The Institute of American Indian Arts (IAIA) Announces the Artist-in-Residence Line-up for for the Fall 2017 Semester.
Institute of American Indian Arts
Published July 31, 2017
IAIA continues their series of month-long artist residencies which began in August, 2015.
SANTA FE – Native and First Nations artists have been selected to visit the IAIA campus in Santa Fe to make art and interact with both the campus community and the Santa Fe arts community. The program includes public receptions and artist talks from each of the artists. A selection committee of students, faculty, and staff reviewed applications for the Institute of American Indian Arts (IAIA) Artist-in-Residence (A-i-R) Program and selected artists for the Fall 2017 session.
September 1-30, 2017
Janice George (Squamish Nation)
Janice George (Chepximiya Siyam), from Squamish Nation, Canada, is a master weaver and textile artist who learned to weave from Coast Salish weaver Susan Pavel and Subiyay-t Bruce Miller of Skokomish in 2003. George has integrated Squamish teachings into her work from her late Grandmother Kwitelut-t Lena Jacobs and other Squamish ancestors. George states, “In this short time of my weaving life, a few of my mentors have left this earth. Their breath is carried on in the teachings I pass on. I feel and see the pride that comes from reclaiming our inheritance from our elders and ancestors when we weave and when we wear our beloved weavings. We are taught spiritual protection is part of what we are wearing and feel the love that is put in each hand movement it takes to make a robe.” George co-authored the book Salish Blankets, Robes of Protection and Transformation, Symbols of Wealth with Willard Joseph and Leslie H. Tepper. For the last twelve years, the artist has been teaching her textile skills across Salish speaking territory. She attended Capilano University, British Columbia, the Institute of American Indian Arts, Santa Fe, and interned at the Canadian Museum of History, Quebec.
Leanne Campbell (Coeur d’Alene)
Leanne Campbell is an enrolled member of the Coeur d’Alene Tribe or Schitsu’umsh – meaning “Those who were found here” or “The Discovered People”. Her lineage includes the Confederated Tribes of the Colville Reservation located in central Washington and the Nez Perce Tribe of Idaho. Campbell embraces her history, culture, language and traditions while being a speaker of the Schitsu’umsh language. Most renowned for her unique skills in traditional and cultural arts with beadwork and basketry. Her beadwork is a mix of pictorial, geometric designs and old style floral designs of the Northwest Columbia Plateau. Campbell gained valuable experience and knowledge by working over the past twenty-four years with the Coeur d’Alene Tribe. Currently, Campbell serves as the Historic Preservation Program Manager/Curator for the Coeur d’Alene Tribe. She earned her Bachelors of Fine Arts in Museum Studies with a minor in Studio Arts at the Institute of American Indian Arts, Santa Fe, and is a United States Air Force veteran of the Desert Shield/Desert Storm era.
Martha Nielsen (Kokhanok Village)
Martha Marlene Ann Nielsen is Yupik from Kokhanok, Alaska, located on the south shore of lake Iliamna. This is the largest lake in Alaska and contains several species of fish that spawn yearly. From a young age she has helped to preserve smoke and salt sockeye salmon for winter use. Nielsen is self-taught in the art of making baskets, wallets and jewelry with sockeye salmon skin. She experienced trial and error on learning how to preserve fish skin. Salmon skin art was seen as a lost skill in her area, inspiring her to reintroduce the rare technique by teaching students of all ages. Nielsen has been creating art with fish skin since 2002.
October 4-November 4, 2017
Erica Lord is an interdisciplinary artist who explores concepts and issues that exist within a contemporary Indigenous experience and how culture and identity are affected in a rapidly changing world. Lord draws on her experience of growing up between Alaska and Upper Michigan and her mixed race cultural identity drawn from her Athabaskan, Iñupiat, Finnish, Swedish, Japanese, and English descent. In order to address a multiple or mixed identity, Lord uses a variety of mediums to construct new, ambiguous, or challenging representations of race. Lord received her BA from Carleton College, and a MFA at The School of the Art Institute of Chicago. She has exhibited nationally and internationally, including the IAIA Museum of Contemporary Native Arts in Santa Fe, the Musée du Quai Branley in Paris, the National Gallery of Canada, and the Smithsonian Institution’s National Museum of the American Indian.
