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Gerry Quotskuyva, Jason Garcia, and Luke Parnell
at the Coe Center, 2016.

The Ralph T. Coe Center for the Arts and the Institute of American Indian Arts Artist-in-Residence Program (IAIA A-I-R) are pleased to present the ongoing series of collaborative public Creating Side-By-Side Artist Events hosted by the Coe Center. Working hands-on with the Coe Center encyclopedic collection, the artists select work from the Coe collection to share in dialogue with her own artwork and the public. These events pair mini-curation with public conversations investigating how an artist finds inspiration through the work of others and what can be learned by artists and the public from this process. For more information about the artists please go to IAIA Artist-In-Residence Program.

February 17, 2017
IAIA Artist-in-Residence, Meghann O’Brien (Haida-Kwakwaka’wakw, Irish) spent the evening in dialogue with visitors regarding her own artwork. For this public, O’Brien presented her own practice and creative sources, and engaged with the audience the importance of traditional process. It was truly an amazing opportunity for our visitors interested in weaving, textiles, and the arts of the Northwest Coast to learn directly from the artist.

Meghann O’Brien (b. 1982) is a Northwest Coast weaver, whose innovative approach to the traditional artforms of basketry, Yeil Koowu (Raven's Tail) and Naaxiin (Chilkat) textiles connects the artist to the rhythms and patterns of natural world, creating a continuity between herself and her ancestors. O’Brien, who left the world of professional snowboarding to work fulltime as a weaver in 2010, employs traditional materials such as hand-spun mountain goat wool and cedar bark in her meticulous weavings and baskets.

November 1, 2016
IAIA Artist-in-Residence, Nakkita Trimble (Nisga'a and Tlingit) joined us for the second event in this ongoing series, where she explored the Coe Center’s extensive collection of global indigenous arts and found points of connection and inspiration for her own artistic practice. Trimble selected works from the Coe collection sharing them in dialogue with her own artwork and in conversation with the general public.

Nakkita Trimble (Nisga’a and Tlingit) Nisga’a name is Algaxhl Gwilksk’alt’amtkw, which translates to speaking through her art. Her ayukws is the Ganaaw or frog, and she is from the House of, or Wilps Axdii Wil Luu-Gooda. Her family is maternally from Gingolx. Nakkita’s great grandparents are Rose (Gurney) and Christopher Trimble. Rose and Chris were one of the last arranged marriages in Gingolx. Nakkita was born and raised in Prince Rupert, British Columbia. She graduated from Prince Rupert Secondary School June 2005, and began her art education September 2007. Her tattooing career began in 2012 and progressed into reviving traditional coastal gihlee’e as a means to reawakening the Nisga’a tattooing art form in her nation. Driven by her passion to learn more about Nisga’a art and culture, Nakkita worked with Nisga’a Elders and undertook research to learn about and identify the significance of traditional Nisga’a tattoos.

1. Nakkita Trimble tells her story, Clip 1
2. Nakkita Trimble talks about Frida Diesling, Clip 2
3. Nakkita Trimble with Duane Howard. Clip 3

October 3, 2016
For our first event, IAIA Artists-in-Residence Jason Garcia, Gerry Quotskuyva, and Luke Parnell spent time exploring the Coe Center’s extensive collection of global indigenous arts; finding points of connection and inspiration for their own artistic practice resulting in pop-up curation, including public conversations, investigating how an artist finds inspiration through the work of others and what can be learned from this process. All three artists create work that honors the tradition of Northwest Coast art but are not devoid of contemporary meaning.

Jason Garcia (Tewa) uses his artwork to document the ever-changing cultural landscape of his home of Santa Clara Pueblo, New Mexico. Tewa cultural ceremonies, traditions, and stories, as well as 21st century popular culture, comic books, and technology, influence Garcia’s art. This is his first residency since completing his MFA at the University of Wisconsin.

Gerry Quotskuyva (Hopi) is a member of the Bear Strap Clan from the Second Mesa Village of Shungopavi in Northern Arizona. He currently resides in Rimrock, AZ, where he maintains a studio. His remarkable style has been nationally recognized in various media including public television, newspaper articles and books including “Art of the Hopi,” by Jerry and Lois Jacka, “Katsina,” by Zena Pearlstone, and “Ancestral Echoes,” a ten-year retrospective.

Luke Parnell (Nisga’a and Haida Nations) is a Vancouver-based artist and a member of the Nisga’a and Haida nations and he is both traditionally and classically trained with a bachelor’s degree in Sculpture and installation, a Master’s degree of applied arts, and an apprenticeship with Master Tsimsian Carver Henry Green. This diverse training and epistemology has influenced his practice. “The Burden,” the artwork to be completed in Santa Fe, utilizes this training to address issues of ownership and responsibility as an Indigenous artist.

2015 and 2016
The CREATING SIDE-BY-SIDE Artist Workshop Series in 2015 and 2016 brought renowned Native artists, such as Kelly Church (Grand Traverse Band of Ottawa and Chippewa Indians) and Sallyann Paschall (Cherokee) to the Coe Center to engage in hands-on experiences with the public involving a variety of different media. The series provided the community with the rare opportunity to learn about individual artists' creative processes, the power of materials, and to participate in creative production in a collaborative space; igniting the senses through doing!

March 19 and April 9, 2016
Black Ash Basket, Make and Take Workshop
Kelly Church (Grand Traverse Band of Ottawa and Chippewa Indians) is an award-winning black ash basket weaver, Woodlands style painter, birch bark biter, and educator. For her “Black Ash Basket Make and Take Workshop,” Church brought to the Coe Center a black ash log, which is threatened by extinction from the Emerald ash borer, and showed us how the splints are harvested, as well as worked with us to actually weave our own baskets. They turned out to be amazing.
1. Harvesting splints from a Black Ash log.
2. Kelly Church explaining splints.

Church is an artist dedicated to the power of nature, material, and to tradition through the past to today. She creates multi-media baskets that connect the teachings of her ancestors to her contemporary experience as an artist.

May 14 and 15, 2016
Sallyann Paschall's Print Party!
Sallyann Paschall (Cherokee) is a painter, printmaker, and multimedia artist. At the Coe Center she created a Print Party where participants used the Coe Center collection as inspiration for their masterpieces. Borrowing a press from Santa Fe Prep, students played with color, pencil, and even their fingers, creating textures resulting in monotypes of eye-dazzling quality!

1. Getting Ready to Print with Sallyann Paschall, Part 1.
2. Printing with Sallyann Paschall, Part 2.

September 24 and Sunday, September 25, 2016
“Slip-Cast Seed Bombs” with Cannupa Hanska Luger (Mandan, Hidatsa, Arikara, Lakota, Austrian, Norwegian)
Cannupa Hanska’s “Slip-Cast Seed Bombs” introduced participants to clay as a medium for social activism as he guided them through the technical process of creating slip cast objects. Seed Bombs, a form of guerrilla gardening that incorporates plant seeds into cast or molded clay forms, are used to beautify and enliven hard to reach or neglected landscapes through the distribution of seeds through the shattering of the “bombs” directly onto the soil. Slip-casting, while often used in the mass-production of ceramics, is used by Luger to comment on the nature of identity, creation, and destruction in contemporary life. As participants, we were able to inspire life through returning the Seed Bombs to the earth.