Apr 4, 2012 | Latest Art Projects, Showing Off, Tlingit Culture Accentuated |
Hand-silkscreened limited edition of the Old Timer's Basketball Tournament poster, Juneau, Alaska - 1983?
Holy Moly! I just found a couple of copies of this original, hand-silkscreened poster I designed back in the early 80’s – 1981, ’82 or ’83. The image depicts a Raven and and Eagle each grasping a basketball with their claws with a basketball hoop between their heads
I am willing to let go of these last two originals – they are in excellent shape; they are hand-printed on red cedar-like paper and cut in a diameter of 20 inches; this limited edition is signed and numbered – for $495.00 each
As I mentioned, I only have two available; if you want one, then better contact me real quick!
If these don’t sell beforehand, I will have them available for sale at the Sealaska Art Market during Celebration 2012, Thursday through Saturday, June 7, 8 and 9, in Juneau, Alaska – come take a look at other prints and paintings I’ll have available!
Apr 3, 2012 | Honoring Others, Poetry Alaskan, Tlingit Culture Accentuated |
Tlingit Elder Frank Johnson in 1972 - photo by Richard Dauenhauer
I first met Frank when I was 16 back in 1972. Gilbert Lucero (from Angoon, Alaska – originally from Salinas, California) was the director of the “Totem Center” (Juneau, Alaska), a place for young Native people to begin to learn more about their culture because at that time many of us didn’t even know we belonged to a distinct indigenous peoples. In fact, I didn’t even know there was a word called “native.” Gilbert had invited three men to spend a month teaching classes to young Native children; those three men were: Cy Peck, Sr. (from Angoon, who taught the Native history and ways of being; Cy was also Gilbert’s mentor), Harry K. Bremner, Sr. (from Yakutat, who taught native song and dances; I became an apprentice), and Frank Johnson (from Sitka, who taught Native/Western politics).
I will always remember Frank as an uplifting, inspiring soul; he wore a permanent smile no matter what, even when he spoke of the injustice amongst our people and one another! On the very first day of classes, when he first met me, his first words were: “Hey, Harry (he enthusiastically waved Harry Bremner, Sr. to come over and meet me)…come and look at this nose! You’ve got to meet this young girl and her nose!” Embarrassed as I was with this scene happening in front of at least 40 people, the two men checked out my nose, laughed to their heart’s content and each gave me a big hug. Little was I to know how these classes taught by these three men would impact the rest of my life! Many thanks to Gilbert Lucero for all his work bringing these elders into our lives at that time period with the resurgence of Native ways of being and doing.
My son-in-law, Ishmael Hope has a wonderful blog featuring various Native elders of present including those who have passed. Ishmael is an excellent writer; he has recently posted a blog on the Clan Conference, featuring Tlingit elder Frank Johnson. Ishmael has several blog entries featuring Frank Johnson. Check out writings including Frank at: http://alaskanativestoryteller.com/blog/
Apr 1, 2012 | Adventures of Rear-Mirror Rissy, For Crying Out Loud, Honoring Others, Relationship Overdrive, Showing Off |
“Big Blue Whale” was his full name; we all called him “Big Blue” for short. A pale blue-green, 1965 Ford pick-up, ¾ ton sporting a 351 engine (coveted by mechanics knowing the value of this type of engine), Big Blue was “born and bred” in Georgia and made his way up to Alaska in the early 80’s driven by the original owner, an airplane mechanic who kept this babe in great shape. Big Blue was happiest humming down the highway at 85mph best with a ton of gravel – his engine “purred!” I bought Big Blue in July 1985 for my landscape company when he was just 20 years old. It was love at first sight!
Firefighters put out the last remaining life of "Big Blue" - photo by Ursala Hudson
27 years later, Big Blue passed away today on April Fool’s Day. When my son-in-law was going up the hill towards home, suddenly the truck died and when he jumped out to check what happened, suddenly the engine began to smoke and burst into flames – luckily Chris had not had the chance to open the hood!!! 911 came to the rescue and put out the last life of Big Blue. When all had died down, the fire chief examined the engine and showed us the broken fuel line figuring this was what started the fire.
