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April 27, 2011

“Call It Caddo”

Robin Montoya (Caddo/Wichita), photo by M. Patterson (Caddo)

By Keevin Lewis, NMAI Community Services Coordinator

Revivals in Oklahoma can mean many different things to people. But for Jeri Redcorn (Caddo/Potawatomi), the revival of Caddo pottery is her main mission and personal story. Following the forced removal from their traditional lands, Jeri realized that today Caddo people are no longer making any pots and the pottery traditions are lost.

Following her acceptance into the NMAI Artist Leadership Program, Ms. Redcorn came to the Smithsonian in December 2010 and “discovered” that pots in the SI collections were named Hodges, Avery, Maxey, Haley, Bailey, etc. She's now determined to reclaim Caddo cultural material.

Jeri’s first step was to host a two-day Caddo Ceramics Workshop at the Sam Noble Oklahoma Museum of Natural History (SNOMNH) in Norman, Oklahoma. This workshop took place on March 10, 11, 2011. Approximately 30 participants attended this workshop, which included an overview and history of Caddo pottery, photos from the collections of the NMAI and the SNOMNH, tour of the Caddo exhibition and Caddo collections at SNOMNH, discussion on clay types, and time for making pottery. These students made bowls, cups, and other types of containers with Caddo designs and patterns seen for the SNOMNH collections and exhibitions.

Ms. Redcorn’s next step was to address the issue of nomenclature of Caddo pottery. And a great place to begin this discussion was right next door at the Oklahoma History Center (OHC) on Saturday, March 12, 2011, where Jeri organized a symposium and invited key individuals to address important Caddo art and cultural issues. With the Director of OHC, Dr. Bob Blackburn, and Justice Yvonne Kauger, Oklahoma Supreme Court, and Stacey Halfmoon, American Indian Cultural Center & Museum, leading off with introductions to a symposium on Caddo History and Ceramics, the stage was set to initiate a dialogue as to why Caddo cultural materials held in museums ought to be changed to titles that are culturally appropriate to the Caddo people.

Phil Cross, Caddo Historian, and Dr. George Sabo, III, Arkansas Archeological Survey Professor of Anthropology, University of Arkansas, talked about how the Caddo people have endured removal from traditional lands, loss of language, stories, and traditions, and continue to exist while overcoming great odds for cultural survival. Even though most Caddo cultural material held in museums and archives are named after archeologists and archeological sites, renaming of these items are possible in collaboration and consultation with Caddo people and museums by learning from each other in the renaming process. As a result of this symposium, Dr. Sabo, Mr. Cross, and Ms. Redcorn were invited to make the same presentation at the Caddo Archeology Conference on March 23, 2011, in Ft. Smith, Arkansas. It was reported that the response to their presentations were highly welcomed!


Symposium participants at the Oklahoma History Center, Stacey Halfmoon,
Caddo, Phil Cross, Caddo, Bronwyn Gordon, Caddo, Dr. George Sabo.
Photo by Mary Patterson (Caddo)

If the Caddo Ceramic Workshop and Symposium weren’t enough information for the average participant, then I’m sure the afternoon of Caddo dancing is the best way to end the “Caddo Festival: Honoring Our Caddo Elders” events at OHC. With Phil Cross as the emcee and hosted by the Caddo Culture Club Singers, the afternoon following the symposium was filled with the Turkey Dance, Drum Dance, Fish Dance, Swing Dance, Vine Dance, Duck Dance, Alligator Dance, the Stirrup Dance and Bell Dance. It was reported by OHC staff that approximately 400 people attended these Caddo dance performances! Somehow all these dances were completed within 4 hours during the daylight, as most of these dances are usually performed overnight ending at sunrise.

Now that these events have past, the Caddo culture continues through pottery making, art shows, music and dances, with Jeri Redcorn as the mentor and teacher who is striving and reviving the lost art of Caddo Pottery. I have learned that Jeri is a very methodical and earnest individual and given the time, resources, and opportunity she is bound to make changes. Jeri notes that she “accepts the challenge and responsibility to share her pottery experience so this clay art is not lost, but handed down from generation to generation with the utmost respect.”