Peter Williams, born and based in Alaska, strives to express and celebrate the oneness of all things, with emphasis on the human spiritual relationship with nature. He views this connection in his art as vital for healing the human soul along with the well-being of the planet. Williams smudges with Labrador Tea before a hunt, praying for safety and clean kills. He asks the animals for their lives before he shoots while giving them their last drink of water prior to skinning. Meat is a large part of his diet, a gift he shares with his community. The artist views these acts to honor the animals enabling their Spirits to visit again. He has demonstrated the technique of skin sewing seal and sea otter fur by hand at Southeast Alaska Indian Cultural Center, Sheldon Jackson Museum, Alaska State Museum, and to Alaska Native youth. Each stitch binds the human world closer to the animal world.
Under his fashion label Shaman Furs, Williams carries on the historic art of elegant and simple textile construction built to endure the Alaskan elements. The artist views fashion as telling a complex story in the simplest way. In 2015 he presented at New York Fashion Week and was profiled in The Guardian. His first runway show was at Brooklyn Fashion Week, 2016. Later that year, the New York Times chief fashion critic, Vanessa Friedman, published an article on his work titled “Is All Fur Bad Fur?”. Williams completed a Rasmuson Foundation Artist Residency at Santa Fe Art Institute, and has guest lectured at Yale University, Portland Art Museum, and 516 ARTS.
Ryan Feddersen (Confederated Tribes of Colville)
Ryan Feddersen (Confederated Tribes of the Colville Reservation/Okanogan/Arrow Lakes) is a Seattle based artist who creates multi-layered environments and interactive sculptures alongside intimate studio work. Her art is tongue-in-cheek, with a pointed message by providing opportunities for a re-examination of shared histories through humor and fun, and hands-on engagement.
Hypocrisies and injustices in contemporary American culture in regard to race, class, and gender- through a historical, cultural, and urban lens are often addressed in her work. Feddersen received a Bachelor of Fine Arts from Cornish College of the Arts in 2009, graduating Magna Cum Laude with concentrations in painting, print art, drawing, and sculpture. She has created large-scale interactive installations and site-specific pieces for regional museums and arts agencies including the Seattle Office of Arts and Culture, Tacoma Art Museum, MoPOP(EMP), The Henry Gallery, Spokane Arts, and the Missoula Art Museum.
November 6- December 6th, 2017
Athena LaTocha (Hunkpapa Lakota/Keweenaw Bay Ojibwe)
Athena LaTocha, born in Anchorage, Alaska, is a painter interested in landscape, land art, and earth excavation. She has been working in the arts for nearly 30 years. Her work has been shown across the country in places such as the CUE Art Foundation, Artist’s Space, Wilmer Jennings Gallery, Chelsea Art Museum, New York State Museum, the Dahl Art Center in South Dakota, the South Dakota Art Museum, and the International Gallery of Contemporary Art in Anchorage, Alaska. Most recently, she had a solo exhibition at the IAIA Museum of Contemporary Native Artsin Santa Fe, 2017.
LaTocha received her Bachelor of Fine Arts degree from The School of the Art Institute of Chicago, and a Master of Fine Arts degree from Stony Brook University, New York. LaTocha is a 2016 recipient of the Joan Mitchell Foundation Painters and Sculptors Grant. Additionally, she was awarded the prestigious Robert Rauschenberg Foundation Residency in 2013. The artist held a full fellowship at the Vermont Studio Center, and was the artist-in-residence at Chashama at the Brooklyn Army Terminal in New York from 2008 to 2015. Currently she divides her time between New York City and Peekskill, New York.
