Apr 30, 2011 | Class Act, Honoring Others, Latest Art Projects, Tlingit Culture Accentuated, To See or Not to See, Uncategorized |
The following is my Finals Project for my Art Appreciation online class this semester with the University of Alaska Southeast with Professor Karen Meizner from Sitka/Haines. We were instructed to create our own online museum exhibit, with at least 12 works of art. (In my opinion, it’s like we are playing “curator” of the exhibit, oh boy!) With the guidelines kept in mind, I explain my choice works of art, why the works are appealing, and how it affects my personal and/or business life, and my personal “vision.” I describe the relationships these works have with each other and why I have placed the particular objects near or far from each other, including descriptive labels (for the imaginary exhibit and in this case, for my virtual audience), and what I expect my audience and I will gain from this exhibit.
A full-time artist for almost 35 years, I have worked in a variety of mediums, most recently painting and collage. Throughout the years, naturally I have been inspired by a variety of artists such as Haida artist Robert Davidson, Tahltan Tlingit artist Dempsey Bob, Haida artist Delores Churchill, and Tlingit Chilkat weaving teacher Jennie Thlunaut. These artists helped set the traditional foundation of my work from which I sprang into creating contemporary works. In the late 1990’s I began to dabble in painting and collage, introduced by my friend and artist, Cecil Touchon. I have worked in the style of Tlingit Northwest Coast form line art in silkscreened images, Native ceremonial regalia in Chilkat and Ravenstail weavings, button blankets, and cedar bark weaving. Cecil’s cubist-style works were inspiring and encouraged me to take a leap into creating cubist-influenced Northwest Coast paintings.
This exhibit leads the viewer to experience the influences of Tlingit and Western cross-cultural blends and the influence of other artists’ work in my present day work featuring 5 contemporary pieces. I feature seven artists 2 works each who have, and continue to, influence my present-day and future work. Six are presently living, some of which I personally know; others include colorful works by German Cubist nature artist Franz Marc (1880-1916) and I aspire to create works incorporating the style of South American artist Teodoro Reque Liza, where I want to learn how to bring more fractured light and geometry into my paintings and collages. Innovative Tlingit glass artist Preston Singletary introduced the glass medium to Native American artists; Nick Galanin also followed suit by introducing computerized digitally-cut masks made from books and Paul Bond’s oils on canvas paintings portray the spiritual essence and livelihood of human kind. As I mentioned earlier, this exhibit is an example of how a variety of other artists’ work influenced my becoming a contemporary painter.
What do all these artists have in common? 1) Vibrant color, textures and obvious fine talent; 2) Leading edge as a pioneer in their style during the time they “came out” of the woodwork; 3) Courage to experiment and put themselves out there; 4) A sense of playfulness included with a level of spirituality; and dedication to their families, work, community and nation.
I also include a sketch of the floor plan design for the exhibit. The works of art is displayed in a simulated traditional clan house, with the opening at one end, and the triptych painting serves as a “house screen” at the opposite end. Three levels of wood flooring step down to the simulated “firepit” in the center of the room where the “smokehole” (skylight) cast natural light onto the firepit. Additional track lighting casts beams of light criss-crossing the main shaft of natural light from the “smokehole” above. (See exhibit floor plan shown below for more detailed information on exact exhibit layout and lighting design.)
Welcome to my exhibit where I honor those who have helped lead me to where I am today as a traditionally contemporary artist, and the direction of where I wish to go with my imagery. I also include links to view the other artist’s websites. I present you the artists and a small sampling of their work. – Thank you for visiting.
"Hoisting Our Dreams Into the Light of Another Sun" by Paul Bond - 36" x 48" oil on canvas - 2011 - inspired from a line from a poem Paul wrote: "Ladened with the weight of a thousand squandered opportunities, we hoisted our dreams intot he light of another sun." It is about the dichotomy of our dreams as both the burdens, as well as the things that make our lives worth living. Every one of us has unrealized desires. When they are ignored or not followed out of fear that we cannot achieve or don't deserve them, our lives are tethered to an unfulfilled burden. On the contrary, when we pursue those dreams they immediately lift our spirits and give new meaning to our lives in unimaginably miraculous ways."
"Birthing A New God" - Paul Bond - oil on canvas - 48"x48"
Paul Bond’s images can evoke immediate responses of happiness and mysterious wonderment putting the viewer in touch with the spiritual aspect of life creating a pure communication between artist and viewer. His painterly style is similar to Norman Rockwell yet Bond incorporates symbolic images with less components in the overall composition. I have kicked myself time and again when I once had the opportunity to purchase an original painting when I first met Paul in the late 1990’s in Colorado during a dinner party for local artists in the area. For larger views of the above images and read about Paul, please visit his website at: www.paulbondart.com
"Blue Horses" - Franz Marc - oil on canvas - 1911
"Rain" - Franz Marc - oil on canvas
Cubist artist Franz Marc was born in Munich, Germany in 1880. He is best known for the intense nature mysticism of his colorful oil paintings of animals. Marc’s “Blue Horses” is one of my favorite images with the powerfully simplified, rounded outlines of the horses echoed in the rhythms of the landscape background creating a unified composition. I was first introduced to Marc’s work when I visited a museum in New York City and was struck by his magnificent original painting, “Stalls.” I immediately bought a book of his work; Franz Marc inspired me to paint! A few years later, for an art class painting assignment, we were given the task of reproducing our favorite artist’s work on canvas. I chose to paint “Rain.” In the process, I learned so much about cubist design concept, choice and blending of colors, how to create textures and to play with technique to evoke emotion and mystery.