The passing of Big Blue was very sad; for me it was the completion of an era allowed to live only once. As I mentioned earlier, when I first saw this truck many years ago, it was “love at first sight.” My personal experience of “love at first sight” is a feeling of deep gratitude upon the sight of something, or someone, or somewhere. This feeling has nothing to do with want, lust, desire, must have; it is full body experience of being in awe, feeling a deep appreciation of what is before me. I loved this machine at first sight in 1985.
I was a landscape gardener; boss of my “Kahtahah Landscape Gardeners”, every season I’d hire a new group of adventurous young folk who didn’t mind working hard in the Southeastern Alaskan weather from April 1st through October 31st in wind, sleet, snow flurries, rain (of course!), and yet any fine, rare sunny day, we were out and about, we soaked up the shine, all of it! Kept in lean shape sportin’ mighty fine tans, we did, yessirreee!
Instead of buying a company truck, I rented one from June Dawson’s vehicle rental company. (And if any of you living in Juneau remember June, she was a hoot – one of the happiest redheads I’ve ever known – a generous woman who implored me to dig up the best peatmossy loamy soil on this side of the planet! (which happened to be located in what is now the Lemon Creek Industrial area where COSTCO and all those other brand names hang out together…we hand-dug truckloads and truckloads to the Sealaska Corporation plaza’s garden beds – there were nights I couldn’t sleep cuz I had threats by passer-bys who were coveting the soil – I was never sure if I’d return to work the next day and find the piles gone, so we quickly worked the soil into the poor soil already existing at Sealaska.
(Why did I rent a truck instead of buying one? I was waiting for the right one to come around. I didn’t want just any ole truck; I wanted a specific type. And the moment I wished for it out loud, not even 5 minutes later, there he was at the garbage dump in all his fine glory! Hallelujiah!)
My 1985 crew members included 5 neighbors. They had just moved to Juneau from Nebraska and Kansas, looking for the “Alaskan experience” and were out looking for a job. Being the kind of neighbor that I am, I asked them if they were interested in working for me. They jumped for it. One day, the five of us were jammed packed into the cab of the truck heading to the garbage dump to look for an old refigerator to use as a smokehouse. One crew member asked: “Hey Clarissa, when are you going to buy your own truck?” They all chimed in: “Yeah, you’ve got to get your own truck, how come you gotta be so picky, like what kind of truck do you want?”
I replied: “I want an old truck, one from the 60’s, can’t be older than ’69. I want a Chevy or Ford pick-up, you know, the kind with the rounded fronts with a big bed, not one of those ½ ton, but ¾ ton. I want him in excellent condition…I’m waiting for the right one!”
Everyone’s reply: “oh golly, that’s wishful thinking, where you gonna find one in Juneau, those types are rare, especially those without any rust in excellent shape…!?”
Within 5 minutes of the conversation, as we had come around the corner, there at the dump, was “Big Blue!” – the owners were visiting the dump too! My crew members and I gawked “Clarissa! There’s YOUR truck!” — and sure enough, there was a “For Sale” sign on the rear window!
The rest is 27 years of history and fantastic memories.
Mar 29, 2012 | Health and Wellness, Latest Art Projects, North Tide, Showing Off, Tlingit Culture Accentuated |
Adding the Devil's Club leaves to the black & white Chilkat robe design - acrylic painting on canvas measures approximately 24" h x 38" w - Clarissa Rizal; March 2012
I was commissioned by the NNAAPC (National Native American AIDS Prevention Center) in Denver, Colorado to create an image for this year’s convention. Of course the theme is based on the awareness and attendance to health, healing and prevention. They asked for a traditional image that would reflect their theme. I couldn’t think of anything better than of course, Chilkat!
