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 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!
Mar 9, 2011 | Honoring Others, Showing Off, Tlingit Culture Accentuated, Uncategorized |
A painting of Eileen Wagner weaving a cedar bark hat
A couple of weeks ago, Della Cheney contacted all of us who have attended the Sunday afternoon gathering of artists at Fireweed Place. She said that the group was invited to display any of their work in a show down at the Juneau Arts and Culture Center. When she asked Fausto and I to help set up the exhibit last Thursday night, I figured we’d have a few things to show – little did I know we would fill up an entire room! And little did I know that I had anything to show until Della asked me to show some of my paintings and prints. Ha-eh!?
Cedar bark hat in display unit by Eileen Wagner, cedar bark baskets by Della Cheney, Chilkat leggings on loom by Fausto Paulo
We were also invited to demonstrate whatever projects we may have on our looms and hat forms, so about 9 of us showed up, set up tables down the middle of the exhibit room and demonstrated the weaving of cedar bark hatbands, baskets and hats, Ravenstail pouches, leggings and bags, and the weaving of a Chilkat robe.
Juneau Arts & Humanities Director, Nancy DeChurney talks with Della Cheney about this evening's Gallery Walk exhibit
There is a feeling of cooperation and inspiration as we all work individually on our own projects sitting side-by-side with a kind of quiet companionship, the stuff that is made of long-term relationships that will most likely last a lifetime whether we are conscious about our efforts or not.
Patrice DeAsis weaves a cedar bark hat while coils of cedar bark soak awaiting to be stripped
Debra O'Gara and Kendra Makaily enjoy Ricky Tagaban's Ravenstail weaving made of plastic garbage bag strips. In the display case are Percy Kunz's first Ravenstail weavings
The beginnings of a small Chilkat robe by Nora Dauenhauer, a pair of Chilkat leggings and Chilkat by Patrice DeAsis, "Totemic Theory" acrylic on canvas by Clarissa Rizal, a pair of moccasins by Percy Kunz, and button blanket bib by Mary Ebona Miller
Percy Kunz weaving a small cedar bark basket - her pair of sealskin and moosehide mittens are in the foreground - Fausto Paulo's cross-stitched Chilkat tunic is in the background
Della Cheney explains her robe design to Melinda Cavanaugh - Fausto Paulo to the left concentrates on his latest Ravenstail weaving
With assistance from his mother Lorraine DeAsis, Joshua prepares cedar bark strands for weaving by running the bands through the "stripper"
Armondo DeAsis and his brother Antonio, are weaving another round of cedar bark headbands
Folk Festival president Greg McLaughlin with wife, Lis Saya and inventor, John Ingalls hang out enjoying all who attended the exhibit
Irene Lampe and her son, Richard, are excited about "digging in" to the wonderful refreshments
Thank you to all who came out on this cold, slightly-blustery evening and joined us for a round of pleasant artistic company and a bite to eat.
Mar 8, 2011 | Honoring Others, Latest Art Projects, Tlingit Culture Accentuated |
Archie Cavanaugh with grandson, Joseph, and Clarissa who is proudly displaying Archie's latest two CD's "Love Birds" and "Alaska Jazz"
Tlingit Singer/Songwriter/Jazz musician, Archie Cavanaugh launched his latest CD titled “Alaska Jazz.” The past two days, I’ve been Chilkat weaving to “Alaska Jazz” along with Archie’s second CD “Love Birds”. The wonderful, upbeat, jazzy, loving energy of these two albums are the perfect sounds for me to Chilkat weave; I kid you not! I can go long stretches of time weaving happily away to cuts like “Sparklin Eyes”, “Amy” and “Love’s The Way” just to name a few. I mean like, I had to move my Van Morrison over for the past few days. I just want to hear Archie. The problem is that Archie has only three albums, and so the repetition is starting to get to me. What to do about it? Encourage Archie, help Archie, assist Archie, in any way, shape or form, to put together another album! In fact, go to his website and buy all three of his albums. This guy has got to catch up to the numbers of albums Van Morrison has put out, that’s all there is to it!
Check out Archie’s album cuts on his website at: www.archiecavanaugh.com
Mar 7, 2011 | Class Act, Tlingit Culture Accentuated |
A view of Dinah Hobson's "office" which is used for subjects pertaining to "Indian Studies" which is where I did my presentation - notice the "button blanket" backdrop for the Native news clippings, etc.
Like they are “just” high school students, duh? Why the heck would I be so nervous in front of them? Like I’ve done presentations and performances to audiences of up to 2000 total strangers; why would I sweat over presenting my life’s work before 13 kids in 9th, 10th and 11th grade who are part of the “early scholars” group? – Well, it’s like this: have you ever kept Jr. High and High School kids from being bored?
