Jan 30, 2014 | Honoring Others, Relationship Overdrive, Uncategorized |
Lily Lalanya Hudson Hope and her mother, Clarissa – December 2013 – Juneau, Alaskaphoto by Kelly Burnett
The moment Lily was born the morning of January 30, 1980, my condemning, self-judgments began to cease. This thing called “love of self” was felt in every cell of my body; I remember it quite well. I feel this is the gift she gave to her mother and this is the gift she gives to the rest of the world – it is also the gift in and of herself.
Lily is all kinds of things, but first and foremost the past six years, she is a mother of two of my favorite people in the world, Bette (Grandma’s nickname for her is “SikiKwaan”) and Louis (Grandma’s nickname for him is “Ajuju”). She enjoys homeschooling her kids; being a full-time mother right now is her favorite job, though for her sanity, she has her own weaving/sewing/beadworking room!
Lily has done all kinds of jobs, she always went “up the ladder” in no time due to her organizational abilities, her mathematical mind and her love to just be busy making people happy. When she was 18, after only a month, she became the manager of McDonald’s in Pagosa Springs, Colorado; then at 20 she became the Marketing Director for Whole Foods in Santa Fe, New Mexico and a beadwork artist for an internationally-famous mask-maker out of New Orleans. When she returned to her hometown of Juneau, Alaska 10 years ago to help take care of her Grandma Irene, she was led back into her Native roots.
She received her Bachelors Degree from the University of Alaska Southeast in 2005. By way of Perseverance Theatre in Douglas, she became an actress and with the assistance of her Grandpa Bob Hudson attended the San Francisco School of Acting. She also became an award-winning storyteller, winning top awards in the All-Alaska Storytelling competition; she and her husband, Ishmael Hope have performed at the Smithsonian. She got back into Ravenstail and Chilkat weaving and won 1st Place for the 4-piece, child-size woven ensemble in the Traditional Arts category of the Sealaska Juried Art Show. She used to have a website under Lily Hudson, but her name changed when she married Ishmael and she hasn’t gotten her younger sister, Ursala the web-designer to create a new website just yet. Although you can visit Ishmael’s superb website at: www.alaskanativestoryteller.com
Ishmael, Lily and their two children live happily in Douglas, Alaska.
Happy Birthday, my Nina!
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 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!
Mar 25, 2011 | Honoring Others, Tlingit Culture Accentuated |
Local silversmith, Ed Kunz presents his silversmithing and carving at UAS - Juneau campus
Last Thursday, March 17th, Ed Kunz gave a presentation on silversmithing and carving at the University of Alaska Southeast Juneau. The presentation is part of the “Art of Place” artists series. Son of the late Ed Kunz, Sr. and Cecilia Kunz, Ed began carving while living in Haines. His mentor was the late Ed Kasko. Although most silversmiths use an engraver’s block, Ed uses a wax to hold the strip of silver to a modest-sized, wooden board. When he began engraving the Tlingit design into the silver, he said he wanted an engraver’s block like he’d seen other silversmiths use, but with all of its accessories it came close to $100; then a few years later when he thought he could afford finally afford an engraver’s block, the price had risen to almost $500 so he said forget it.
Gold and Silver bracelets carved by Ed Kunz
ANS (Alaska Native Sisterhood) pendant carved by Ed Kunz
Ed has made many pieces of jewelry for his wife, Percy Kunz like the bracelets and pendants above. He usually works on a commission basis and sometimes does trades. I was real tempted to ask Ed if he wanted to trade a small Chilkat bag for one of those gold bracelets. Both of my parents liked jewelry and they both liked gold. I would have a golden bracelet in honor of my parents. Someday.
Ed's simple tdools of the trade
These are pretty much the two carving tools that Ed uses
Ed shows carving tricks-of-the-trade to UAS student assistant Justin
A reminder from the coordinator of the “The Art of Place” artists’ presentation, Ernestine Hayes: “Hello to all with a reminder that wood-carver Doug Chilton will be our visiting artist for our Spring 2011 Art of Place series tomorrow, Thursday March 24, beginning at 10:00 with a talk and discussion by the artist and a dessert potluck at 11:30, with an opportunity to meet and greet Doug over cake and coffee. The event will take place in the Glacier View Room.
On Thursday April 7, we will be visited by Florence Sheakley, who will share her knowledge on beadwork and button blanket-making and show some of her work (including a button blanket she made for me).
Please come to one or both events, and please remind your friends, students, and neighbors to come as well. We really appreciate your support for this important series!
