![]() ![]() Since its opening in 1992 by Indigenous painter and printmaker James Lavadour (Walla Walla), Crow’s Shadow was founded as a place to not only nurture Native artists, but also to teach people how to market their art for economic development. Located on the Confederated Tribes of the Umatilla Reservation, Crow’s Shadow Institute of the Arts is home to the country’s only professional printmaking studio on a Native American reservation. Last May, the Portland-based visual artist completed her fourth contemporary printmaking residency at Crow’s Shadow. “Art is what is left behind of cultures,” says Wendy Red Star (Crow), while reflecting on her work inside Crow’s Shadow. “But a place to go and widen our circle.” Crow’s Shadow is not just for purchasing fine art prints,” Brown says. “I’m getting involved in Chamber of Commerce events, having meetings with other people invested in the community and posting flyers about us around town so people know that anyone can come here. ![]() “I want to make Crow’s Shadow feel more like a part of the community - with community pride,” she said, noting that she has reached out to the Rotary Club. That’s important because Crow’s Shadow is better known in the wider fine arts world for its collaborative printmaking than its traditional Native arts workshops such as dressmaking, basket weaving and beadwork. Just a few weeks into her new position, Brown is already starting to raise awareness about Crow’s Shadow in the wider Umatilla-Pendleton community. Related: Crow’s Shadow Institute of the Arts events calendar And helped lay the groundwork for the public side of funding for that project,” Brown said. “I helped make the organization more visible. She most recently worked for the Arts Center Task Force in Richland, Washington, which is leading a campaign to build a performing arts center in the Tri-Cities. I think a new building will be a fresh start.”īrown’s background is in the performing arts. “It’s very old and can’t always support everything we want it to do here. Most of these schools were trying to teach native children to unlearn their traditions and language, she said. “Our building has a legacy that doesn’t serve us in the long run,” Brown said.
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