The next Artist Leadership/Emerging Artist Program deadline is May 2, 2011. Please see the NMAI website under Indigenous Contemporary Arts Program form more information: Artist Leadership/Emerging Artist Program

Comments (5)

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Wonderful! Kudos to Jeri! She's carried her curiosity to fullblown passion. I am honored to call her my friend. You too, Phil. :)

Great article, Jeri! You and Keevin do each other proud. I wish I had gotten to attend the clay pottery days, but enjoyed the history presentation and the dance.

it is nice info, even though i have no idea what was going on there but it seems like truely festive show. just can't wait the post for the next show of pottery making. oh, and i think it would be lots of fun if you put some more pics.

Great article, Jeri! You and Keevin do each other proud. I wish I had gotten to attend the clay pottery days, but enjoyed the history presentation and the dance.

Wow, you might say that the technology is very good! Photo, so beautiful, very clear, wish you good luck, create the future together!

April 20, 2011

River of Renewal—NMAI Celebrates Earth Day with a Special Screening and Discussion

By Dennis Zotigh

River_of_renewal_pics_021_1 Indigenous cultures around the world have a deep relationship with their environments and the earth. Changes to the natural world affect us all, but they particularly impact Indigenous peoples—Native communities' rights to use the natural resources of their homelands for economic sustenance, to observe traditional spiritual rites, and to practice traditional healing, to give just a few examples.

Worldwide attention to concerns about the earth’s environment culminate during Earth Day, this year on Friday, April 22. Please join us at the National Museum of the American Indian to recognize Earth Day with a special screening of the film River of Renewal, followed by a conversation with filmmakers Jack Kohler (Yurok/Karuk/Hupa) and Stephen Most. Chris Palmer, distinguished film producer and director of the Center for Environmental Filmmaking at American University, will moderate the discussion.

Directed by Carlos Bolado, River of Renewal won Best Documentary Feature at the 2008 American Indian Film Festival. It documents eight years of conflict, negotiation, and political action concerning the future of the Klamath River. In this film Indigenous people share personal stories of their long struggle to defend their treaty salmon-fishing rights and restore the ecosystem of the river.

For thousands of years the Karuk, Hupa, and Yurok Indians have lived in the Klamath River Basin in northern California and southeastern Oregon. In this environment they depend on fishing for their survival. More recently, the Klamath River Basin is also home to ranchers, farmers, and commercial fisherman. Since the mid-1800s, these rivals have fought over the Klamath and its tributaries, 300 miles of vital spawning habitat for wild Pacific salmon and steelhead trout. Built between 1908 and 1962, four hydroelectric dams obstruct the salmon migration between the Pacific Ocean and upriver breeding grounds.

River of Renewal focuses on Kohler’s return to his ancestral homeland, where ecological crisis has divided farmers, ranchers, and commercial fishermen, as well as tribes whose ways of life depend on wild fish. After tens of thousands of spawning salmon die in the Klamath River in 2002, both sides reevaluate their positions and change occurs. Recognizing that their livelihoods all depend on the health of the river, the feuding tribes and their adversaries find common ground. Through negotiation, these groups agree to share water, improve the river habitat, and demand the removal of the dams that cut off salmon habitat.

“The dams were built in a time when jobs were needed and sources of energy were scarce,” Kohler says. “Now we realize the mistakes that were made. It is time to fix those mistakes. How can we make the world an ecologically sound and environmentally safe place to live? In one century, we have wreaked havoc on our mother earth, and now it is time to Pikiawish—renew the world.” In 2008, the federal government joined Oregon, California, and PacifiCorp, a major power-generating company, to endorse a plan to remove four aging hydroelectric dams on the Klamath River by 2020.

This program is presented in partnership with the Center for Environmental Filmmaking.

For more information on the screening at the museum and the discussion with the filmmakers, please the listing in the NMAI calendar of events.

River of Renewal
USA, 2009, 55 min.
Jack Kohler, narrator/producer
Stephen Most, producer/writer
Steve Michelson, executive producer
Carlos Bolado, director

Downloadable Viewer Discussion Guide to River of Renewal, courtesy of NAPT–Native American Public Telecommunications

Top: Ron Reed, Jack Kohler, and children at Ishipishi on the Klamath River. Video still courtesy of Pikiawish Partners


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This is of real interest to me. Healthy rivers are vital to these communities so thanks for pointing me in the direction of this documentary. You have a useful site here.


I was very pleased to find this site.I wanted to thank you for this great read!!

