By: Roseanne McKee
Republished with permission of the Bartlesville Examiner-Enterprise
Addie Roanhorse at Bartlesville Art Association’s ArtNight, February 2019.
Artist Addie Roanhorse spoke for the first ArtNight of 2019 in February at the Bartlesville Art Association’s design center.
Roanhorse, who works for the Osage Nation as a graphic designer and photographer, gave a slide presentation highlighting the breadth of her work in graphic design, painting, photography and mixed media.
She covered too much ground to be written in one article, so in the E-E, the articles were split into several columns. Here, three are combined into one. However, there will be one more to be published next week.
Roanhorse began with the importance of family.
“My family is obviously number one for me. My family is why I’m an artist. The Killers of the Flower Moon book — I have a relation in the book,” said Roanhorse.
Slides provided examples of her work in progress and completed pieces.
“Family is the most important thing as an Osage. We’re always taught that our elders and our children are the most coveted thing. They’re precious and we can learn from both. So, of course I would start out with my family.
“My mom, her name was Gina Gray. She went to the Institute of the American Indian Arts, and she also went to CalArts,” she said.
Roanhorse grew up mainly in Santa Fe but traveled back to Pawhuska to see grandparents.
She moved back to Oklahoma to finish her degree at Rogers State University in Claremore. When her mother was diagnosed with cancer, Roanhorse moved in with her to care for her. Gina Gray died three months later.
“I believe everything happens for a reason. … I would never in a million years think oh, I live in Pawhuska, but here I am living in my mom’s house.
“It was kind of therapeutic in a way because I got to work on the last projects in college. It was bittersweet. …”
Upon graduating she went to the Osage Chief and pointed out that the tribe had no artistic position — no graphic artist. Chief Standing Bear agreed that there was a need.
“He said, ‘when do you graduate?’ I said, ‘on Saturday.’ He said, ok, be here Monday and I started work on Tuesday. They literally created the position for me, and I’ve been there ever since,” she said with a smile.
She showed slides of her mother’s art. “She did watercolors,” Roanhorse said. “She did a lot of warriors. … Now I actually do a lot of strong women. … She always represented parts of our culture — different bands and clans and just kind of brought our people into our artwork. That’s a huge indicator of my artwork too. It’s who I am. If I were a writer, I’d be writing about the Osage people and our culture.”
She described her daughter, Anya, age 11, as the Tiny Indian. “That’s her nickname.”
She showed her work at the SantaFe art market. She got a ribbon and sold out and this was at age 10. Anya has also taken up photography.
“The local newspaper pays her $40 per print so any big event she’s always out there being the on the beat person.”
“This is [Anya’s] latest venture. She’s doing embroidery on canvas. She put a little bit of black paint on the canvas and said, ‘it’s mixed media.’ So, she’s learning, but I’m super proud of her.
“My brother Danté, he’s an artist as well. He’s an oil painter. It’s almost like if you took my mom’s artwork and split it in two. I took one side, and my brother took the other. His artwork is very — it’s dreams.
“He’s a combat vet from Afghanistan, and we’ve had him home now for four years so it’s really nice that he’s started to paint again. I believe Pendleton Blanket has picked up this piece. …”
Her grandfather, who passed away when she was about 10, was a full-blood Osage.
“Everything I remember about him is just so vivid. Everything he taught us about Pawhuska, our culture and being a small business owner. He was a really great guy.”
She showed a photo of him in regalia during the In Lon Shka dances held each June in Pawhuska.
Her grandmother was mostly Osage but a little bit French, she said.
“Her mother was Grace Roan and Grace’s father was Henry Roan. … that’s the connection to Henry.”
He was one of the Osages written about in the book “Killers of the Flower Moon” by David Grann.
“We went to the book signing of David Grann in Pawhuska … he looked up at me and said ‘…I just want you know there are going to be things in this book you probably have never heard’ and he was absolutely right. It took me several months just to get through the first section of it. I’m glad the story is finally out there.
She saw a friend in who had read the book and said, “I’m sorry. … Being just in Bartlesville, this close, and nobody’s ever talked about this. No one knew about this. …”
Recently, while acting as the Osage Museum’s acting director, museum she received questions about her great-great grandfather.
“It’s uncomfortable sometimes … because people want to know uncomfortable things about what happened. … I want to educate them, but it’s gone a little too far sometimes with the questioning. I just try to be polite, and do the best I can.”
She shifted topics to her paintings.
Roanhorse has integrated oil lease maps into her art.
She showed a painting of an Osage woman and said, “There’s nothing more of an indicator that connects Osage people to their land then oil. I’m also a seamstress so I decided to cut the maps up … I’m making a shirt out of it.”
The forehead of the woman’s face was red. Roanhorse used red tissue paper to create this effect. She used molding paste and acrylic paint applied in beads from a cake-decorating bag to give the art more dimension.
Roanhorse showed a slide of another piece that she said was reminiscent of screen printing.
She showed another portrait of a woman with Prismacolor on canvas with ledger paper from 1897 utilized for clothing.
