M AY 1 – J U LY 5 , 2 0 1 5
Curator:
HEATHER AHTONE Project Director:
KATHY McRUIZ
Presented by:
Sponsors:
C O N T E N T S
Sponsor Recognition
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Introduction, Kathy McRuiz
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Curator Statement, heather ahtone 15
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Text(-tiles): the Material Histories of Shan Goshorn and Sarah Sense, Max Carocci Shan Goshorn Statement 23
Sarah Sense Statement Exhibition List 39
Special Thanks
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Shan Goshorn Hearts of Our Women (2015) Arches watercolor paper splints, archival inks, acrylic paint, and copper foil Center: 8 x 8 x 26 inches Surrounding: 4 x 4 x 4 inches Collection of the artist
Detail
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INTRODUCTION KATHY McRUIZ Project Director
Each of us has stories handed down from our ancestors. They may be an integral part of our every day, or completely unknown to us. Either way, they affect who we are and create the cadence of our walk through life. INTERTWINED, Stories of Splintered Pasts: Shan Goshorn & Sarah Sense, is shown for the first time at AHHA May 1 through July 5, 2015. Shan and Sarah are acutely aware of their pasts both familial, and in the broader context of the history of indigenous people in our country and abroad. Each artist sensitively and passionately weaves her personal tale that ultimately becomes universal and encompassing. Whether or not we share their Native ancestry, each narrative adds an important chapter to our collective story. How fortunate are we to witness and to be a part. Hearts of Our Women, the title of one of Shan’s basket arrangements, speaks to what I have come to know of these two artists. Each woman reveals her heart in a storytelling that is fiercely honest and dead-on, yet with a visual language that is stunningly beautiful and inviting. Their individual inquiries pose questions in a way that is loving and educational, and, if we allow ourselves, we can walk away feeling their hope.
Each AHHA Artist Residency and Exhibition is a collaborative effort. This would be a decidedly different project without each cohort. The National Endowment for the Arts through a grant from Art Works, and the Mid-America Arts Alliance through an Artistic Innovations Award, trusted the artists’ visions, and AHHA to present their visions. They cannot be thanked enough for making this exhibition, residency and related programs possible. As curator, heather ahtone has gone beyond curating and guided our artistic process with extreme sensitivity, intelligence and skill. Programming has been greatly enriched by our partnerships with the Cherokee Heritage Center, 108 Contemporary, and Philbrook Downtown. The gallery and program teams, as they have every project you have enjoyed at AHHA, put in countless hours of good thought and hard work. And, thanks to our Board of Directors for the selfless time they volunteer to help guide and realize the mission of the Arts & Humanities Council of Tulsa. Finally, you, the audience, complete the collaboration. Thank you for taking the time to walk through the galleries and participate in programs. There are numerous opportunities for you and your family and friends to learn more about these amazing artists. And, through demonstrations, classes, lectures, and workshops to learn more about Native culture from local and visiting artisans and scholars. I hope you will join in and will be moved in unexpected ways. I have always marveled at the job of the artist. Many have visions, but it is the day-to-day work in the studio and the tenuous leap from vision to handwork that communicates and allows us to enter. Shan and Sarah, you have spoken in a powerful way and we are the happy beneficiaries.
Sarah Sense Doolough Trail 1-12 (2014) Bamboo paper, archival inkjet prints, and metallic paper. Individual: 12 x 17 inches
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CURATOR STATEMENT HEATHER AHTONE Guest Curator
Weaving relies on the careful cultivation and planning for a project that will transcend the limitations of the original material, bound in measured and intertwined parts, to have the potential to hold great burdens within its supportive walls. This is the nature of INTERTWINED, Stories of Splintered Pasts. Shan Goshorn and Sarah Sense have brought together their shared love of weaving to address the complex political and social history of Native American experiences through artistic examination. The artists have woven together these individual, tribal, and survival stories as a shared history of the American experience. These objects celebrate the power of hope and survival through the act of weaving
and, more importantly, the lives of the people for whom they speak. Importantly, like a basket, the nature of being interwoven does not result in the materials combining and becoming assimilated to one another; rather, the result is from the synergistic experience of the strengths and weakness of all the materials forming a cohesive whole. So it is for each of these objects, examining the vulnerabilities, hardships and choices, that tell the stories of lived memories. Within this exhibition, the artists share the language of weaving, photography, and Native American history. From that common language, they each pursue uniquely independent voices.