April 19, 2011

Q&A with Native Playwright and Artist Robert Ownens-Greygrass

Robert Owens-Greygrass This Thursday night marks the museum's premiere of Ghostlands of an Urban NDN, a one-man play by Robert Owens-Greygrass (left) about the world of a "multi-ethnic-non-specific-lower-middle-class-urban-NDN-white-guy born in America."

Ghostlands of an Urban NDN is one of four shows that make up Wattage: Illuminating Tradition and Survival, a new performance series produced by the nonprofit organization Capital Fringe that explores complex issues of culture, tradition, environment, and identity. In honor of his inaugural performance at the museum, Owens-Greygrass shares his thoughts on the definition of success, what makes his work unique, and what he looks for in a performance.

Briefly describe your background/training.

My training is at the fire. Listening to stories and observing people and how we behave. Much of my "training" is by living my life and being alert to human behavior, mannerism, and how we communicate with each other. I have a gift to perform and I honor that gift. I do take acting classes, and I teach acting classes. When you teach you must know what you are talking about or you cheat your students. I study how any given performance by any given artist is expressing itself. I read every day, and I enjoy listening to successful artists talk about their lives and how they have accomplished what they have.

How old were you when you knew you wanted to be an artist?

 I was 15 in high school and auditioned for Professor Metz in "The Man Who Came to Dinner." I did a great faux German accent. And fell in love with the stage. I took a 20-year journey of life filled with amazing and incredible experiences, raised kids, recovered from addictions, found my way to the red road. I returned to the stage at 38 years old when I played Crazy Horse and Manuelito in a local production of "Black Elk Speaks." The following year I played John Merrick in "The Elephant Man" for the same local theater. The Oregon Shakespeare Festival saw my performance ofJohn Merrick and invited me to work with them. I was on stage for two years at OSF. I began to write my own shows and story-tell. I also created some workshops and began touring on my own. All my life the arts have called me, and somehow events, people, circumstances, synchronicity, and my own focus have arranged for me to be immersed, and blessed to be in it.

Who is your greatest professional inspiration and why?

All actors, writers, artists who are genuine, humble, confident, passionate, and follow their passion fully and authentically.

How do you manage wearing different "hats" as a self-producing artist? What are your strengths? What are your weaknesses?

I spend 50% time in the art, 50% time as business. I research and hire the staff that I might need for things like graphics, publicity, etc. 

My weaknesses are: I get distracted by other artists, artistic events, my own creativity that may pull me from one project to another. And enjoying my life in such a way as I may not be focused on the business end as clearly and thoroughly as necessary. I think most artists struggle with this. Can someone refer me to a superb agent/manager... aaayy?

As a self-producing artist, what qualities make for a good show idea in your opinion, and what is typically your first step in realizing your artistic vision?

A story or event that is very human. Meaning all humans can relate to the successes, the struggles, the ups and downs we all experience. And I think, too, an element of spirituality or something mystical has great appeal for performance. My first step—start writing! It doesn't have to be good, or right, or correct, or even spelled right. Simply start writing and get the idea on paper. Then rewrite and edit, maybe stage a reading and get some advice or input. But I need to get the idea spilled out onto paper first.

Speaking as a spectator, what do you look for in performance?

Authenticity, timing, heart-felt writing, genuine acting, direction that has an inclusive eye from the audience—does it move me, stimulate me to and through a range of storytelling emotion? Am I engaged and compelled to see more?

What makes your work unique?

I have lived an amazing life. My work is always imbued with the experiences of my life. I don't have a formal college education, I barely got through high school. I write and perform from my gut, I have been trained in staying alive. Meaning I survived polio, I was in and out of hospitals as a child, I earned 3 black-belt ranks, I Sun Danced, I recovered from addictions, I helped to raise some beautiful incredible kids, and now have some beautiful incredible grandkids. I hurt those around me and I was hurt by those around me. I have loved and been loved. I guess you could say my life has been tempered, taught, and shaped by fire, by living and paying attention to what works and what doesn't. All of this is in my work.

How does your tribal background influence your work?

I don't think it is authentic to say "my tribal background." I have a trickle of Indian blood that got me really excited during the '60s to become somewhat of an activist. I have been blessed over these past 35 years to live on the red road and be welcomed by Native people and organizations all over America.   And Native spiritual knowledge is immediate and reasonable. It has sustained me and inspired me to live as honestly as I can. In my work I represent myself and my worldview. I am not a "spokesman" or a voice for Native people. I address human experience and consciousness in my work and attempt to have an expansive effect on my audiences' worldview. I also think it is odd for Native artists to always have their tribal affiliation after their name.... Meryl Streep doesn't do that, Beyonce doesn't, Robin Williams, Chris Rock, Jay Leno. No one, only Native actors. I understand pride and recognition are important, but I am a human being first, who happens to be an actor/writer, who happens to be mixed, who happens to clarify and identify my worldview through my work as Native.

