Marie Hall was the first Executive Director of Crow’s Shadow Institute of the Arts, serving as the ED for four years during the 1990s. Marie later returned as a board member and is now serving CSIA as Board President for 2018. For the past 15 years she has served as an academic advisor first for Eastern Oregon University and now as the ASPIRE Coordinator at Pendleton High School. Marie has lived in Pendleton of 37 years, serving on the Pendleton Education Foundation. She has a BS in Agricultural and Resource Economics from Oregon State University.
James “Jim” Lavadour (Walla Walla) grew up in the foothills of the Blue Mountains on the Umatilla Reservation near Pendleton, Oregon. In 1992 Lavadour and friends founded Crow’s Shadow Institute of the Arts, with the idea of using art as a transformative tool within the Native American community. Lavadour is a member of the Confederated Tribes of the Umatilla Indian Reservation.
Lavadour’s work is deeply rooted in the landscapes of eastern Oregon, where he has been making artwork for more than four decades. He drew his early inspiration from a wide variety of sources, from Romanticist painters such as Turner, to more kinetic processes such as those exemplified by Chinese ink painters. Long held in high esteem among the art world in the Pacific Northwest, Lavadour’s paintings have also been shown in numerous major institutions throughout the United States, with more national recognition building over the last ten years. Lavadour has exhibited at: The Smithsonian’s National Museum of the American Indian (in both Washington, DC and New York, NY); The Eiteljorg Museum in Indianapolis, IN; Portland Art Museum in Portland, OR; the Heard Museum in Phoenix, AZ; and the Institute of American Indian Art in Santa Fe, NM among many others. Notably, Lavadour, with his Portland gallerist, Jane Beebe of PDX Contemporary, were invited to bring a large grid of 15 of his paintings to show in Personal Structures at the Palazzo Bembo in the 2013 Venice Biennale in Italy.
Charles Froelick opened Froelick Gallery in Portland in 1995 and has spent the past 20 years championing contemporary artists from the Pacific Northwest and beyond. Froelick represents several of the region’s most important Native American artists, including Joe Feddersen and Rick Bartow. Since 2012, Charles Froelick has served as a board member of the Crow’s Shadow Institute of the Arts. He has also served on multiple boards and committees, including: the Portland Art Dealer’s Association (PADA), the Gilkey Center for Graphic Arts at the Portland Art Museum, Regional Arts & Culture Council’s Public Art Advisory Committee, and the Cascade AIDS Project Annual Art Auction. Froelick credits much of his success to his long-standing and strong relationships with artists and clients as well as his enthusiasm and great appreciation for the artists that his gallery represents.
Froelick received a BFA in sculpture at the University of North Texas in 1989. He worked at Hiram Butler Gallery in Houston, Texas from 1988 to 1991 and Jamison Thomas Gallery in Portland, OR from 1992 to 1995 before opening Froelick Gallery.
Pat Walters is an original founding Board Member of Crow’s Shadow and has been an integral part of our board since CSIA’s founding in 1992. Ms. Walters is a professional photographer and small business owner, an area that she has worked in for over 30 years. She also has experience in fund development and program management. Ms. Walters is a member of the Confederated Tribes of the Umatilla Indian Reservation.
In 2016 Bonnie Laing-Malcolmson retired from her position as the Arlene and Harold Schnitzer Curator of Northwest Art at the Portland Art Museum. She was responsible for the Museum’s collection of Northwest art from the late 19th century through the present. Her duties included research, documentation, building the collection, and presenting exhibitions based upon the collection and work by artists living in Idaho, Montana, Oregon, Washington, and Wyoming. She curated the APEX series of contemporary northwest artists annually and curated the biennial Contemporary Northwest Art Awards exhibition. Laing-Malcolmson was president of Oregon College of Art & Craft from 2000 to 2010 and served from 1994-2000 as the executive director of Paris Gibson Square Museum of Art in Great Falls, Montana. She also was director of academic affairs and admission at the Pacific Northwest College of Art (PNCA) in Portland, Oregon from 1981-1987. Laing-Malcolmson was born in Seattle; she has a BFA in Painting from the PNCA and an MFA in Painting from Montana State University.