Shan’s baskets retain the formality of her Cherokee traditions, a practice that is hundreds of years old. From that historical and artistic cornerstone, they become harbingers of the Native American future. Each basket is the result of long hours of combing through America’s imperialist history and Shan’s courageous harvesting of the most sequestered stories, those that are buried in the archives and deep in the American psyche. These projects bring the text of historical documents into a needed visual discussion.
Shan Goshorn Pain, Parallel, Prayer (2015) Arches watercolor paper splints, archival inks, and acrylic paint 13 x 13 x 17 inches
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Among those included in INTERTWINED are documents of national policy, historic speeches, translated biblical text, names, and statistics that speak to the realities of Native America. Shan juxtaposes those disembodied documents against photographs of the people whose lives were (and are) directly affected such as Native women, children torn from their families, and contemporary people who stand for ancestors who cannot stand for themselves. Utilizing a rich palette, Shan prepares her materials as printed material, dissects this history, splicing documents into rows of razor sharp text. Through carefully planned rows, she incorporates the text and photographs into a cohesive form, taking special care to maintain the integrity of the photographs so that they can be seen; the faces remain visible despite the tensions created by the layers or the turned corners. She stays faithful to the Cherokee basket forms and designs. The process of bringing these multiple layers of history into a new relationship is a carefully formulated labor. The power of these combinations is found in their healing synergy.
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Certainly they are beautiful baskets, but the power comes from the community’s response to them. The way that they trigger emotional responses by giving voice to the emotional burdens that have been carried by generations – they heal by giving voice to historical trauma that has been carried silently within, passed from one generation to another, living as part of the contemporary American experience. The silence and invisibility of the history of Native Americans makes it difficult to validate and heal from that trauma, which thus contributes to continued impact. These baskets sit empty on the pedestals, but hold the full weight of that historical burden within their walls. Perhaps that emptiness might serve as a catalyst for a shared future where we acknowledge the painful history that has brought us to our present dynamic. These baskets formally offer the model of cooperation, bending and supporting one another, that could heal the pain of history. In this manner, these baskets are physical and metaphorical instruments of healing. Shan acts upon convictions that both guide and propel her research. The visits to the various national archives scouring the records of American history to find the best-suited materials require an equal amount of faith and courage. Her baskets are humbling and, I must confess, make me grateful for her willing self-sacrifice to address the most painful stories of our communities. Stories that have, as they must for many Native people, touched me personally through my family or personal experience.
While Shan travels to archives to find buried history, Sarah travels internationally to connect with diverse people and cultures and to explore local landscapes. Her artistic practice has evolved to one that traverses disparate spaces, both physically and metaphorically through a process that intertwines photography, sometimes with other drawn materials, using traditional Chitimacha basket weaving techniques uniquely adapted to a two-dimensional surface. For Sarah, the act of weaving is an important form of cultural self-determination to work as a contemporary artist while functioning within her Chitimacha and Choctaw traditions. For no matter how far she travels, she never leaves home far behind. Through her travels, Sarah is actively collecting local stories, memories, and documenting the relationship of culture and story to place through photographed landscapes. Upon returning to the U.S., she works to translate the stories into a body of woven paintings. These intuitive constructions are the result of Sarah’s careful separation of imagery into measured strips, which when woven, actively create connections across time and space through the interlocking of the photographs. Sarah’s hand invokes concepts of simultaneous time, which allows that all things are happening simultaneously in space and human experience. As her blade separates the photography it creates what could be seen as a time warp, into which she can weave the morning light together from two different places on opposite sides of the globe. These visual exercises in synchronicity reveal a beauty that relies on the shared space to become visible. In
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Sarah Sense Choctaw Irish Relationship 8 (2015) Bamboo paper, rice paper, inkjet print, wax, and tape 22 x 30 inches
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a manner, her careful articulation creates relationships akin to the primordial figure of the grandmother spider whose woven webs created the potential of possibility through relationships, connected by her delicate but enduring web. Under Sarah’s hand, these woven images representing disparate communities across time and continents speak to the human capacity for endurance and memory. Weaving these stories together allows for those who are unfamiliar with the stories to see that landscape and history continue to play a critical role in the evolution of contemporary cultural identity. Further, Sarah’s vision for how these stories complement each other is expressed in a manner that is temporally unique to the present, rooting stories to this place at this moment. In this process, Sarah’s photographic alchemy provides a uniquely shareable vision that seems to reverberate with the evidence that we are all related. Truly, the farther she has traveled, the more she has been drawn home. There is no more evidence for this than this exhibition, where this young artist visits the homeland of her maternal grandmother’s Choctaw relatives. As Sarah’s work has gained international acclaim, it is time for the Oklahoma community to welcome her into the fold of those whom we claim as an extended member of our own community.