What does "success" mean to you?

Cut me a check... aaayyy. Success is going forward, keep on keeping on. As we live life we become more and more of who we really are. Being willing to admit mistakes, being inquisitive, lifelong learning, service in different forms. Of course being an attentive family member, husband, father, and grandfather, following my passions and creating the exciting things I want to create.

Why are you doing the Capital Fringe Festival?

I was invited by the museum to perform my shows, and they chose to collaborate with the Fringe so... I guess I got lucky.

Ghostlands of an Urban NDN
opens Thursday, April 21, at 8 PM at the museum's Rasmuson Theater. 
To reserve your ticket, or to see a full list of performances and showtimes, please visit CapitalFringe.org.

Comments (2)

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I am glad to hear another survivor of polio. my friend's son had a polio... well, goodthing she was using sandalwood just to aid his son, with his sickness.

Robert Ownens is one of the greatest artist in this field, His way of acting and presenting his character is outstanding.

April 18, 2011

House of Snow

Building an igloo. Alaska, ca. 1924. Photo by Frank E. Kleinschmidt. Library of Congress. LC-USZ62-135985

Over Valentine’s weekend, during our Power of Chocolate Festival, museum staff tested the first prototype for one of the housing structures for the new activity center opening this fall. Even though the testing was nearly two months ago, I have vivid memories of an amazing day.

Building the igloo 1 I remember dozens of young children running at me excitedly shouting “IGLOO!!!!!!” I found this so interesting—that they know what a snowhouse is and what it’s called. Many school-age kids I see at the museum don’t have a lot of familiarity with traditional Native American culture or vocabulary, especially with cultures so far from Washington, D.C.

I thought it was remarkable that families immediately started working together in informal teams, with the young/small children on the inside finding the blocks, and the parents/older kids on the outside helping them stack them up in order as well as find some of the scattered blocks.

I overhead parents explaining how the igloo is able to stay up without anything between the blocks because of the strength of the arch, and how neat it is that the Native peoples of the Western Hemisphere Arctic figured that out. A few times, though, I did have to explain that it is critical that the igloo be built in a spiral. Many visitors were fascinated to find that it isn’t possible to build an igloo without following the spiral pattern. They hadn’t realized how integral that is to the design.

Building the igloo 2 Visitors were so engaged with this activity that they had many questions, which was terrific! Lots of older kids and parents asked questions about how climate change was affecting life in the Arctic. They also had many other excellent questions like:

  • How cold does it have to be to build an igloo? Is global warming making a difference?
  • What do people use to cut the compacted snow? How heavy is are the snow blocks?
  • Are there different types of igloos? For different purposes or made by different peoples?
  • It’s neat that there’s a hole in the top for ventilation, but why don’t the fires melt the igloo?
  • Do people still build igloos? When did they start and stop?
  • What did they live in during the summertime?

(Interested in knowing the answers or posing your own questions? Visit the family activity center when it opens this fall.)

Building the igloo 3 Another aspect of the testing that amazed me is that language and culture weren’t problems—visitors from different places speaking different languages were able to work together building the igloo just fine. The blocks are numbered, and many of the children knew the numbers in both English and Spanish better than their parents did.

I did have to explain to visitors that one of the main ideas we are working to get across is that, historically, Native peoples built their homes with materials that were available to them and well-adapted to their environment. Adults and kids seemed to appreciate having this stated, but they responded that mostly they were impressed at how quick it was to build an igloo, and how clever the Arctic peoples must have been to figure it out.

We had no signage or video on this day. We will have more ways to share cultural information with the finished activity in the new space, and that will help answer some of the questions that people had. Despite this, it was exciting to have a prototype work so well on the first try. No instructions were needed—almost everyone was able to complete the activity on their own—and people obviously enjoyed it very much (both children and adults). We have since figured out a coating for the foam blocks so we don’t end up with crumbling foam everywhere, but also most visitors found it fun to be covered in “snow.” They were more concerned that they didn’t break our new toy.

