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Helen Hardin

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Helen Hardin
Tsa-sah-wee-eh
(Tewa for Little Standing Spruce)
Born(1943-05-28)May 28, 1943
Albuquerque, New Mexico
DiedJune 9, 1984(1984-06-09) (aged 41)
NationalityAmerican (Santa Clara Pueblo)
EducationSouthwest Indian Art Project at University of Arizona, University of New Mexico
Known forPainting, illustrator
SpouseCradoc Bagshaw[1]
AwardsHeard Museum, Scottsdale National Indian Arts Exhibition, Philbrook Art Center, the Inter-Tribal Ceremonial at Gallup, New Mexico, Santa Fe Indian Market

Helen Hardin (May 28, 1943 – June 9, 1984) (also known as Tsa-sah-wee-eh, which means "Little Standing Spruce") was an American painter.[2] Her parents were Santa Clara Pueblo artist, Pablita Velarde and a Caucasian former police officer and Chief of Public Safety, Herbert Hardin. She started making and selling paintings, participated in University of Arizona's Southwest Indian Art Project and was featured in Seventeen magazine, all before she was 18 years of age. Creating art was a means of spiritual expression that developed from her Roman Catholic upbringing and Native American heritage. She created contemporary works of art with geometric patterns based upon Native American symbols and motifs, like corn, kachinas, and chiefs. In 1976 she was featured in the PBS American Indian artists series.

Personal life

Helen Hardin was born in Albuquerque, New Mexico, the daughter of Santa Clara Pueblo artist, Pablita Velarde and Herbert Hardin, a former police officer and Chief of Public Safety, US State Department. Her first language was Tewa.[2][3] She was named Tsa-Sah-Wee-Eh and a naming ceremony at the Santa Clara Pueblo about a month after she was born.[4] Hardin was raised by her artistic mother and her family at the Santa Clara Pueblo and she went to school and lived among the Anglo world for much of her life. She saw herself as "Anglo socially and Indian in [her] art."[5]

At six years of age Hardin won first prize for a drawing.[5] Her works were sold when she was nine with her mother's at Gallup Ceremonial events. Although she was influenced by her mother's techniques and works, Hardin wanted to create her own style.[3][5] Her relationship with her mother became increasingly difficult as Hardin became more artistic and when her parents divorced in 1957[6] or 1959.[7]

She studied drafting[3] at Albuquerque's St. Pius X High School,[5] a parochial Catholic school. In the summer of 1960 Hardin attended the University of Arizona's Southwest Indian Art Project, funded by the Rockefeller Foundation.[4][5] Also while in high school she was featured in Seventeen magazine.[5] In 1961 and 1962 she attended the University of New Mexico, where she studied architecture and art,[4][5] although her mother wanted her to study business; Her mother said she didn't like her paintings.[7] She considered her work non-traditional, yet was influenced by native pictographs, petroglyphs and pottery designs and the works of her teacher Joe Herrera, who was a Cubist[3] from the Cochiti Pueblo.[7]

Hardin relationship with her high school boyfriend, Pat Terrazas,[5] continued after graduation and they had a daughter, Margarete Bagshaw, in 1964.[4] Hardin had to sneak opportunities to paint because both her boyfriend and her mother didn't want her to paint.[7] She went to Bogotá, Columbia in 1968 as a respite from an abuse relationship with Terrazas and an unhealthy relationship with her mother.[5][6] She said of that time, "I awoke to the fact that I was twenty-four years old, I was locked into an unhappy [relationship], and I was not painting. I didn't know who I was or what I was. In search of personal freedom, I took Margarete... and left the country."[7]

In 1973 she married Cradoc Bagshaw.[4] Her relationship with her mother improved in the 1980s, and Velarde began to be supportive of her work. Hardin was diagnosed with breast cancer in 1981[6] and died in New Mexico in 1984.[4][8]

Art

Since Hardin's father was an Anglo and she married a white man, these life factors put her on the edge of Pueblo culture. Living in two worlds was difficult. Because she was denied access to her Native-American culture as a child, she retreated into Indian spirituality as an adult through her paintings.