Added the traditional colors of yellow and blue along with the green leaves of the Devil's Club
If you’ve studied the older Chilkat robes of the past 200 years, you will notice there are robes that have similar designs, where there are slight changes between each robe, yet distinctly they are related – like a variation on a particular theme. I am doing this with my “Chilkat robe within a robe” series. Although I have designed a couple of robes with this same theme for a couple of my students, my very first one that I designed and wove was called “Jennie Weaves An Apprentice” (which I finally finished weaving last August 20122), which is what this painting is based and of course I changed some of the design elements (i.e. smile faces as opposed to grims, etc.), yet the design description (described below) is very different than that of “Jennie…”
Almost completed - just need to add the Devil's Club berries, give the painting a more "painterly" effect, and a coat of matte medium
Native Americans used Devil’s Club both as food and medicine. The plant was traditionally used by Native Americans to treat adult-onset diabetes and a variety of tumors. Devil’s Club is employed as a blood tonic, used in salves for skin ailments, rheumetoid arthritis, cuts and bruises. For spiritual protective purposes, the stalks were shaved of their thorns and placed above doorways, made into beads and worn on the person, and shaved stalk were placed in bowls and placed around the house. Sometimes, Devil’s Club was dried and burned like an incense during certain spiritual ceremonies. In vitro studies showed that extracts of Devil’s Club inhibit tuberculosis microbes. Because Devil’s club is related to American Ginseng some think that the plant is an adaptogen. The plant has been harvested for this purpose and marketed widely as “Alaskan ginseng”, which may damage populations of Devil’s Club and its habitat, which is why many Alaska Native peoples are very protective of our Devil’s Club population; we do not want the plant to disappear because of capitalist exploitation. We consider this plant very precious.
The plant is covered with brittle yellow spines that break off easily if the plants are handled or disturbed, and the entire plant has been described as having a “primordial” appearance. Devil’s Club is very sensitive to human impact and does not reproduce quickly. The plants are slow growing and take many years to reach seed bearing maturity, and predominately exist in dense, moist, old growth conifer forests in the Pacific Northwest, which is why we will harvest only what is needed. There are times we will harvest the entire stalk if the need calls for this, otherwise, we will take a small cutting at the lower backside (the part that does not face the beach or face of the forest). We never harvest the entire plant. To ensure the continuance of the Devil’s Club, we dig a small hole nearby the area we have harvested and we place an “offering” of tobacco, cedar or sage – we are “giving back” and paying our respects. Many Native American people consider ourselves “stewards of the land and sea.”
Devil’s Club generally grows to 3.5 to 5 feet tall; however, instances exist of it reaching in excess of 16 feet in rainforest gullies. I have literally walked under “forests” of Devil’s Club. The spines are found along the upper and lower surfaces of veins of its leaves as well as the stems. The leaves are spirally arranged on the stems, simple, palmately lobed with 5-13 lobes, 8 to 16 inches across. The flowers are produced in dense umbels 4 to 8 inches in diameter, each flower small, with five greenish-white petals. The highly poisonous fruit is a small red drupe 0.16 to 0.28 inches in diameter elongate in clusters.
Devil’s club reproduces by forming colonal colonies through a layering process. What can appear to be several different plants may actually have all been one plant originally, with the clones detaching themselves after becoming established by laying down roots.
This species usually grows in moist, dense forest habitats, and is most abundant in old growth conifer forests. It is found from Southcentral Alaska down throughout Southeastern Alaska to western Oregon and eastward to western Alberta and Montana. Disjunct native populations also occur over 900 miles away in Lake Superior on Isle Royale and Passage Island, Michigan and Porphyry Island and Slate Island, Ontario. I personally have seen Devil’s Club here and there in the higher elevations in marshy areas of the San Juan Mountains surrounding Pagosa Springs, Colorado. The plants are not as large as those in Alaska, but then again, Alaska grows things big.
