Monday, November 16, 2009
We've added another chance for everyone in Fairbanks to audition last minute. Here are the details:
Monday, November 16th
UAF Wood Center
Conference Room A
We haven't met enough of UAF's talented Inuit students! We are sure there are more people on campus interested in trying out, so don't miss your chance. We'd love to meet you! Email me if you have any questions at firstname.lastname@example.org
Thursday, November 12, 2009
Tuesday, October 20, 2009
Monday, October 19, 2009
October 23, 2009 – December 12, 2009
Opening – Friday Oct. 23rd, 8pm grunt gallery
Bill Reid Gallery of Northwest Coast Art
630 Hornby Street, Vancouver, British Columbia
Alaskan artist Nicholas Galanin brings his transformative work to grunt gallery, which extends from his series, 'The Imaginary Indian' a series that juxtaposes manufactured Northwest Coast masks and French toile. Galanin explores the authentic and inauthentic and how interpretation, appropriation and "cultural drift " inform Northwest Coast art . Showcasing new works from The Curtis Legacy Galanin strips masks, bodies and meaning down to reveal that ,"The real strength in survival of indigenous knowledge and culture lies within the ability to freely and creatively represent ourselves." Shifting the colonial gaze from ethnography to pin-up The Curtis Legacy series includes nude models wearing Indonesian made Tlingit masks, referencing Edward Curtis photographs of the noble savage, these works lay bare the objectification of both the body and the sacred . Both series of works are brought together in Galnin's examination of gloablized culture(s), freedom of cultural expression and the manifestations of change in a world of shifting cultures and ancestral echoes.
Nicholas Galanin was born in Sitka, Alaska, Nicholas Galanin has struck an intriguing balance between his origins and the course of his practice. Having trained extensively in 'traditional' as well as 'contemporary' approaches to art, he pursues them both in parallel paths. His stunning bodies of work simultaneously preserve his culture and explore new perceptual territory. Galanin comes from a long line of Northwest Coast artists, starting with his great-grandfather, who sculpted in wood, down through his father, who works in both precious metal and stone. Galanin studied at the London Guildhall University, where he received a Bachelor's of Fine Arts with honors in Jewelry Design and Silversmithing. Soon after, Galanin discovered a graduate arts program at Massey University in New Zealand that meshed perfectly with his interests and concerns, and in 2004 he began earning a Master's degree there in Indigenous Visual Arts. Valuing his culture as highly as his individuality, Galanin has created an unusual path for himself. He deftly navigates "the politics of cultural representation," as he balances both ends of the aesthetic spectrum. With a fiercely independent spirit, Galanin has found the best of both worlds and has given them back to his audience in stunning form.
For More Information Please Contact:
Programming and Communications Coordinator
604.875.9516 / email@example.com
116 - 350 E. 2nd
Vancouver, BC V5T 4R8
Tuesday, October 13, 2009
The Indian Arts Research Center in Santa Fe, New Mexico seeks Native and First Nations artists to apply for its upcoming artist fellowships for 2010-2011.
The Indian Arts Research Center (IARC) at the School for Advanced Research (SAR) offers three artist-in-residence fellowships annually to advance the work of mature and emerging Native artists. Each fellowship includes a $3,000 monthly stipend, housing, studio space, supplies allowance, and travel reimbursement to and from SAR. These fellowships provide time for artists to explore new avenues of creativity, grapple with new ideas to further advance their work, and to strengthen existing talents. The fellowships support diverse creative disciplines and can include sculpture, performance, basketry, painting, printmaking, digital art, mixed media, photography, pottery, music, writing, and film.
Artist fellows must live on the SAR campus, complete a project resulting in the creation of one or more works, and make a public presentation at the end of their fellowship. While in residence, artists can access the IARC collection of Native arts for research and study.
Additionally, SAR would like to see the fellow's work represented in the object, archives, or photo collection; therefore, the fellowships request the donation of a single piece created while working at SAR. If selected for the fellowship, artists must agree to participate in interviews, photo sessions, video recordings, and exit interviews to document the fellow's process and progress. This information will be entered into the IARC archives to serve as a permanent public record.
Deadline to apply is January 15, 2010.
This application cycle includes: the Ronald and Susan Dubin Native Artist Fellowship 2010, Rollin and Mary Ella King Native Artist Fellowship 2010, and Eric and Barbara Dobkin Native Artist Fellowship for Native Women 2011. To download the application, read the FAQ, or find out more about the fellowships, visit: http://artists.sarweb.org
Completed applications must be postmarked no later than January 15, 2010. There are absolutely no exceptions to the date. Incomplete applications will not be reviewed. Any supplementary materials submitted will not be considered or returned. Notifications will be sent approximately four months after the application deadline. Questions may be directed to (505) 954-7205 or firstname.lastname@example.org.