"Fusion Series 3054ct11" - Cecil Touchon - mixed media collage - 7"x5"
"Fusion Series 2999ct10a" - Cecil Touchon - 2010 - mixed media collage - 8" x 12"
Cecil Touchon mixed-media collages employ the use of new and antique papers and posters, maps, reject art prints and antique scripted ledgers, with a touch of color pencil or paints for shading and depth. His bold, graphic style and playfulness lends one to believe that “hey, I can do this too!” (it worked on me…) – and this is the basis of his intent; he wants to show the world that what he can do, anyone can do too and actually make an income! Cecil also works in acrylics on canvas, sometimes painting very large murals in a modern cubist style. He recommends artist create at least one piece of art per day even if it is just a simple sketch; it is part of his philosophy and the way he sees it, you just never know when the work will eventually put the bread and butter on the table. It was Cecil’s encouragement with my first painting lesson that led me into the world of becoming a painter. You may visit Cecil’s extensive website at: www.ceciltouchon.com
"Subtle Forms II" - Teodoro Reque Liza - oil on canvas - 39.4" w x 31.5" h - 2010
"They're Off" - Teodoro Reque Liza - 28.7" x 46.5" - oil on canvas - 2010
Teodoro Reque Liza’s work invokes a “coming home to” emotion with spirituality. It’s as if his paintings reflect a world that actually exists all the time, we are just not aware of it like this painter. He definitely employs a simple graphic sense profound in color, tones, hues and shafts of light – always with shafts of light! Each image has a focal point, a vantage point or a horizon, simple in context and composition yet powerfully moving. I discovered Teodoro’s work on line as I was roaming the internet (which I rarely ever do) to see what other modern cubist-influenced artists are out there. Teodoro is from the land of the Andes. His images reflect the cross-cultural influences of this modern day. Yes, I aspire to meet this artist one day as I aspire to learn more how to paint in his style.
"What We Have Become" - Nicholas Galanin - book pages - 2008
"Imaginary Indian" - Nicholas Galanin - porcelain, wall paper, red cedar bark - 2010
Nick Galanin is one of the few young, Northwest Coast Native artists who is taking the art form style into another dimension and modality. Strong in his quiet and modest mannerisms, his work always twists the minds of fellow artists, the Native community members, collectors, gallery owners and museum staff. His work is true to Northwest Coast style and form combining traditional materials with non-traditional as in the mask made with book pages or the use of wall paper. Nick was one of our artist panel speakers at our Northwest Coast Artists’ Gathering 2008 in Juneau, Alaska. His manner of speaking is as eloquent as his works in any medium he works. You may visit Nick at: www.nicholasgalanin.com
"Oyster Catcher" - Preston Singletary - 20" - 2005
"Bentwood Box" - Preston Singletary - approximately 28"w x 20"h x 11"d - 2004
Back in 1980, Preston Singletary’s glass “cedar hat” hit magazines and newspapers throughout Alaska and Washington State. He takes traditional art forms and creates them in glass. Nobody had ever done this before. Like Galanin, he too has expertise in the traditional form line art as well as the medium he chooses to work; his design work always has a story to tell – the process of how he creates his work, in itself, is always a story to tell! Preston’s glassblown images reflect the innovation of modern-day influences using a modality not customarily traditional. The photographs of Singletary’s work is a work of art in itself with the directional lighting casting shadows where need be to provide the viewer the depth of the “carved” surfaces of the glass work. You may visit Preston’s work at: www.prestonsingletary.com
Below are all works completed between 2000 – 2005. They are my very first paintings on canvas (except for the traditional button robe which is shown as example of traditional art inspiring the contemporary painting). Again, the intentions of including my works in this exhibit is to show my audience the variety of influences from other artists.
"Emergence" acrylic on curved canvas - Clarissa Rizal - based on button blanket robe of the same name - 2000
"Emergence" button blanket ceremonial robe - wool appliqued on wool w/mother-of-pearl buttons - 1992
"Totem Theory I & II" - acrylic on canvasses (there are two identical) free-standing "totem pole" - Clarissa Rizal - 6' h x 28" w - 2001
"Tlingit World Series (TWS) #052 - Clarissa Rizal - mixed media collage - 7"w x 9" h - 2001
"An Ocean Runs Through Us" triptych acrylic on canvas - Clarissa Rizal - 30"h x 10' w - 2005
As stated earlier in this post, below is the floor plan layout for the exhibit. The works of art is displayed in a simulated traditional clan house, with the opening at one end, and the triptych painting “An Ocean Runs Through Us” serving as a “house screen” at the opposite end flanked by the two totem poles “Totemic Theory I & II”. Three levels of wood flooring step down to the simulated “firepit” in the center of the room; the firepit is represented by Preston Singletary’s yellow “bentwood box”. The above “smokehole” (skylight) casts natural light serving as a spotlight for the art in the center of the room; additional track lighting casts beams of light criss-crossing the main shaft of natural light from the “smokehole” above; the criss-crossing of the light reflects the cubist-style paintings of shafts of light and color. The “Bentwood Box” firepit is surrounded by Singletary’s “Oyster Catcher”, Galanin’s Raven mask and book pages mask, each set on pedestals. On the walls are the paintings and collages by the other artists. Each painting is lit by an oil candle resting on a small shelf just below the painting. Here’s the floor plan layout:
Exhibit Floor Plan of the Simulated Clan House - color coded... Violet: Paul Bond - Green: Cecil Touchon - Blue: Franz Marc - Red: Teodoro Reque Liza - Orange: Nicholas Galanin - Yellow: Preston Singletary - Gray: Clarissa Rizal
Thank you for imagining this virtual exhibit with me, and thanks for visiting!