The completed "Chilkat Devil's Club" painting on canvas for NNAAPC by Clarissa Rizal - March 2012
Design Description of the painting entitled “Chilkat Devil’s Club”
The stylized Chilkat ceremonial robe design depicts a smaller Chilkat robe within a larger Chilkat robe which is part of a series of Chilkat robes portraying “a robe within a robe” image. This particular theme is one that tells the story of the transference of indigenous knowledge healing methods from one person to another, or from one tribe to another, from one community to another, of from one culture to another; this is shown by way of the main human face (the Creator) who has gifted us the Devil’s Club and is flanked by the human faces on the top and left corner of the main robe who are holding the smaller robe (center lower half outlined in the yellow/black border) showing the recipient (smaller human face) of the healing knowledge and simultaneously the recipient of the healing modality. In this case, although the Devil’s Club signifies the ancient healing methodology of the indigenous peoples mainly of the Northwest Coast across the Northern part of the U.S. and southern Canada to Ontario, because of small cottage industries in Alaska and Canada who are creating healing salves, teas and tinctures, the healing properties of Devil’s Club is available to anyone in the world.
Mar 21, 2012 | Latest Art Projects, North Tide, Showing Off, Tlingit Culture Accentuated, To Market To Market |
The beginnings of Clarissa's "argillite" done in charcoal
Well,…not only am I finally getting around to posting new posts on my blog, I am finally getting around to doing more work in charcoal – in this case, a charcoal done on raw canvas. I call it my “argillite carving.” (What is argillite? It is a black stone from the British Columbia area suitable for carving.) When completed, this piece will be approximately 30 inches wide x 6 feet tall. I’ll post the finished product when I complete it – stay tuned!
Mar 19, 2012 | Honoring Others, Showing Off |
"Low and Clear" Documentary by Tyler Hughen and Kahlil Hudson
My son, Kahlil Hudson and his life-long friend, Tyler Hughen directed and produced their most recent film “Low and Clear”, a documentary currently making its rounds in the Film Festivals around the country and internationally. Check out the trailer at: http://www.kahlilhudson.com/trailer.html I am happy for my son who is living his livelihood backed by a wonderful wife, Mikiko and his daughter, Violet Sol. Yeah, Tyler and Kahlil, and all those who made this film happen!
Mar 15, 2012 | Adventures of Rear-Mirror Rissy, Showing Off, Tools-of-the-Trade |
Clarissa's portable office
I originally purchased this Samsonite laptop briefcase for my daughter so she could have a “portable office” when she conducts presentations and also just to keep the business part of her life in order while raising two small children.
Daily planner "The UnCalendar" fits perfectly into the front pocket
This case came in two colors: red and black. I chose the red because I knew she would have chosen it. However, her laptop didn’t fit; it was an inch too wide! Nooooo!
3-ring binder with pocketed dividers holds latest projects, homework papers, etc. - and in the back holds a replaceable writing tablet
I didn’t want to return it, so after a long 5 minute fit of frustration trying to make a 15-inch laptop fit into a 13-inch case, I decided that it would be mine even though I didn’t want a red briefcase. I tested my Macbook, sure enough, it fit. Obviously meant to be mine.
(I still want my daughter to have her own portable office; we’re searching online for one. If you have any leads, let us know asap.)
Side pockets hold Worldventures and Clarissa Rizal brochures, business cards, etc.
I transferred all that I had in my plastic binder; everything fit beautifully. I love the versatility, compactness and I’ve grown to even like the color for a briefcase.
The iMacbook fits perfectly into the separate zippered compartment
And now that I’ve been using this thing for the past couple of weeks, I’ve totally enjoyed it…and guess what? It matches my red boots. So if you see my red boots walking briskly in the snow, my little red portable office is tagging along too!
Feb 6, 2012 | Acting Out and Musical Chairs, Honoring Others |
Alaskan singer and songwriter, Buddy Tabor
Although this particular blog entry was first posted on August 22, 2010 directly after Buddy’s Juneau concert, I’m posting it here again because it’s one of of the last times I had seen Buddy; he passed away last night, February 5th, 2012, in the comfort of his home in Juneau surrounded by his wife, Jeanette, family and close friends.