Using the formal and metaphorical act of weaving, these artists provide viewers a manner of seeing that history is both a construction and a repository for memories. In a manner of thinking, history is a grand woven thread to which we are all attached. Whether as one of Shan’s politically charged baskets or Sarah’s simultaneous landscapes, the act of weaving serves to connect the viewer to something greater than the object itself. And through that construction, this exhibition is a celebration of their artistry and those delicate ties that bind us together. Though I joined this project relatively late, it has no less been a project for which I will always have a fond affection. While working on this exhibition, it merits saying that I have been personally inspired by the artists, who have invested hours of creativity in both the art and the exhibition concept to make it incredible. The staff of the Hardesty Arts Center are each amazing people for whom I have developed a genuine fondness and heartfelt appreciation for their skills and talents (and patience): Kathy McRuiz, Becky Leedy, Haley Biram, Lauren Teague, Andrew Storie, Geoffrey Hicks, and Cindra Rainbow. Special thanks to Kim Rice for her deft skills and great attitude. To each of you I wish you blessings in all your future endeavors and hope that our paths might cross again. Chokmashki.
Shan Goshorn Cherokee Burden Basket; Singing a Song for Balance (2012) Arches watercolor paper splints, archival inks, and acrylic paint 18.75 x 18.75 x 23.25 inches
interior detail
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TEXT(-TILES): the Material Histories of Shan Goshorn and Sarah Sense
MAX CAROCCI, PhD Visiting Scholar
Clearly couched in Native American Southeastern weaving traditions, the art of Shan Goshorn and Sarah Sense is simultaneously an expressive endeavour and a reflection on history and memory. It is an art that carries great cultural significance for it expands the potential for the deployment of historical meanings beyond the physical boundaries of words, images, and objects. Indeed, the relevance of their art lies in the inextricable binds that tie together two material expressions that converge in their production: textiles and texts. At once concrete things and concepts, these two elements guide the two artists’ production by masterfully merging these elements in their skillful weaves. While the connection between text and textile is clearly visible in the use of transcripts and documents in the fabric of their baskets and woven photographs,
the relationship between them can be perceived as more ethereal and implicit; but probably due to this, it is poetically incisive. It is a relationship that more profoundly digs its roots in an analogy between two modes of expression: written and crafted. This relationship between text and textile can be better understood as an analogy that brings together Native North American and Euro-American ways of making and recording history. Although now established as two separate and seemingly irreconcilable technologies, Western texts and Native American textiles have more in common than meets the eye. Shan Goshorn and Sarah Sense effectively show us how this is possible. That the word ‘text’ stems from the same Latin root as textile is indeed no coincidence, for written words on a page were since the Middle Ages called textura, literally ‘weaving’. At the beginning of the
Sarah Sense Choctaw Irish Relationship 5 (2015) Bamboo paper, rice paper, pen and ink, acrylic paint, inkjet print, wax, and tape 22 x 30 inches
diffusion of ink and pen, textiles were taken as the model for writing. In this new system written words were imagined as warp threads that wove together the horizontal wefts upon which they rested. In the Western tradition, then, the ink warps that sit on parallel lines carry meaning through symbols that, at least in the early stages of this stage of European history, had to be enunciated aloud. Similarly to Native American historical narratives, then, European historiography was born out of the mix between the oral and the material. Virtually all historical accounts produced by past Native Americans are both material and oral too. Engraved, painted, carved, and indeed woven objects embody facts and memories that cannot be understood
