An Agency of State Government
It's been said that Montana's folk arts are inspired by our lands and made by our hands. Born deep in Big Sky Country's landscape, folk and traditional arts spring from the needs of a community. While having a use, the work of the quilter, the saddlemaker, the ironworker, the parfleche maker, and the potter also are visible evidence of who we are. But because these artists are just around the corner they're often hidden in plain view.
To celebrate Montana's heritage and showcase the folk arts, the Montana Arts Council founded the Montana's Circle of American Masters in the Folk and Traditional Arts. This program recognizes Montana folk artists for artistic excellence and preservation of our cultural heritage.
What are folk and traditional arts?
The folk and traditional arts include fine handcraft, decorative arts, and performance practices that are indigenous to a community (ethnic, geographic, linguistic, religious, occupational) or family. They reflect the aesthetics and values of the community in which they arise and are often symbols of a group's identity. Examples include (but aren't limited to) quilting, beading, saddlemaking, tole painting, ledger art, or calligraphy. Dance, songs, poetry, instrumental music, storytelling, and local architecture are forms of traditional arts not designated as visual.
Traditional arts are learned informally, through careful observation and practice, usually from elders and masters and often passed on from one generation to the next. They can be self-taught within a tradition.
Marc Brogger, a fifth-generation Western horseman, has built over 900 saddles since the start of his career in 1981. He is well respected in the Western community for his intricate leather work and flower stamping, bringing his skills to creating ornately hand-tooled saddles which bridge art and utility. On the enriching nature of his work, Brogger states, “I believe in art and in not just being little machines that go to work every day. I think art just makes life for everyone more interesting.”
Dedicated to supporting and preserving the creation and use of Western art, Brogger has participated in workshops, art shows, gatherings, and rodeos. His saddles have been featured at the Western Folklife Center in Elko, Nevada, at the Dry Creek Arts Fellowship in Flagstaff, Arizona, and in multiple publications including on the covers of books such as David Stoecklein’s Saddles of the West. In 2015, the Academy of Western Artists named Brogger “Saddle Maker of the Year.”
While growing up, artist-blacksmith Glenn Gilmore’s parents encouraged him to observe and question the processes and mechanics that produced the world around him. These formative experiences catalyzed what’s become more than a four-decade-long career using the command of his eyes and mind, and the skill of his hands, to give life to his artistic vision through metal. “Working with metal heated to 2300 degrees, sweat on my forehead, scale falling from the steel as I shape it - these have been the ‘big part’ of my life,” he states.
Since 1980, Gilmore has compiled an extensive resume that includes over 25 honors, including “Best Artist – Metal” in 2001, 2012, 2013, 2015, and 2016 at the Western Design Conference in Jackson, WY; features in over 30 prestigious juried exhibitions, such as the Invitational Metalwork Exhibition at the Artist Blacksmith Association of North America International Conference, in Salt Lake City, Utah; and features in over 50 books and national publications, such as Western Art & Architecture, Fine Furnishings International, Cowboys and Indians, and Western Art & Architecture.
Terry Hill, a fourth-generation Montanan, spent 29 years as a game warden for the Montana Department of Fish, Wildlife & Parks before retiring in 2007. Come 2009, Hill discovered his love for segmented woodturning through a course taught by Rich Charlson, a previous MCAM honoree, who he studied under for six months. Today Hill channels his passion for Montana's natural beauty and wildlife through his stunning segmented woodturning, specializing in designs that depict natural scenes, wildlife, ranching, and farming.
Hill's artistic legacy transcends his craftsmanship. Hill has donated his works to numerous charities and auctions, including those for families burdened by extreme medical costs, to be auctioned for medical bill assistance. Also a general stick-building wood craftsman, Hill also makes and donates gun cabinets, china cabinets, poker tables, and other items which he has donated to local conservation groups, including Pheasants Forever, the Turkey Federation, and the Safari Club.
To learn more about the 2023 Montana Circle of American Masters honorees, read the special section in the Spring 2023 issue of State of the Arts, available right here.
Learn more about all previous Montana Circle of American Masters recipients here.
The folk arts are complex with a diversity of aesthetics requiring a broad range of criteria to encompass all the art forms. Consideration must be given to the traditional methods and techniques used, the skill of the artist, and the method in which they learned their art.
This award focuses on master artists, how they learned their art form, their body of work, and their contribution to their community and art form. As the embodiment of a tradition, the body of art should be of high quality, considering aesthetic excellence, workmanship, and authenticity. The artist's contribution should speak to how a cultural way has been sustained.
The aesthetic qualities of the body of work depend on its design and how that design creates visual appeal, marries with the materials, and satisfies function. The design:
The technique with which the art is executed in the body of work is important both to enhancing the design and in fulfilling the intended function of the pieces. The work:
The authenticity of the work speaks to both honouring the past and giving to the future. The body of work of a Master artist:
Traditional arts are not created in a vacuum. Therefore it is important that the selection criteria for a Master include the individual's contribution to the community through sharing the art form and raising public awareness. A Master is:
What is the Montana's Circle of American Masters?
“Montana’s Circle of American Masters in Visual Folk and Traditional Arts” celebrates the contributions of Montana’s master artists in visual traditional and folk arts. A member of Montana’s Circle of American Masters is a person who throughout their lifetime of work in the traditional arts has created a notable body of work. Of significant cultural and artistic stature, their work is representative of the historic, traditional, and innovative arts and handcrafts distinctive to the State and is worthy of note on both a state and national level.
What are visual folk and traditional arts?
The visual folk and traditional arts include fine handcraft and decorative arts that are indigenous to a community (ethnic, geographic, linguistic, religious, occupational) or family. They reflect the aesthetics and values of the community in which they arise and are often symbols of a group’s identity. Examples include (but aren’t limited to) quilting, beading, saddlemaking, tole painting, ledger art, or calligraphy. Dance, songs, poetry, instrumental music, storytelling, and local architecture are forms of traditional arts not designed as visual. Food traditions, dialects, ways of celebrating, ways of work, and belief systems are placed in the broader category of folklife. All these grassroots ways of knowing have woven Montana’s rich heritage.
Traditional arts are learned informally, through careful observation and practice, usually from elders and masters and often passed on from one generation to the next. They can be self-taught within a tradition. Although inherently created for specific use, traditional arts can move beyond functionality. Many of these arts, in spite of having roots in utility (quilt design, wheat weaving), have become primarily decorative. Because of this marriage of function and aesthetics, both qualities must be inherent in the art of fine handcraft.
What is the purpose of this program?
The purpose of Montana’s Circle of American masters is to:
What are the program's guiding principles?
As the state’s most eminent and notable folk and traditional artists, Montana American Masters:
What are the benefits of this honor?
Honored traditional artists will benefit from their designation as a Montana American Master in several ways:
Who is eligible to be selected for this honor?
How is a member of the Montana's Circle of American Masters selected?
Step 1:
Step 2:
Step 3:
Step 4:
Step 5:
Step 6:
Step 7:
What is the deadline for submitting materials?