The prints in this collection compose the Crow’s Shadow Institute of the Arts print archive which is housed at the Hallie Ford Museum of Art and includes one print from each edition created at Crow’s Shadow. The partnership between the museum and Crow’s Shadow was formally established in 2010. Through this partnership, the museum provides scholarly access to the archive collection as well as public access via exhibition and the internet. Prints from this collection are on view in the Confederated Tribes of the Grand Ronde Gallery on the second floor of the museum.
Located in the historic Saint Andrew’s Mission schoolhouse on the Confederated Tribes of the Umatilla Indian Reservation, Crow’s Shadow Institute of the Arts was founded in 1992 by Walla Walla artist James Lavadour, one of the Northwest’s most critically acclaimed painters. The institute’s mission is to provide educational, social and economic opportunities for Native Americans through artistic development. Crow’s Shadow sponsors instruction in both contemporary and traditional art forms, and serves emerging as well as established Native American artists. The institute provides a way for Native artists to connect with the mainstream art world, and offers non-Native program participants an avenue for cross-cultural understanding.
Crow’s Shadow houses a state-of-the-art printmaking facility and employs a master printmaker, Frank Janzen, trained at the prestigious Tamarind Institute in New Mexico. Every year, Native artists from within and beyond the Northwest participate in residencies at Crow’s Shadow.
View the entire collection archive.
See more artwork from this collection
Ric Gendron (b. 1954)
#6 out of 12 monoprint series
Kay WalkingStick (b. 1935)
Wendy Red Star (b.1981 )
Rick Bartow (b. 1946)
#9 out of 16 monoprint series
James Lavadour (b. 1951)
Edition 16 Grouping of four prints, and two on bottom with quarter inch spacing. Prints (a)(b)(c) signature Lavadour '03 on revers lower right. The title "Ghost Camp" refers to the area just south of the Umatilla Reservation where my family used to camp; Salmon Back Ridge, Johnson Creek, Snipe Canyon, Dry Camp, Cap Kidd Ridge, Pop- corn Ridge. We hunted elk in the fall and enjoyed many summers in those beautiful canyons and forests. Today, all of the land has been clear-cut. The places that I remember do not exist any more. I have dedicated this print to be a shelter and camp for those countless memories and stories.
Larry McNeil (b.1955 )
This print is part of a collection titled "Migrations"
Hock E Aye Vi Edgar Heap of Birds (b. 1954)
The language in this print has evolved from large color-contrast paintings of the cedar trees which populate the grasslands, along with the arroyos within the red earth, in the western Oklahoma canyon lands. Having spent some time swimming in the Great Barrier Reef, Queensland, Australia and seeing the dynamic and multi-colored fish, the water-world has merged with the pastoral tree forms to create a pulse of color in shapes that grow, overlap and swim through the picture plane. The motion offers a positive notion of movement and change which always holds hope.
Jeffrey Gibson (b. 1972)
Marie Watt (b. 1967)
Phillip John Charette (b. 1962)
Edition 16 This print is part of a four part series titled Angalkug "Shaman or Medicine Man" They represent four stages in a traditional Yup'ik healing ceremony. The images are photographs of the artist which have been manipulated through various media. They represent Aarnaquq, his great, great grandfather and namesake who was a well-respected healer.
Truman Lowe (b. 1944)
Edition 12 Title for this print translates in the Umatilla language for "river three" " The language of moving waters, of rivers and streams, inspired the prints 'Wana'. The work is a layering of the same image printed on three different Japanese papers. These layers suggest the physical and symbolic depths of the river and the currents of salmon that swim upriver. Wanting to honor the Native peoples of the region, I chose the Umatilla word for river, Wana, as the title of the prints. The river gives life." Truman Lowe.
Jeremy Red Star Wolf (b. 1977)
Joe Feddersen (b. 1953)
Edition 16 This overlap of iconography gains complexity in his colorful prints. In a lithograph printed at Crow's Shadow Institute in 2003 colorful mountain designs are layered with cul-de-sacs on the Indian reservation. Wyit View in Cayuse translates to basically Valley View. By merging his cultural background as a Native American with a modernist sensibility, Feddersen's imagery addresses the memory of place through abstraction drawn from geometric indigenous basket designs interwoven with his original patterns. His contemporary symbols reflect urban life: chain link fences, bricks, parking lot lines, a cul-de-sac, and so on. The meaning of this print changed from a celebration of a now cancelled building project on the Umatilla reservation ( because of sighting of ancestral remains) to a reminder of the integrity and respect for the ancestors of the tribes. This came at a high cost to the tribes through the loss of federal funding, but their actions tell the world where their priorities lie. They chose not to disturb the remains and refunded the money. This is a beautiful thing and worthy of acknowledgement. -Joe Feddersen