Finally, please remember that our last event will take place on April 21 with Helen Watkins, and will feature a full potluck. We’re hoping for herring eggs! Gunalcheesh!
Coordinator Ernestine Hayes thanks the audience for coming out and supporting the artists!
Feb 27, 2011 | Class Act, Latest Art Projects, To See or Not to See |
Brother Rick lights candles for Tim's 53rd birthday - the composition of this photo fell into the "3rds" category
A point-and-shoot kind of gal, I’m stepping into a whole nuther ball of wax taking this online course through the University of Alaska Southeast, and I tell ya, it is so much fun. Sure I have to learn to read my new camera manual, sure I have to read instructions on how-to techniques that I never learned before in Photoshop, sure I’m frustrated with all the gizmos, icons and settings that I gotta figure out in this digital world; these are things that I have resisted doing most of my life. I don’t want to read manuals and instructions; I just want to get out there and shoot. Who’s got time to mess around with instructions!? Gee, believe it or not, I do. I want to learn; i want to expand my horizons, and have fun!
Two Brothers and Mom; this composition also falls into the "3rds" category - this was a powerfully emotional moment for all of us
What is this composition called “3rds?” In my simple definition, it is a composition where the imagery is divided in thirds, which could include diagonal, vertical, horizontal, or curved “lines.” In our on-line class, we can only submit one image per assignment. It is sometimes difficult which one to submit. So I am posting some of the images I chose for the assignment but did not submit along with the one I did submit.
South Franklin Street, Juneau, Alaska - last night - another 3rds composition
"Jennie Weaves An Apprentice" Chilkat robe that I am presently weaving. This was the "3rds" composition that I submitted for my class assignment.
I have rarely seen photo images of Chilkat robes and weavings captured with this type of composition; this is why I submitted this for my “3rds” assignment. I realized that most photo images of Chilkat weavings are straight on shots of the entire robe or close-ups. From now on, I will begin including these kinds of compositions when taking photos of my work. It just makes things more interesting for the viewer, as well as more challenging for the photographer!
On a walk out Auke Bay Recreation area, we saw this pair of underwear, soaked and just hanging out - this was an image that I almost submitted for the "doesn't belong" class assignment
Eagle River Beach skies are always spectacular no matter what time of day, month or year - these hearts (one that is obvious and the other forming) were directly above us - this composition fit under the "doesn't belong" class assignment too. Like how often do you see hearts in the sky, huh? I didn't submit this one because I didn't want my classmates to naturally assume that I Photoshoped that heart in the sky - I swear to God, I did not. And I have a witness that i didn't because there were two of us sitting directly underneath!
A banana washed ashore on Auke Bay beach! This is the image I submitted to my online class for the "doesn't belong" assignment. Why? Because it was dang obvious that this banana just did not belong. If the beach were white, hot sands, the sun were blazing and there were coconut trees with lots of tropical foliage, then I could understand. But, when I saw this banana on the beach, I thought, man what is a nice, ripe banana doing in a place like this!?
The next few images are compositions that I submitted for the various assignments in our online photography class where I did not have other images that I shot for these categories.
This composition fell under the class assignment category "RUBI - a photo that is Relevant, Unusual, Beautiful & Important" - Really? This Photo? Why?
Grand-daughter Violet is a doll; just look at that expression as she checks out the one that is most relevant and considered beautiful (by American standards), while the “foreigners” watch in anticipation and shock saying to themselves “She could have chosen any of us as her baby doll…but how is it she chose THAT one when the girl is only three years old!?” Of course this is my RUBI choice, check it out: A Barbie doll is something we can all RELATE to, my Violet is BEAUTIFUL, the company is UNUSUAL, and it is very IMPORTANT to scrutinize the quality of each doll if you’re paying big money!
The underground train in either Vancouver, B.C. or Seattle - I forget which one; this image I submitted for the class assignment entitled "best represents my concept of photography." I generally use photography for documenting my art progress and work, events, travels, people, places and things - I consider myself a "drive-by-shooter." This image represents my "quick-on-the-draw" method while documenting my travel.
The sound and anticipated taste of fresh, untainted wild water! Nothing like it. We are fortunate to be one of the few places on earth with pure wild water. Nugget Falls, Mendenhall Glacier, Juneau - This photo fell under the assignment of "a photo that appeals to a sense other than sight (touch, hearing, taste or smell)...
My imagination got away with me when I turned around and saw an extended arm reaching out of the fireplace! - This image I chose for the assignment of "disturbing."
