Miniature red seed pot with sgraffito geometric design and stone inside made by Haungooah aka Art Cody of Santa Clara
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Haungooah aka Art Cody, Santa Clara, Miniature red seed pot with sgraffito geometric design and stone inside
Haungooah aka Art Cody
Santa Clara
$ SOLD
cwscl9221
Miniature red seed pot with sgraffito geometric design and stone inside
2 in H by 2 in Dia
Condition: Excellent
Signature: Haungooah Santa Clara Pueblo
Date Created: 1975


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Art Cody
Haungooah

Kiowa, married into Santa Clara

Miniature red seed pot with sgraffito geometric design
 

The grandson of renowned Kiowa medicine man and scout James Haungooah, Art Cody was born in Lawton, OK in April 1943. James Haungooah was also famous for his ledger drawings of life on the southern Great Plains. The name Haungooah means silverhorn," or "sunlight reflecting off a buffalo horn" in the Kiowa language.

Art met Martha Suazo in Dallas where she was attending school and he was stationed at Fort Hood. They got married in 1972 and, following Puebloan tradition, moved to her home at Santa Clara Pueblo. They began making pottery together and their son Dean was born that same year.

Art went to school at Cameron College in Lawton, OK, the University of New Mexico and the Institute of American Indian Arts, graduating from IAIA with an Associate of Fine Arts degree. He learned pottery making, silversmithing, jewelry making, painting, stone sculpture and bronze making.

Born in 1947, Martha Suazo was a daughter of Joe and Santanita Suazo, both acclaimed potters from Santa Clara. Martha learned to make pottery from her mother and she taught the basics to Art. Usually, when they were working together, Martha would make the piece, Art would sand it, Martha would polish it, then Art would fire it and do the sgraffito work, carving and etching his designs into the surface of the piece. Over time he graduated to adding inset stones, silver, pipestone, mother-of-pearl, precious stones, beaded medallions and strands of heishe beads, multiple slip colors and two-tone firings.

Art and Martha's pottery was a mix of traditional and contemporary styles and designs and they were an immediate sensation in the Native American pottery world. They offered a unique fusion of Santa Clara and Kiowa designs, usually on miniature pieces. They did make a few larger pieces but as Art once said, "I can make twice the amount of money by making miniatures. There’s a bigger demand for miniatures, and they’re not that time consuming, because there’s a smaller area to work with. The larger pieces you put more time into it, and then if they do sell you’ve got to sit back and wait for a buyer to come in."

Art and Martha took part in exhibits like Santa Fe Indian Market, the Heard Museum Guild and Indian Art Fair, Seven Families in Pueblo Pottery and a 1979 tour in Europe put together by Pierre Cardin.

Some of the awards Art and Martha earned:

  • 1971 - 1st Place, Heard Museum Guild
  • 1976 - 1st Place, Heard Musuem Guild
  • 1977 - 2nd Place for a pottery lamp, Santa Fe Indian Market
    2nd Place for a miniature bowl, Santa Fe Indian Market
  • 1978 - 3rd Place for a miniature sgraffito pot, Santa Fe Indian Market
  • 1979 - Best of Division, 1st Place for a sgraffito miniature jar, Santa Fe Indian Market
    3rd Place for a sgraffitio seed pot, Santa Fe Indian Market
  • 1980 - 2nd Place for a miniature sgraffito jar, Santa Fe Indian Market
  • 1983 - 2nd & 3rd Place for non-traditional, new forms, innovations, Santa Fe Indian Market

Sadly, in 1981 Martha was struck and killed by a bolt of lightning while she was walking around at Puye Cliff Dwellings (an ancestral home of the Santa Clara people). In 1983, Art married Brenda Tafoya (sister of Ken Tafoya, Ray Tafoya and Paul Speckled Rock). In September 1985, Art, Brenda and their infant son Scotti were killed in a head-on car accident.

Art and Martha's work is on display in museums such as the Herad Museum Guild in Phoenix, AZ, the Denver Art Museum, the Eiteljorg Museum of American Indians and Western Art in Indianapolis, the Museum of Indian Art and Culture in Santa Fe, NM, and the Smithsonian's National Museum of the American Indian.

Most of their pieces were signed by Art alone, usually with "Haungooah" somewhere in the name. In the early 1980's he signed a few pieces using his initials and the outline of a fish. There are a very few pieces signed by both Art and Martha and even fewer pieces signed by Martha alone (and all seem to have been miniatures). Their son, Dean Haungooah, carries on today making the shapes and designs made popular by his parents.

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Santa Clara Pueblo

The Puye Cliff Ruins
Ruins at Puye Cliffs, Santa Clara Pueblo

Santa Clara Pueblo straddles the Rio Grande about 25 miles north of Santa Fe. Of all the pueblos, Santa Clara has the largest number of potters.

