Fall/Winter 2016 Edition of the ATADA News

Click the image to read the latest issue!

Click the image to read the latest issue!

In This Issue...

  • In Memoriam: Remembering Jay Evetts
  • On Trend: Mark Blackburn reviews the major Tribal Art Fairs from this past summer.
  • Legal Briefs: Ron McCoy's updates on the STOP Act and NAGPRA repatriation notices
    • Plus find in-depth information, reports and testimony regarding the STOP Act and other pending legislation
  •  Contemporizing the Pueblo Pottery Past: Charles King looks at the historic foundations of the pottery of Russell Sanchez.
  • No Free Appraisals: Vanessa Elmore delves deeper into the intricacies of the appraisal process. 
  • The New ATADA.org: David Ezziddine shows how to utilize the new ATADA Marketplace!
  • Interactive Calendar of Events and more...

In Memoriam - Jay Evetts

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I don’t recall when I first met Jay Evetts.  He was a fixture in the dealer scene when I first became involved in the 1980s, and over the years, there were many exchanges, mostly down the alley in the ‘office’ where he and Bob Vandenberg did business.  There was always more jewelry there than anywhere else, and I always marveled (still do!) how they could keep track of it.

I was always struck by Jay’s kindness.  Not always apparent because he was so quiet, but it shone through as you got to know him more. And his shy smile. What follows is a short remembrance from one of his friends as well as an interview Susan Swift conducted with Jay in 2004.  Susan took thephoto at the time of the interview.

Happy trails, my friend, until we meet again.

-John Molloy


Harold (Jay) Evetts

Harold (Jay) Evetts passed away November 24, 2016 in Santa Fe, New Mexico at age 70. Jay had been living at the Casa Real nursing facility for the past two years.

He was born June 6, 1946 (he liked to say two years to the date of D-Day, 1944) in Boise City, Oklahoma, but early in his life the family moved to Eastern Colorado to become farmers/ranchers. Jay’s parents were educators and encouraged him to graduate from Colorado State University, which he did in 1968.  In his youth, Jay would discover arrowheads every year when the fields were plowed, and from that point on, he became fascinated with Native American culture.

In the mid-1980s Jay started his trading career, buying and selling Navajo rugs. Soon he started packing those rugs into his Olds 88 to head to Santa Fe and the surrounding areas to sell and trade. His quiet demeanor won over all whom he met. Jay formed a friendship with Bob Vandenberg that developed into a 40-year successful business partnership. Prior to his stroke, Jay designed and built a home in Gallup, New Mexico. He spent many hours collecting the rocks for the exterior and objects for the interior. Jay loved history and was an avid reader.  

Jay will always be remembered as a man of few words, but from collectors to dealers, he will be missed by all.


+ Click here to read Susan Swift's 2004 Interview Jay Evetts

SS: This is Susan Swift interviewing Jay Evetts, in October of 2004, and we’re mainly going to talk about how he became an Indian trader.
JE: Well when I was 18 years old I decided to collect rugs and went down to Crown Point, rug auction, had 500 dollars to spend, bought two or three rugs, I think, 350 dollars or so, but I realized I didn’t have enough money to collect very good things, or very much, so decided to sell some and maybe keep one or two or three. So that’s kinda how I got started but I didn’t do much until after I went to college in the 70’s.

SS: What did you study in college?
JE: Agriculture and economics and basic anthropology courses.

SS: So did you put those into use in some way?
JE: Oh, a bit for my personal use, hunting arrowheads, and background for buying and selling stuff.

SS: What were you doing for a living in 1964 when you decided you might like to buy some Navajo rugs?
JE: I was just out of high school. I was farming and ranching, I had cows, dry land farming. Farmed for my Dad. Getting ready to go to college.

SS: So you made your first “buy” before you even entered University?
JE: Yeah.

SS: Were you trading throughout your university days, or just studying?
JE: No, just...I might have bought a few little odds and ends, probably some jewelry, a few rugs. But I didn’t do anything much until I went to Ashton’s show in Denver, in ’71. Really saw lots of quality and quantity of things.

SS: You went there as a spectator?
JE: Yes.

SS: Did you know anybody in the business then?
JE: No, I didn’t know a soul.

