The Virtual Edition of The Santa Fe Indian Market offers an amazing atmosphere of delight and awe at a time when most of us are cooped up in our own worlds of social distance. SWAIA Executive Director Kim Peone joins The Clark Hulings Fund’s Executive Director Elizabeth Hulings, Artpsan Founder & Director Eric Sparre, and leader of the Vircadia Implementation Project & CHF Board Member, Steve Pruneau. Tune in for a wide-ranging discussion lead by host Daniel DiGriz about how all four organization are actualizing possibilities for collaboration and community in the digital world, how Native Artists are poised to flourish in this year’s market and beyond, a profile of the events and gallery spaces in NDN World, and how all of these partner organizations are championing artists as they emerge as leaders and innovators in our changing economy.
To purchase the artists’ work, visit swaia.artspan.com.
Beginnings: How Virtual Edition of SWAIA’s Indian Market Started
* Kim: “This was a scenario where SWAIA needed to pivot after cancelling their Indian Market due to the pandemic. I came on board after the organization had spoken with Clark Hulings Fund on that possibility. Once I became the Executive Director of the organization and vetted that quickly with my board and staff and Clark Hulings’ team as well, it seemed like it was a great partnership for us to collaborate together and move this vision forward. It was a concept at the time, and now we’re really in a place of vision. And so it’s been a great partnership. And I’m really excited to be part of this collaboration.”
* Elizabeth: “SWAIA has been a champion for Native arts for almost 100 years. CHF is interested in promoting artists’ ability to earn a living, and therefore get their art to market, so that the market can decide what it likes and what it wants to buy. We want to level the playing field, get as much out there as possible, and let everybody have a fair shot. It’s a beautiful combination: we have an organization whose goal is to do that for Native arts, and an organization that is coming from the artists’ perspective to drive that forward. Instead of a top-down, it’s really a bottom-up proposition.”
Working with Native American Artists
* Kim: “This is really a ceremonial moment—where, just like when we go to our traditional powwows, we go there not only to dance, but we go there to be in a place where there is community, ceremony, and camaraderie. So I think that is no different than Indian Market.”
* Kim: “Working with Native American communities, you’re definitely working with a population that’s underserved. We have recognized, especially in my past experience in working with tribal governments, that it’s very challenging to do economic development within those organizational structures. This is the first time that I’ve been able to work for an organization which represents Native American tribes where we’re truly in that place of free commerce—and so it allows us to be creative.”
* Kim: “The resilience part of this is something that we’ve been dealing with for generations. So how do we come out of that miry clay and become something? I really appreciate being with an organization where we can empower individuals in doing that, and then as an organization come alongside them to support them. I also feel like it’s a scenario where if you’re helping one artist, you’re not just helping them, you’re helping a family—and that family is helping a community. It really is a ripple effect, as opposed to other artists organizations where it’s very individualized. When we look at an artist,