High school teacher, Karina Reyes and Clarissa meet for the first time; she asked about the last name of Rizal, like is Clarissa related to the Filipino martyr Jose Rizal? The answer: Yes. He was cousin to Clarissa's paternal grandmother, Patricia Rizal Lampe. Rizal was Clarissa's grandmother's maiden name. Clarissa's birth name was Clarissa Rizal Lampe; when she married in 1977, she changed it to Clarissa Rizal Hudson; when she divorced in 2009, she dropped the Hudson
Dinah Hobson, Jamelyn "Jay" Zeller, Karina Reyes, Nicole George and Clarissa Rizal
Jay Zeller shows Clarissa her drawing pad full of sketched characters and their names.
Leandrea Makaily, Taylee Escalante, Jay Zeller, Nicole George, Clarissa and Karina Reyes hang out and talk "artists talk!"
Mar 5, 2011 | Honoring Others, Tlingit Culture Accentuated |
Northwest Coast Native-influenced aerial sculpture in the modern entry way of Juneau-Douglas High School
I graduated from the Juneau-Douglas High School on my 18th birthday in June 1974. I haven’t been in the school since the City & Borough of Juneau had it remodeled years ago. I wasn’t living in Juneau when it was remodeled so I cannot tell you the date. Today was the second time I had been in the high school since I graduated. I did a presentation to the “early scholars” class of 9th, 10th & 1th graders. Directly before my presentation, I quickly took shots of the public art within the vicinity of the path from the front door to Room 214 where i was doing my presentation – I am sorry I did not have the time to get the names of the artists. Yet, judging by the style of art, I recognize some of the artists’ style. Do you know any of the artists?
The remodeled entry of Juneau-Douglas High School
I am impressed with all the public art within a minute from the front doors of the school. Public art was not something to be had anywhere in Juneau when we were in school. Then art teacher, Max Lewis would have loved to see this kind of progress. He tried to plaster the walls with our art any chance he could. If I had photographs of the school halls back then and compare them to what this school has now, we would think that we used to school in a slum.
No doubt a seal among salmon!
Several of these paintings line the upper walls of the cafeteria/commons room off the entry forum.
Even artwork along the stairwell walls!
Very large mural above the forum entry
I am reminded that I’ve been known to do some public art in various places throughout Alaska. With my Ex, back in the late 1980’s into the early 2000’s, we had created a variety of public art in various mediums. Our first one was in Sitka, then several in Anchorage, one in Fairbanks and at least three in Juneau, and one on the ferry to Bellingham, the MV Kennicott. I think I’ll gather up what images I may have of those works and post a blog about them. I’d like to see them all clustered in one public place…like this blog. Stay tuned…
Feb 28, 2011 | Class Act, Tlingit Culture Accentuated |
Nora Dauenhauer files away her weaving notes in her attache' case of;Chilkat weft yarns
For the past year, Della Cheney has been hosting a group of artists every Sunday afternoon at the Fireweed Place here in Juneau, Alaska. Like Della, most of the artists are Ravenstail weavers, cedar bark and/or spruce root basket weavers, although some of them include additional talents like beadworking, and leather work making moccasins and mittens. When Chilkat weavers joined the basket and Ravenstail weavers last Sunday, Fireweed Place’s activity room was packed. There was a lot of fun and excitement. Time flew!
Yoko Kugo explains to Della Cheney the research she is conducting about whether or not there are effects of climate change on the cedar trees.
There are no specified “teachers” in the group, as we are all learning from one another and teaching one another. There are those of us who know how to weave cedar bark hats, yet are learning how to make moccasins; those that know how to weave Ravenstail and are learning how to weave cedar; those teaching Chilkat who are learning Ravenstail. The combination of learning and teaching goes on and on.
Lorraine DeAsis reinforces her children's knowledge of weaving cedar bark headbands and hats by weaving right along side all four. L to R: Patrice, Joshua, Lorraine, Armondo & Antonio
Leandrea Makaily works diligently on her Chilkat headband
Mary Ebona Miller is weaving three Ravenstail projects on her loom
Shgen George is spinning Chilkat warp on her thigh
Kendra Makaily is learning cross-stitching from Debra O'Gara
Lily Hudson is refreshing Nora's memory about weaving her "bear claw" pattern
A bowl of cedar bark soaks while Patrice DeAsis weaves a cedar bark hat
Eileen is one of Della’s basket weaving students; she has learned enough to pass on her knowledge to others in the group. Although I started my cedar bark hat with Della almost two years ago in a class in Teslin, Yukon Territory, Eileen is helping me complete the very edge of the hat. Both Della and Eileen are wonderful teachers. I’m enjoying the comraderie of these women and all those who are attending the Sunday gatherings.
