The Atelier 6000 printmaking studio and gallery in Bend, Oregon, will be showing a selection of Crow’s Shadow prints, beginning Friday, February 3.
The exhibit will coincide with a weekend presentation and photolithography workshop conducted by Master Printer Frank Janzen as part of the Atelier 6000 Artist-in-Residence program.
Janzen will give a presentation highlighting prints created at Crow’s Shadow, February 3 at 6 p.m. The photolithography workshop will take place February 4-5 (Saturday and Sunday), from 10 a.m. to 4 p.m. both days.
Those interested in attending the workshop need to register through Atelier 6000. For more information, visit the Atelier 6000 website.
Head over to the “prints” section of the website to check out four new woodcuts from artist Marie Watt (Seneca).
The new prints are titled Tether, Plow, Camp and Vest and are available for purchase.
Marie graced the printmaking studio with her creative presence back in August 2011 to complete her fourth collaborative Crow’s Shadow residency and fourth body of four editions (yes, that’s a lot of fours). The edition size for each of the new woodcuts is 20.
Also, be sure to watch our video interview (posted below) with Marie, in which she confesses to her self-designated status as a Crow’s Shadow “poster child.” Marie talks about the use of blankets in her work, as well as the collaborative and economic benefits of printmaking.
If you live in the Northwest, the Hallie Ford Museum of Art at Willamette University in Salem, Oregon, will soon be showing a mid-career retrospective exhibition of Marie Watt’s work that you won’t want to miss. The exhibition, titled Marie Watt: Lodge, will be on display February 4 through April 1. The exhibition will later travel north to the Tacoma Art Museum, June 11 through September 24, 2012.
From the Hallie Ford website about the exhibition:
“For the past decade, Watt has worked as a mixed media artist whose work explores human stories and the ritual implicit in everyday objects. Organized by anthropology professor and faculty curator Rebecca Dobkins, the exhibition will feature a range of work from the past decade, including stacked blanket sculptures, portrait blankets of Jim Thorpe, Ira Hayes, Susan B. Anthony, and Joseph Beuys, and Engine, a felt cave-like structure that honors the act of storytelling and the storytellers in the artist’s life.
In addition to the objects on display, the exhibition will be accompanied by text panels, labels, a video component, and a 96-108 page full color monograph written by professor Dobkins that places the artist’s work within the broader context of contemporary art. The book will be distributed by the University of Washington Press, Seattle and London, assuring worldwide distribution and readership.”
Stay connected to the Crow’s Shadow website over the next several weeks as Master Printer Frank Janzen completes printing editions for Storm Tharp, Eva Lake, Jenene Nagy and Crow’s Shadow founder James Lavadour.
We will post more artwork images as they become printed and available.
Those interested in purchasing prints can call us at (541) 276-3954 or e-mail email@example.com.
Oregon artist Jenene Nagy completed her two-week printmaking residency at Crow’s Shadow on December 16. Through her collaboration with Master Printer Frank Janzen, Jenene finished approvals to print for three lithographic editions, including two horizontal diptychs and one vertical triptych.
Best known for her large-scale, site-specific installations—with their use of strong, hyper natural colors and close attention to the surrounding landscape and architectural space—Jenene said she was initially unsure how to employ printmaking in a way that would reflect the same ideas of her other work.
“Working in a litho shop has been unlike any experience I’ve ever had before, because my studio practice involves me kind of getting messy, and getting my hands dirty, and experimenting with materials, and not knowing what the outcome is going to be,” Jenene said. “Whereas with printmaking I feel there’s so much planning involved, and there also needs to be this clear articulation in terms of what you want to have happen.”
Jenene said she drew inspiration from her current studio work involving large-scale graphite drawings that change in appearance based on light and perspective due to the direction the graphite is applied to the paper.
“So I kind of riffed off that in terms of black on black, but also the way that light plays a role in viewing the work,” Jenene said. “The shifts are really subtle, but they’re there, so there is reward in the looking.”
For her vertical triptych—which uses shades of white, blue and silver—Jenene said she was particularly influenced by the effects of freezing frost on the Eastern Oregon landscape seen during her drives between Pendleton and Portland.
“The fog here is not like the fog I’ve seen elsewhere, because it’s still divided,” Jenene said. “You can still see the fields. And you can still see the road. And you can still see everything, except that there are all kinds of these different whites that are happening.”
Jenene presented on her artwork and curatorial practice during the December 15 open house and reception.
We will post images from the three editions for sale as soon as the works are printed over the coming weeks.
Crow’s Shadow is announcing two upcoming collaborative projects with the A. Susana Santos’ Journeys in Creativity Program.