About the School for Advanced Research: The School for Advanced Research provides a dynamic environment for the advanced study and communication of knowledge about human culture, evolution, history, and creative expression. SAR draws upon its century-deep roots in the American Southwest, anthropology, and indigenous arts to present programs, publications and initiatives that impart the learning of social scientists, humanists, and artists to inform the thoughts and actions of scholars, artists, educators, and the interested public.
Tuesday, September 15, 2009
Find more artworks like this on artreview.com
Monday, May 11, 2009
Monday, May 11, 2009 5PM - 8PM
Gallery Hours: 8AM - 5PM
or by appointment
May 11, 2009 to May 22, 2009
University of Alaska, Fairbanks
Fine Arts Gallery
312 Art Wing Fine Arts Complex
Friday, April 17, 2009
Wednesday, April 15, 2009
- Phillip will be working in the classroom sharing his knowledge with the students.
- Here is a statement by the artist from his web site.
- Phillip John Charette, "Aarnaquq"
- Alaskan Native Artist Statement
I am an Alaska Native Yup'ik artist specializing in sculpture, Yup'ik spirit masks, and Native musical instruments. While involved in art throughout my life, I began work as a full-time artist in 2001. Through a hands-on investigative and exploratory approach, my art expresses elements of traditional Yup'ik spirituality, cosmology, and power. My art is rooted in historic and traditional Yup’ik “ways of being” learned throughout my life. But, I utilize my own contemporary style, form, and perspectives in creating artwork. Spirits, Yup'ik cosmology, and spiritual beings are my primary subject matter.
As a mixed media artist I work with numerous materials which include clay, wood, driftwood, glass, metal, stone, glass beads, rawhide, porcelain, feathers, quills, shells, bones, paint, and found objects. A rare Yup’ik art form, pottery is a foundation for my work. Clay sculptures are low fired or raku fired in home made kilns. All teeth, bones, and spirits are hand made of high-fired porcelain. A flame worker, I make my own glass beads. Driftwood masks and sculptures are hand carved in a contemporary style. Traditional wood bending techniques are used in making spirit mask frames and Yup'ik drums. Native American style flutes are concert quality and made of hardwoods and low fired clays (including smoke fired, horse hair fired, and raku) .
My artistic goals are achieved though constant exploration and discovery of new methodologies, utilizing new materials, and in exploring new art forms. Future artistic goals include monumental work, working directly with bronze, large fused glass, metal sculpture, prints, and precious metal work. Finally, I hope to push the boundaries of traditional art bringing attention to new possibilities in the mixed media art world. And, I hope to expose and educate people about the spiritual world of Yup’ik art.
And here's a great interview with the Artist.
Friday, April 10, 2009
Mike Croskrey will be conducting a mask making workshop April 17th and 18th, from 9:00am-4:30 pm at the Native Art Center. Croskrey received a MFA from the Native Arts Center in 2002 and is back to share his skills with the community.
Tuesday, April 7, 2009
Please join us for a public lecture from our visiting artist Tanya Aguiñiga, on Tuesday April 7th at 3:40 pm in room 301 Music, Fine Arts Complex at the University of Alaska Fairbanks.
Tanya Aguiñiga (b.1978) is a furniture designer whose work is informed by the complex interactions between Tijuana and San Diego, the cities in which she has spent most of her life. While studying design at San Diego State University, she began working as an educator at the San Diego Museum of Art and created collaborative installations with the Border Arts Workshop, an artists’ group that engages the languages of activism and community- based public art. After earning an MFA in furniture design from Rhode Island School of Design in 2005, Aguiñiga settled in Los Angeles where she designs and hand makes all of her work.
Her sensitivity to materials and interest in creating furniture that responds to the user’s spatial needs have resulted in a playful and organic modernist approach to form. She hopes to deepen her commitment to ethical design by working with traditional artisans, connecting local craft traditions with a global economy. Her work has been exhibited from Mexico City to Milan and she was recently named a United States Artists Target Fellow in the field of Crafts and Traditional Arts. She is currently an artist in residence at the Delaware Center for the Contemporary Arts and created “Toddler Texture Forest” an installation at the New Children’s Museum in San Diego.