SS: But you got inspired.
JE: Yeah, I got inspired. You know, spent alot of money, for me, at that show. Couple thousand or three thousand or something.

SS: What did you buy?
JE: Ah, mostly rugs. Bought four or five rugs, I think.

SS: Must’ve been good ones.
JE: Well, yeah, they were OK. They weren’t great. Through the years I did well with those.

SS: So then did you proceed to start buying more in earnest in order to sell?
JE: Yeah, then I started buying at antique auctions, and I’d go to a few shows. Ron Milam at that time was having lots of auctions in Colorado, He always had pretty good stuff. I started buying jewelry more, too.

SS: So you were probably in your early 20’s then?
JE: Yeah, early 20’s. Well, mid 20’s.

SS: Still living in Colorado?
JE: Yes, still living in Colorado, farming and ranching.

SS: So how did one sort of take precedence over the other?
JE: Well the Indian trading just kind of every year got more involving, you know involved more money and more items. More travel. I think that I had lots of rugs, twenty or thirty, and I think I did a show in Albuquerque in ‘75 or ‘76. Wasn’t very successful. But anyway, it kept growing more and more. Finally, ranching got worse and worse, so I could see the day when I was going to do this full time.

SS: At what point in time did you move to New Mexico?
JE: I moved there in ‘86 after I quit farming and ranching.

SS: To Gallup?
JE: To Gallup.Me and Bob Vandenberg and Rick Rosenthal bought a place in Gallup, and I moved down there. Well, that was full time then. Started buying and selling. Old stuff and also new stuff.

SS: Were you and Bob Vandenberg partners from that time on?
JE: Yeah, me and Bob were partners from about ‘83, probably, when we bought a house, an old house in Colorado Springs that was an antique shop. Started running that.

SS: As an antiques store?
JE: Yes.

SS: How many years did that go on?
JE: Well, we sold it about ‘97 or ‘98 probably.

SS: What was it called?
JE: Antique Brokers. It was on East Colorado Avenue, Colorado Springs.

SS: So Jay, would you tell us a little bit about your early life? Who your parents were and what it was like?
JE: Well, my parents were from Oklahoma. I was born in Elk City, Oklahoma in ‘46. In ‘46 they moved to Monument, Colorado, near Colorado Springs and Denver, and taught school. Then in ‘48, my parents had two twin sisters, or twin babies, my sisters. And my folks moved to Ramah, Colorado. Dad taught there like ten years. And he farmed and ranched and I started school in Ramah. That was ‘53 I guess. Then he moved south to Miami, Yoder, a small country school, taught there like twelve years, farmed and ranched at the same time. That’s where I started high school, and farming and ranching. And then did that until ‘86 when I moved to Gallup.

SS: Were you the only male child in your family?
JE: Yeah, I have the twin sisters, and I had an older sister who passed away when she was four.

SS: I understand that you read a lot of books.
JE: Well I have lots of books, and I read some of them.

SS: Did you start reading really early?
JE: Yeah, I started buying Indian books, probably when I was sixteen. Every year I’d buy all the current books. Still do.

SS: You’ve probably even read them.
JE: Oh, I’ve read alot of ‘em. I haven’t read them all, but they come in handy when you need to look something up.

SS: I understand you’ve made a little silver jewelry yourself.
JE: Yeah, in the 70’s, probably ‘74, I wanted to know more about Indian jewelry, so I decided to learn how to make jewelry. I took a night class from the high school teacher in Colorado Springs. Just learning, you know, basic silversmithing. And I made a few things, for a few years, but nothing really... and not much quantity. But I learned how things were made, what to look for.

SS: Was that the main impetus behind your wanting to make silver jewelry?
JE: Yeah, learning how it was made was the main reason to do it. I didn’t want to become a craftsman or anything. But I made a few pieces I really liked and quite a few pieces I didn’t like.

SS: There’s a few still floating around...
JE: I still have a few pieces that I actually wear that I made.

SS: We’re looking at your ring collection here and there are 52 rings, and I was wondering, over what period of time were they collected?
JE: Oh, probably from the late 70’s up until the last few years. About a twenty year time span, twenty-five maybe.

SS: And what was the criterion for a keeper?
JE: Age was one of the main criteria. Aesthetics, if they looked good. I tend to like turquoise maybe better than plain silver. I always tried to keep interesting stone rings. This is the last of my collection. Fifteen years ago, I sorted out probably twenty or thirty rings and about five years ago I sold another thirty or forty. I consider these the best ones.