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and shared unless the stories are known, retold, and heard. Explicit and implicit references to indigenous languages in both artists’ work indicate this. The synergy created by the simultaneous cross-referencing between text and textile across language divides becomes ever more emotive in Goshorn and Sense’s art due to an explicit artistic operation aimed at evoking histories and stories both read and experienced. The artists choose to address these themes in a way that is analogous to the historical processes initiated by the ancestors they conjure up through their art. From prehistoric objects to pieces still dormant in museum collections, Southeastern
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baskets, partitions, or floor coverings reveal delicate images of animals and birds, stars, colored bands, and geometric patterns that, like in the artists’ work, referred and literally cited characters of ancient oral traditions and accounts. Earth divers, animal helpers, other-than-human beings, and cultural heroes woven into the fabric of ceremonial and domestic textiles, mats, and baskets were, and in many cases still are, the protagonists of tribal histories, those that carry meaning and cement community identity through a common past, language, and a shared experience of origins and historical events alike. What Shan Goshorn and Sarah Sense do through their art follows in the footsteps of early and ongoing Native American cultural expressions for it unequivocally refers to the characters and protagonists of mutually entwined histories of peoples from distant continents, which either cited through photographs, the written word, or designs, emerge through the powerful stance of ancient orators, the humble presence of forgotten witnesses, the reassuring evanescent faces of family members, and the indomitable character of heroines and leaders. That memory is the basis of history is clearly evident in Goshorn and Sense’s work because in each of their pieces the multiple strands of history that make up the Native American experience are mediated by individual stories, personal considerations, and intimate engagements. Seamlessly bringing together Native and Euro-American expressive traditions, the art of Shan Goshorn and Sarah Sense bridges two very distinctive expressive languages giving
life to new meanings that take the concrete form in visually arresting creations. As connection through different means of communication, their art manages to fill the interstices of often too distant ways of feeling, understanding, and being in the world. This makes Shan Goshorn and Sarah Sense’s work at once poignant, and healing. It shortens the space of separation, denial, and misrecognition that usually frames past and more recent readings of mutually shared histories. Fueled by the urgency to face these shortcomings, their art bravely rescues the role of language, and the complexities of history, memory, and identity from oblivion, forgetting, and ultimately, erasure. It does so by highlighting reciprocal entanglements, a theme so germane to their work, which brings to the fore issues that have been frequently suppressed by myopic, incomplete, and skewed views of the past. No more fitting metaphor than ‘Intertwined’ could have conveyed these themes through the crafting of textiles. The undeniably bold position taken by both artists in addressing these gaps through the metaphor of weaving, encourages critical reassessment, and acknowledges the role played by artists in bearing witness to personal and common concerns about the very fabric of stories and history. The legitimate preoccupation about these issues nonetheless carries a conciliatory tone implicit in the very act of uniting distant worlds through the contrasting perspectives symbolised by text and textile. As a result, this confidently conscious act materialises Shan Goshorn and Sarah Sense’s desire to show their own novel and creative version of history, one that although told from the margins, asserts its right to decolonise the mind while conquering the heart through technically accomplished and evocative creations.