Kris Anderson is the principal of Kris Anderson Consulting, a nonprofit and philanthropic consultancy that seeks to build nonprofit impact and sustainability. She is also the part-time executive director of The Portland Clinic Foundation and the co-author (with Greg Chaillé) of State of Giving: Oregon Volunteers, Donors, and Nonprofits (OSU Press, 2015). Kris serves as the grants chair of the Multnomah County Cultural Coalition, a member of the Oregon Historical Society’s Cabinet, the former board secretary and Portland2016 Biennial chair of Disjecta Contemporary Art Center, and as an occasional Oregon Cultural Trust grants reviewer. She is a regular speaker and moderator on nonprofit strategy and culture, most recently for the Association of Fundraising Professionals, Board 101, and Portland State University. Before returning to her home state of Oregon in 2012, Kris studied and taught English literature at the University of Oxford and taught the humanities at the Open University in London. She and her husband are avid travelers, hikers, skiers, and arts and culture lovers.
Alison Mowday Gold was raised in the San Francisco bay area and has lived in Portland for close to 20 years. She received a BA in Psychology then a MBA in Marketing and Management both at University of Oregon. Her professional work has included business process optimization, enterprise software implementations and sales and marketing consulting. She has volunteered for a local community furniture warehouse, was a driver for Meals on Wheels, and is currently a board member of the Women’s Architectural League of Portland. She and her husband, Andrew, are avid art enthusiasts. They are regular visitors to Portland galleries and non-profit arts venues.
Phillip Hillaire is a member of the Lummi Tribe in the Pacific Northwest. He has been around artistic culture all his life, interfacing and working with members from various Native American tribes. His professional background includes working with Wieden+Kennedy on the American Indian College Fund as well as the highly successful 2010 Native Arts and Cultures Foundation fundraising event also held at Wieden+Kennedy.
Mr. Minthorn (Cayuse) formerly served as Chairman of the Board of Trustees for the Confederated Tribes of the Umatilla Indian Reservation (CTUIR) from December of 1997 to December of 2001, and from 2003-2009. In this role as the top elected official for the CTUIR tribal government, he led a tribe that is known for its cooperative and innovative approach to a wide range of issues, including the arts and economic development. Mr. Minthorn’s efforts have guided many of the CTUIRs successes over the last 30 years, including the restoration of salmon to the Umatilla River following their 70-year absence.
Mr. Minthorn attended Gonzaga University from 1953-57, Eastern Oregon University from 1972-73 and was a member of the US Marine Corps from 1957-1963. You can read more about his impressive life and career here: Antone Minthorn: A Portrait of Native Resilience and Leadership.
Sam is a retired Educator and School Administrator, and former Consultant to the Confederated Tribes of the Umatilla Indian Reservation (he helped establish Charter for Nixyáawaii Community School). He is deeply connected to the land and region, with extensive public service to the local community. He is also an avid historian.
In June 2018 Prudence Roberts retired from her position as a Professor of Art History and the Director of the Helzer Art Gallery at Portland Community College’s Rock Creek campus. Roberts was the Curator of American Art at the Portland Art Museum from 1987-2000, where she focused on the museum’s regional collections and also specialized in early American museology. She was the curator of Disjecta’s Portland 2012 biennial and has been a guest curator at the Art Gym, Marylhurst University; and at COCA in Seattle. She is a member of the board of Disjecta Contemporary Art. She has served on panels for the Regional Arts & culture Council, The Ford Family Foundation, and the Oregon Community Foundation. She is co-chair of Portland Community College’s Women in Art Lecture series, which has brought such notable artists as Carolee Schneemann and Jaune Quick-to-See Smith to Portland audiences. Roberts was born in Philadelphia and moved to Oregon in 1985. She received her BA from Sarah Lawrence College, Bronxville, NY; and her MALS degree from Reed College. Prudence shares, “As one of the original board members of Crow’s Shadow, I have followed the institution’s growth and increasing importance over the years. I am truly honored to have been invited to rejoin the board and look forward to helping move Crow’s Shadow to the next level.”
