).

Doll Carrier (1973) by Christina Mesteth (Oglala Lakota), Sioux Indian Museum (R.73.4.4)Indian Arts and Crafts Board (IACB), U.S. Department of the Interior

Doll Carrier. Christina Mesteth (Oglala Lakota). Cotton cloth, glass beads; 1973; Sioux Indian Museum (R.73.4.4).

Moccasins (1985) by Eli Bear Shield (Oglala Lakota), Sioux Indian Museum (R.87.5.30)Indian Arts and Crafts Board (IACB), U.S. Department of the Interior

Moccasins. Eli Bear Shield (Oglala Lakota). Buckskin, glass beads, rawhide; 1985; Sioux Indian Museum (R.87.5.30).

"Wakan" (1959) by Oscar Howe (Yanktonai Sioux), Sioux Indian Museum (R.99.1.220)Indian Arts and Crafts Board (IACB), U.S. Department of the Interior

Painting: An Introduction

There is a long history of both geometric and pictorial painting among Indians of the Great Plains. Over time many different forms of painting were developed. The earliest known paintings in North America are forms of rock art called pictographs. Numerous pictograph sites have been documented across the Great Plains, including localities in the Black Hills of South Dakota and the Wichita Mountains of Oklahoma. Gradually, Indian artists would expand their work beyond rock art to develop the wider variety of artistic styles and techniques that we see today.

Parfleche (1930) by unknown (Lakota), Sioux Indian Museum (R.1009)Indian Arts and Crafts Board (IACB), U.S. Department of the Interior

Parfleche (Lakota). Rawhide, natural pigments; 1930; Sioux Indian Museum (R.1009).

Black Bonnet War Robe (1963) by Herman Red Elk (Fort Peck Assiniboine and Sioux), Sioux Indian Museum (R.67.4.3)Indian Arts and Crafts Board (IACB), U.S. Department of the Interior

Painted bison robes such as this represent one of the earliest painting traditions among the Plains Indian people. This buffalo robe carries the "sunburst" motif, a design that was only painted by men. To learn more about this object, please visit this webpage. Black Bonnet War Robe. Herman Red Elk (Fort Peck Assiniboine and Sioux). Buffalo hide, natural pigments; 1963; Sioux Indian Museum (R.67.4.3).

Bison Bone Brush (ca. 1890) by unknown (Sicangu Lakota), Sioux Indian Museum (R.506)Indian Arts and Crafts Board (IACB), U.S. Department of the Interior

Painting: Historic Period

Over time, rock art was replaced with hide painting. The most common hides used were those of the buffalo. Hides were prepared for painting by removing the hair and fat with bone scrapers. Next, they were tanned by rubbing the brains of the animal into the skin. The final step in preparing a hide involved smoking. This made it durable and waterproof. Natural pigments used in hide paintings were made from iron ores, clays, or plant materials. Brushes were made from the spongy parts of animal bones. After bison were hunted to near extinction in the late 1800s, hides were no longer available for painting. Indian artists looked for other materials to use. Pioneers and soldiers brought a new material with them – paper. This led to the development of ledger art, whereby Indian artists used old ledger paper as a medium for their work. Historical ledger drawings provide a unique perspective into the viewpoints of Indians from the late 1800s and early 1900s.

Parfleche Envelopes (1890) by unknown (Oglala Lakota), Sioux Indian Museum (R.64.40.21)Indian Arts and Crafts Board (IACB), U.S. Department of the Interior

Parfleche envelopes were usually made in pairs and were often draped across a horse's body for transport. The painted designs were unique to the owner and could be used to identify the parfleche. Parfleche Envelopes (Oglala Lakota). Rawhide, natural pigments; ca. 1890; Sioux Indian Museum (R.64.40.21).

Ledger Style Painting (1889) by Kills Two (Sicangu Lakota), Sioux Indian Museum (R.620)Indian Arts and Crafts Board (IACB), U.S. Department of the Interior

This painting on canvas is an early example of the ledger style of art. Ledger style painting. Kills Two (Sicangu Lakota). Canvas, pencil, ink; 1889; Sioux Indian Museum (R.620).

Cheyenne Ledger Book (1904) by unknown (Cheyenne), Sioux Indian Museum (B.609)Indian Arts and Crafts Board (IACB), U.S. Department of the Interior

This ledger book contains depictions of various battles and scenes of daily life among the Cheyennes of the late 18th and early 19th centuries. Cheyenne Ledger Book. Pencil and ink on paper; ca. 1904; Sioux Indian Museum (R.609).