The program, held each summer through the Oregon College of Art and Craft, offers 12 teenagers the chance to embark on a 14-day journey through the world of Native American art and culture. Participants reside on the OCAC campus and take part in hands-on art workshops, cross-cultural experiences and field trips to local museums and galleries. Past instructors for the program have included several Crow’s Shadow artists, including Phillip John Charette, Lillian Pitt, Wendy Red Star and Marie Watt.
Beginning Friday, January 13, Crow’s Shadow will host a gallery exhibit featuring student created works from the 2011 summer offering, which was themed the Art of the Canoe.
On Saturday, January 14, from 9 a.m. to 4 p.m., Crow’s Shadow will conduct a monotype printmaking workshop for local Native students interested in the Journeys program. The workshop is sponsored by OCAC. Shirod Younker, Program Manager for the Journeys in Creativity program, will be on hand to talk about the program and answer questions for prospective students.
You can read more about the Journeys program and download the application here.
For questions about these or other events, please contact Crow’s Shadow at (541) 276-3954 or by e-mail at firstname.lastname@example.org.
As we enter the holiday season and reflect on a year passed, we find ourselves humbled by the many people who helped make these last 12 months so exciting and rewarding. From workshop instructors and participants to artists and arts patrons, we thank everyone for their involvement and support. February 2012 officially commemorates our 20th anniversary as a nonprofit organization, and it’s a milestone we celebrate with all of you.
One development from 2011 we are particularly thankful for is the recruitment of our Interim Executive Director Melissa Bob, a Lummi Nation citizen who relocated from Bellingham, Washington, this past June to help lead Crow’s Shadow through an important transition period. With passion, dedication and enthusiasm, Melissa has worked tirelessly both to reinvigorate Crow’s Shadow as a vibrant community arts center, as well as to extend the reach of the organization’s fine art printmaking programs further out into the regional, national and international art communities.
Thanks largely to her progressive leadership, Crow’s Shadow has a robust activities schedule for 2012, including six artist residencies and new educational opportunities in printmaking. With the guidance of a community-based traditional arts committee, Crow’s Shadow plans to offer at least six Native arts workshops. We also look forward to reaching new audiences through an exhibition of Crow’s Shadow prints at the Smithsonian’s National Museum of the American Indian—in New York in 2012 and in Washington, D.C., in 2013.
In 2012 we also plan to begin our Master Printer succession plan, whereby Melissa will begin her formal apprenticeship with Master Printer Frank Janzen and a new Executive Director will come on board in June. In 2013 Melissa will enter a Master Printer certification program at the esteemed Tamarind Institute in Albuquerque, New Mexico, in preparation for becoming the organization’s next full-time Master Printer to work alongside a new generation of Crow’s Shadow artists.
While we are excited for these new challenges and opportunities, to meet them will require a greater level of resources and commitment. As such, we ask that you consider making a tax-deductible contribution to Crow’s Shadow. Your gift will help us meet these goals and advance our organizational mission to provide educational, social and economic opportunities for Native Americans through artistic development. We thank you for your generous support as Crow’s Shadow heads into its 20th year of operation. Happy holidays!
- Patrice Hall Walters, Board President
If you would like to make a tax-deductible donation to Crow’s Shadow, you can do so by returning to the website home page and clicking on the “donate” button at the bottom. Alternatively, If you would like to receive a mail-in payment form, please contact us at (541) 276-3954 or by e-mail at email@example.com. Thank you!
As 2012 draws near, in the tradition both of giving thanks and reflecting on another year passed, we’d like to share some 2011 highlights from Crow’s Shadow Institute of the Arts.
Thanks in large part to funding from the Administration for Native Americans and The Ford Family Foundation Crow’s Shadow was able to host eight artist printmaking residencies in 2011. The artists we worked with this year include James Luna (Luiseño), John Feoderov (Navajo), Jim Denomie (Ojibwe), Gabrielle Belz (Maori), Marie Watt (Seneca), Storm Tharp, Eva Lake and Jenene Nagy.
In February Master Printer Frank Janzen kicked off the busy year with James Luna. Taking a different trajectory from his installation and performance work from the past several decades, Luna channeled his early background in painting to complete two series of monotype prints titled Sumojazz and Indian Edge. He also taught a performance art workshop at Whitman College in Walla Walla, Washington. Reflecting on his experience James said, “It’s been a wonderful artistic experience and it’s been a great cultural experience to be out here on the Umatilla (reservation) to see how people live in this environment. And what a wonderful environment.”
In March Crow’s Shadow welcomed Seattle-based artist John Feodorov, who completed approvals to print for four lithographic editions, each incorporating photographic images from his late mother’s homeland in New Mexico. Feodorov also conducted a half-day community photograph workshop project, whereby 15 community members created a large, mounted collage display incorporating personal and family photographs spanning several decades and generations. The collage was later displayed at the neighboring Tamástslikt Cultural Institute.