Shan Goshorn Cause and Effect (2015) Arches watercolor paper splints, archival inks, and acrylic paint 9.5 x 7 x 8 inches Collection of Gary, Brenda, and Hayley Ruttenberg
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back
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ARTIST STATEMENT SHAN GOSHORN Eastern Band Cherokee
I consider myself to be an artist who starts with an idea—most frequently a human rights issue that targets Indian people—and then chooses the medium through which that idea can best be expressed. In the last ten years I have deliberately challenged myself to stretch beyond the paint, photography and metalwork of my formal training to explore new formats and media. Surprisingly, I have found myself drawn back to the traditional crafts of my tribe as a powerful way to bring awareness to issues that affect Native people today. One particular skill that has tapped my passion: the ancestral art of making baskets. In 2007, I discovered a creative twist on traditional basket weaving as a more effective way to present topics already prevalent in my work, such as tribal sovereignty, repatriation, removal from ancestral homelands, genocide, treaty violation, the stereotypical use of Indian names and images
in commercial products, the far-reaching impact of boarding schools, and more. The dominant white culture often misinterprets photographs, documents and, even, Indian baskets. Native American people, myself included, have the right and responsibility to tell their own histories. The time-honored shapes, patterns and functions of Cherokee baskets inspire the form of my work, but I weave with the contemporary medium of Arches Watercolor paper. Since first contact, paper (and the written word) has been used as a weapon against Native Americans. By creating baskets out of paper digitally printed with a variety of documents and photographs, my work offers an opportunity to re-examine history from a unique perspective. In 2011, I was honored to receive the Grand Prize award on behalf of my basket Educational Genocide; The Legacy of the Carlisle Indian Boarding School from Red
Earth Indian Art Show- a prestigious Native American art market in Oklahoma City. This work addresses the infamous government institution, which forced assimilation upon thousands of Native children. When newspaper coverage of the event included a photo of this basket, the article inspired a traditional Kiowa elder to travel a long distance to see it. As I explained the message behind the basket, she listened carefully and began to cry when she saw the children’s images and the hundreds of names woven into the interior. She said, “This piece belongs in a museum. We need to use it to let everyone know about our history. It is one of our national treasures now.� It was a deeply moving experience to see how my art affected someone in such a profound way. Consequently, I redirected my professional goals to include the research of historical documents and photographs, creating work that educates young America about the impact these policies still hold on us as contemporary people. A 2013 Smithsonian Artist Research Fellowship granted me access to historical papers and objects - exposure to more knowledge and compelling evidence than I ever imagined. No matter where I was researching, ideas bombarded me at every
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turn- convincing me that not only are the ancestors supporting my efforts, but also they are impatient to have their stories told. I have created approximately 175 baskets since my first one was completed in 2008. Upon my return from two research trips in DC, I have sketches and thoughts for over 60 more. People often ask me: Now that I have obtained a level of success, will I ever work in another medium? My reply: I will create baskets as long as I feel challenged by the medium and believe it is a successful way to express my ideas. I witness audiences literally leaning into these baskets to better understand my messages and feel encouraged that my work is educating and inspiring honest dialogue between races, which has always been a goal of my work. I never want to become so comfortable with my medium that statements, research and final products become rote. There are too many issues that need to be righted on behalf of Indian people. I choose to accept this challenge out of respect for the sacrifices of the ancestors, who are entrusting me to tell this important version of our history.
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ARTIST BIOGRAPHY Shan Goshorn exhibits her art extensively throughout the world; her work has been acquired in private and museum collections internationally, including the Smithsonian Institution, Nordamerika Native Museum and the Eiteljorg and Heard Museums. She divides her time between her home in Tulsa, OK and her tribe’s ancestral homeland of Cherokee, NC.