"A-HO" (1981) by Mirac Creepingbear (Kiowa and Pawnee), Southern Plains Indian Museum (A.81.8.1)Indian Arts and Crafts Board (IACB), U.S. Department of the Interior

Painting: Contemporary Period

In the 20th century, Indian artisans turned their attention towards canvas oil painting. During this period, most Indian painting was very traditional. However, Oscar Howe (Yanktonai Lakota) was instrumental in breaking down barriers that Indian artists faced. Howe helped to pioneer abstract forms of Indian painting. Allan Houser (Chiricahua Apache) explored new styles of painting and sculpture. Houser would soon teach a new generation of artists as an instructor at the Institute of American Indian Art in Santa Fe. Other contemporary artists such as Arthur Amiotte (Oglala Lakota), Robert Penn (Sicangu Lakota and Omaha), Herman Red Elk (Fort Peck Assiniboine and Sioux), and T.C. Cannon (Caddo and Kiowa) helped to revitalize Indian painting in the 20th century.

"Dakota Eagle Dancer" (1962) by Oscar Howe (Yanktonai Sioux), Sioux Indian Museum (R.62.9)Indian Arts and Crafts Board (IACB), U.S. Department of the Interior

As Oscar Howe (1915-1983, Yanktonai Sioux) became a more developed artist, he created his own unique style incorporating bold colors and lines that depicted movement in the subjects of his paintings. Apache Fire Dancer. Oscar Howe. Casein on illustration board; 1959; Sioux Indian Museum (R.99.6.15).

"Horse Dance" (1964) by Herman Red Elk (Fort Peck Assiniboine and Sioux), Sioux Indian Museum (R.67.1.1)Indian Arts and Crafts Board (IACB), U.S. Department of the Interior

The Fort Peck Assiniboine and Sioux artist Herman Red Elk (1918-1986) was a student of Oscar Howe. While he often painted using modern materials in a contemporary style, he was also a contributor to the revival of the traditional art of hide painting in the 20th century. Horse Dance. Herman Red Elk. Acrylic on paper; 1964; Sioux Indian Museum (R.67.1.1).

"Legend of the First Man" (1966) by Arthur Amiotte (Oglala Lakota), Sioux Indian Museum (R.68.24.9)Indian Arts and Crafts Board (IACB), U.S. Department of the Interior

As a student of Oscar Howe, Arthur Amiotte’s (Oglala Lakota) early work reflects the bold colors and flowing lines of his mentor. This painting is a depiction of the Lakota legend of the first man and woman and the struggles they faced. Legend of the First Man. Arthur Amiotte. Casein on watercolor paper; 1966; Sioux Indian Museum (R.68.24.9).

"Tipi" (1969) by Robert Penn (Sicangu Lakota and Omaha), Sioux Indian Museum (R.69.23.39)Indian Arts and Crafts Board (IACB), U.S. Department of the Interior

The artistic style of Robert Penn (1946-1999, Sicangu Lakota and Omaha) left a profound imprint on the Indian art community. His use of abstraction sought to blur the boundaries between traditionalism and modernism. Tipi. Robert Penn. Acrylic on canvas; 1969; Sioux Indian Museum (R.69.23.39).

Apache Fire Dancer (1961) by Allan Houser (Chiricahua Apache)Indian Arts and Crafts Board (IACB), U.S. Department of the Interior

Allan Houser's (1914-1994, Chiricahua Apache) paintings often evoke strong images of his Apache heritage. The fire dancer seen here is a central figure in Apache history and culture. Apache Fire Dancer. Allan Houser. Casein on illustration board; 1961; Southern Plains Indian Museum (A.99.6.15).

"Who Shot the Arrow Who Killed the Sparrow" (1970) by T.C. Cannon (Caddo and Kiowa), Southern Plains Indian Museum (A.71.41)Indian Arts and Crafts Board (IACB), U.S. Department of the Interior

Tommy Wayne (T.C.) Cannon (1946-1978) was a progressive artist with unprecedented talent. As a student at the newly established Institute of American Indian Art in 1964, he challenged the parameters of traditional "Indian" art with a Pop Art sensibility and his use of flat and intense colors, dynamic compositions, and decorative motifs. A decorated Vietnam veteran who grew-up in the atomic era, he often deployed the mushroom cloud in his work as a symbol of war and unstoppable Western technology that threatened the beauty of Indian life and culture. Who Shot the Arrow, Who Killed the Sparrow. T.C. Cannon (Caddo and Kiowa). Acrylic on paper on canvas; 1970; Southern Plains Indian Museum (A.71.41).