Apr 27, 2011 | Latest Art Projects, Showing Off |
Mendenhall River Walk - December 2010 - Nikon Coolpix - no Photoshop; added black border - (I like this image very much; I use this image as my screensaver)
After taking my first (digital) photography class where we learned how to play with the variety of tools Photoshop has to offer, I prefer not to tamper with my photographs. I think Photoshop is a really cool tool and I enjoyed learning what I gained in this class, yet I guess I am from the “old school”; what I see is what I get. So the following 10 photo images submitted for my Finals project of this portfolio, unless otherwise noted, have been tampered with as little as possible (noted at the bottom of each of the ten images). Nature images begin the sequence ending in images of significant human beings. Thanks for visiting!
An oil on canvas painting propped on a lawn against a tree in Stanley Park, Vancouver, B.C. - January 2011 - Lumix Panasonic DMC-LX5 - cropped out skyscrapers in the background, small adjustments in hue & saturation, narrow black border
Who’s Rissy Rizal? That’s my “aka” photographer’s name.
Chilkat Range shot from Eagle River Beach during sunset - September 2010 - Nikon Coolpix - small adjustment in hue & saturation, no crop, black border
Chilkat Sunset from Boys Scout Camp, Eagle River Beach - August 2010 - Nikon Coolpix - light hue & saturation, no crop, black border
New Mexican cattails - April 2011 - Nikon Coolpix - Photoshopped "painting on canvas", no crop - black border
Tim's 53rd B-day - February 2011 - Lumix Panasonic DMC-LX5 - cropped top & bottom, adjusted levels, black border
Easter Buddies Bette & Violet - April 2011 - Nikon Coolpix - Photoshopped using "sketch" technique, sepia tone, no crop, black border
Violet Is A Doll - January 2011 - Lumix Panasonic DMC-LX5 - cropped, tampered with Photoshop's brightness/contrast, blur tool to create softness, black border
Portrait of Amelie - January 2011 - Lumix Panasonic DMC-LX5 - cropped, Photoshopped slightly with hue & saturation, black border
Bette Bird - February 2011 - Lumix Panasonic DMX-LX5 - slight crop, slight contrast/brightness, black border
This online class was offered by the University of Alaska Southeast in Juneau “UAS Art 222: Digital Camera Photography” taught by Photographer and Professor Timothy Schroeder, San Juan College, Farmington, N.M.
Apr 26, 2011 | Acting Out and Musical Chairs, Honoring Others |
Violin Virtuoso Gilles Apap
“Hailed as a true violinist of the 21st Century by Yehudi Menuhin, Gilles Apap is a classical violinist who is in great demand as a soloist with orchestras around the world. Among many are the Leipzig Gewandhaus Orchestra, Israel Philharmonic, Boston Philharmonic and San Francisco Symphony. He has also become widely known for his extraordinary ability to integrate a variety of musical genres. Gilles not only crosses boundaries, he unites music with his distinct talent for incorporating styles of music as diverse as American oldtime, Irish, and Gypsy fiddling, with the standards of the classical repertoire.
Born in Algeria, Gilles Apap was raised in Nice, France, where his violin studies commenced with Andre Robert. He continued his education at the Conservatoire de Musique de Nice with Gustave Gaglio, and then at the Conservatoire National Superieur de Lyon with Veda Reynolds. He traveled to the United States to attend the Curtis Institute of Music, and chose in 1986 to live in California, where he still resides. He was later appointed Concertmaster of the Santa Barbara Symphony Orchestra and served in that position for over a decade.” (to read more on Gilles, please visit Gilles’ website at: www.gillesapap.com)
So what’s guy like this doing in a little ho-dunk capital city of the most beautiful state in the Nation?
Well, it started out when local musician Lis Saya met Gilles back in the early 90’s…and that was that! With the hard organization work of Lis to benefit the Alaska Folk Festival, he has performed here in Juneau several times. Finally, due to my return to Juneau and my schedule working out, I got to see Gilles perform last Friday the 22nd at the Northern Lights Church; what a treat, that guy is pretty dang goooooood!
Opening (comedy) act and M.C., Collette Costa
I don’t know much about Collette except that she (next to my sister, Dee), can make people laugh. I have no idea if she gets up on stage with an idea of what she is about to say or she just shoots from the hip with spontaneous combustion of the practical sorts – (I’ll never look at another Bible the same way again!) Collette was the opening act M.C. for Gilles – I know you might ask the question of “how does her comedy act coincide with a violin virtuoso?”… – it doesn’t! And that’s just the fun of it! In my opinion, her act was perfect because it’s just what Gilles would want in the first place anyway for his opening act cuz he’s IS that: fun!