Minnesota artist Jim Denomie brought his trademark humor and visual style to the studio in May, finishing a two-week residency with five monoprint and monotype series, totaling an incredible 72 signed prints. “I don’t believe I’ve ever created so much art in a two-week period as I have here,” Jim said. “It’s a variety of imagery, but mostly they’re all some sort of portraiture.”
For five days in June Crow’s Shadow was fortunate to host New Zealand painter and printmaker Gabrielle Belz. Belz donated to Crow’s Shadow her Pou Series of monotypes. After her visit at Crow’s Shadow, Belz visited the Longhouse Education and Cultural Center at The Evergreen State College and Pilchuck Glass School in Washington State.
Artist Marie Watt, a longtime friend of Crow’s Shadow, returned to work with Janzen in August for her fourth Crow’s Shadow residency. During her time Watt finished approvals to print for four woodcut prints. “There’s something about having an ongoing relationship with a master printer where it’s easier to kind of come in and get to work, and also … whereby (Frank) probably knows my personality and how I solve problems,” Marie said. “And for me it makes a really nice collaborative process.”
In September, Crow’s Shadow welcomed Portland artist Storm Tharp as the first of six mid-career Oregon artist residencies to be funded through The Ford Family Foundation’s “Golden Spot” residency program. Storm translated his exceptional painting talents to the printmaking form by completing lithographic plates for three portrait-based editions. Portland artist Eva Lake followed suit in October and finished her two weeks with approvals to print for four editions. From December 5-16, Jenene Nagy will be the third Crow’s Shadow “Golden Spot” artist in residence for 2011.
With generous support from the Lamb Foundation Crow’s Shadow offered a variety of printmaking and traditional arts workshop opportunities in 2011.
Traditional arts workshops for 2011 focused on weaving and beading. Michael Ray Johnson taught a cornhusk round-basket weaving class in June. He also taught this class at the Round-Up grounds during the Pendleton Round-Up in September. In November, Joey Lavadour taught his well-known techniques for cylindrical and flat-bag weaving to individuals from several regional communities. Several participants from these workshops wove baskets for the first time. Maynard White Owl Lavadour will be leading a medallion-beading workshop in December.
In March Master Printer Frank Janzen conducted a printmaking workshop with a new focus on photolithography. Working with photographs and scanned hand-drawn imagery, participants gained hands-on experience exposing a lithographic plate and working with a press assistant to print a small-size lithographic edition. Due to popular demand, we offered a second class in May. “I thought watching the other participants print was super useful for building problem solving skills,” workshop participant Mare Blocker said. “I’ve been a relief printer for the last 32 years and it’s really great to shake up your routine and try something new.”
Crow’s Shadow collaborated with the Confederated Tribes of the Umatilla Indian Reservation summer youth recreation program to provide a series of free monotype workshops for children in the program. In September Crow’s Shadow delivered a printmaking workshop opportunity to the Hoopa Valley Indian Reservation in Northern California, where local artists spent a long weekend making hundreds of colorful monotypes on a portable etching press. The prints were exhibited with Crow’s Shadow’s permanent collection at Humboldt State University in Arcata, California.
This fall, Crow’s Shadow also recruited the help of Portland-based printer and instructor Aaron Robert Miller to offer two new screen-printing workshops to Crow’s Shadow’s programming. In two days, participants learned to expose images onto silk screens and to print on both fabric and paper.
This past June Crow’s Shadow welcomed on its newest staff member Melissa Bob as the organization’s Interim Executive Director and future successor to Frank as the Crow’s Shadow Press Master Printer. The Crow’s Shadow Board of Directors also welcomed one new and one returning member, Lori Sams and Crow’s Shadow co-founder James Lavadour. Crow’s Shadow also would like to thank the Meyer Memorial Trust for their continued financial support through their generous three-year capacity-building project.
Artwork from the Crow’s Shadow permanent collection was exhibited at the C.N. Gorman Museum at the University of California Davis campus, as well as Humboldt State University in Arcata, Calif. A selection of prints and other artwork can currently be seen in an exhibit at the Portland International Airport through the end of April 2012.
Capital funding from Wildhorse Foundation and The Ford Family Foundation contributed to a studio renovation project to upgrade equipment and the facilities. Generous support on behalf of both foundation’s allowed Crow’s Shadow to purchase a new multi-spectrum exposure unit for exposing large lithographic plates and to transform our former darkroom facilities into a proper storage area for our permanent collection.
Crow’s Shadow would like to thank and acknowledge two charitable foundations for their recent support of our educational traditional arts programs. The program goals are to promote intertribal participation and to help revive and restore the community practice of Plateau arts through both traditional and contemporary methods.