The big wave of Buddy’s passing will move throughout Alaska, Canada and parts of the Lower 48. His music, life and character touched many lives; we will greatly miss this man! The following was the original blog entry a year and a half ago:
To tell the truth, I was never a fan of Buddy’s, even with all his CD’s of songs, his practicing in the living room, on the front porch, back porch and garden, with his quirky sense of humor. I wasn’t a fan until years later in 2006 when he was warming up for the upcoming house concert we were sponsoring; I walked into my kitchen and he was sitting on a high stool playing this song: “Box of Pain.” He had his eyes closed; the lyrics, tune and guitar picking bowled me over. I was stunned. I burst into tears. I’ve been bowled over since. How is it that it took almost 30 years of hearing his music that I couldn’t really HEAR his music? I guess I was too close to the guy or something, I dunno.
Buddy is an old family friend – met him way back in 1972 at the Zach Gordon’s Teenage Club where I used to play racketball and developed my black & whites in their darkroom; I was standing next to Buddy whom I had never met or seen before and asked him: “Well, who are you, buddy?” He answered nonchalantly: “Buddy.” And I said to myself “Yeah, sure…!” and I walked away. The next time I saw him was a couple of years later at the underground coffee shop called “Gandolf’s.” He was playing out of tune to a small crowd. He became friends with my then boyfriend, Bill, and since then our families grew up with one another and I came to know him, his wife Jeanette and their two sons Jesse and Joshua.
Under Artstream Cultural Resources, we sponsored the first Whistlepig House Concert in Pagosa Springs, Colorado in 2000; Buddy was our first performer. Every year when he would make his road trip to the Lower 48, he’d book a concert at my home in Pagosa. Fall wasn’t Fall without Buddy’s annual visit and music. In exchange or us producing the house concert and housing him for a week to a month, because he was a house-painter (as his 2nd job; music was his 1st!), he would paint our house every other year.
Because of back problems, Buddy isn’t able to travel long distances anymore and I don’t have my home in Colorado anymore, so I’m not able to sponsor concerts in my home, BUT I have had good timing to attend a few of Buddy’s local concerts at the Lutheran Church in Juneau. It was a pleasant sight to see a packed house for Buddy…I know it made him and his fellow musicians feel downright good!
Buddy Tabor sings to a full house in Juneau's Lutheran Church on West 10th
Buddy Tabor was born March 12, 1948 in Roanoke, Virginia. He started playing guitar at age seventeen after he first heard Bob Dylan. His musical and poetical influences are Bob Dylan, Hank Williams, John Prine, Johnny Cash, Leonard Cohen, Hazel Dickens, and Townes Van Zandt.
Buddy hitchhiked to Alaska in 1967. He worked in salmon canneries, on fishing boats, the Alaska Pipeline, and as a house-painting contractor. In 1976, he met his wife, Jeannette Chee, while working on the pipeline. Jeannette is a Navajo from White Water, New Mexico. Her Native and Western culture has greatly influenced his writing.
His song “Get Up Dogs” was used in several documentaries and by ABC’s Wide World of Sports. His work has also appeared on numerous NPR stations. The Undertakin’ Daddies, a Juno Award nominated Canadian roots band, recorded Buddy’s “New Fallen Snow” for their 2001 album, Post Atomic Hillbilly.
Buddy is a veteran of the Alaska Folk Festival, Dawson City Music Festival, and Yukon Frostbite Music Festival.
Vocalist Betsy Sims, bass player Albert McDonald and lead guitarist Jason Caputo accompany Buddy
Dobro player Paul Disdier joins Besty, Albert and Buddy
Back Row: Paul Disdier, Terry and Frederick Hoskinson, Greg McLaughlin, Betsey Sims, Albert McDonald, Lis Saya, John Ingalls, Jason Caputo Front Row: June Hall, Buddy, and Rainee Godwin
The above photo of Buddy Tabor with some of his musician friends and producers who have supported him in his career. Terry and Frederick Hoskinson have produced many of his local concerts here in Juneau. Local musicians Lis Saya, John Ingalls an Rainee Godwin have been Buddy’s sidekicks for almost 30 years.
