Meet Crow’s Shadow’s Board Chair: A Conversation with Michael Holloman
Michael Holloman is a registered member of the Confederated Tribes of the Colville Indian Reservation, and associate professor in Fine Arts at Washington State University. He teaches undergraduate and graduate courses in Native American art history and the studio arts, while maintaining duties for the department as the drawing coordinator. From 2010-2014 he was the director of the WSU Plateau Center for American Indian Studies. Currently he is the Coordinator for Native American Arts Outreach and Education for the College of Arts and Sciences. Prior he was the director of American Indian exhibits, collection management and educational programming at the Northwest Museum of Arts & Culture in Spokane, WA. Michael is a proud parent, an exhibiting artist, an advocate of Native American arts and culture and a mediocre, yet passionate golfer.
In June of 2023, Michael Holloman transitioned from long-time board member to Crow’s Shadow’s Board Chair. In this conversation, Michael shares with Crow’s Shadow staff Ella Marra-Ketelaar a bit about himself and his vision for Crow’s Shadow.
Michael, we are delighted to welcome you to the role of Board Chair at Crow’s Shadow! Thank you for making the time to connect with us. Can you share a bit about what your life is like outside of work and Crow’s Shadow?
I try to balance my time as a parent to two sons, with work in the studio where I continue to paint and submit work for exhibitions, along with some golf with friends.
How did you first encounter Crow’s Shadow and what led you to join the board? How has your connection with Crow’s Shadow evolved over time?
My first introduction to Crow's Shadow was as the director of Native American collections, exhibitions and programming at the Northwest Museum of Arts and Culture in Spokane. We had James Lavadour as one of the selected artists for the opening of the new facility in 2001. I drove down from Spokane to meet him at Crow's Shadow. My work with Native American artists professionally and personally made me very conscious of Crow's Shadow's well noted reputation. I have worked closely with Phil Cash Cash in recent years and at his encouragement I accepted the opportunity to work with Crow's Shadow, and not just remain an admirer from afar!
You are a professor in Fine Arts and have taught various courses on Native American art history and the studio arts. Can you share more about your background and passion for art making?
My original passion has always been drawing and painting. My mother taught and encouraged my older sister, brother and I art throughout our early childhoods. She went to Haskell Indian College in Lawrence, Kansas in the early 1950's where she expanded her art interests. I learned printmaking at The Evergreen State College in the early 1980's and after graduation, I continued at Fort Mason Center for the Arts in San Francisco. However, drawing and painting have remained my personal focus.
Beyond printmaking, a large component of Crow’s Shadow’s mission focuses on community and shared learning, including our Traditional Arts workshops. As an educator, can you speak to what community and shared learning mean to you?
Traditional arts are an integral part of Native communities. The importance isn't just the objects made, but the community connections that are retained and continued. Intergenerational knowledge is at the center of these activities, and such engagement has significant cultural, familial, and personal significance. The fact that this is an integral part of Crow's Shadow's mission is why their reputation is thought of so highly throughout Indian Country.
Where do you see the potential for Crow’s Shadow to bring the greatest impact to our communities?
As a continued conduit of the arts for the community. The original idea that so many Native artists felt that they had to leave their communities to be successful in the arts is still very important to address. Crow's Shadow has and will continue to help to offer arts opportunities and to promote the arts of the surrounding community. This is about the common notion of thinking locally and acting globally. As an organization that has an international art's reputation, the continued investment in the local is mandatory.
In your new role as Board Chair, what do you hope for the organization?
In short, to be a passionate and reliable leader in a wonderful time of growth and opportunity.
Thank you, Michael!