SS: The ones you’ve held onto the longest.
JE: Yes.

SS: If you had to pick out a couple of favorites here, what would they be?
JE: Well, I kinda like big rings and I like these early three stone type rings that probably date from 1910. Here’s a real big ring, square stone ring from the 20’s or 30’s. That’s probably the one I’d wear if I wore any of these.

SS: What’s the story on the ones with the garnet? I see three here that have garnet or garnet-like material.
JE: Well they were just...Way back in the 1890’s and 1900, turquoise was very scarce. They would use glass, or native garnets once in a while. So that’s where that comes from. A lot of turquoise was pretty low grade at that time. Persian turquoise was available too. I think glass was available and relatively cheap compared to turquoise.

SS: But we’d have to say that their love of blue, or the turquoise color, took over.
JE: Yeah, I think they liked the blue the best, so if they could come up with blue turquoise, they used it. Most of the glass is either red, or blue.

SS: When did turquoise begin being mined, or prolifically?
JE: Oh, I’d say after the turn of the century. A lot of it was associated with copper, and Persian turquoise was shipped in here pretty early, 1880’s and 90’s probably. I think it was pre-cut, over in Persia.

SS: Who was requesting it?
JE: Well it was like a Victorian gemstone, and then, Indians always liked turquoise. They had prehistoric turquoise available to them, and most of the known deposits were mined in prehistoric times. But I don’t think the Navajos actually mined any turquoise. They just got it through trade or found it in ruins.

SS: Do you think the mined turquoise was kind of a bonus that was found when they were mining copper?
JE: Yeah, most of the miners were looking for copper. Looking for gold and silver and then copper was secondary. So, there were probably a few individuals who went for turquoise, like the Cerrillos mine was mined just for turquoise. Apparently Tiffany, or I’m not sure if the Tiffany Company owned it or some New York people owned it. They called one of the mines Tiffany and they mined it mainly for Victorian use, I think.

SS: About what period of time did that start, the mining for turquoise in earnest?
JE: Probably 1890’s, and I don’t know what happened after, like World War I, there probably wasn’t much going on with mining, except copper. Same way with World War II; the emphasis was on copper and not turquoise.

SS: So is it fair to say that some of the fancier turquoise that we see now, and that we enjoy now, was discovered after World War II?
JE: Yeah, I’d say that Blue Gem, No. 8, Lone Mountain, all that is kind of 40’s and 50’s stuff. Bisbee I think is even later, as a rule. I think Wallace had alot to do with mining turquoise because back in the 30’s and definitely the 40’s he was encouraging alot of jewelry manufacture, and jewelry making. And I think he even developed his own mines.

SS: This is Mr. Wallace who had the trading post at Zuni?
JE: Yeah.

SS: Well is there anything else you’d like to tell us?
JE: Ah, maybe when I think about it a little bit.


Share your memories

All those who knew Jay are welcome to add their memories in the comments below. 

Update on the Safeguard Tribal Objects of Patrimony Act (STOP Act) and the Terrorism Art Antiquity Revenue Prevention Act

Update on the Safeguard Tribal Objects of Patrimony Act (STOP Act) and the Terrorism Art Antiquity Revenue Prevention Act

There are two bills currently before the Senate that are serous cause for concern for collectors, museums, and dealers in Native American and international ethnographic art. 

ATADA has already alerted its membership to the potential consequences of the STOP Act, S.3127/H.5854 which is currently before both House and Senate. 

The STOP Act amends NAGPRA to specifically prohibit the export of Native American and Hawaiian objects deemed tribal patrimony. The definition of tribal cultural patrimony under NAGPRA is an object has present religious and ceremonial significance to a tribe today.  

The STOP Act also makes it unlawful for any person to knowingly export from the United States any Native American “cultural items” obtained in violation of four existing U.S. statutes: NAGPRA, 18 USC § 1170, ARPA, and18 USC § 1866(b). A “cultural item” as defined in the ARPA is virtually any material remains of past human life or activities over 100 years old. To oversimplify a bit, the difference between an item that is lawful to collect and trade under ARPA and one that is illegal to trade is whether it was found or collected on private land, in which case it is generally deemed lawfully acquired, or found or collected on federal or Indian land in violation of law, including the 1906 Antiquities Act, when it not lawful to collect or trade.