Finishing the igloo

Children built the igloo over and over again (although it wasn’t clear which was more fun—building or “exploding” the igloo) until their parents dragged them away. Many, many parents and kids waited patiently to take turns taking pictures, with the kids either peeking out of the igloo entrance or from a hole (missing block) in the igloo wall. It was obvious that this activity will be a great photo-op for visiting families, as well as a very fun way to experience part of Arctic culture.

—Laura Krafsur (Tlingit/Haida), NMAI development officer

Color images: Visitors building the igloo prototype at the museum, February 13, 2011. Photos by Katherine Fogden (Mohawk), NMAI

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We're taking our grand kids over the Thanksgiving holiday. I'm very excited about it. I showed 2 of them the igloo. Now they are pumped too.

I once built an igloo in the mountains when it had heavily snowed, it was great ! Took us hours to built but the end result was fantastic, was big enough for 3 grown adults to fit inside. I think it is great activity to do with children, they simply love it! However I am still impressed that some people actually spent days living in them. It is quite amazing.

April 14, 2011

Master Interpreter Rick Bartow, Interpreted by a Friend

Bartow-Deer Dancer This Sunday, Rick Bartow (Mad River Wiyot, b. 1946) will be teaching a drawing workshop at the National Museum of the American Indian in Washington. (A few places remain. To register, follow this link and click the "Sign Up" button at the bottom.) The museum will also post a short photo essay about the workshop on the blog next week. Bartow's drawing Deer Dancer for Hyacinth (right) is on view at NMAI through August 7 as part of the exhibition Vantage Point: The Contemporary Art Collection. His art can be found in many other prominent institutions, including the Heard Museum, Phoenix; the Eiteljorg Museum, Indianapolis; the Denver Art Museum; and the Berlin Ethnological Museum. His honors also include a traveling show organized by the Hallie Ford Museum (2002–2004); a solo exhibition in Continuum: 12 Artists at NMAI's Heye Center in New York (2003); the Eiteljorg Fellowship for Native American Fine Art (2001); and an installation in the Jacqueline Kennedy Garden at the White House. 

Northwest imagery, Japanese prints, and Maori and African art inspire Bartow's  drawings, paintings, sculpture, and prints. Oral traditions, especially Native American transformation stories, are also at the heart of much of his work, as are themes of loss, addiction, and personal transformation. Of the many influences or sources reflected in his work, Bartow—who lives in Oregon, near where he was born—has said, "I'm an artist who happens to be Indian. I'm involved in what I can find in my culture, and I use that in my work. Wisdom is wisdom." Here, Charles Froelick, whose gallery represents Bartow, offers insights into his friend's creative process.

Hello, I’m Charles Froelick, posting from Portland, Oregon. I’m honored to write about Rick Bartow, an artist I’ve worked for since 1992. Rick and I met through Jamison Thomas Gallery, the pioneering Portland and New York City art gallery that gave Rick his first national representation. Rick was a pillar of that gallery and he is in my gallery, too. After William Jamison’s untimely death in 1995, I opened Froelick Gallery and humbly began representing Rick. Rick is an artistic omnivore, constantly searching the internal and external worlds for emotional, spiritual, intellectual, and poetic inspiration. It is thrilling to work with someone who just doesn’t stop, but who also knows how to carefully observe. I consider him a genius on many levels, and I hope you can take a moment to get to know him. Rick’s work Deer Dancer for Hyacinth (above) is on view through August 7 at the National Museum of the American Indian in Washington, as part of the exhibition Vantage Point: The Contemporary Art Collection. Here, I want to write about a few aspects of Rick that I don’t see covered so much in the press.

BAR0201_MythicLovers Once, while we were discussing the broad range of artistic trends, Rick said that he doesn’t think of himself as “a conceptual artist”; he “tells stories through marks and images.” He is definitely an interpreter—he draws, paints, assembles, and carves. His references span a worldwide range from ancient myths to the present moment, and he filters everything through his personal experiences and family heritage. He is also a voracious looker, poring over art books like no one I know, and working/growing through these references in the studio at lightning speed.

When asked about his artistic motivations, Rick likes to quote the explanation offered by the writer Raymond Carver: “Because sometimes only the sound and vision can sustain us.” We have discussed how he hopes his relationship as an artist can unfold with the audience. Rick wants his stories to open up to the viewer, like an unfolding book—not to thrust “one truth” on the viewer, but to allow for different viewings and meanings every day; not to read as only Pacific/Northwest Coast, but to be personal and somehow universal. I believe that the best stories give us broad clues and leave many details unspecified, allowing for our own personal interpretation. Like Zen kōans, they can also obscure the mind for a while, so that we must center our thoughts or think of the situation from an oblique angle. We must find meaning that speaks to us where we are today. 