Mary Stokrocki, School of Arts[3]

Helen Hardin, The Woman Series: Changing Woman, Medicine Woman, and Listening Woman, 1981-1984

She was a studio artist, who from the 1960s to mid 1970s lectured and exhibited paintings at Albuquerque's Enchanted Mesa Gallery.[4] Hardin's early artistic works were characterized as traditionally realistic[2] and she signed them with her Tewa name, Tsa-Sah-Wee-Eh. She was influenced by her spirituality and the protective, supportive "angels" in her life.[3]

Up to 26 layers of paint - including ink washes, acrylics, airbrush and varnish - were applied to create her works; Hardin painted tiny dots called stipples; spattered paint with a toothbrush, like Anasazi pottery; and applied transparent washes.[3]

In 1964 Hardin made the painting Medicine Talk for her first major solo exhibition at Enchanted Mesa.[9] While with her father in 1968 in Bogotá, Colombia, she began painting in earnest and had a successful show at the American Embassy,[5][7] where she sold 27 paintings.[2] Since her reputation in the United States was tied with her mother's success, she had not been sure the degree to which she had success based upon her own merit. In Columbia her success was based on her talent alone.[7]

When she returned to United States, her art became more geometric and abstract, and she used deep colored paints. Hardin was said to have brought a "new look" to Native American art by New Mexico Magazine.[6][7] The publicity was a turning point in her career, its publicity led to greater success and recognition.[7] In 1971 she had a show in Guatemala City.[5]

As her career matured and she gained confidence, Hardin became known for painting complex works that combined colorful images and symbols from her Native American heritage with modern abstract art techniques. Her work frequently incorporated images of women, chiefs, kachinas and designs from pueblo pottery, and integrated modern elements as her career advanced. For instance, the paintings of kachinas and blanketed chiefs integrated geometric patterns made with drafting templates, rulers and protractors.[3] Kachinas, or heavenly messengers, had special spiritual meaning, similar to the saints from her Catholic tradition, connecting between people on earth and heaven.[6]

She was filmed in 1976 for a series on American Indian artists for Public Broadcasting System (PBS).[5] Other filmed artists included R. C. Gorman, Charles Loloma, Allan Houser, Joseph Lonewolf, and Fritz Scholder.[10]

Bountiful Mother made in 1980 represents two aspects of motherhood from the Pueblo and Hopi culture: Corn Mother and Mother Earth. The cultivation and consumption of corn was so central to the pueblo culture that it was "... a living entity with a body similar to man's in many respects ...the people built its flesh into their own." In the work, the woman's fertility is symbolized by the kernels of blue corn of her body.[11] In 1981 she made the self-portrait Metamorphosis: "The features were contained within a perfect circle, a Jungian archetype of psychic wholeness and the symbol for Hardin of life itself, but everything else about the painting was fragmented, jagged and asymmetrical," said Jay Scott, her biographer, of the "tormented pieces of her life."[6]

At her death ath the age of 41, Hardin was recognized as one of the finest and most innovative Inidan artists of her generation. She was among the first modern Indian painters to combine her non-Indian art materials and techniques with an Indian sensibility, merging past and present in a new way.

Liz Sonneborn[7]

She created a series that included Changing Woman, Medicine Woman, and Listening Woman. The last work, Creative Woman was intended to be part of the series but the she died before it was created. The paintings portrayed the "intellectual, emotional, and sensitive" aspects of womanhood.[12]

Hardin was commissioned to create children's book illustrations for Clarke Industries and design coins for Franklin Mint's History of the American Indian series.[5]

Awards

She received honors for her work at the Heard Museum, Scottsdale National Indian Arts Exhibition, Philbrook Art Center, the Inter-Tribal Ceremonial at Gallup, New Mexico, and the Santa Fe Indian Market.[4][5] At these shows she won "Best of Show", first prize and grand awards.[5]