The STOP Act also raises the penalty for a violation of any of the above existing laws from 5 years to 10 years. And finally, the bill adds a provision granting immunity from prosecution to anyone who “repatriates” an unlawfully obtained cultural object to the “appropriate” Indian tribe or Native Hawaiian organization within two years of the STOP Act’s implementation.

The STOP Act has no system for clearing artifacts that can be sold. The STOP Act does not identify the objects each tribe considers sacred or community owned. There are over 500 federally-recognized tribes. It is impossible for citizens to know what is deemed a cultural object by each tribe.

Proponents of the STOP Act have suggested that citizens can “ask the tribe” to determine if an item should be returned or can be sold. However, the law provides no permitting system, no staff or funding, no criteria, no standards of evidence, and no means of mediation or appeal.

The STOP Act’s 2-year “amnesty” window for the return of “unlawful” tribal cultural property by private collectors without prosecution implies that possession of all cultural objects is unlawful. The STOP Act is likely to cause unwarranted returns of thousands of lawfully owned and traded objects to tribes which do not want them. Collectors may be pressured to give up objects simply out of an abundance of caution. Alternatively, lack of clear criteria or means of compliance may result in virtually no returns at all.

ATADA has submitted testimony to both the House and Senate subcommittees on the STOP Act and is engaging directly with tribal governments to find better solutions to tribal concerns. Additional information on the STOP Act and contact information for legislators is linked below.


S. 3449, the Terrorism Art Antiquity Revenue Prevention Act of 2016

A second bill before the Senate, the Terrorism Art Antiquity Revenue Prevention Act of 2016, S.3449, poses a serious threat to US art collectors, museums and dealers in foreign ethnographic, antique, and ancient art. S. 3449 could overturn 40 years of US case law and make possession as well as trade in art from virtually any foreign country illegal under US law. 

Despite its name, the proposed law does nothing whatsoever to block terrorist funding. First, import of Syrian and Iraqi artifacts was already completely blocked by the Protect and Preserve International Cultural Property Act, signed into law by President Obama on May 9, 2016, as Public Law No:114-151. Second, there has been no evidence of any sales of Syrian or Iraqi art in the US that has supported ISIS or other terrorist activities.

The new proposed law, S. 3449, is a stealth attempt to end the international ethnographic and ancient art trade. It’s not the first and won’t be the last! The sponsor of the bill, Senator Kirk of Illinois, failed in his reelection bid, and no similar bill has been introduced in the House. It is therefore unlikely that there will be an attempt to pass the bill during the 2016 lame duck session. Nonetheless, ATADA is following the bill closely, and we anticipate that similar legislation will be introduced in the coming Congress in 2017.

What S. 3449 does:

  1. Section 2 amends the National Stolen Property Act (NSPA) to create special provisions for “cultural property.” “Cultural property” is broadly defined to include virtually all art and antiques, using the definition of cultural property in the 1970 UNESCO Convention. This includes antiquities more than one hundred years old. such as inscriptions, coins and engraved seals; objects of ethnological interest; pictures, paintings and drawings produced entirely by hand on any support and in any material (excluding industrial designs and manufactured articles decorated by hand); original works of sculpture in any material; original engravings, prints and lithographs; original assemblages and montages; rare manuscripts, old books, documents and publications of special interest (historical, artistic, scientific, literary, etc.); postage, revenue and similar stamps, singly or in collections; articles of furniture more than one hundred years old and old musical instruments.
  2. The threshold value to trigger criminal liability NSPA is reduced from $5,000 to $50. 
  3. Cultural property that has been removed or excavated in violation of local law will be considered to be stolen. Stolen property would include any object removed or excavated from a foreign country in violation of a foreign local law.
  4. Section 3(a) requires any person who seeks to import, sell or gift any Syrian or Iraqi cultural property in the US to provide to the Secretary of Homeland Security
  5. information, with supporting documentation, on the provenance of the property that includes, at a minimum, when and where the property was obtained, and such other information as the Secretary of Commerce and the Secretary of Homeland Security consider appropriate.
  6. Section 3(b) sets up a working group to develop regulations to require dealers of cultural property to document and report information on transactions in cultural property of Iraq or Syria, and where objects were acquired; to work with participants in international art and cultural property markets to develop a Federal Government database with information on cultural property and warnings about buyers, sellers, appraisers and others with a history of conducting illegal trade in cultural property, and consider providing participants in international art and cultural property markets with access to the database.