We’re missing you, Buddy!
View Buddy’s “Black Crow Night” music video by Riley Woodford and Buddy at: http://wholewheatradio.org/wiki/index.php/Artists:Buddy_Tabor
Jan 5, 2012 | Adventures of Rear-Mirror Rissy, Class Act, Honoring Others, Latest Art Projects, Tlingit Culture Accentuated |
“Jennie Weaves An Apprentice” Chilkat robe was on my weaving loom for 5 years. I’ve never had a robe take so long in the weaving, however, I’ve never had the kind of journey I’ve experienced in the past 5 years either! The following is a pictoral journey of the life of this robe reflecting the journey of its maker.
Apprentice Bev Morris from Teslin, Yukon Territory and Clarissa begin weaving their Chilkat robes - Pagosa Springs, Colorado - September 2006
Directly after my apprenticeship in Chilkat weaving with 95-year-old Jennie Thlunaut from Klukwan, Alaska, I began designing a Chilkat robe in honor of the gift she had entrusted me with and the 6 weeks we had together in 1986. I had silk-screened a limited edition of the design, painted a “fake” robe for a collector, and the design was also the cover and name of my Chilkat Weaver’s handbook that I printed myself; yet it wasn’t until 20 years later after my apprenticeship with Jennie I had begun weaving the robe in September 2006 upon the arrival of an apprentice from Teslin, Yukon Territory, Bev Morris. I demonstrated Chilkat weaving techniques on my robe while Bev learned on hers.
Chilkat robe at the Auke Bay condo - September 2010
Chilkat robe in my new room at my mother and father's house - November 2010
Chilkat weaving demonstration during Gallery Walk at the Juneau Arts Center - musician/singer/songwriter Archie Cavanaugh and his grandson stopped by for a visit
Chilkat weaving demonstration during the "Time Warp" exhibit of Northwest Coast weavers at the Bill Reid Gallery in Vancouver, B.C. - March 2011
While visiting my daughter and granddaughter in Pagosa Springs, Colorado - April 2011
Many braids and weavers to keep track - common folk wonder about Chilkat weaver's sanity
Rented another apartment for the Summer 2011 - the turquoise couch, the black loveseat and the Chilkat rug (woven in Tibet) were all color-coordinated beautifully - June 2011
Patrice DeAsis and Lily Hope were two of my assistants who helped me complete this robe by its designated delivery date! - June 2011
Close-up of Teacher "Jennie Thlunaut" (in green mask) and "Clarissa" in blue mask
Demonstrating Chilkat weaving at the Teslin Cultural Center's boat building - July 2011
Inside the Teslin Cultural Center's boat building - Chilkat robe is off to the far right - July 2011
Weaving in a perfect room while overnighting at the Skagway Inn - granddaughter Bette Hope enjoys the view! - July 2011
While on return ferry from Skagway to Juneau, Lily Hope and Clarissa weave in the cafeteria - July 31, 2011
In the stateroom on the MV Columbia sail from Juneau to Bellingham - August 2,2011
With fellow Chilkat weaver Nishga'a elder, Louise Dangeli, in th stateroom on board the MV Columbia sail from Juneau to Bellingham - August 4, 2011
Nite weave In Colorado studio - August 11, 2011
Almost complete Chilkat robe on display in Clarissa's booth at the 2011 Santa Fe Indian Market - far right is Ravenstail woven ensemble of "Copper Child" woven by Lily Hope and Clarissa - August 20, 2011
Fellow Chilkat weaver Suzi Williams and Clarissa needle up the ends in the back of Chilkat robe - Sunday morning, August 21, 2011
Although neither Crystal Worl (wearing cedar bark hat) and Beckie Etukeok have never woven Chilkat, they help put up the ends in the back of this Chilkat robe - Afternoon of Sunday, August 21, 2011
"Jennie Weaves An Apprentice" Chilkat robe designed and woven by Clarissa Rizal with help from several of her weaving students - August 22, 2011
Jan 1, 2012 | Adventures of Rear-Mirror Rissy, Class Act |
Half of the dorm room; notice the hummel and ukelele on the wall - playing music helps survive the academia and four walls - the other half of the room is occupied by my Italian roommate
24 years ago, after my last child was born, I took a few classes at the Institute of American Indian Arts in Santa Fe – it was my way of “getting out of the house” without taking any responsibilities with me except those that I carried in regards to schooling. Then I was not interested in achieving a degree so I took fun classes. However, I’ve raised my family on my art income without a back-up “real” job and I thought it’s time to get my Bachelor of Fine Arts; in this way I have the balance of the Indigenous and Western credentials. Why is it important to have that balance? To gain more understanding of the complexities of living in a cross-cultural world.