The ancestral roots of the Santa Clara people have been traced to the pueblos in the Mesa Verde region in southwestern Colorado. When that area began to get dry between about 1100 and 1300, some of the people migrated to the Chama River Valley and constructed Poshuouinge (about 3 miles south of what is now Abiquiu on the edge of the mesa above the Chama River). Eventually reaching two and three stories high with up to 700 rooms on the ground floor, Poshuouinge was inhabited from about 1375 to about 1475. Drought then again forced the people to move, some of them going to the area of Puye (on the eastern slopes of the Pajarito Plateau of the Jemez Mountains) and others to Ohkay Owingeh (San Juan Pueblo, along the Rio Grande). Beginning around 1580, drought forced the residents of the Puye area to relocate closer to the Rio Grande and they founded what we now know as Santa Clara Pueblo on the west bank of the river, between San Juan and San Ildefonso Pueblos.

In 1598 Spanish colonists from nearby Yunque (the seat of Spanish government near San Juan Pueblo) brought the first missionaries to Santa Clara. That led to the first mission church being built around 1622. However, the Santa Clarans chafed under the weight of Spanish rule like the other pueblos did and were in the forefront of the Pueblo Revolt of 1680. One pueblo resident, a mixed black and Tewa man named Domingo Naranjo, was one of the rebellion's ringleaders. When Don Diego de Vargas came back to the area in 1694, he found most of the Santa Clarans on top of nearby Black Mesa (with the people of San Ildefonso). An extended siege didn't subdue them so eventually, the two sides negotiated a treaty and the people returned to their pueblo. However, successive invasions and occupations by northern Europeans took their toll on the tribe over the next 250 years. The Spanish flu pandemic in 1918 almost wiped them out.

Today, Santa Clara Pueblo is home to as many as 2,600 people and they comprise probably the largest per capita number of artists of any North American tribe (estimates of the number of potters run as high as 1-in-4 residents).

Today's pottery from Santa Clara is typically either black or red. It is usually highly polished and designs might be deeply carved or etched ("sgraffito") into the pot's surface. The water serpent, ("avanyu"), is a traditional design motif of Santa Clara pottery. Another motif comes from the legend that a bear helped the people find water during a drought. The bear paw has appeared on their pottery ever since.

One of the reasons for the distinction this pueblo has received is because of the evolving artistry the potters have brought to the craft. Not only did this pueblo produce excellent black and redware, several notable innovations helped move pottery from the realm of utilitarian vessels into the domain of art. Different styles of polychrome redware emerged in the 1920's-1930's. In the early 1960's experiments with stone inlay, incising and double firing began. Modern potters have also extended the tradition with unusual shapes, slips and designs, illustrating what one Santa Clara potter said: "At Santa Clara, being non-traditional is the tradition." (This refers strictly to artistic expression; the method of creating pottery remains traditional).

Santa Clara Pueblo is home to a number of famous pottery families: Tafoya, Baca, Gutierrez, Naranjo, Suazo, Chavarria, Garcia, Vigil, Tapia - to name a few.

Harvest, Santa Clara Pueblo c. 1912
Courtesy Museum of New Mexico Neg. No. 4128

Santa Clara Pueblo c. 1920
Courtesy Museum of New Mexico Neg. No. 4214

Santa Clara Pueblo location map
For more info:
at Wikipedia
Pueblos of the Rio Grande, Daniel Gibson, ISBN-13:978-1-887896-26-9, Rio Nuevo Publishers, 2001
Upper photo courtesy of Einar Kvaran, Creative Commons Attribution-Share Alike 3.0 Unported License

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Seed Pots

Acoma, Hopi, Isleta, Jemez, Laguna, San Felipe, San Ildefonso, San Juan, Santa Clara
Seed pot jar
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Santa Clara Pueblo seed pot
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It was a matter of survival to the ancient Native American people that seeds be stored properly until the next planting season. Small, hollow pots were made to ensure that the precious seeds would be kept safe from moisture, light and rodents. After seeds were put into the pot, the small hole in the pot was plugged. The following spring the plug was removed and the seeds were shaken from the pot directly onto the planting area.

Today, seed pots are no longer necessary due to readily available seeds from commercial suppliers. However, seed pots continue to be made as beautiful, decorative works of art. The sizes and shapes of seed pots have evolved and vary greatly, depending on the vision of Clay Mother as seen through the artist. The decorations vary, too, from simple white seed pots with raised relief to multi-colored painted, raised relief and sgraffito designs, sometimes with inlaid gemstones and silver lids.

 
Seed pot with sgraffito design and silver lid

Debra Duwyenie
Santa Clara Pueblo
Jemez Pueblo seed pot

Dominique Toya
Jemez Pueblo
Acoma Pueblo seed pot

Lucy Lewis
Acoma Pueblo
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