ATADA President John Molloy, has written to the heads of the Senate Finance Committee, where the proposed bill is under consideration, urging the committee to take additional testimony before moving forward with this hastily introduced and extremely damaging bill. Other museum, collecting, and trade organizations have done likewise. ATADA and other organizations must work together to be sure this ill-considered bill and others like it do not continue to be introduced into the Senate and House.

Ivory bans hurt Native Alaskan carvers and artists

Check out this interesting article from NPR that explores how the well-intentioned bans on elephant ivory are harming Native Americans who legally carve walrus tusks.

The U.S. Fish & Wildlife Service website has more information on the near-total ban on elephant ivory in the United States.

https://www.fws.gov/international/travel-and-trade/ivory-ban-questions-and-answers.html

 

Testimony regarding STOP Act S.3147

On October 24, ATADA submitted written testimony on the Safeguard Tribal Objects of Patrimony Act of 2016 (STOP Act), S.3127/H. 5854. 

The full text of the testimony is available in .pdf form to download at the following link: 

On October 18, 2016, the U.S. Senate Committee on Indian Affairs held an Oversight Field Hearing on "The Theft, Illegal Possession, Sale, Transfer and Export of Tribal Cultural Items"

The following testimonies from that hearing are also available for download: 


Honor Keeler
Director, International Repatriation Project Association on American Indian Affairs


Governor Kurt Riley
Pueblo of Acoma


Governor Myron Armijo
Pueblo of Santa Ana

2016 Phillips Scholarship Award Winners

In conjunction with the Heard Museum Guild Indian Fair and Market, the first year's awards were given to participants in the Junior Division for Best of Class in the following categories:

Best of Show:
Diverse Art Forms - "Singing in the Rain" by Sage Maybee (Northern Arapahoe/Seneca)

Best of Class:
Jewelry and Lapidary - "Life on the Rez" by Albert Leonard Haskie (Navajo)

Pottery - "Natural Beauty" by Jordyn "Puweh Tsay" Atencio (Ohkay Owingeh)

Paintings/Photography - "Wakas Kashna-cow Kachina" by Suyma Cody Maho (Hopi)

Wood Carvings - "Mother Earth Blessing" by Myleka N. John (Diné)

Sculpture - "Mountain Lion" by Maegan Shetima (Zuni)

Textiles/Weavings - "Rain Sash" by Ian Chopito (Zuni)

Baskets - "Small Barrel Basket" by Emma Soctomah (Passamaquoddy)

"Singing in the Grass" by Sage Maybee, Northern Arapahoe / Seneca
2016 Best of Show Winner - Junior Division, Heard Museum Guild Indian Fair and Market

Photo Credit: Craig Smith, Heard Museum

Artist Profile - Mavasta Honyouti

Since 1988 ATADA has served the community of tribal art dealers. Our primary emphasis has been on antique Native American art, but many of our members also feature contemporary tribal material. We know that it is important to support today’s artists so that these traditions of beauty and meaning survive. We recently featured an innovative Hopi artist in the Summer 2016 Edition of the ATADA newsletter. Below is an excerpt of the profile: 

Mavasta Honyouti: Innovating Hopi Art Forms

by Barry Walsh

Mavasta Honyouti is a 36 year old man who grew up in Hotvela. He teaches 6th grade at First Mesa Elementary School. He often works at his art in the evenings and weekends during the school year and full time during his summers off. He teaches his classes about Native American peoples and world indigenous cultures using content not found in textbooks. He stresses that all students are capable of success and he clearly is a model in two different realms. 

Fig. 1. (Click to enlarge)
Image courtesy of the artist.
 

Mavasta’s reverence for culture also comes through in his art work. He makes two types of carvings: 1) cylindrical, multi-figured pieces which generally portray diverse aspects of a Katsina dance scene, and 2) bas relief plaques that often portray muliptle katinsam engaged in an activity or even depict pop culture figures. A superb example of a cylindrical carving is shown in Figure 1. This carving portrays many facets of a Corn Dance including the dance itself, individual katsinam, baskets, katsina carvings, etc. This work won “Best of Classification” at SWAIA in 2015.  