The Center for Lifelong Learning at the Institute of American Indian Arts
At first, I scoffed at the concept of having to take the requirement classes in Drawing I & II, Geometry, Intro to Indigenous Studies, Contemporary Art, Native Art History I & II, English Composition I & II, etc. — yadda, yaddie, yaddue! Like golly, Holy Moses, do I have to take stuff I pretty much already know!? Friends of mine thought that with my status as a full-time artists for three decades, I ought to be a teacher at IAIA, not a student! Often I had wondered what the heck am I doing wasting my time getting stupid credentials. Yet, I’ve discovered how much I DON’T KNOW and how much fun it is to go through the assignments and learn additional stuff! We humans are so doggone arrogant and funny!
Easy walks on IAIA campus
At IAIA, we either gain weight because of the astounding food at the cafeteria, or we lose weight because IAIA is an easy campus to walk. Up on a mesa, it has 360 degree views of spectacular skies and faraway mountains. Although a biting cold in Winter, it’s sunny about 395 days of the year. And for those of us coming from Southeast Alaska, well…although the countryside lacks the dramatics of the big spruce, hemlock, alders and cedars, there is an ancient silence in the high-country deserts of the Southwest. As any of us Indigenous peoples know, go out onto the land and feel its gifts. There is the everlasting to appreciate.
Sweatlodge skeleton at IAIA; in use during the late Fall/Winter/Spring - what other 4-year accredited college are you aware of that conducts sweatlodge ceremonies?
There is a footpath for runners and walkers alike on campus. I don’t remember how many acres belong to IAIA, but it’s enough to continue growing. Hopefully, as IAIA grows its campus, the designers will always keep in mind our need to be connected to the earth, especially for many of us who are missing our homelands and require being outside — feeling the earth beneath our feet and enjoying the horizon.
Courtyard of the sculputure building at IAIA -- If I am not mistaken, this monumental, marble sculpture is by Craig Dan Goyesun - behind bars, the courtyard gate was locked. I thought this an interesting image.
IAIA is a unique environment. I hadn’t come to appreciate its qualities until this past Fall Semester. There is an Indigenous Studies department that was added to the “normal” Western curriculum of IAIA. Some of the classes from this department are requirements for a BFA. As mentioned earlier, I resisted taking the requirements, yet I discovered how much I don’t know and better yet, I discovered how much I want to learn! I am actually considering achieving a Minor in Indigenous Studies. We’ll see what transpires within this next year.
The Chama River near Abiqui, New Mexico - October 2011
I commute from my studio home in Colorado to IAIA. The 3-hour drive is one of the most scenic in North America (2nd best to that drive from Whitehorse, Yukon Territory to Haines, Alaska!). The drive enables me to relax, listen to Van Morrison’s “Listen to the Lion” and books on tape.