A "normal" image of Gilles
Gille Apap Trio (L to R: Gilles Apap, Chris Judge & Brendon Statom
Guitarist Chris Judge
A wonderfully, lively, uplifting concert! - Next time they come to town (next Spring?), you must attend!
Note: You may ask yourself: why does Clarissa post things like concerts, plays, funerals, other artists’ presentations, art shows, etc. on her blog when they seem to have no direct correlation to the work she is doing as an artist? Hmm….that’s what most people may think. However, the things I post on my blog DO HAVE A DIRECT CORRELATION TO MY LIFE AS AN ARTIST! How? These things affect my spirit, and can have direct affect on my life, which of course, can inspire me, depress me, anger me, or make me feel great love, and in turn, affects the work that I create and produce!
Apr 24, 2011 | Health and Wellness, Honoring Others, North Tide, Tlingit Culture Accentuated |
Subsistence gatherer Helen Watkins' - the photos to her right are her relatives including her mother, grandmother and an image of the cabin off of Mud Bay Road in Haines, Alaska where she would spend the Summers gathering the abundant variety of indigenous foods
Helen Watkins’ presentation on subsistence foods of the Tlingit in Southeast Alaska was a real hit which included information on gathering and preservation, a raffle for a number of jarred items including soapberries, smoked salmon, blueberry jelly, etc., AND a fantastic luncheon. This presentation was held at the University of Alaska Glacier View Room and was part of “The Art of Place” cultural series sponsored by the UAS coordinated by UAS English Professor, Ernestine Hayes.
Kathy Ruddy tries the fluffy, whipped soap berries
An essay from the Tundra Times, the following on Native Subsistence Rights was the handout at her presentation:
“NATIVE RIGHTS”
Central to the issue of Native Rights is the fact that Tlingit, Haida and Tsimshian cultures exist today as viable human communities. these cultures have not disappeared into history textbooks or museum shelves. each culture is composed of human beings who share attitudes, values and social patterns giving meaning and identity to the lives of individual members. food and its acquisition are involved by a culture’s value system and are considered important to a group’s survival. consideration of Native Rights as they concern wild vegetable foods requires that one respect the importance of wild foods to the cultural survival of Native groups.
Approximately 50+ folks showed up for the presentation; this image shows a small percentage of the eager and hungry audience
Attitudes, values and social patterns affect which foods are considered desirable, how the foods are prepared and in what manner served. native cultures are functioning communities: the importance of indigenous foods can be witnessed at Indian parties, celebrations,funeral gatherings, ANB and ANS social functions as well as in individual homes throughout Southeast. some of the vegetables included in this publication are important foods for Native people of Southeast: these foods contribute to cultural identity and traditions..
A stock of jarred goodies include soap berries, beach asparagus, smoked salmon, blueberry, raspberry and nagoonberry jams, to name a few
In the past, indigenous foods of Southeast Alaska provide for more than cultural identity: the foods made possible the vigorous existence of Native people. The journals, diaries and logs of explorers, traders and missionaries who first encountered the Native people of Southeast reported the people as being healthy and robust. The people were also noted for their intelligence in trading and their finely crafted material possessions. The Native diet provided for basic nutritional needs through utilization of indigenous plant and animal foods. Studies by social scientist, conducted primarily during this century, demonstrate an extensive knowledge of plant and animal resources by Native people. From their knowledge of the natural environment, Native people were able to effectively provide themselves with the necessary requirements for bodily growth, maintenance and well-being.
Photographs of Native raw or prepared foods
Much of the original knowledge concerning Native plant foods seems to have disappeared. The loss is directly attributable to the take-over of the land by non-Natives. As contact between Native and non-native cultures increased, change was inevitable; the Natives’ control of the environment was slowly taken away. Some changes were beneficial and offered material improvements. but for the most part, new changes weakened established cultural patterns, creating an unhealthy stress for Native people. In the transition, old knowledge of how to live off available plant resources became less and less important to survival. Learning how to adapt to a new economic system became more important for individuals and groups. Increased exposure to new technology, processed foods, alcohol and commercial goods created new pressures, changing aspects of Native culture along with its relationship to the natural environment.
Based on the decline in everyday use of wild vegetables and in the few species still collected, knowledge of plant foods seems to have suffered in the process. It is, however, the remaining knowledge and use of plant food which is important to contemporary Native identity. Some old patterns of plant food utilization have outlived the onslaught of westernization.
Micaela Kunz gives Helen a hug after winning a jar of precious smoked salmon in the raffle
Recognizing the contribution of Native food to cultural identity involves a concern for acquiring that food. Ownership of land affects how the land will be used. The Native concept of land ownership differers from that of the non-native. Native ownership is collective seasonally utilized and concerned directly with land use as a primary food or materials resource, while non-native ownership tends to be private, irrespective of season and to view land in terms of monetary value. Notice the difference in the following two hypothetical statements by a Native person and non-native person speaking about land at Elfin Cove.
Native: “Elfin Cove is where my family goes for summer camp. We collect our food there: fish, berries and roots that we need for winter.”
Non-native: “I own five acres of beach front property in elfin cove right beside a small salmon stream. I am going to build some rental units there.”