Shan Goshorn Unexpected Gift (2015) Arches watercolor paper splints, archival inks, and acrylic paint 10 x 10 x 16 inches Collection of the artist
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Sarah Sense Choctaw Irish Relationship 3 (2015) Bamboo paper, rice paper, pen and ink, inkjet print, wax, and tape 22 x 30 inches
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ARTIST STATEMENT SARAH SENSE Chitimacha/Choctaw
Like photographs, stories are a recorded history, merging time and memory repeatedly both orally and visually. These works in INTERTWINED, Stories of Splintered Pasts focus on history of family and the placement of self in a community and, also, as an outsider. An architect once told me, “always be an outsider.” I think that this was his way of understanding international socio-political circumstance when creating community dwellings. I understand it now as a way to think differently, to understand something that may not be within reach emotionally. My life’s journey in the last five years has lead me through thirty-five countries which originated as a means to learn of Indigenous arts internationally. It was a bold and, at times, lonely path, but as my steady determination to meet Native artists and learn through my own “field-search” about constructs of colonization in the Americas, I began to live the art. Life changed constantly and the one thing that remained the most consistent was family and land. Going home was unlike any other joy in my life, except for engaging with nature. Trekking and diving became
an inspiration for creating and living, and photography became a record of beauty in the landscapes that I so luckily encountered. My weaving practice began with Chitimacha reservation landscapes (2004). It evolved into interpretations of Hollywood appropriation of the Native experience; most simply explained, the real with the fake, explored with my personas of the Cowgirl and Indian Princess. Such images intermixed family archival photographs and movie posters, commenting on reality and misconceptions of idealizing culture. As my travels began, landscapes grew into my work beginning with the Weaving the Americas series (2011), mostly landscapes of deserts, mountains and jungles; then with Weaving Water (2013), which focused on underwater scenes, the sun and the moon. While traveling, meeting with Indigenous communities, I became more intrigued with my own family again in many ways, being that outsider encouraged me to grow closer to where I started. As travel and life merged into one, making connections between family, research, and landscape
became more natural. Talking to people about their stories and experiences now feels like talking to an old friend. Long ago, when embarking on traveling, I assured myself that I would not attempt Europe. I’ve done it before and it is not relevant to my work on Indigenous communities. My journey had another idea, and so I was brought to the UK and then stayed. Returned and then stayed again. Things were happening, and stories were unfolding to me while circumstance created new realities. When I realized that Europe would hold me for longer than I would want, I begun to consider various relevant research and there were a few ideas, but the most exciting was an old story that my Grandma Chillie told me long ago about the Choctaw Irish relationship, and the Choctaw community gifting money to the Irish during the Irish famine in the 1840s. My Grandma Chillie is Choctaw and grew up in Broken Bow until her first marriage in her early twenties. She is a nurse, storyteller, photographer, world traveler, basket collector and writer. She told me a few years ago, “Sarah, you are living the life that I always wanted.” I told her a few weeks ago, “Grandma, I am more like you than anyone I have ever known.” She agreed. Just then she pulled out a document that she had written in August 2014, called “The Choctaw Irish Relation.” I moved to Ireland in November 2014. At ninety-one she is recording her stories of family, traveling, love, and disappointments in a creative writing class at the local university. The text that you see in this series are her words, rewritten by my hand. I recount history in two different countries, and different communities to bring perspective to an old story that
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still holds social relevance for its compassion and empathy. The story goes: Shortly after the Choctaw were removed and displaced in Oklahoma on the Trail of Tears, word reached the community that there was starvation in Ireland. The Choctaw gathered funds and sent them to Ireland as a gift to help. This gift had such a profound impact on the Irish that the story lives strong in Ireland today. In telling one Irishman that I was Choctaw he got tears in his eyes. It is a recent past and still remembered. Learning of this story from my Grandmother, and to then move to Ireland feels like a closed circle. To rewrite and re-record her experience is like breathing her life into her memories of her old home of Oklahoma. The Choctaw basket patterns are from the two baskets that she gifted to me in the summer of 2012 and the Chitimacha basket weave is consistent to the one that I bought from one of the last living Chitimacha basket weavers, our Chairman and renowned basket maker, John Paul Darden. Weaving has been my most natural process of communication. While my Grandmother was never a weaver, and I never knew my Grandfather, I am grateful that my Chitimacha community has given me the blessing to weave. In this series of work, I am showing my gratitude to my ancestors for guiding my journey, bringing me here to Oklahoma, and for giving my Grandmother an opportunity to share her stories. My eyes are pulled to the night sky, my feet to the mountain, and when I hear a bird sing my heart will always be pulled to you.
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ARTIST BIOGRAPHY Sarah Sense (b. 1980) is an artist living between California and Connemara, Ireland. She received a BFA from CSU Chico (2003), an MFA from Parsons, New School for Design, NY (2005), and was director/curator of the American Indian Community House Gallery, NY (2005-2007). Exhibitions span Canada, Chile, England, Mexico, Russia and USA. Collections include: Smithsonian Institution, Chitimacha Museum, Eaton Corporation, Tweed Museum of Art.