Mari Tester is a retired native executive (Cayuse, Walla Walla, Sioux), with over 33 years of experience in the telecommunications industry. She spent 32 years in a variety of management positions, and specializes in: human resources, strategic planning, public policy, project management, and government contracts, among other skills. Mari was the principle for M.E. Tester and Associates, an international consulting firm, for 20 years. She is highly involved in several community organizations and has held the following board positions: Vice President, French Town Historical Foundation; Vice President, Crow’s Shadow Institute of the Arts; Past Chairman of the Board, Children’s Home Society; Past Public Policy Chairman, American Association of University Women. Ms. Tester is a descendant of Frenchtown, the historic site of the French-Canadian and Metis settlement formed in 1823 at Fort Nez Perces (later Fort Walla Walla) near modern-day Walla Walla, Washington.
Karl holds an MA from University of Alberta and BA from Portland State University, both in art history. He has led a number of different arts organizations throughout his career, including coordinator of the Littman/White Galleries at PSU, Director of Froelick Gallery in downtown Portland, and President of the Art and Design Graduate Student Association at the University of Alberta.
He is a native Oregonian with strong ties to the local and national arts communities.
Judith received her MFA in Printmedia from Virginia Commonwealth University and her BFA from Alfred University NYSCC School of Art + Design. In 2015, she completed Tamarind Institute’s prestigious Professional Printer Training Program focused on the art of collaborative lithography.
Judith is a recipient of Virginia Museum of Fine Art Professional Fellowship Award in Printmaking. For over a decade, she has taught printmaking to hundreds of students at numerous universities and colleges. Notably, she spent nine years on Faculty at The Evergreen State College in Olympia, Washington serving as Instructional Print Technician and was instrumental in reviving the lithography print studio facilities for the school. Prior to her time at Evergreen she apprenticed at Mahaffey Fine Art as press assistant under the direction of Master Printer Mark Mahaffey.
Most recently Baumann taught printmaking curriculum at Yavapai College in Prescott, Arizona and Art Foundations at Northern Arizona University, Flagstaff, Arizona.
Her work has been shown in myriad group and solo exhibitions across the country. She has taught multiple lithography and letterpress workshops in both art centers and institutions, including the Sitka Center for Art and Ecology and The University of Alabama in Huntsville. She specializes in lithography, letterpress, and digital integration in print.
Nika has an MFA from the University of Alberta in Drawing/Intermedia, and holds a BFA from Portland State University in Painting/Drawing/Printmaking. She maintains an active art practice and has an extensive arts background. Nika taught multiple drawing, foundations, and conceptual art classes at the University of Alberta and has been highly involved with various community art programs in Edmonton and now in Pendleton. Alongside adjunct university teaching, related work includes: Curatorial Administrative Assistant at the Art Gallery of Alberta (Edmonton); Gallery Manager at dc3 Art Projects (Edmonton, Alberta), Assistant Director at Quintana Galleries (Portland, Oregon) and Gallery Co-Coordinator at the Littman & White Galleries at Portland State University. Nika was born and raised in Portland, Oregon.
Crow’s Shadow is pleased to announce the arrival of a new intern, Sequoia Conner of Pendleton, Oregon. She served as a Member at Large for the Confederated Tribes of the Umatilla Indian Reservation Youth Council (CTUIRYC) for five years and attended leadership training in Oregon, Washington, Idaho, and California during high school and also served as Secretary for the Native American Board of Representatives (NABOR). In 2017, Sequoia graduated from Pendleton High School and is a student at Blue Mountain Community College working towards her transfer degree. Afterward, she hopes to study photography. Sequoia was a 2018 Happy Canyon Princess and is a local beadwork artist. She will be interning at Crow’s Shadow, with a focus on traditional arts workshops, during October and November of 2019.
Katherine Charney moved to Pendleton from Baltimore where she earned a BFA in Printmaking from the Maryland Institute College of Art (MICA). Previously, she was an Intern at the Robert Blackburn Printmaking Workshop in New York City and assisted with printmaking collaborations, gallery installation, and workshops. Related printmaking experience includes Lead Risograph Printer for Dolphin Press & Print in Baltimore, Archival Intern at K. Caraccio Studio in New York City, and Press Intern at Globe Press in Baltimore. As an artist and printmaker, Katherine is most interested in the intersection of art-making and education. During her time as Studio Assistant to Phaan Howng, Katherine’s environmental education publication was included in the artist’s 2017/18 exhibition at The Baltimore Museum of Art. She is excited to join Crow’s Shadow as a Printer’s Apprentice and explore Eastern Oregon.