Both individuals have a sense of ownership over the land and both will use the land but in different ways. These two types of ownership have not proven able to co-exist to the mutual benefit of both cultures. The non-native culture has developed a stronger political and economic base and so largely controls land use. Consequently, Native use of the land as food resource has suffered; the availability of indigenous food has been limited.
Helen creates a subsistence salad with the help of an audience volunteer
The manner in which Native people traditionally practiced gardening further reflects their concept of land ownership. Large patches of fireweed and red clover were cleared of debris and harvested carefully so as to allow for regrowth during the following season. These plots, found throughout the tribe’s territory were the property of either the entire village, a specific clan or perhaps an individual household.
Native rights, as considered in this publication, involve recognizing the importance of Native foods to cultural survival and honoring Native land use patterns. These patterns reflect Native rights to acquire indigenous foods. Respect should be based on an understanding and acceptance of the values and traditions of the Tlingit, Haida and Tsimshian people of Southeast Alaska. Respectful attitudes should be extended into respectful behavior. the person who intends to use this material to teach should seek the approval and guidance of Native elders before exposing the food resources of an area. too often native people have lost a valuable food resources of an area. Too often Native people have lost a valuable food resource because of thoughtless non-native ownership. Wild vegetables are a sensitive issue with many Native people because of the threat to an aspect of their cultural heritage. Respect for Native rights means: 1) being sensitive to Native culture; 2) accepting the differences, and 3) seeking approval and guidance from Native elders in the community.
I only ask of you that if you do pick from the land, you do so with the thought of us: the Alaskan Natives who live off the land. Thank you.”
— Helen Abbott Watkins
The cross-cultural explosion of a fantastic feast!
Thank you, Helen for keeping up the traditions of our people, sharing your knowledge, sharing your hospitality and sharing your food! We appreciate every bit and bite!
Apr 22, 2011 | For Crying Out Loud, Honoring Others |
Bobby Vonda's bass guitar graced with bouquets
Probably the last time we spoke to one another was about 45 years ago when we were in Mrs. Berlin’s 5th grade class. Every school day, we’d run home during lunch hour. He lived off of Gastineau Avenue and I lived off of Carrol Way at the very end of Gastineau Avenue. After eating a quick lunch, on my run back to school Bobby would wave me down and yell out my name to wait up for him. We’d walk back talking, talking, talking. He sat in the row to my right. During art classes, I’d show him my latest drawing tips from my father. During music class, he sang best, always with that big smile. Funny how he grew up being a musician, I grew up being an artist. Funny how we really hadn’t changed much.
I remember a loving, spirit freely flashing a quiet kind smile, a young gentleman and always helpful at the drop of a hat. A few years ago, when I was thinking of childhood friends, I thought of Bobby; suddenly it hit me that the 10-year-old was sweet on me – a sweet innocence! I didn’t even realize this until I was almost 50!–Goodness!
It wasn’t until attending Bobby’s memorial service last night that I was reminded he was a bass player with his brothers’ band and had played music all his life. I forgot he could play pool. I forgot his father was Filipino. I forgot he was married and had a family. I didn’t know he was a Grandfather. Reading his obituary, I was reminded of that 10-year-old running with that free compassionate spirit. It was sad for me to realize we did not grow up as lifelong friends – we had a lot in common: I’ve played music, I was once a pool shark, my father was also Filipino and I was also married with a family and am now a Grandparent too.
The following is his obituary taken from the memorial service’s program:
“Robert Joseph Vonda was Raven/Beaver; Deisheetaawn, Dei shu hit. He was a member of the Central Council of Tlingit and Haida Indian Tribes of Alaska, Sealaska Corporation and Goldbelt Corporation.
Bob completed his GED. He worked with the Forestry Service, then with a local restaurant as a dishwasher and as a Musician which became his top job. He learned how to play his guitar with his brothers and they formed their own band called “The Vonda Brothers.” He also played in a number of other bands with his friends Stan Brown and John Peterson and then with his beloved brother Nicholas Vonda where he enjoyed traveling to Sitka and being with him for weeks at a time; they became “Nick at Night.”
Bob enjoyed all the different seasons especially fishing from the beaches and walking along the shores collecting any interesting item he could find. He fell in love with Hoonah and was truck by the beauty and its surroundings feeling very comfortable in their regular visits back and forth. He received one the of his highest honors during his last trip to Hoonah and was invited up with the tribes to hold the Bear Hat over his loving spouse Myrna’s head during their recent loss of Tony.
Bob was known to family as Bobby too. He had and loved three other special women in his life; his momma Ella, his daughter Becka and his granddaughter Hailey who is portrayed in their room. An important quality Bob had was that he was not ashamed to show emotions and would cry and share tears during happy and sad times. He would hold photos to his chest and talk with them. He shared many times that one day he would be with his dad, his children and with his brothers. I am sure that he is probably playing his bass guitar with his brothers and making his dad and children smile.
Bobby loved all his family; his sisters Jo and Jan. He remembers and still played and sang “All I Have To Do Is Dream” remembering his sisters so his grand kids learned many older songs listening to him. He loved his nephews and nieces always making them feel special; making them laugh or just enjoying a game of pool with them. He really loved Nick, Donna, Bev, Ramon and Jason’s company. He even has catch phrases that all the older grandchildren can recite like “Girls, girls I told you time after time but noooo…” Whenever they did this it made him laugh.