"One Way Ticket" (1998) by Oliver Enjady (Mescalero Apache), Southern Plains Indian Museum (A.98.3)Indian Arts and Crafts Board (IACB), U.S. Department of the Interior

One Way Ticket. Oliver Enjady (b. 1952, Mescalero Apache). Acrylic on canvas; 1998; Southern Plains Indian Museum (A.93.8).

"When It's Peach Pickin' Time in Georgia, It's Apple Pickin' Time at the BIA" (1971) by T.C. Cannon (Caddo and Kiowa), Southern Plains Indian Museum (A.71.28.1)Indian Arts and Crafts Board (IACB), U.S. Department of the Interior

Publications and Source Directory

Between 1950 and 1968, the quarterly journal "Smoke Signals" was published by the IACB to elevate the appreciation of authentic Indian art. Since that time, the IACB has developed a wide variety of consumer education publications, several of which are featured in this exhibition. As part of its program to promote Indian art, the IACB produces the "Source Directory of American Indian and Alaska Native Owned and Operated Arts and Crafts Businesses." There are approximately 400 businesses listed in the Source Directory. 

How to Buy Authentic Navajo (Diné) Weavings, IACB Brochure (2017)Indian Arts and Crafts Board (IACB), U.S. Department of the Interior

How to Buy Authentic Navajo (Diné) Weaving is a consumer guide for buying authentic Diné textiles. It was created by the IACB in collaboration with master weaver and former IACB Chairperson Joyce Begay-Foss (Diné), and weaving scholar Dr. Kathy M’Closkey.

The brochure offers helpful information regarding the history and development of Navajo (Diné) weavings, as well as buying tips.

Alaska Native Ivory, IACB Brochure (2017)Indian Arts and Crafts Board (IACB), U.S. Department of the Interior

Alaska Native Ivory is a consumer education brochure that promotes the creative work of Alaska Native walrus ivory carvers, and highlights the inherent cultural importance, beauty, and value of these carvings.

The IACB produced the Alaska Native Ivory publication in collaboration with the Alaska State Council on the Arts, U.S. Fish and Wildlife Service, and Eskimo Walrus Commission.

The brochure also offers consumer tips on purchasing and transporting authentic Alaska Native ivory artwork, educational facts on ivory types and sources, and information on the Eskimo Walrus Commission.

Buy Authentic Montana Indian Arts and Crafts, IACB Brochure (2017)Indian Arts and Crafts Board (IACB), U.S. Department of the Interior

The consumer protection brochure Take Home a Treasure from Indian Country: Buy Authentic Montana Indian Arts and Crafts was created in collaboration with the Montana Office of the Attorney General’s Office of Consumer Protection.

The brochure provides information on the federal Indian Arts and Crafts Act, as well as the Montana Consumer Protection Act, which prohibit the marketing of art as an Indian product if it is not Indian made.

Consumers will find helpful information regarding the purchase of authentic Indian art, including information on the Native American Made in Montana Program.

Buy Authentic Arizona American Indian Art, IACB Brochure (2009)Indian Arts and Crafts Board (IACB), U.S. Department of the Interior

The consumer protection brochure Take Home a Treasure from Indian Country: Buy Authentic Arizona American Indian Art was created in collaboration with the Arizona Office of the Attorney General.

The brochure provides information on the federal Indian Arts and Crafts Act, as well as Arizona statutes, which prohibit the marketing of art as an Indian product if it is not Indian made.

Buy Authentic New Mexico Indian Arts and Crafts, IACB Brochure (2008)Indian Arts and Crafts Board (IACB), U.S. Department of the Interior

The consumer protection brochure Take Home a Treasure from Indian Country: Buy Authentic New Mexico Indian Arts and Crafts was created in collaboration with the New Mexico Office of the Attorney General’s Consumer Protection Division.

The brochure provides information on the federal Indian Arts and Crafts Act, as well as the New Mexico Indian Arts and Crafts Sales Act, which prohibit the marketing of art as an Indian product if it is not Indian made.

