North Mountain, Undated
Frank LaPena
Nomtipom Wintu, 1937–2019, Acrylic, Collection of the Frank LaPena Trust
This triptych depicts the snow-covered Mount Shasta under the protective wing of a great bird spirit. Through song and ceremony, countless generations of Indigenous people have maintained their relationship with this sacred place. Today, they engage with the mountain and its life force according their traditions.
Through his work, Frank LaPena defined a generation of Native artists who live with the spirits of their Ancestors and have become a voice for the past, present, and future of the Native experience in California and beyond. Using his Indigeneity as a foundation, Frank has generously shared his version of healing with the world through art, dance, song, and scholarship. His words and images—sometimes somber, sometimes celebratory—resonate with all of us, reflecting both hard truths and hopeful visions. The Autry Museum of the American West is proud to dedicate this portion of the exhibition to Frank LaPena, whose life and work are truly a gift to the world.
Hollow Bone: Perception, 1991
Frank LaPena
Nomtipom Wintu, 1937–2019, Mixed Media, Collection of the Frank LaPena Trust (Photo by Josh Tousey)
Inner Journey, 2007
Frank LaPena
Nomtipom Wintu, 1937–2019, Acrylic, Collection of the Frank LaPena Trust (Photo by Josh Tousey)
Untitled, Oct. 1, 1985
Frank LaPena
Nomtipom Wintu, 1937–2019, Monoprint, Collection of the Frank LaPena Trust (Photo by Josh Tousey)
Untitled (orange/green), Undated
Frank LaPena
Nomtipom Wintu, 1937–2019, Monoprint, Collection of the Frank LaPena Trust (Photo by Josh Tousey)
Settling and Leveling, 1985
Frank LaPena
Nomtipom Wintu, 1937–2019, Monoprint, Collection of the Frank LaPena Trust (Photo by Josh Tousey)
Olelbes, 1979
Frank LaPena
Nomtipom Wintu, 1937–2019, Acrylic, Collection of the Frank LaPena Trust (Photo by Josh Tousey)
History of California Indians. Circa 1990
Frank LaPena
Nomtipom Wintu, 1937–2019, Lithograph, Collection of the Frank LaPena Trust
This set of eight hand-colored lithographs represents a timeline of significant events in California Native history. In the top four panels, the artist describes some of the most painful chapters in the post-contact period: the oppressive Spanish Mission system, the deadly epidemics, the state-sponsored genocide of the gold rush, and the brutal massacres of Native peoples both in and out of California. The bottom panels recount the later period of federal policy changes and direct actions taken by Native activists to improve Native lives and communities. In the last panel, LaPena honors his Native family and friends who have passed on.
North Mountain, Undated
Frank LaPena
Nomtipom Wintu, 1937–2019, Acrylic, Collection of the Frank LaPena Trust
This triptych depicts the snow-covered Mount Shasta under the protective wing of a great bird spirit. Through song and ceremony, countless generations of Indigenous people have maintained their relationship with this sacred place. Today, they engage with the mountain and its life force according their traditions.
Sacred Fire, 1987
Frank LaPena
Nomtipom Wintu, 1937–2019, Wood block print, Collection of the Frank LaPena Trust (Photo by Josh Tousey)
Ephemera Case, 2020
Frank LaPena
Nomtipom Wintu, 1937–2019, Installation of Frank LaPena Ephemera at The Autry Museum of The American West, All items collection of the Frank LaPena Trust (Photo by Josh Tousey)
LaPena’s art can be found in numerous publications, including books, magazines, and catalogs. Also a printmaker, he created two books by hand, Commemoration and The World Is a Gift.
Turtle Bay Quarterly (Cover art by Frank LaPena), 2010
Frank LaPena
Nomtipom Wintu, 1937–2019, Magazine (Publisher: Unknown ), Collection of the Frank LaPena Trust (Photo by Josh Tousey)
Earth Song, Sky Spirit (Cover art by Frank LaPena), 1997
Frank LaPena
Nomtipom Wintu, 1937–2019, Anchor Books (Editor: Clifford E. Trafzer), Collection of the Frank LaPena Trust (Photo by Josh Tousey)
The World Is a Gift, 1997
Frank LaPena
Nomtipom Wintu, 1937–2019, Handmade Book (Limestone Press). Collection of the Frank LaPena Trust (Photo by Josh Tousey)
Wood block, circa 1997
Frank LaPena
Nomtipom Wintu, 1937–2019, Wood block, Collection of the Frank LaPena Trust (Photo by Josh Tousey)
House Made of Dawn (Cover art by Frank LaPena). 1968
Frank LaPena
Nomtipom Wintu, 1937–2019, Author: N. Scott Momaday (Harper & Row), Collection of the Frank LaPena Trust (Photo by Josh Tousey)
Spirit of the Earth (Cover art by Frank LaPena), 1980
Frank LaPena
Nomtipom Wintu, 1937–2019, Editor: Ramon Gonyea, Collection of the Frank LaPena Trust (Photo by Josh Tousey)
One Man Show in Vacaville, CA, 1975
Frank LaPena
Nomtipom Wintu, 1937–2019, Show Invitation, Collection of the Frank LaPena Trust (Photo by Josh Tousey)
Commemoration, circa 1997
Frank LaPena
Nomtipom Wintu, 1937–2019, Handmade Book, Collection of the Frank LaPena Trust (Photo by Josh Tousey)
Indian Artist, 1997
Frank LaPena
Nomtipom Wintu, 1937–2019, Magazine (Publisher: Elinor S. Schrader), Collection of the Frank LaPena Trust (Photo by Josh Tousey)
News from Native California, 2019
Frank LaPena
Nomtipom Wintu, 1937–2019, Magazine (Publisher: Heyday), Collection of the Frank LaPena Trust (Photo by Josh Tousey)
Postcard, 1987
Frank LaPena
Nomtipom Wintu, 1937–2019, Artwork by Frank LaPena, Collection of the Frank LaPena Trust (Photo by Josh Tousey)
Postcards, Undated, 2008
Frank LaPena
Nomtipom Wintu, 1937–2019, Artwork by Frank LaPena, Collection of the Frank LaPena Trust (Photo by Josh Tousey)
When I Remember I See Red: American Indian Art and Activism in California was organized by the Crocker Art Museum, Sacramento, CA, with support from the United Auburn Indian Community. This presentation at the Autry has been made possible in part by a major grant from the National Endowment for the Humanities.
Any views, findings, conclusions, or recommendations expressed in this exhibition do not necessarily represent those of the National Endowment for the Humanities.
The Autry Museum of the American West acknowledges the Gabrielino/Tongva peoples as the traditional land caretakers of Tovaangar (the Los Angeles basin and So. Channel Islands). We recognize that the Autry Museum and its campuses are located on the traditional lands of Gabrielino/Tongva peoples and we pay our respects to the Honuukvetam (Ancestors), ‘Ahiihirom (Elders) and ‘Eyoohiinkem (our relatives/relations) past, present and emerging.
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