Bob was a well-loved man; a remarkable person and someone we will miss and treasure as he left an imprint on our hearts. He had a genuine spirit and loved life to its fullest.”
Pallbearers: Bruce Nelson, Jordon Sharclane, Robert Sharclane, Jason Vonda, Nick Vonda, Jr., Clifford Brown, Franky Brown Honorary pallbearers: Beatrice Brown, Alfred McKinley,Sr., Marjorie Buckner, Pat Owen, Ben Coronell, Cyril George, Sr., Andy Gamble, Paul marks Guest Receptionists: Ellen Sharclane, Jenny Sharclane, Audrey Brown
Apr 18, 2011 | Acting Out and Musical Chairs |
Sales table at the 37th Annual Alaska Folk Festival featuring T-shirts, mugs, caps, stickers and the program guide!
“Once again the musicians, dancers, callers, performers, volunteers and sound technicians have worked hard through the cold, dark winter months to bring this week of fun-filled merriment. AFF had our share of set backs and tragedies this year, not the least of which was the loss of our sound engineer, Warren Argo, but in spite of it all we pulled it together once again to bring you the annual event that heralds spring and puts smiles on the faces of all who attend. From one night at the Alaska State Museum (in 1974) to the week-long string of concerts, dances and workshops, the Alaska Folk Festival has grown into a delightful musical smorgasbord with something for everyone!” – Greg McLaughlin, President, AFF (Note: Greg has been the AFF for approximately 15 years – let’s give a big hand to Greg and every volunteer throughout the years: clap, clap clap, clap, clap…!)
While 15-minute per performance are going on in the main hall, musicians play in the lobby and children are hula-hooping on the lawn
Local musician Leif Saya
At the Thursday night dance bands, The "C" Notes (aka Danny and the C-Notes) Danny Constanstine with friends John Hartle, Bob Banghart, Jeff Bridges, Clay Good (and I apologize I do not remember the others' names)
Cutting loose at the dances (Thursday, Friday and Saturday night dances at the JACC - Old Armory)
MC and 37-year festival member and performer, Jeff Brown
Buddy Tabor and friends - If I am not mistaken, I think Buddy has been performing every Folk Festival since the very 1st one in 1974
Buddy Tabor fans sing along
Jerry Fiscus & Friends Tom Paul, George Trani and Lis Saya
Musicians continue to play and play and play whether on or off the stage! - Here we have the elders teaching the up and coming new performers of the next generations
Apr 13, 2011 | Adventures of Rear-Mirror Rissy, Latest Art Projects, North Tide, Showing Off |
"Icebergs"
Lis and I have been friends for about as long as our eldest sons’ age (who are also friends): 35 years. Wow, 35 years seems like a long time, but it really isn’t. So what does Lis have to do with the Folk Festival poster? Lis lead me into designing the 37th Annual Alaska Folk Festival poster.
Last Fall, Lis and I were thinking about the Alaska Folk Festival’s request for their annual folk festival which always happens in the early Spring. 2011 would be the 37th year. Being recently divorced, with a large divorce debt, she encouraged me to make a few dollars creating this year’s Folk Festival poster. We threw around a few ideas. Lis insisted on having something that reflected the unique environment of Alaska – like glaciers, bald eagles, spectacular mountains, big rivers, etc. She mentioned icebergs that have musical instruments sticking out of them…and as soon as she said that, I exclaimed “hey, what about icebergs that ARE the musical instruments!? That’s IT!” For a moment, we stared at one another, then laughed…I give her the credit.
The 37th Annual Alaska Folks Festival poster design by Clarissa Rizal - April 2011
In the 1980s to early 1990’s, my ex-husband and I used to hand-silkscreen the Folk Festival posters, a limited edition of 200. He was the designer, I was the assistant printer and would occasionally consult with him on the designs. The last poster he designed was for the 25th Folk Festival (12 years ago), a design influenced by the Russian-orthodox icons, a Raven playing a balalaika – the painting was done in gold leaf. You can check out all his old posters on the Alaska Folk Festival website.
Clarissa painting the folk festival poster
The acrylic painting was painted on 300-lb. watercolor paper. I do not consider myself a painter of this kind. Yet, I’ll try my hand at whatever, even if I think I will fail. My daughter Ursala, pointed out that my design perspective was off and I had to tweak it a bit (you can see that in the rough draft below). Painting the musical instruments to look like musical instruments was a challenge; painting a glacier was even MORE of a challenge. This glacier turned out okay, but it just was not up to my sense of par. I think I’ll stay away from painting glaciers…
The rough outline of the sketch presented to the AFF board members to see if they would be interested in seeing the finished product
Opening night of the festival was this past Monday, April 10th; the festival is free and runs the entire week through Sunday, April 17th. There are the usual items on sale sporting the design; all except the mugs and hats. They could not figure out what aspect of the poster to place on these two items so they drafted up nice-looking wording with an image of fireweed. It looks good. The stock of T-shirts, sweatshirts, and even babies’ “one-zies” are going fast. Do not wait until the weekend to buy this year’s souvenir; get down to Centennial Hall as their stock is limited.