BAR0113_SurpriseIMany people know Rick as a visual artist, but he has also been an active musician since his teens, writing and performing songs. I think this adds a wonderful facet to viewing his art—he thinks so lyrically, whether he’s drawing or singing. Drafted into the Army when he graduated from college in 1969, Rick served in Vietnam, earning a Bronze Star; the oak leaf cluster on his award recognizes his distinguished service playing the guitar and singing to the wounded. Since the 1970s he has been a lead singer and songwriter in many bands. I have asked him about the relationship of his artwork to his music. He says it’s all about creating a visual. And it is all spiritual in motivation—to find meaning in the eloquence of living and breathing. Whether it’s music or drawing, the premise is very basic—those motivations are the same now as they were for people 1,000 years ago. His work is as elemental as the earliest gestures known.

BAR1951_Ravens_Question Paradoxically, issues of “modern motivation” can get in the way of the perception of indigenous artists’ works. Some people expect contemporary indigenous art to look like it did centuries ago, and that romanticism for ancient, archetypal iterations can wreak havoc on understanding contemporary indigenous artists’ authentic inspirations. We live at a fascinating point in time when modern indigenous artists combine their traditional heritage with their individuality. Outstanding craft and the beauty of creation are present in Rick’s work, as they have been present in indigenous works since the dawn of time. He tries to learn from the past, and his work is absolutely inspired by a collective past, yet his individual view is firmly planted in life today. Rick goes into the studio and writes or draws his way through life. Can’t you just imagine the earliest people going back to their families to paint on the wall and saying, “You wouldn’t believe the wild beast I saw today with my buddies! It was like this. . . . ” Rick goes into the studio and writes or draws about today’s wild beasts. Sometimes they are just the same as eons ago. Sometimes they are very, very different. One of my favorites quotes among the things Rick has told me about his artwork is, “Once it begins, the battle is on! The many marks go back and forth until the war is done. It must play out until resolution, and make cognitive the blindly thrashing marks, line and color.”

—Charles Froelick

Art, in the order in which works appear:

Rick Bartow, Deer Dancer for Hyacinth, 2001. Pastel, charcoal, and graphite on paper; 87 x 203 cm. Museum purchase, 2003 (26/2871).

Rick Bartow, Mythic Lovers, 1994. Pastel, graphite on paper. 102 x 66 cm. Courtesy of the Froelick Gallery.

Rick Bartow, Surprise, 1995. Pastel, graphite on paper. 102 x 66 cm. Courtesy of the Froelick Gallery.

Rick Bartow, Raven’s Question, 2008. Pastel, charcoal, graphite on paper. 76 x 112 cm. Courtesy of the Froelick Gallery.

Comments (8)

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Really wonderful reflections on a stirring artist.

Rick Bartow is a great artist.


Have loved this artist, since (and prior to) his return from a tour of duty in Vietnam. He has this ability to juxtapose hardline graphic influences with a use of intense often primary color, and fantastic, nightmare-like emotional images. Bartow's work apparently emanates from a broadbased knowledge of world mythology as well as art history. Rick Bartow's artwork reminds me of famed artists such as Hieronymus Bosch, Marc Chagall, Horst Janssen and even Harry Fonseca. Keep featuring personalities of this calibre and I for one, would be most impressed.

I attended the sketching workshop on Sunday (11-1) and was delighted! The event was free form and wonderful. Rick Bartow shared his techniques and styles and how to use color. He shared stories of his life and his art. He even shared a native song with us. Very moving. Three young girls took home a sketch from Rick! Thanks to all who made this possible!

We are international seller of online painting and also part of various gallery and once got a chance to Mr Rick Bartow. Beside he is such a great artist he is such a gentle man.

Thanks for sharing this really great collection.

- Matt

Wow this is great. Would love to see this stuff in person. Kinda reminds me of Picasso.

Craig Smith
Dallas Graphic Artist

That’s pretty exciting news and I really hope more people get to read this.

Inspirational... Have enjoyed Rick Bartow's unique style of mythological abstract art for years and his music with the Backseat Drivers is nothing but great fun...

Rick... thank you for your service...