Clothespin photo by my son, Kahlil Hudson. The class assignment was to find a photograph (taken by someone else) that was one of the most powerful and riveting images I'd ever seen and explain why the picture was so meaningful.
She never lined her drawers with scented liner sheets, incense or sachets of fragrant dried flowers. Mom loved the smell of fresh air in her clothing. A clothesline in winter didn’t stop her from hanging out the laundry; by golly, they were freeze-dried if it took capturing that fresh, natural scent! How many of us make the time to hang our laundry outside on even the sunny days to capture the wind, sun and predicted rain? When Mom first came to Colorado for a visit the first time years ago in 1993, I had discovered how she was always eager to do the laundry and hang it out to dry (probably because it was always sunny in the town we lived). I didn’t know this about my mother because we didn’t have a clothesline when we were growing up (because we didn’t have any land to make a clothesline post). When I first laid eyes on this photograph, I cried. It brought up the firm reality that I will never see my mother hang my (or her) laundry again, as I no longer live in Colorado and she has become too fragile to reach for a clothesline. This image also reminds me of a time not so long ago in our own home town of Juneau where we weren’t constantly rushing about and actually took time to “smell the roses…” When’s the last time you saw clothing swinging in the breeze?
Feb 19, 2011 | Honoring Others, Tlingit Culture Accentuated, Uncategorized |
Della Cheney explains the Ravenstail robe design she created and wove as a ceremonial gift for her daughter who graduated from law school - the design includes the ANS letters in the top border
Born and raised in Kake, Alaska, Della Cheney has been residing in Juneau for the past couple of years. Last Thursday of last week, February 10th, she gave a presentation at the University of Alaska Southeast in Juneau on cedar bark, spruce root and Ravenstail weaving. She is the first of 6 artist presentations sponsored by the UAS this Spring. (Pardon me for being late with this entry; I would have posted this blog entry earlier, but for some reason my “WordPress” program had been acting up for a week until today.)
UAS students, staff, faculty and the general public attended the presentation
Two years ago in July 2009, I had the privilege of learning how to weave a cedar bark hat when Della was teaching a class at the Teslin Cultural Center (Yukon Territory, Canada) during part of their Celebration 2009 activities. I happened to be there because I was teaching a Chilkat/Ravenstail class. During the first day of the class, while everyone was first experiencing the texture of cedar bark (for some the very first time), Della spoke of the spiritual connection between humans and the world about them including the bark of trees. She spoke of the spirituality and attitude of the Native people when we harvest our materials and supplies for creating the functional things that were common in our every days lives many years ago, and how these things went by the wayside when we were adjusting to the Western ways of doing things and trying to integrate the two separate values which often times clashed. Della spoke of things that had nothing to do with the technique of cedar bark weaving, but had everything to do with the lifeways, spirituality and attitude which all goes into creation. I listened intently. In all the native art classes I had ever taken over the years, whether taught by Native or non-Native, I had not come across anyone who spoke in a language that I understood; I could relate. This resonated with me. And when I looked about the room at the fellow students, I could see they were truly listening and were reminded of our innate spirituality born within each of us. So from then on, I knew that anytime Della would be doing a presentation of any kind, I would do my best to be in her audience as here at UAS. I want to hear more about the art of spirituality in the spirituality of creation.
Della explains the Alaska Native Sisterhood (ANS) design on the traditional "Koogeina" (sash) also reflected in the cedar bark hat (in her left hand) being woven by her student Eileen Wagner
The ANS Koogeina and hat amongst bundles of split spruce roots and maidenhair fern prepared for weaving baskets
After the presentation, Della Cheney and her student of basket weaving, Eileen Wagner, explain weaving patterns to audience members
Cedar bark roses, small and large are amongst the traditional cedar bark baskets and bundles of prepared split cedar
I am almost done with my hat that I started in her class.. I spent about three 10-hour days weaving the hat. It has been on my wooden hat form for almost two years. I haven’t touched it since the class. However, Della hosts a weekly Sunday afternoon artists’ gathering for folks who want company while they are weaving cedar, spruce roots, Ravenstail or Chilkat; or they are bead working or sewing. I am going to learn how to end the hat and I am excited. Stay tuned; once I complete the hat, I will post it as an entry on this blog.
