Beyond the Page

On view at Mingei until August 17, 2025, Historic Footprints: Native American Ledger Drawing from Fort Marion presents both historic ledger books and individual drawings produced at Fort Marion, as well as contemporary ledger drawings by numerous artists. This exhibition tells the story of 73 Native Americans who were incarcerated without trial, recontextualizing their ledger drawings to honor and interpret visual narratives from their own perspective.

Two contemporary artists featured in the exhibition, Dolores Purdy and SunRose IronShell, continue the legacy of ledger drawing to tell their own stories.

How were you introduced to ledger drawing?

Dolores Purdy: I had been working on family research in the late 1990's and came across a Caddo man (not related to him) who had been imprisoned in Ft. Marion, FL, near the town of St. Augustine. How weird that some guy had been in Oklahoma and sent all the way to Florida. I wondered what he did. In the late 1990's, most of the research was done the old fashioned way of going to a library and working through their stacks. I soon discovered where and why he was there. Ha-wah-nee was nicknamed "influential man" and was considered a ringleader who might conspire for an uprising. As I continued to delve deeper into this man's history, I came across a book written by Karen Daniels Peterson titled Plains Indian Art from Fort Marion (copyright 1971, University of Oklahoma Press). Although the plates were in black and white, I could see the energy coming from these works of art. I had to know more and continued to research the different artists at Ft. Marion and their works in color plates.

SunRose IronShell: I was born in a time after 1978 when my people could freely practice their way of life. My parents actively surrounded themselves with the culture, especially through activism and education. Ledger art was a way to reconnect to my most recent ancestors' dreams and realities. At a young age, I began to research and decode the drawings. My mom would get me ledger paper from the discount store, and I would be so excited and yell “Whhhhaaaaaaatt?! They still sell ledger paper!!” It wasn't antique at all, but the aesthetic was there. I have been able to be inspired and schooled by masters like Dwayne Wilcox and Linda Haukass and am honored to be considered amongst them.

How does ledger art resonate with your personal and cultural history?

Dolores Purdy: My tribe, Caddo Nation, (I am also descended from a Winnebago woman) were not known for ledger art. In fact, they were considered to be among the first potters. Our homelands were east of the Comanche homelands, and we are considered a mixture of both Southern Plains and Southeastern culture. We engage in the Ghost Dance. Caddo men were, and still are, roadmen for the peyote practice. Sitting Bull visited us to teach the ghost dance. We were not migratory and were farmers living in grass houses. We have cultural influences from both Southern Plains and SE culture. My ledger art is a way to preserve our history in a contemporary way influenced by my culture. I also use teasing and humor frequently encountered in any family reunion that takes place among the Purdy's.

SunRose IronShell: With ledger art, I can hold the narrative as a Lakota STILL living on the Great Plains. I can share my life experience, dreams, and most of all, bear witness to the histories we are living now. Artists are a reflection of the people. John Trudell says, “We must think clear and coherently for the next seven generations.” Every day is an opportunity to make a difference. Like my ancestors before me, I am able to create my own sovereign economics too. The thing about ledger art is that it has always held an economic value, it's probably the most American thing you can do—buy and collect ledger art. I have been participating in juried art markets throughout the country and currently have a fashion collection from these drawings.

What themes or subjects have you explored through your work?

Dolores Purdy: I use lots of contemporary items with native Caddo iconography, using the tradition of old paper and colored pencils. I like to flip the narrative of passive Caddo women to the strong resilient women we are today. I enjoy celebrating the day-to-day native lives in contemporary fashion, such as driving around in "Caddo-lacs" to go to the spa or pickup trucks with people racing up and down dirt roads. All tongue in cheek humor. Native people are just like any other people in what they would like as creature comforts and to keep up with their relatives and ancestors.

SunRose IronShell: When I was younger, I depicted my family who were powwow dancers. A northern traditional couple in regalia was the most re-occurring theme—they were my mom and dad. Throughout my travels to different fires, I was so intrigued by the deer woman, hairy man, and any spooky stories. They were always a relative's first or secondhand testimony of what they had seen. Each deer woman ledger art piece I have made has come from these public recountings. My favorite and most spiritual drawings are my buffalo spirit series. I create a humanoid bison standing tall against the storm. Each one is a calling back to the buffalo nation.

In what other mediums are stories passed on through your community?

Dolores Purdy: Our tribe uses storytelling as a means to pass on information. When there is a dance or get together, we share stories heard from an elder. There have been books written by several Caddo people who will tell the history as they know it. One such book is Caddo Indian Where We Came From by Cecile Elkins Carter.

SunRose IronShell: In our community, stories are also passed down through song, dance, and regalia. The Great Plains adornment is not only a functional aesthetic but tells the people’s story before words are ever spoken. Today, it's happening all over NDN country on the runway.

Can you describe your creative process?

Dolores Purdy: Ok...hard to answer this. I get ideas in numerous ways. The idea of my latest piece was a kid driving dad's pickup down the street, and I was in the front yard. He looked over at me as if to say, "Don't tell dad I am speeding.” Although the neighbor kid was in a much newer pickup, I drew an old 1947 pickup with a native guy looking at the viewer and his explanation (that is also the title of the piece) is Late for My Date.

SunRose IronShell: My creative process starts with a calm moment to smudge and give gratitude for how far we came. I always need to look at all my colors. I have to see the whole color range. I have to see all the colored pencils, the water colors, the paint pens. Then once I’m feeling the color schemes and I’ve mapped out the drawing, I start drawing on the antique ledger paper.

We’re so grateful to be able to share your work at Mingei. What do you hope visitors feel/understand when they see your piece?

Dolores Purdy: I would like the viewer to stop and take a good look at the long journey Ha-wah-nee took to get to the lonely top of the parapet walkway. He saw so many things out the train windows and ended up at the ocean. I am sure he thought he was at the end of the earth. It must have felt so lonely, and he probably wondered how he would get back home.

SunRose IronShell: I hope visitors understand that some things are meant to stay wild. We are all humans living on a planet that has connected us through a land base with its own ecosystem and symbiotic relationships. The North American Bison and the Great Plains Regions want to thrive, to come back and to live. We all must ReMatriate to Mother Earth.