Ramona Sakiestewa

BIO/CV

b. Albuquerque, NM

Education
  • 1968

    School of Visual Arts, New York NY


Select Commissions
  • Kenneth Noland Tapestry Series; a series of Noland designs commissioned by Gloria F. Ross Tapestries
    Frank Lloyd Wright Foundation; a series of thirteen tapestries from the designs of Frank Lloyd Wright
    Bernice Steinbaum Gallery (New York, NY); a tapestry of painter Paul Brach’s work
    Neutrogena Corporation, Los Angeles, CA; a series of tapestries for corporate offices worldwide
    Mobil Corporation, Dallas, TX
    Sundance, Provo, UT; series of tapestries
    Avalon Trust, Santa Fe, NM; series of tapestries
    Denver Art Museum, Denver CO


Select Projects
  • 1987 – 1992

    Smithsonian Institution Mail Order Catalog: Several scarves, shawl, tie, and fabric for apparel

  • 1990 – Present

    Dewey Trading Co.: Design of the “Southwest Trails Series,” six limited edition blankets manufactured by Pendleton Woolen Mills, Portland, OR. Currently issued in open editions

  • 1993 – 2004

    Master planning, content & design consultant, “The Native Universe” permanent exhibition

  • 1993 – 2004

    National Museum of the American Indian, Smithsonian Institution, Washington, DC: Design consultant for the National Mall Museum building; with architects GBQC, Philadelphia; Polshek &Associates, New York; Smith Group, Washington, DC; landscape architect EDAW, Washington,DC

  • 1994 – 98

    Sakiestewa Textiles, LLC.: Design and issue of the “Ancient Blanket Series,” six limited edition blankets under private label, Santa Fe, NM

  • 1997 – 98

    Lode Star Project: Design consultant to the architect for “Enchanted Skies Park,” observatory and astronomy center sponsored by the University of New Mexico, Albuquerque, NM

  • 1998

    Santa Fe Wine and Chile Fiesta: Chicahuac Chac theme art piece. Limited edition lithograph printed at Tamarind Institute, Albuquerque, NM; reproduced as poster, program cover, wine label, and invitations

  • 2001 – 02

    Trail of Painted Ponies, New Mexico: One of several artists painting fiberglass horses for a statewide public art project, Santa Fe, NM

  • 2002

    American West Heritage Center, Wellsville, Utah: Member of the core master planning team for a new museum and cultural center for the Northwest Band of Shoshone Indians. With Hilferty & Associates, Interpretive Planners, Athens, OH and Jensen Haslem, Architects, Wellsville,UT

  • 2002 – 04

    Chickasaw Cultural Center, Sulphur, Oklahoma: Member of the core master planning team for a new cultural center for the Chickasaw Nation. With Andrew Merriell & Associates, Interpretive Planning& Design, Santa Fe, NM and Overland Partners, Architects, San Antonio, TX

  • 2002 – 05

    Marriott Residence Inn, Washington, DC: Design consultant to developer (Donohoe Corporation) and interior designer (BBGM) for design themes and artwork for planned business hotel

  • 2002 – 07

    Tempe Center for the Performing Arts, Tempe, AZ: Public Art project; one of three artists designing artwork integrated with the architectural fabric of the building. With Barton Myers, Architect, Los Angeles, CA

  • 2005 – 07

    National Indian Monument and Institute, Tulsa, Oklahoma: Member of the core master planning team for a new cultural center. With Andrew Merriell & Associates, Interpretive Planning & Design, Santa Fe, NM and Johnson, Smitthipong and Rosamond Architects, Tucson, AZ.
    Marriott Residence Inn, Sacramento, CA: Design consultant to developer (Christopher Corporation, Three Fires, and Marriott) and interior designer (Johnson Braund Design Group) for design themes and artwork for planned business hotel.

  • 2006 – 07

    Gila River Health Care Corporation: Design and cultural values consultant to Johnson, Smitthipong and Rosamond Architects for new hospital, Tucson, AZ

  • 2008 – 11

    Kurdistan Regional Government, Statistics Office, Erbil, Iraq: Design cultural theming, consultant to Bayberry International, Easton, MD

  • 2011 – 12

    Advisor: Shapeshifting, Transformations in Native American Art, Peabody Essex Museum, Salem, MA


Select Solo Exhibitions
  • 1989

    Ramona Sakiestewa/Patterned Dreams, Wheelwright Museum of the American Indian, Santa Fe, NM

  • 1991

    Ramona Sakiestewa/Frank Lloyd Wright, Themes and Variations, The Newark Museum, Newark, NJ

  • 1993

    Between the Four Sacred Mountains, Museum of the Southwest, Pasadena, CA

  • 1995

    Patterns of the Southwest: Tapestries by Ramona Sakiestewa, John Michael Kohler Arts Center, Sheboygan, WI