The Chama River with first snow - December 2011
I drive through Geronimo’s Apache homeland and “Georgia O’Keefe” country. Although the high-country desert is a vast difference from the rainforest of my homeland in Southeast Alaska, I thoroughly enjoy and appreciate the beauty both environments have to offer. I am privileged to have the option to experience these kinds of freedoms in America.
Looking towards "Ghost Ranch" of Georgia O'Keefe country during first snow - December 2011
Many years ago, my mother and father, Irene and William Lampe, encouraged me to get a degree; they said it’s the way to “get ahead” and understand living in the Western world. My mother said that back when she was young if she had the grant opportunities we have now, she’d have gone to school and she often wondered what her life would have been like. On behalf of my parents, I’d like to thank the following Grantors for their support:
* Chugach Heritage Foundation * Sealaska Heritage Institute * Tlingit & Haida Central Counil * Huna Heritage Foundation * Alaska Native Brotherhood (ANB) and * FAFSA
Nov 11, 2011 | Adventures of Rear-Mirror Rissy, Class Act, Honoring Others, Latest Art Projects, Showing Off, Tlingit Culture Accentuated, To Market To Market |
nDigiDreams videography class - Institute of American Indian Arts - Santa Fe, NM September 2011
Spearheaded by Jennifer Coots, Business Program Professor, the Institute of American Indian Arts Indigenous Studies Department sponsored a class, for those of us interested in being introduced to creating 5-minute videos. Each of us told a personal story related to our cross-cultural upbringing and experiences leading to how we were led to attend The Institute of American Indian Arts in Santa Fe.
Our teachers were Carmen and Brenda from nDigiDreams. nDigiDreams conducts community-based digital storytelling training workshops. “We believe our diverse cultures, identities, histories and stories hold enormous strength and beauty and we seek to train and empower indigenous individuals and communities with new media tools to realize optimal health and wellness.” Carmen and Brenda have conducted workshops in Indian Country; think about hosting a workshop in your community. You may check out their website (and view other storytelling videos) at: http://www.ndigidreams.com/
Brenda Manuelito, Jennifer Coots (IAIA Business Professor) and Carmen Rodriquez
You may view my very first video entitled “Generations of Love Made Visible” along with some of the students’ videos on U-tube. Cut and past this link onto your browser: http://www.youtube.com/playlist?list=PLBF1FA84C49C930F7
Thank you very much for visiting!
Oct 29, 2011 | Honoring Others, Showing Off, Tlingit Culture Accentuated |
Cecil Touchon in his studio - February 2007 (photo courtesy CecilTouchon.com)
Interviewers and others have asked how and when I came into creating contemporary paintings and collages with Northwest Coast Native art imagery. I refer them to my friend and fellow artist Cecil Touchon at www.ceciltouchon.com. Back in ’93 Cecil and I met in his then gallery he had recently opened in Pagosa Springs, Colorado. His daughter Brittany was drawing at the drafting table and his wife (and assistant), Rosalia was just running out the door to do an errand. After a lengthy conversation about art, families and life as an artist, I purchased the first item sold from the gallery: an antique wooden hat form. That was the beginning of our life-long friendship.
After visiting me in my studio working on button blankets and a Chilkat robe, Cecil thought it would be cool if I did Northwest Coast imagery in contemporary works in paintings and collages. I thought I’d give it a go; I spent a few days in his studio where he taught me the essence of cubism without even realizing it. Finally, about 5 years later in 2000, I got off my duff and created a painting based on one of my button blankets called “Wrestling With Angels” and created my first 10 collages that I immediately sold at the Santa Fe Indian Market. Since, I’ve been having fun with exploring Northwest Coast Native art in cubist-style paintings and collages.
Cecil's exhibit opening Friday, October 28 in Atlanta, Georgia
Last night Cecil had a show opening in Atlanta, Georgia. Click the link to view his show:
http://www.flickr.com/photos/terrykearns/sets/72157627876660361/show/
Check out the variety of Cecil’s work and writings on his website’s blog: http://ceciltouchon.blogspot.com