Sarah Sense Choctaw Irish Relationship 9 (2015) Bamboo paper, rice paper, pen and ink, inkjet print, wax, and tape 22 x 30 inches
detail
interior detail
Shan Goshorn Phishing Basket (2014) Arches watercolor paper splints, archival inks, and acrylic paint 10.5 x 9 x 21.5 inches Collection of the artist
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Sarah Sense Choctaw Irish Relationship 10 (2015) Bamboo paper, rice paper, collagraph print, inkjet print, wax, and tape 22 x 30 inches
Shan Goshorn It Was Always About the Gold (2013) Arches watercolor paper splints, archival inks, acrylic paint, and gold foil 2 x 2 x 2 inches
Collection of the artist
Shan Goshorn Hand in Hand (2015) Arches watercolor paper splints, archival inks, acrylic paint, and copper foil 3.25 x 3.25 x 5.25 inches
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Sarah Sense Choctaw Irish Relationship 16 (2015) Rice paper, inkjet print, wax, and tape 22 x 30 inches
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Shan Goshorn Invited to the Table of Deceit (2014) Arches watercolor paper splints, archival inks, and acrylic paint Center: 11 x 11 x 8.5 inches Surrounding: 4 x 4 x 4.25 inches Collection of Tom and Janet Unterman
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Sarah Sense Choctaw Irish Relationship 11 (2015) Bamboo paper, rice paper, pen and ink, inkjet print, wax, and tape 22 x 30 inches
Shan Goshorn Gallery Installation view
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Sarah Sense Her Story, Our Legacy (2015) Site-specific installation (in progress) Bamboo paper, rice paper, pen and ink, inkjet prints, tape, wax, and wallpaper 96 x 144 inches
Shan Goshorn Trickster Medicine (2014) Arches watercolor paper splints, archival inks, and acrylic paint 5.75 x 5.75 x 5.75 inches Collection of Bobby Wilson
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Sarah Sense Choctaw Irish Relationship 13 (2015) Bamboo paper, rice paper, inkjet print, wax, and tape 22 x 30 inches
EXHIBITION LIST Shan Goshorn Cause and Effect (2015) Arches watercolor paper splints, archival inks, and acrylic paint 9.5 x 7 x 8 inches Collection of Gary, Brenda, and Hayley Ruttenberg
Shan Goshorn Cherokee Burden Basket; Singing a Song for Balance (2012) Arches watercolor paper splints, archival inks, and acrylic paint 18.75 x 18.75 x 23.25 inches Shan Goshorn Cloaked in Sovereignty (2014) Arches watercolor paper splints, archival inks, acrylic paint, and copper foil 9 x 9 x 16 inches Shan Goshorn Color of Conflicting Values (2013) Arches watercolor paper splints, archival inks, acrylic paint, and gold foil 14 x 14 x 13
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Shan Goshorn Double-crossed (2013) Arches watercolor paper splints, archival inks, and acrylic paint 2.5 x 2.5 x 4 inches Shan Goshorn Educational Genocide (2011) Arches watercolor paper splints, archival inks, and acrylic paint 12 x 20 x 12 inches
Collection of the artist
Shan Goshorn Forever a Part of Us (2015) Arches watercolor paper splints, archival inks, and acrylic paint 2.75 x 1.75 x 1.5 inches Collection of the artist
Shan Goshorn Forever Woven Into Our Fabric (2012) Arches watercolor paper splints, archival inks, and acrylic paint 13 x 16 x 16 inches
Shan Goshorn Hand in Hand (2015) Arches watercolor paper splints, archival inks, acrylic paint, and copper foil 3.25 x 3.25 x 5.25 inches Shan Goshorn Hearts of Our Women (2015) Arches watercolor paper splints, archival inks, acrylic paint, and copper foil Center: 8 x 8 x 26 inches Surrounding: 4 x 4 x 4 inches
Collection of the artist
Shan Goshorn Invited to the Table of Deceit (2014) Arches watercolor paper splints, archival inks, and acrylic paint Center: 11 x 11 x 8.5 inches Surrounding: 4 x 4 x 4.25 inches