If you are like me who likes to dance, their are all kinds of dance bands playing Thursday, Friday and Saturday night’s dances at the Old Armory’s Juneau Arts and Culture Center. Check out the folk festival’s website for the program guide. If you are from out of town, and you want to tune into the music, there is a link from the Alaska Folk Festival website to the local radio station KTOO, otherwise, we’ll see you at the festival!
Apr 13, 2011 | Adventures of Rear-Mirror Rissy, Honoring Others, Latest Art Projects, Showing Off, To Market To Market |
Jennifer Coots Marketing Class - Spring 2011 - Institute of American Indian Arts, Santa Fe, New Mexico
On Wednesday, March 30th, I was invited to present my business’ marketing plan for the Marketing Class taught by Jennifer Coots. I created this marketing plan last year Spring 2010. This marketing plan has helped change the way I have run my business. I also attribute my acquisition of a First Peoples Fund grant to having learned so much about running a business through these classes I had taken at IAIA.
During the Fall and Spring 2010 semesters at the Institute of American Indian Arts in Santa Fe, I completed a 5-course business certificate. I have been a self-employed artist working in a variety of artistic mediums since 1977 and I had not any formal training in the area of running a business. I shot from the hip, attended the school of hard knocks and didn’t ever question why I hadn’t ever taking any classes and lessons…until I took these classes! What a difference!
It was so much fun doing this presentation for this Marketing class. Jennifer distributed a copy of my Marketing Plan to the students; that was pretty cool. Little would I know that a plan I created last year would be an example for other artists in this very same class. I just loved sharing my intentions, my experiences and my success. It’s been a year since I laid out this plan. I have accomplished every marketing method I had outlined in my Marketing Plan last year. (Golly, you’d think I was proud of myself!–Of course I am! Who wouldn’t be!?) When the students asked what my most valuable marketing method has worked for me; I answered: (surprisingly enough) my blog! — And I told them why…
You may be only five courses away from creating a successful business of your own. The Institute of American Indian Art’s College of Contemporary Native Arts is offering a Business and Entrepreneurship Program, to art students and small business owners seeking to develop their business skills and discover their inner entrepreneur. Courses cover issues relevant to artists and Native-owned businesses, but non-Native students and non-art related business owners will also benefit from the business and entrepreneurship certification earned through this program.
Jennifer Coots in her office at the Institute of American Indian Arts
Jennifer Coots brought this program to IAIA; I wish I had been educated way back when I first began supporting my family via my art. I encourage every artist who is serious about making a living doing what they love to do, to do themselves a favor and sign up for these classes IAIA has to offer. The unique thing about these classes is we learn differences in values in Western vs. Native American ways of going about our lives and business, as there are some real conflicting issues that may or can, inhibit us from moving forward with our work.
Learn more about the Business & Entrepreneurship Program: visit IAIA’s website or contact Jennifer Coots at jcoots@iaia.edu or 505-424-2356
By the way, Jennifer Coots lived in Juneau, Alaska pretty near 20 years. She was a fisherwoman and aspired to becoming a musician/singer/songwriter. She got side-tracked when she moved to the Navajo reservation to take care of her mother who was diagnosed with cancer. While living on the reservation, Jenn saw the level of poverty and she wanted to do something about it. She had the idea that the local artists needed to learn business sense, so she set out on a mission to finish her degree in Business and assist her fellow Native American artists to bring up their level of existence, workmanship and craft.
Jennifer Coots’ vision is totally awesome. I would take up her classes again if I wasn’t on to learning more about the art of business while doing the business of art!
Apr 5, 2011 | Adventures of Rear-Mirror Rissy, To Market To Market |
Day 2: 1st People's Fund Business Seminar
In my previous recent blog entries regarding the First People’s Fund Business Seminar for their Artists in Business Leadership grant program, I forgot to tell you about who the heck FPF is anyway! Here’s some info on the folks at First People’s Fund out of Rapid City, South Dakota:
(Unidentified), Carol , Alaina Buffalo Spirit, , Alfred "Twilly" Gosuk,
Founded in 1995, First Peoples Fund’s mission is to honor and support the creative community-centered First Peoples artists; and nurture the collective spirit® that allows them to sustain their peoples.
“Our vision is to communicate to the world the roots and philosophy of Indigenous artistic expression and its relationship to the collective spirit of First Peoples. We will strive to provide support and voice to the creative Indigenous artists who share their inspiration, wisdom, knowledge and gifts with their communities.”
Local Minneapolis photographer, Joseph Allen from Ogema, Minnesota was an invited artist sharing a recent triptych
The main drive behind First People’s Fund is the their hard-working, compassionate, visionary President, Lori Pourier. “Her philanthropy work began at First Nations Development Institute based in Virginia where she served as the Associate Marketing Director. Following her tenure at First Nations, she operated her own marketing consultant business specializing in developing marketing strategies for nonprofit American Indian organizations, multicultural arts organizations and tribal communities. Ms. Pourier served on the Board of Directors of the Western States Arts Federation, the Honor the Earth Fund, the Chinook Fund and the National Indian Business Association. She currently serves on the board of directors for Grantmakers in the Arts and is the co-chair of the Indigenous Resource Network. She also is a board member of the Native Americans in Philanthropy and Red Cloud Indian School. In 1993, she participated in AIO’s American Indian Ambassadors Leadership Program funded by the W.K. Kellogg Foundation. She holds a Masters of Science from Southern New Hampshire University, Graduate School of Business. Nominated by the Ford Foundation, Ms. Pourier was selected for the Center for Social Innovation fellowship at the Stanford Graduate School of Business, a partnership between Stanford University and National Arts Strategies. The Executive Program for Nonprofit Leaders-Arts (EPNL-Arts) honors fifty outstanding arts and culture leaders by selecting them to receive a CSI fellowship for the program.”