A couple of wooden hat forms show signs of being well-used. The hat form in the foreground was hand carved of one piece of red cedar by Della's brother and well-known artist, the late Norman L. Jackson, Sr. from Keex Kwaan ( Kake, Alaska). Eileen Wagner talks art with Ernestine Hayes, organizer of the UAS "Art of Place" artist presentations
The “Art of Place” presentations sponsored by the UAS, are held at the Juneau campus in the Glacier View room. (Where’s the Glacier View room? It is in the building that has the library, however, the Glacier View room is kitty corner from the library; it is at the top floor right hand side. When entering the building from the parking lot, the room is to the far right – once in the building, ask for directions.)
All presentations are open to the public; they are all held on Thursdays and begin at 10am to noon followed with potluck desserts to provide audience members to schmooze with the artist!
Here’s the list of artists:
* Della Cheney (with Eileen Wagner) started the series off last week with her presentation on Ravenstail and basket weaving.
* I will be doing my presentation next week on Thursday, February 24th.
* Ed Kunz is scheduled to demonstrate silver carving on Thursday, March 17th.
* Doug Chilton woodcarving on Thursday, March 24th.
* Florence Sheakley beading and blankets on Thursday, April 7th
* Helen Watkins gathering and preserving foods on Thursday, April 21st
I will be demonstrating Chilkat weaving on my latest robe – which hopefully will be 2/3 completed by then.
I will also be giving a power point presentation on some of my robes and paintings.
Also including a bit of storytelling as well.
If you have time, come on out and support our local artists.
Jan 14, 2011 | Adventures of Rear-Mirror Rissy, Latest Art Projects |
Navajo artist and IAIA student, Shawn Nelson painting an "Uncle Sam"
Have you thought about going to an art school? Want to attend one that only has less than 300 students? Want to go to school with a variety of Native Americans from all over this continent? Want to learn about film-making? Painting? Traditional pottery? Print-making? Computer graphics? The Art of Business? During the 2009-2010 school year, I attended the Institute of American Indian Arts in Santa Fe, New Mexico. Although lots of hard work, it was a blast! I intend to return.
Melissa painting an entry from a B&W photograph
Even though I am presently living in Juneau, Alaska, I am still working towards obtaining my BFA at IAIA. How can I still be working towards my BFA even though I’m living in Juneau? I am taking online courses via the University of Alaska Southeast! My very first online class was last night in our “Art Appreciation.” Taking these online classes works for me because I am doing a lot of business travel this Winter into Spring. Have laptop, will travel. You may visit UAS’s website at: http://www.online.uas.alaska.edu
You may want to visit IAIA’s website at: http://www.iaia.edu/ after checking out some of these photos…
My "Marketing Plan" presentation during finals week - I had my classmates gather around my monitor to check out the Power Point Presentation that I learned in my "Intro to Digital Media" class taught by Carlos Peinado
Surprisingly, my most favorite classes at IAIA were not necessarily the art classes (although I thoroughly enjoyed my art classes), but my Marketing/Business Classes (that are a part of the Business Certificate Program), and to my utmost surprise, the Introduction to Digital Media class, where I learned how to do Power Point Presentations, create and print a brochure, lay out a book and get it printed, and podcasting. Professor Jennifer Coots brings the Art of Business to IAIA – and she is one heck of an excellent instructor. The enthusiasm in our classes is at the base of our beloved teacher. You would not necessarily think that doing business classes would be exciting; yet, Jenn addresses many issues that arise such as the conflict of the Native and Western values in regards to the marketing and sales of Native art – she made us think about these things that were not at the forefront of our minds yet were outward struggles that many of us had been dealing with.
Beadwork artist Tammy Rahr's Marketing Plan presentation was an actual art booth set up as if she were at an art market, selling her beadwork, packages of beads, display of products, her brochure and business cards, etc. We loved it!
Taos Pueblo artist, Sharon Vargas, painted on cardboard, brown paper bags and discarded computer boxes - I'm going to do that some day too!
Of course, one of the best things about attending art school is the inspiration from all the other artists doing their thing the way they do their thing; I’ve included a few of my favorite classmates in this blog entry, alongside a photo of my Intermediate Painting instructor, Jeff Kahm. I had other students and faculty who also inspired my work, but I didn’t get very good shots of them and their work so I didn’t include them on this blog entry. You see? I have to return to IAIA just for this reason!
Latifa and her mixed-media painting on canvas
World artist Vigalie paints a hand while Professor Jeff Kahm models his hand
Artist Shawn Nelson begins another monumental painting
Poets Al Pizzarelli and Donna Beaver Pizzarelli stand with Creative Writing Professor after giving a guest lecture to the Creative Writing class on Haiku poetry
Shawn is modestly flanked by two beautiful women artists Latifa and Sharon