  • 1997

    Ramona Sakiestewa/Recent Acquisitions, Heard Museum, Phoenix, AZ

  • 2002

    Cultural Colors:Fiber Art & Drawings, Heard Museum North, Carefree, AZ

  • 2006

    Ramona Sakiestewa, Nicole Fiacco Gallery, Hudson, NY

  • 2008

    Vortex of Color, Eight Modern, Santa Fe, NM

  • 2014

    Tangram Butterfly and Other Shapes, TAI Modern, Santa Fe, NM


Select Group Exhibitions
  • 1991

    Contemporary Concepts, Los Colores Museum, Albuquerque, NM

  • 1992

    Colorado University Art Gallery, Boulder, CO

  • 1992-present

    American Encounters 1992, National Museum of American History, Smithsonian Institution, Washington, DC

  • 1994

    Homeland Use and Desire, Massachusetts College of Art, Boston, MA

  • 1994-98

    Native America: Reflecting Contemporary Realities, American Indian Contemporary Arts, San Francisco, CA; traveling exhibition

  • 1995

    Celebrating Helen Heninger, Curator for Gump’s Contemporary Art Gallery, San Francisco, CA

  • 1996-97

    Native American Traditions/Contemporary Responses, Society for Contemporary Crafts, Pittsburgh, PA

  • 1997-98

    Colors, Contrasts, Cultures, Discovery Museum, Bridgeport, CT
    O’Keeffe’s New Mexico, Museum of Fine Arts, Santa Fe, NM
    Native Abstractions: Modern Forms, Ancient Ideas, Museum of Indian Arts and Culture, Santa Fe, NM

  • 2002

    Changing Hands, American Craft Museum, New York, NY

  • 2004

    NDN Art, Santa Fe Art Institute, Santa Fe, NM

  • 2006

    Breaking the Mold, opening exhibition, Denver Art Museum, Denver, CO

  • 2007

    East Meets West: Ramona Sakiestewa/ G. Peter Jemison, Eight Modern, Santa Fe, NM
    Nebula: The Reflection Series, LewAllen Contemporary, Santa Fe, NM

  • 2009

    Redefining the Canvas: Edda Renouf, Ramona Sakiestewa, and Marie Watt, Eight Modern, Santa Fe, NM

  • 2012

    Shapeshifting: Transformations in Native American Art, Peabody Essex Museum, Salem, MA

  • 2013

    Georgia O’Keeffe in New Mexico: Architecture, Katsinam and the Land, Denver Art Museum, Denver,CO and Georgia O’Keeffe Museum, Santa Fe, NM
    Native Vanguard: Contemporary Masters, Zane Bennett Contemporary Art, Santa Fe, NM

  • 2015

    Contemporary International Tapestry, Hunterdon Art Museum, Clifton, NJ


Select Collections
  • Friends of Art and Preservation in Embassies, Washington, DC (work placed in American Embassy in Uganda)
    The Mint Museum of Craft & Design, Charlotte, NC
    The Denver Art Museum, Denver, CO
    The Heard Museum, Phoenix, AZ
    The Newark Museum, Newark, NJ
    Museum of Fine Arts, Museum of New Mexico, Santa Fe, NM
    Cleveland Museum of Art, Cleveland, OH
    The Clay Center, Charleston, WV
    Museum of Albuquerque, Albuquerque, NM
    The Wheelwright Museum of the American Indian, Santa Fe, NM
    St. Louis Museum of Art, St. Louis, MO
    National Museum of American History, Smithsonian Institution, Washington DC
    The Kennedy Museum of American Art, Athens, OH
    Mobil Corporations, Dallas, TX
    Neutrogena Collection, Los Angeles, CA
    Sundance Collection, Provo, UT
    University of Pennsylvania Museum of Anthropology, Philadelphia, PA
    University of New Mexico, Albuquerque, NM


ARTIST STATEMENT

I was born in the American Southwest. At an early age, I knew I would be an artist. Having had a somewhat harried childhood, I did art making as a way to create order out of uncertainty.

My professional art career began in tapestry weaving. That art form allowed for the blending of shapes and layering of colors. Early work was graphic in design. That eventually evolved into abstract and painterly weavings.

Off and on for 20 years, I did printmaking as well. Five years ago, I began to focus on what I call “constructions” Making them involves deconstructing the earlier prints and then painting and drawing on additional pieces of fabrics and papers. I can then manipulate the complex palette of images, patterns, and surfaces. With the diversity of materials, one can continue to blend shapes and layer color but in dimensional constructions.

Themes that continue to thread through my artwork are puzzle pieces, astronomical configurations, and divination. Recently, I have reached back to my childhood to retrieve an early design vocabulary lexicon. These can be seen in new work called “and Other Shapes.”