Eileen Wagner shows Dorothy Owen the 6-strand finishing row of her cedar bark hat
Of course, there are some of us who bring food to share. Eileen is one of those follks. She has been co-hosting this gathering of weavers every Sunday with Della Cheney providing some sort of a hot dish of salmon with rice, snacks and vanilla wafers. She takes really good care of us “kids!” We wanna come back every Sunday for more of everything!
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.
Feb 13, 2011 | Honoring Others, Latest Art Projects, Tlingit Culture Accentuated |
Patrick Gilbert Mills
It is one of those unexpected passings; our cousin Pat Mills passed away a couple of weeks ago. I’ve been thinking of his free spirit, a kind of happiness that I call “happy boy” that showed up especially in his Native dancing or while fishing on the Mary Joanne. I got to thinking about the vessel with a lifetime of history quietly incubating at the dock in Hoonah. I remembered the first and last time I was on the boat: August 1979 on the West side of Glacier Bay called Dundas Bay. My Aunt Katherine Mills, Aunt Sue Belarde, mother Irene Lampe and all the cousins went aboard three vessels from Hoonah to Dundas Bay – it was a rare and glorious sunny day.
Dundas Bay is a part of Glacier Bay National Park which still legally belongs to the four clans in Hoonah who have claimed Glacier Bay as part of their homeland. The four clans are the Wooshkeetaan (Shark), the Kaagwaantaan (Wolf), the Chookaneidee (Bear) and the T’akdeintaan (Black-legged Kittywake; that’s our clan). Auntie Katherine Mills, who was the eldest of my aunts and uncles with my mother as the youngest of her siblings, said that every year her mom and dad, aunts, uncles, brothers, sisters and cousins would set up camp and gather subsistence foods of the land and sea in Dundas Bay. (Of course, this included gathering wild strawberries and the unique nagoon berry!) She reminded us that Grandma Sarabia’s maiden name was Wilson who had several brothers including Shorty and Mike Wilson. All grandma’s brothers were avid hunters and fisherman. (Mike Wilson also enjoyed gardening. My father and I too!)
As Pat anchored the Mary JoAnne in the bay, Aunt Katherine pointed to two peaks of the Eastern mountain range and explained they were the landmarks for the right place for the nagoon berry patch and where the family used to camp. She said we will go through the trees in the direction between the two peaks and when we come out of the trees there would be a big meadow in a big valley. We took small skiffs to the steep shoreline. I remember how quickly the water moved past even while waiting on board the MaryJoanne; it just proved how swift and strong the river was flowing into the sea even though we could not see the mouth of the river. The place smelled clean and fresh and there was a feeling of true wilderness; the land was brand new.
Surrounded by dark-gray mountains, we indeed came out of the treeline to the berry patch in a valley about 3 to 5 miles long and a mile wide. Imagine a berry patch being THAT big! We spent the entire late morning into the late afternoon picking the best nagoon berries ever! At the end of the day, most of us had picked two 5-gallon buckets – and these berries were about as far away from mankind as you could get so the plants were not just the 8″-high plant we find around the Juneau area; they were 18″ high, like up to my knee, I kid you not! The berries were as big as a man’s thumb! I have thought about that berry patch every year since. If digital cameras were invented then, there’d be lots of photos smeared all over Facebook. Alas, this was almost 32 years ago; we didn’t even have an inkling of digital stuff back then!
Anyway, let’s get back to Pat. What about the Chilkat robe image?
A couple of days ago, as I was thinking about Pat, his wife Karen, the FV Mary Joanne, the berry-picking trip, my aunties and all those from our family who have passed away, I suddenly got this image in my mind: A Chilkat robe in honor of Pat Mills. I want to design a robe that incorporates our T’akDeinTaan clan emblem the Black-legged Kittywake flying around the FV Mary Joanne. When am I going to weave the robe? I don’t know. I am just in the stages of designing and sketching it. Maybe I’ll do a painting of the robe?
Who’s Pat Mills? Here’s his obituary – written by several nieces and nephews with the assistance of his wife, Karen:
“Patrick Gilbert Mills was born May 6, 1947 at the Mill’s home (“down the house’) in Hoonah, Alaska to Gilbert and Katherine Mills. He was a life-long resident of Hoonah. He died January 24 at the Alaska native Medical Center in Anchorage with Karen, his wife of 34 years at his side and surrounded by family and friends.