Frank Buffalo Hyde (Nez Perce/Onondaga)
Frank Buffalo Hyde (Nez Perce/Onondaga Nation, Beaver Clan) was born and presently resides in Santa Fe, New Mexico. He uses American icons to explore the miscommunication of cultures. Hyde often turns stereotypical imagery of the “Indian” on its ear with his own brand of satire. Over the past decade he has had numerous sold out shows and his work has been collected by many American museum and public art collections. In 2013, a suite of thirteen paintings titled SKNDNS- Native Americans on Film was purchased by The National Museum of the American Indian. Buffalo Hyde has shown internationally, including a summer and fall 2012 exhibition of contemporary art in Russia; and in galleries in Japan, Chicago, New York and San Francisco. He has been an artist-in-residence and exhibited at the IAIA Museum of Contemporary Native Arts in Santa Fe and at the University of Virginia’s Kluge-Ruhe Aboriginal Art Collection. His most recent solo exhibition, I-Witness Culture is at the Museum of Indian Arts & Culture, February 2017 to January 2018. Buffalo Hyde attended IAIA in 1993 to 95 and the Santa Fe Art Institute in 1996.
Jason Brown (Koyukan Athabascan)
Jason Reed Brown is a blacksmith artist who was raised between the urban and rural landscapes of both the Pacific Northwest and Alaska. Living in the Alaskan wilderness produced memories of the land and family, a contrast to life in the city. His designs come from a desire to combine his lifetime of exposure to Northwest Coastal art and city lifestyle. The artist involves the principle of “translating” Northwest Coastal Native art into the medium of metal through the principles of blacksmithing. His sculptures are hammered into shape and/or bent, riveted and welded together. Previous to attending the Institute of American Indian Arts, Brown worked as a tattoo artist and muralist. While at IAIA, Brown discovered a passion for sculpture, specifically metal sculpture. During the summer of 1998, Brown assisted world-renowned blacksmith artist Tom Joyce on various projects including the Albuquerque art museums’ Rio Grande Art Gates. His experience working with Joyce was a critical factor in his understanding of utilizing iron as an artistic medium. Brown graduated in 2001 from Turley Forge School of Blacksmithing.
Wanesia Spry Misquadace (Fond du Lac Ojibway)
Wanesia Misquadace is a master at the art of birch-bark biting, a traditional art form to which she gives a contemporary context by using the patterns as templates for jewelry and combining the birch bark panels with metals and stones. The result is a new style of birch bark baskets with wood, metal and precious stones. World renowned master metalsmith artists such as Lane Coulter and Fritz Casuse have been her mentors and teachers. She attended Graduate school at the University of Madison Wisconsin in Art Metals and 4-D Art and Technology programs. Previously, Misquadace completed her undergraduate studies at the Institute of American Indian Arts, in Santa Fe, New Mexico and earned a BFA in Museum Studies/ Studio Arts in 2005. She also completed an AFA in three-dimensional studio arts in 2002. The work of Misquadace has been featured in the traveling exhibition Mni Sota: Reflections of Time and Place, as well as a traveling show organized by the Museum of Art and Design New York titled Changing Hands: Art Without Reservation 3, and the Chazen Museum in Madison, Wisconsin. Currently she is an Assistant Professor in metals and woods at Arizona State University.
Artist-in-Residence Program Director and IAIA Associate Dean Dr. Lara M. Evans (Cherokee Nation) remarked: “We often think art is created in solitude. But that’s not necessarily true. The artists participating in the residency program are coming to make art as part of a community. It’s a chance to come together, to share creative processes and the meanings behind their materials and techniques. It’s chance to experiment, too. Each artist brings something new to the community, and we all become part of the history of the new work artists create during their residencies. It’s very exciting!”
For questions regarding the A-i-R program, or to interview any of the artists, please contact Lara M. Evans at 505.424.2389 or [email protected]
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