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Course: The Seeing America Project > Unit 7
Lesson 6: 1980-now- Ruthe Blalock Jones, Medicine Woman
- Sam Gilliam, Purpled (Chasers Series)
- Masami Teraoka, American Kabuki
- Carrie Mae Weems, Untitled (Woman Feeding Bird), The Kitchen Table Series, 1989-90
- Pepón Osorio, En la barbería no se llora (No Crying Allowed in the Barbershop)
- Turning Uncle Tom's Cabin upside down, Alison Saar's Topsy and the Golden Fleece
- Titus Kaphar, The Cost of Removal
- Dorica Jackson, Diving Whale Chilkat Robe
- Richard Zane Smith, Wyandotte Feast pot
- Marilyn Spoon, Bandolier Bag
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Ruthe Blalock Jones, Medicine Woman
Ruthie Blalock Jones' painting "Medicine Woman" showcases her unique style and deep respect for Native American culture. The painting features a woman adorned with traditional items, seated near a teepee. Jones' attention to detail and use of vibrant colors bring the scene to life, while her careful choice of what to reveal reflects her respect for her community's privacy. Created by Smarthistory.
Want to join the conversation?
- Was she covering her face because she didn't want to be seen, or was it for another reason?(1 vote)
Video transcript
(jazz piano music) - [Chelsea] We're at the Gilcrease Museum in Tulsa, Oklahoma, and we're standing in front of a painting by Ruthie Blalock Jones
called "Medicine Woman." And this painting perfectly encapsulates her lifelong role as an educator and as someone who was raised within the Native American Church. - [Lauren] Ruthie's work in
"Medicine Woman" in particular is very well known for
showing some of the quieter or more daily life scenes
in native communities, especially those communities
in Northeastern Oklahoma. She often shows a single figure where the scene is cropped close. There's not a lot of context for the scene around the figure. - [Chelsea] What we're
seeing here is a woman who is seated on the ground. We have just enough information to associate her with the edge of a teepee of the Native American Church. And she's seated on several different brightly colored and patterned blankets. - [Lauren] And she's also
holding and wearing several items that are recognizable as associated with the Native American Church. In her left hand she holds a
beautiful pheasant feather fan that also has macaw feathers slightly sprinkled around the handle. And it's also beautifully beaded with this long luxurious buckskin fringe. She's also wearing a rich,
blue, silk embroidered shawl with this beautiful and meticulous
rendering of silk fringe. - [Chelsea] And she has
used her medium, gouache, to her advantage here. We're seeing saturated colors that pop against the largely unadorned background. - [Lauren] At the beginning
of the 20th century, this flat style of painting, meaning the background of the
images are sparse on detail, and that was really developed into a distinct style at Bacone College under Dick West. Ruthie was educated at Bacone, so Ruthie took this recognizable aesthetic and has made it her own. - [Chelsea] And she has
also paid close attention to some of the details. Look at the way that the fringe
in this brilliant red color hangs down from the shawl. We can see each individual strand as it's moving across her body, as it is layered over her arms. And that's picked up even in her attention to this woman's hair where each strand is
so carefully rendered. - [Lauren] And that red fringe
also brings the viewer's eye down to these very
brightly colored blankets along the edge of the teepee and they're recognizable as
Native American trade blankets. On the left side of the image, you have this Pendleton style blanket that would likely be made of wool. And then as you move to the right on the other side of the figure, vivid fire colors or flame colors where it's a blue outline and then on the interior
are shades of yellow, orange, red, and black. You can almost feel the
texture of the cloth. - [Chelsea] Here we're
seeing this painting with such careful attention to details, and yet the fan that she's
holding is blocking her face, and the artist does that intentionally. - [Lauren] Much of Ruthie's artwork is a very careful balance between showing
representations of native life, of native events, ceremonies, and dances, but without revealing too much information to a viewer who might not
be part of that community. Ruthie is careful in her work not to paint specific people, and likewise her clothing and
her adornments like the fan, her silver earrings,
are not specific either. So they are general
representations of what a woman in the Native American
Church would be wearing. in an instance like this. - [Chelsea] Also part of
the rituals associated with the Native American
Church is the cup. - [Lauren] This is a small camp cup made out of cast iron or tin. The woman's role typically in a Native American Church
procession or ceremony is often to provide sustenance and water to the practitioners who
are gathered around the fire in the center of the teepee. So at this moment, she
is waiting for her turn to fulfill her responsibility
of passing out water and food to those who are in prayer. And as a child, Ruthie
has recalled sitting at the front of Shawnee
ceremonials and dances and taking in the vibrancy of those events and visually recording
them at a young age. But her experiences that
she has captured in artwork are from lived moments in her life. - [Chelsea] Jones is
taking a different approach to the rituals of the
Native American Church. - [Lauren] She's showing
scenes of the role of women, but we can see a very stark contrast when we look at artworks by
native artists like Woody Crumbo who show Native American Church
ceremonies or processions that are focused on the
center of the teepee, so they often show representations of the ceremonial fire and of the prayers or the leaders of that procession
gathered around the fire. Jones only shows a small section of the interior of that teepee, and it's not focused on the ceremony occurring in the center at all. - [Chelsea] Jones felt
it was important to show what was appropriate for
outsiders to be seeing. - [Lauren] In the late 19th century, the church really came into
being in Indian Territory, and it's a blend of different
spiritual traditions. What most people recognize
about the Native American Church is their use of peyote. Around the turn of the 20th century, the ritual use of peyote was banned by the United States government, and so many Native American
Church groups went underground. A lot of traditions, representations, imagery associated with
the Native American church, even though it is now legal to practice, is still very highly regulated
because of that history. - [Chelsea] Jones is trying
to help gently correct, or to educate people
about misunderstandings about the Native American Church. - [Lauren] Ruthie in
particular creates artwork that is meant to be
seen by large audiences. - [Chelsea] She's not just
helping educate people who are seeing her paintings, but she influences a whole
new generation of artists. - [Chelsea] She became the
director of the art department at Bacone in 1979. So the importance of education can be seen in all aspects of her life, both in her role literally as a teacher, but also as an artist. (jazz piano music)