With a $2,390 grant from the Siletz Tribal Charitable Contribution Fund and a $2,160 grant from the Potlatch Fund, both regional organizations will support the purchase of supplies and materials for at least six traditional Native arts workshops to be held at Crow’s Shadow in 2012.
As part of our planning efforts for next year’s workshops, Crow’s Shadow is in the process of forming a traditional arts committee, comprising members of the local tribal community. The committee will help guide the discussion about the community’s traditional arts priorities, as well as develop and assist in the coordination and evaluation of the traditional arts programming.
If you are a local community member and are interested in serving on the volunteer committee, please contact Interim Executive Director Melissa Bob at (541) 276-3954 or by e-mail at firstname.lastname@example.org.
The website ArtsFwd.org, part of a new initiative of the organization EmcArts, recently featured Crow’s Shadow as part its overall mission for sharing and discussing the issues and innovative success stories within the field of arts and culture organizations.
Eleanor Whitney, program officer for external affairs and fiscal sponsorship at the New York Foundation for the Arts and blogging fellow for ArtsFwd, interviewed Crow’s Shadow Interim Executive Director Melissa Bob to talk about the challenges of leading a rural-based arts nonprofit.
“I had the opportunity to visit the institute and was given a tour by Melissa Bob, its new Interim Executive Director. Melissa is a tribal citizen of the Lummi Nation, located in Bellingham, Washington and recently completed her Master’s in Public Administration and Tribal Governance. I was struck by her energy, enthusiasm and vision for addressing the organization’s challenges and finding new opportunities for the center and the Native artists that they work with.”
You can read the entirety of the interview here.
Others are encouraged to contact ArtsFwd with their own comments, questions and suggestions.
To coincide with the two-week printmaking residency for artist Jenene Nagy, Crow’s Shadow will be hosting a public reception and annual open house event, December 15 from 5:30-7:30 p.m.
Nagy will present a 6 p.m. lecture and discussion on her artwork, research, curatorial work and the arc of her professional career.
Visitors are welcome to come see the new works in progress, meet the artist and learn about Crow’s Shadow’s robust year of programming. Light refreshments will be served.
For questions, please call Crow’s Shadow at (541) 276-3954.
Crow’s Shadow is excited to announce an upcoming printmaking residency with Oregon artist Jenene Nagy.
Beginning December 5, Nagy will be spending two weeks at the Crow’s Shadow Press studio, with the goal of creating one or more lithographic editions with Master Printer Frank Janzen.
With a body of work incorporating and sometimes mixing various media—including painting, sculpture and installation—Nagy is perhaps best known for her location-specific exhibitions, in which her careful placement of colors, lines and objects help guide and affect the audience’s experience of movement through the space. Painted colors on the walls sometimes jut out and continue their flow along scaffold set pieces and vice versa.
Describing her 2010 Portland exhibition Tidal, the Willamette Week wrote: “It’s on the floor, it climbs the walls, it dangles from rafters, it wells up like a wave, displacing your equilibrium as it advances Nagy’s obsession with getting art out of the frame and into your face.”
Nagy received her BFA degree from the University of Arizona in 1998 and her MFA from the University of Oregon in 2004. Her work has been widely exhibited both nationally and internationally, at such venues as the Portland Art Museum; Weatherspoon Art Museum; Torrance Art Museum; Takt Kunstprojektraum in Berlin, Germany; and Dam Stuhltrager in New York, among others.
Nagy recently received an Individual Artist Fellowship from the Oregon Arts Commission, a three-month residency at Raid Projects in Los Angeles, and in 2011 was named a finalist for the Contemporary Northwest Art Awards.
Along with a rigorous studio practice, Nagy is one half of the curatorial team for TILT Export, an independent Portland art initiative that partners with various venues for its exhibitions. She also serves as the first curator-in-residence for the Portland nonprofit Disjecta.
“What I am looking forward to most about my residency is the amazing access to the printmaking facilities! I am very curious how my ideas and research interests will translate in a new medium,” Nagy wrote via e-mail. “Also, I am very much looking forward to the beautiful landscape, lots of time for thinking and being away from the daily grind, getting to learn more about Crow’s Shadow, and spending time with one of my art heroes, James Lavadour.”
“I am not quite sure what exactly I will be working on. I suspect landscape will play a large role in the making, as it usually does, as well as the perception of light and color,” Nagy wrote. “I look forward to the time to experiment and learn the capacities of all the different printmaking processes that will be available.”
For more information about Nagy and her work, you can visit her website at www.jenenenagy.com.
Nagy’s residency is being funded, in part, through a generous grant project from The Ford Family Foundation. The project is intended to support both Oregon nonprofit residency programs and mid-career Oregon visual artists.