Another fine example of one his bas relief plaques is shown in Figure 4 depicting a Left-Handed, hunter katsina with the Star Wars character Boba Fett. Note that the latter has rabbit stick designs on his “gauntlets.” As shown in Figure 5, Mavasta presents us with an updated version of the Beatle’s Abbey Road album cover with two Huhuwas, a Koyemsi, and a Mocker katsina. Mavasta says he enjoys, “fusing the two cultures.” 

 

Fig. 4. (Click to enlarge)
Image courtesy of the artist

Fig. 5. (Click to enlarge)
Image courtesy of the artist

 

The Hopi Katsina religion is vibrantly alive and is reflected in its evolving artistic expressions. Mavasta Honyouti has introduced into this tradition new motifs, media, and aesthetics. He is part of a 1000 year long, distinguished chain of art and culture, centrally important to insiders and appreciated by many beyond. 

The ATADA Guarantee

Collect with Confidence

As stated in the ATADA’s bylaws, an ATADA Member Seller's Guarantee is as follows:

In the Seller’s judgment, as a dealer in objects of this kind, the information set out is accurate. If the Buyer shows that such information is inaccurate in any significant way within one year from the date of purchase, the Seller will accept a return and offer a full refund, which the Buyer agrees to accept as full satisfaction. The return of the object must be in the same condition as sold. The Seller guarantees that the Buyer receives good title to the object. If there is evidence showing that Seller did not provide good title and the Seller is promptly so informed by the Buyer, the Seller will either remove any cloud on the title or accept return of the object and give the Buyer a full refund, at the Seller’s option. These guarantees extend only from [DEALER’S NAME] to the Buyer named in this invoice.
As members of ATADA, we offer our buyers a guarantee that all objects we sell are as represented regarding age, authenticity, and extent of restoration (if any), and have been properly acquired and fall within the laws concerning cultural sensitivity as specified in the ATADA Bylaws.

You can find more valuable resources on our For Collectors and Legal Issues pages.
Find a Dealer in our Directory.

Legislative Alert - ATADA's Position Regarding the STOP Act

ATADA’s position regarding the
“Safeguard Tribal Objects of Patrimony Act (STOP Act)”

 

ATADA asks its members and supporters to write letters and/or send emails or faxes about the proposed bills, S. 3127, and H. 5854, the Safeguard Tribal Objects of Patrimony Act (STOP Act) to their own senators and representatives and to members of the Senate Committee on Indian Affairs.

ATADA is committed to working with all tribes regarding patrimonial objects. We are currently discussing the law and working to build bridges between tribal communities, tribal artists, art dealers and collectors. However, ATADA has identified many serious issues with S. 3127.

  • The STOP Act is unnecessary because export for sale of unlawfully acquired artifacts is already illegal under ARPA and NAGPRA.
  • The STOP Act does not identify the objects each tribe considers sacred or community owned. 
  • The STOP Act creates no administrative body or standards for determination of what is claimed.
  • The STOP Act will damage businesses, cost jobs, and reduce tax revenue.
  • While voluntary donation of important sacred objects should be encouraged, tribal legal claims for restitution of unlawfully possessed objects belong in the courts, not in wholesale restitutions.
  • The STOP Act will result in consumer confusion and harm Native artisans and legitimate businesses because of the assumption that all Indian artifacts are tainted by illegality.
  • The STOP Act needs additional consultation with tribes and with other impacted US stakeholders, including collectors, dealers, academics, and museums.

A complete summary of these issues can be found in our Summary of Issues - STOP Act.

Use the buttons below to download complete copies of Senate Bill 3127 and House Bill 5854, which is identical to the Senate bill. 


Contact Your Legislators

Use this list to find your local Representative: http://www.house.gov/representatives/find/

Use this list to find your Senators: http://www.senate.gov/senators/contact/

We have compiled a list of Senators and Representatives on the Senate Committee on Indian Affairs, the House Subcommittee on Indian, Insular and Alaska Native Affairsand the House Subcommittee on Crime, Terrorism, Homeland Security, and Investigations.