Collections

Her works are in the collections of:

Works

A select number of her works include:

  • Bountiful Mother, 1980, 45.7 × 40.64 cm, etching and intaglio[11]
  • Changing Woman[12]
  • Listening Woman[12]
  • Looking at Myself I Am Many Parts[14]
  • Medicine Talk, 1964, approximately 71.12 × 35.56 cm, casein[9]
  • Medicine Woman, 1981, approx. 61 × 45.7 cm, four-color copper plate etching.[12]

Notes

  1. ^ Nelson, Kate. "The It Girl." New Mexico Magazine. Accessed 8 June 2014.
  2. ^ a b c d Pamela Michaelis. "Helen Hardin 1943–1984." The Collector's Guide. (retrieved 16 Feb 2010)
  3. ^ a b c d e f g h Mary Stokrocki, "Helen Hardin," School Arts, April 1995. Accessed via Questia Online Library, which is a subscription required source.
  4. ^ a b c d e f g h Phoebe Farris, ed., Women Artists of Color: A Bio-Critical Sourcebook to 20th Century Artists in the Americas. Westport, CT: Greenwood Press, 1999. pp. 23-24. Accessed via Questia, which is a subscription required source.
  5. ^ a b c d e f g h i j k l m n o Gretchen M. Bataille and Laurie Lisa, eds., Native American Women: A Biographical Dictionary, 2nd ed. New York: Routledge, 2001, 124. Accessed via Questia, which is a subscription required source.
  6. ^ a b c d e f Tony Gengarelly "In the Spirit of Tradition: Three Generations of Women Artists." The Folk Art Society of America. Retrieved January 31, 2014.
  7. ^ a b c d e f g h i j Liz Sonneborn. A to Z of American Indian Women. Infobase Publishing; 1 January 2007. ISBN 978-1-4381-0788-2. pp. 83-84.
  8. ^ Helen Hardin Paintings.com
  9. ^ a b M. Patricia Donahue, Nursing, the Finest Art: An Illustrated History, 2nd ed. St. Louis, MO: Mosby, 1996, 476. Accessed via Questia, which is a subscription required source.
  10. ^ Steven Leuthold, "13: Native American Art and Artists in Visual Arts Documentaries from 1973 to 1991," in On the Margins of Art Worlds, ed. Larry Gross. Boulder, CO: Westview Press, 1995, 268. Accessed via Questia, which is a subscription required source.
  11. ^ a b M. Patricia Donahue, Nursing, the Finest Art: An Illustrated History, 2nd ed. St. Louis, MO: Mosby, 1996, 17. Accessed via Questia, which is a subscription required source.
  12. ^ a b c d M. Patricia Donahue, Nursing, the Finest Art: An Illustrated History, 2nd ed. St. Louis, MO: Mosby, 1996, 25. Accessed via Questia, which is a subscription required source.
  13. ^ a b c d e f g h Phoebe Farris, ed., Women Artists of Color: A Bio-Critical Sourcebook to 20th Century Artists in the Americas. Westport, CT: Greenwood Press, 1999. pp. 24-25. Accessed via Questia, which is a subscription required source.
  14. ^ Peter Iverson, We Are Still Here: American Indians in the Twentieth Century. Wheeling, IL: Harlan Davidson, 1998, 173. Accessed via Questia, which is a subscription required source.

Further reading

  • LouAnn Faris Culley. "Helen Hardin: A Retrospective." American Indian Art 4, Summer 1979, 68-75.
  • Jane B. Katz, editor. This Song Remembers: Self-Portraits of Native Americans in the Arts. Boston: Houghton Mifflin, 1980.
  • Kate Nelson. Helen Hardin: A Straight Line Curved. Santa Fe, Little Standing Spruce Publishing, 2012. 978-0-9857636-1-9.
  • Jay Scott, Changing Woman: The Life and Art of Helen Hardin, Northland Publishing, 1989, ISBN 0-87358-489-9 (hardcover), ISBN 0-87358-567-4 (softcover)

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