“It’s pretty delicate but when I get it down, it’s nice.”
She showed another portrait containing actual Pawhuska phone book strips.
She explained, “in Pawhuska the first three digits are always 287. Growing up visiting Pawhuska, I just thought it was the funniest thing when somebody gave their phone number — they’d just give the last four digits.”
She showed a painting of her grandfather, which included Osage orthography.
“I created stencils and spray paint to kind of give it a different effect. And then that’s an actual photograph. …”
On the next slide, she showed a painting of her grandmother, which she described as “more calm” than the one of her grandfather. At the bottom of the painting were red hand prints in a row.
“Those are my daughter’s handprints from when she was five. “The red hand represents friendship on our blankets that we make,” she said.
She showed a painting of her great-great grandfather, Henry Roan.
“Now that you get access to everything on the internet, I stumbled upon the FBI files. You can literally pore through documents and so I started printing off documents … there are actual pieces of the story. Western Union communication back and forth with Hoover. So, I thought that was an interesting way to present it, and you have to get up close to it to see it — to read it.”
For another of her paintings she went to her elders committee to ask for permission to depict tattoos.
“My biggest fear is that someone will see it and be like, ‘oh yeah, I’m going to go get tattoos,’ but these are warrior tattoos. I got the clearance from them. … It’s another opportunity for me to talk about my people and get firsthand information. … With the internet people just assume they know what they want to know about us but if you open a dialogue with people that ask questions about it — I think that’s the best way you can.”
In another painting she uses stippling to create the look of a lazy stitch used in Osage beadwork.
“I just liked the effect … when we were in Santa Fe there were people who thought it was real and they came up and tried to touch it — like real beadwork.”
Regarding her graphic design, she said she does a lot of logos.
“There’s a lot that I have access to so I started to incorporate the photography in and again this is a flyer but if you look closely it’s actually the back of a girl’s shirt. There’s the stitching. It’s a ribbon that goes down and there’s the button that holds the ribbon together. So, it’s just kind of always trying to weave my culture into it.
She said that when Osages see it they recognize what is being depicted.
“It makes me feel good.”
For the Osage Attorney General’s logo she incorporated the scales of justice into the Osage orthography.
For the Oil and Gas Summit she included Osage ribbonwork.
“I get access to moments that most people don’t get to see. When the Killers of the Flower Moon production company came they were cedaring off everybody. She photographed a moment when Chief Standing Bear was being cedared off.
Another photo she had taken was of an eldest son, phonetically “ee-low-mpa” in the Osage language, going to the arbor to dance at In Lon shka for the first time.
“He had a little skip in his walk, and he was proud.”
One day she accompanied the Wildland Fire Department as they fought spring wildfires in the Osage.
She was in a fire truck between Hominy and Skiatook.
“There were fires all around, and it was quite the scene. It was exciting. This was kind of the aftermath.” Fire Chief Ross Walker was in the photo and through the landscape and smoke there was an oil rig in the background.”
Finally, she showed a photo from behind of Chief Standing Bear with his grandson talking to him about getting ready to enter the arbor and be roached, a ceremony in which an eagle feather is placed on the headdress. His uncle Joe Don Brave’s hands are shown assisting with the placement of the headdress.
Another photo she showed was of the first time they brought in the bison on Bluestem Ranch, which is owned by the Osage Nation, and prayed over them, she said.
“The sun was setting and the natural light worked with it.”
“This was at our dance as well. This is one of our elders about to lead all the men into the arbor into our dances — every June.”
Another photo was of the drum being brought to the arbor.
“Each district had their own drum and so it’s very poignant moment to see all the men coming with the drum.”
Crystal Bridges is building a new performing and visual arts complex. Closer to the town square is an old Kraft cheese plant. They’re keeping the structure … but they are completely gutting it.
The director contacted her.
“I was asked if I could design a pattern to be etched on glass that would go on the façade of this building. … I’m honored to do it,” Roanhorse said.
She went to Bentonville, Ark., and the director said, “I just want to honor the people who were here pre-colonial. … It felt really good that they wanted to honor Osage people. That was our hunting territory way before any of this.”
She named the design “sway” explaining her intention that the design would suggest movement and be based on the finger-woven belt worn in Osage women’s regalia.
The belt that is fixed at the waist of Osage women’s regalia, and flows down the back.
“Women wear it, and when you dance, it starts swaying. And when I was a little girl, I used to think that was the coolest thing. I’d be with my aunties, and we’d be dancing … it’s just this moment and this feeling that, again, only Osages would truly understand.
She simplified the design in the belt and created the suggestion of movement in the design.
“The entryway of the design will actually go up and over in a very large scale. Then there’s the façade on this side and it goes up five stories. So, it will have the design, really tiny, going all the way up. … At night they’ll shoot movies on it.
“It’s way bigger than I could ever … and when I went and saw it, it was amazing what they’ve done. I got to work with architects in Chicago. … It’s just been a great experience. … They plan on opening February 2020.