Lillian Pitt presents her marketing materials including her portfolio, brochures and resume's
I received one of the Artist in Business Leadership grants from FPF. The purpose of this grant is “to cultivate entrepreneurial artists to a small business level (consistent and reliable income) where business concepts are understood and applied.”
It’s Strategy: “First Peoples Fund selects artists based on demonstrated artistic talent, evidence of possessing the qualities of an entrepreneur, and indication of embodying the values of First Peoples Fund.
This self-directed, independent business arts fellowship is a one-year self-directed program is supported by individualized professional development training, and working capital funds to strengthen their marketing strategies. The fellowship also provides a focus on new work to stimulate creativity and a renewal of energy in Native art expression.”
For more information and eligibility for this grant or the other two they have to offer to Native American artists, visit First Peoples Fund’s website.
Ceramist Shirley Brauker from Coldwater, Michigan demonstrates the using her new iPad which displays her gallery housing all 4000+ images of her life's work
Once you have obtained a First People’s Fund grant, you are automatically eligible to apply for the other two grants they have to offer. I encourage any and all Native American artists to apply for their grants. Once you receive a grant from FPF, you become one of their “family members.” This grant organization is like none other.
Beadwork artist Douglas Limon from White Bear Lake, Minneapolis was another invited, local artist sharing his most recent work
Break out session - notice FPF new publication in the foreground
Theresa, Lillian, Ben and Wade share good laughs with the group
Lunch is served!
Between all three grant categories, there were a total of 13 FPF grant awardees and invited local artists in attendance for this business seminar
Apr 4, 2011 | Adventures of Rear-Mirror Rissy, Honoring Others, Showing Off, To Market To Market |
The "All My Relations" gallery where the First People's Fund business seminar is held
Like I mentioned in my last blog about “Museums: I thought they were like haunted houses”, during the weekend of March 24th through the 26th. I was one of the grant awardees to receive the First People’s Fund “Artist in Business Leadership” program. For three days, several Native American artists from around the country met for a marketing seminar in Minneapolis at the new “All Our Relations” gallery/coffee shop facility.
Justin Huenemann, Director of the Native American Community Development Institute (nacdi.org) explains the American Indian Cultural Corridor in Minneapolis - one of the largest blocks of land owned by Native Americans in the nation; no, not reservations, but actual land-owners for self-governance
I was impressed with the information from the presentations by FPF with our hosts, the Native American Community Development Institute. Visit their wesbite to find out more information about the NACDI.
First People's Fund Program Coordinator Miranne Walker explains FPF's goals and objectives to Stephanie, wife to artist Paul Peterson
The following are images of this year’s FPF artists.
Ivory & whalebone Yupik carver Alfred "Tillie" Gosuk from Togiak, Alaska
All the artists were asked to prepare a 10-minute presentation on where we were from, what kind of work we do, and how we were going to use the funds from our First People’s Fund grant. Since I was sitting at the very end of the table, I was the first to do my presentation. I am fortunate to have taken a Marketing class and an Introduction to Digital Media class at the Institute of American Indian Arts during the Spring Semester 2010. I took pride in presenting some of my marketing tools that I created in my classes: my first brochure, my business cards, and my power point presentation which kind of tells it all.
Basket-weaver Carol Emarthle-Douglas from Bothell, Washington explains her basketweaving technique and materials used to create the exquisite basket in the Power Point
My favorite part about the entire seminar was watching my fellow artists introduce themselves and their work. I am always interested in meeting other artists and seeing their work. (This was one of the main motivators as to why Preston Singletary and I started the biennial “Northwest Coast Artists’ Gathering” in Juneau, Alaska back in 2006.) I was thoroughly impressed with the quality and artistry of each individual’s work. I am proud of my fellow artists. It was an honor to be rubbing shoulders with some of the most influential artists of their communities. I introduce them here:
Cheyenne ledger painter and jeweler Alaina Buffalo Spirit from Billings, Montana
Northwest Coast artist Paul Peterson, Sr. from Hoodsport, Washington specializes in making bentwood boxes
Beadwork and parfleche artist Lauren Good Day Frank from Bismarck, North Dakota
From Hays, Montana, Roni Stiffarm presented the ancient art of drummaking
One of the few Ash bark basket weavers, Kelly Church from Hopkins, Michigan
Wasco Warm Springs artist Lillian Pitt from Portland, Oregon
Birch bark basket maker Sandy Peterson from Lac du Flambeau, Wisconsin
Menominee singer-songwriter Wade Fernandez from Keshena, Wisconsin
To find out information about First People’s Fund there is a part two to this blog entry entitled with the same name, but includes “Part II” to the title…AND there are additional photographs…check it out in next week’s blog entry…