Tips for writing a great letter to a legislator:

  • State that your letter is about Senate Bill 3127 / House Bill 5854, the Safeguard Tribal Objects of Patrimony (STOP Act).
  • Say who you are. Anonymous letters go nowhere. Include your correct name, address, phone number and email address. Otherwise, you will not get attention or a response.
  • State any professional credentials or personal experience you may have, and how long you have been involved in the Native American art field.
  • Keep your letter short — one page is best.
  • Use specific examples to support your position.
  • State what it is you want done – don’t pass the STOP Act, or fix the STOP Act so it does not damage important American values and harm US collectors, art dealers, Native artists, and museums. Express your own feelings about the STOP Act.
  • Thank the member for taking the time to read your letter. NEVER be rude or aggressive.

Please note: This linked list of Senators and Representatives on the Senate and House Indian Affairs Committees has the webpages for sending emails as well. These email links almost always require you to be a resident of the state or district of the senator or representative. However, you can send a letter via mail to any senator or representative. It shows that you (and probably many others who do not bother to write) really care!

Sample Letter

Here is a sample letter to a US Senator. Please make your letter your own by personalizing it and including the issues that are most important to you. You can add from the issues mentioned above or outlined in the above referenced Summary of Issues - Stop Act.
An editable copy of the letter (MS Word format) is available for download by clicking the button.

••• Sample Text •••

The Honorable _______________ 

(Room #) (Name) Senate Office Building
United States Senate
Washington, DC 20510

Dear Senator:

My name is ________. I live in _________. I am interested in Native American art because _________.

I am deeply concerned that Senate Bill 3127 / House Bill 5854, the Safeguard Tribal Objects of Patrimony (STOP Act) will harm ________ (For example, collectors, art dealers, Native artists, museums, or educational institutions) and the public interest.

I believe that the STOP Act is not necessary; US laws already prohibit illegal trafficking in Native American artifacts. The STOP Act does not identify the objects each tribe considers sacred or community owned. There are hundreds of thousands of items of Native art that have circulated in the market for decades. It is impossible for owners of objects collected over many years to know what is deemed a cultural object by each tribe, or to know which tribe might claim an object. The law does not create any system for determining if an artifact is safe to sell. Yet the penalties for selling an object claimed as cultural property are very high!

The STOP Act will require a huge bureaucracy to identify this volume of material, almost all of which came from ordinary trade. The STOP Act will damage businesses, cost jobs, and reduce tax revenue, especially in the Southwest, where art and tourism are important to municipalities and to Native artisans. The STOP Act is unworkable, impractical and ill-considered.

Thank you for your attention to my letter.

Sincerely,

(Your Name, Address, and Telephone)

Sponsoring Senators

Below is a list of sponsoring Senators (four of these also serve on the Senate Indian Affairs Committee).

Senator Martin Heinrich, New Mexico
303 Hart Senate Office Building Washington DC 20510
(202) 224-5521
http://www.heinrich.senate.gov/
https://www.heinrich.senate.gov/contact/write-martin

Senator Tom Udall, New Mexico
531 Hart Senate Office Building Washington DC 20510
(202) 224-6621
http://www.tomudall.senate.gov
https://www.tomudall.senate.gov/?p=contact

Senator Jeff Flake, Arizona
413 Russell Senate Office Building Washington DC 20510
(202) 224-4521
http://www.flake.senate.gov
https://www.flake.senate.gov/public/index.cfm/contact-jeff

Senator John McCain, Arizona
218 Russell Senate Office Building Washington DC 20510
(202) 224-2235
http://www.mccain.senate.gov/
https://www.mccain.senate.gov/public/index.cfm/contact-form

Senator Jon Tester, Montana
311 Hart Senate Office Building Washington DC 20510
(202) 224-2644
http://www.tester.senate.gov/
https://www.tester.senate.gov/?p=email_senator

Senator Lisa Murkowski, Alaska
709 Hart Senate Office Building Washington DC 20510
(202) 224-6665
https://www.murkowski.senate.gov/
https://www.murkowski.senate.gov/contact/email

Senator Steve Daines, Montana
320 Hart Senate Office Building Washington DC 20510
(202) 224-2651
http://www.daines.senate.gov
https://www.daines.senate.gov/connect/email-steve