Unraveling the Mystery of Turquoise, IACB Brochure (2010) by IACBIndian Arts and Crafts Board (IACB), U.S. Department of the Interior

The IACB publication Unraveling the Mystery of Turquoise contains important buying tips about one of the most popular stones used in Indian jewelry. For example, the brochure provides information on turquoise color, matrix, and density, as well as helpful photographs of turquoise samples.

For additional information on IACB publications, please visit this webpage.

For more buying tips, please consult the Federal Trade Commission and IACB publication How to Buy Genuine American Indian Arts and Crafts.

"Medicine Man" (1962) by Oscar Howe (Yanktonai Sioux), Sioux Indian Museum (R.69.17.1)Indian Arts and Crafts Board (IACB), U.S. Department of the Interior

The IACB’s Source Directory of American Indian and Alaska Native Owned and Operated Arts and Crafts Businesses includes art cooperatives and tribal art enterprises; businesses and galleries privately owned and operated by individuals, designers, and artists who are enrolled members of federally recognized tribes. The Source Directory also includes nonprofit organizations, managed by enrolled members of federally recognized tribes, which develop and market art products.

Business listings are organized by State. Please visit this webpage to learn more.

"Andrew Myrick - Let Em Eat Grass" (1970) by T.C. Cannon (Kiowa and Caddo), Southern Plains Indian MuseumIndian Arts and Crafts Board (IACB), U.S. Department of the Interior

The Indian Arts and Crafts Act (Act)

The Indian Arts and Crafts Act of 1990 (P.L. 101-644) is a truth-in-advertising law that prohibits misrepresentation in the marketing of Indian art products within the United States. It is illegal to offer or display for sale, or sell any art or craft product in a manner that falsely suggests it is Indian produced, an Indian product, or the product of a particular Indian or Indian tribe or Indian organization, resident within the United States. For a first time violation of the Act, an individual can face civil or criminal penalties up to a $250,000 fine or a 5-year prison term, or both. If a business violates the Act, it can face civil penalties or can be prosecuted and fined up to $1,000,000. Under the Act, an Indian is defined as a member of any federally or officially State recognized Indian tribe, or an individual certified as a non-member Indian artisan (certified Indian artisan) by an Indian tribe of their direct descent.

"Untitled" (1971) by Robert Penn (Sicangu Lakota and Omaha), Sioux Indian Museum (R.71.2.2)Indian Arts and Crafts Board (IACB), U.S. Department of the Interior

What The Act Covers

The Act covers all Indian and Indian-style traditional and contemporary art produced after 1935. The Act broadly applies to the marketing of art by any person in the United States. All products must be marketed truthfully regarding the Indian heritage and tribal affiliation of the producers, so as not to mislead the consumer.

Some traditional items frequently copied by non-Indians include Indian-style jewelry, pottery, baskets, carved stone fetishes, woven rugs, kachina dolls, and clothing. It is illegal to market an art product using the name of a tribe if a member, or certified Indian artisan, of that tribe did not actually create the art work. For example, products sold using a sign claiming "Indian Jewelry" would be a violation of the Act if the jewelry was produced by someone other than a member, or certified Indian artisan, of an Indian tribe. Products advertised as "Hopi Jewelry" would be in violation of the Act if they were produced by someone who is not a member, or certified Indian artisan, of the Hopi Tribe.

For more information, please consult this IACB publication on the Act.

To file a potential Act complaint, you may contact the IACB online or call the IACB toll free number (888) ART-FAKE.

"Untitled" (1971) by Robert Penn (Sicangu Lakota and Omaha), Sioux Indian Museum (R.71.2.1)Indian Arts and Crafts Board (IACB), U.S. Department of the Interior

Conclusion

Since its establishment in 1935, the IACB has promoted traditional and contemporary Indian art to support and enhance Indian economies, preserve and celebrate Indian cultural heritage, and encourage the dynamic evolution of Indian art. Through advocacy, education, and collaboration, the IACB continues it's mission into the 21st century to advance the artistic visions and diverse expressions of Indian artists.  

Credits: Story

This exhibition was developed by the IACB, August 2018.

To learn more about the IACB, please visit https://www.doi.gov/iacb.

Credits: All media
The story featured may in some cases have been created by an independent third party and may not always represent the views of the institutions, listed below, who have supplied the content.
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