Pat was a devoted member of the Russian Orthodox Church along with the rest of his siblings. All being competitive, the boys were always challenging each other to be the best alter boy. Needless to say, Pat usually won.
He is a member of the TakDeinTaan Clan and represented the clan at many ceremonies throughout SE Alaska. Pat was the house leader for the Kaa Shaayi hit, head house and is also from Tax’Hit, Snail House. His Tlingit name is Yiskeiwdusa. He loved to dance and was a lively participant at memorial parties and Celebration. Pat is Wooshkeetaan Yadi and Kaagwaantaan dachxan.
Pat was a member of the second graduating class in Hoonah in 1965. He was voted the Most Outstanding Player of the first Hoonah Braves basketball team in 1964. His love of basketball extended to many Gold Medal Tournaments. He was a strong supporter of many Hoonah City Schools sports events. He served in the U.S. Army from 1966-68. As a member of the Signal Corps, he was stationed in Germany. After his discharge, Pat returned to college, earning his Associates from the University of Alaska Fairbanks.
He married the love of his life, Karen Singleton, in a beautiful ceremony outside his grandparent’s cabin in Excursion Inlet on July 31, 1976. A wonderful time was had by all. Each year Pat and Karen always made time for each other to celebrate their wedding anniversary even though it was in the middle of fishing season. Pat and Karen, Karen and Pat — the names just go together after all these years.
Pat lived the fisherman’s dream from birth. He first fished with his father and then progressed through the ranks starting as bull cook up to Captain. He fished everything before everything went limited entry. Pat fished for other Captains including Jacob Pratt Sr., Richard Bean Sr., Warren Sheakley Sr., Dan Sharclane, Sr., Richard McKinley, and Bobby Duncan. Later, he operated the F/V Alberta before buying the F/V Mary Joanne. Pat seine fished, crabbed, long-lined, and trolled. In the past few years he and Karen enjoyed their new skiff and took many family members for rides and fishing trips.
He strongly believed in the traditional and cultural values of the Tlingit Nation, from the gathering and harvesting foods from our land to the roles played by uncles and elders. He took the time to teach and share with others our culture and history. He had such interesting stories about what Grandma Mary Sarabia and Grandpa Juan Sarabia said and did in daily interactions with others. He said, “We could tell who was an important visitor by which snacks we had to set out.” He and Karen have been very proud supporters of the annual “School Ku.eex.” They donated time and foods harvested by their hands. Pat spent a lot of his time fishing and hunting and was generous, sharing his bounty with elders and other family members. He loved kahaakw and often made jars of it to share with others.
He was intensely interested in preserving the family’s Tlingit history. He worked to preserve old tapes and videos of songs, stories and dances and shared them with other family members. Pat was concerned about Tlingit land rights. He wrote many letters to his legislators, Sealaska, Huna Totem and the Juneau Empire. He was not shy about letting people know what he thought and why.
Along with his grandparents, parents, siblings and many cousins, Pat spent his summers, and some winters in Excursion Inlet. Later, he and Karen built a cabin on their land at Excursion Inlet. They called it ‘the nest’ because you had to climb 56 steps to reach it.
Pat is survived by his wife, Karen S. Mills, sisters, Eleanor Moritz, Rosemary (Tom) Jimboy, Judy Mills, Kathy (John Marvin, first cousins, considered and raised as sisters due to the loss of their father when they were very young, Linda Belarde, Edna (Sam) Lamebull, and Daphne (Frank) Wright, brothers, Tony, George, tom, Mike, Chris, Stuart, and Jeff, adopted daughters, Margaret and Carol Haube, numerous nieces nephews cousins, and many others who called him “Uncle Pat” and “Grandpa”, aunts Irene Lampe, Helen Sarabia, Marie Shodda, and Theresa Howard and uncle John Howard. He was preceded in death by his grandparents, Mary Wilson Brown Sarabia, Paul Brown and Juan Sarabia, Albert and Emma Mills, his parents, Katherine (Brown) and Gilbert Mills, brother Gilbert “Butch” Mills, sister Phyllis Mills Bean, aunts Sue Belarde and Margaret McKinley and uncles Ed and Bobby Sarabia, Bill Lampe and James McKinley, and his beloved Salt and Pepper.
Services were held at the Tlingit and Haida Community Center in Juneau on Friday, January 28th and a service in Hoonah at the school on Saturday, January 29.”
Young relatives created a Facebook page in honor of Pat, click here to view continuing contributions of photo images and read: “We Love Pat Mills”