Collection of Tom and Janet Unterman
Shan Goshorn It Was Always About the Gold (2013) Arches watercolor paper splints, archival inks, acrylic paint, and gold foil 2 x 2 x 2 inches Collection of the artist
Shan Goshorn Leveling the Playing Field (2013) Arches watercolor paper splints, archival inks, acrylic paint, and gold foil 9 x 9 x 3.5 inches Collection of Sallyann Paschall
Shan Goshorn New Enemy (2014) Arches watercolor paper splints, archival inks, and acrylic paint 1.25 x 1.25 x 3.25 inches Collection of the artist
Shan Goshorn On the Shoulders of a Child (2013) Arches watercolor paper splints, archival inks, and acrylic paint 3 x 3 x 3 inches Collection of the artist
Shan Goshorn Pain. Parallel. Prayer. (2015) Arches watercolor paper splints, archival inks, and acrylic paint 13 x 13 x 17 inches Shan Goshorn Phishing Basket (2014) Arches watercolor paper splints, archival inks, and acrylic paint 10.5 x 9 x 21.5 inches
Collection of the artist
Shan Goshorn Precious Mettle (2014) Arches watercolor paper splints, archival inks, acrylic paint, and gold foil 9 x 9 x 9.25 inches Collection of the artist
Shan Goshorn Preparing for the Fall (2012) Arches watercolor paper splints, archival inks, and acrylic paint 12.5 x 12.5 x 15.25 inches
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Shan Goshorn Reclaiming Our Power (2014) Arches watercolor paper splints, archival inks, and acrylic paint 16 x 16 x 13.5 inches Collection of the artist
Shan Goshorn Removal (Ancestral Homeland) (2012) Arches watercolor paper splints, archival inks, and acrylic paint 12 x 12 x 13 inches Collection of the artist
Shan Goshorn Removal (Oklahoma Indian Territory) (2012) Arches watercolor paper splints, archival inks, and acrylic paint 12 x 12 x 13 inches Collection of the artist
Shan Goshorn So Long as These Waters Run (2012) Arches watercolor paper splints, archival inks, and acrylic paint 12.5 x 8 x 8 inches Collection of the artist
Shan Goshorn They Were Called Kings (2013) Arches watercolor paper splints, archival inks, acrylic paint, and gold foil 7 x 8.5 x 13.5 inches Collection of the artist
Shan Goshorn Trapped (2013) Arches watercolor paper splints, archival inks, acrylic paint, and gold foil 4.25 x 4.25 x 5 inches Collection of Kelley Ranch
Shan Goshorn Trickster Medicine (2014) Arches watercolor paper splints, archival inks, and acrylic paint 5.75 x 5.75 x 5.75 inches Collection of Bobby Wilson
Shan Goshorn Unexpected Gift (2015) Arches watercolor paper splints, archival inks, and acrylic paint 10 x 10 x 16 inches Collection of the artist
Shan Goshorn Unsolicited Gifts (Or How to Eliminate a Culture) (2012) Arches watercolor paper splints, archival inks, and acrylic paint 16 x 11 x 17 inches Removal (featuring Shan Goshorn) Director: Matt Barse Digital video Length: 8:33 minutes Untitled (featuring Shan Goshorn) Director: Matt Barse Digital video Length: 4:04 minutes Shan Goshorn - Tulsa, Oklahoma Indianer and Inuit Kulturen NONAM Zurich Director: Dylan McLaughlin Digital video Length: 2:22 minutes Sarah Sense ...and then the bamboo wove itself. (2015) Rice paper, bamboo paper, etching, digital print, wax, and tape Artist proof 1 15 x 19 inches
Sarah Sense ...and then the bamboo wove itself. (2015) Rice paper, bamboo paper, collagraph print, etching, digital print, wax, and tape Artist proof 2 15 x 19 inches Sarah Sense ...and then the bamboo wove itself. (2015) Rice paper, bamboo paper, etching, digital print, wax, and tape Artist proof 3 15 x 19 inches Sarah Sense Choctaw Irish Relationship 1 (2015) Bamboo paper, rice paper, collagraph print, inkjet print, wax, and tape 22 x 30 inches Sarah Sense Choctaw Irish Relationship 2 (2015) Bamboo paper, rice paper, collagraph print, inkjet print, wax, and tape 22 x 30 inches
Sarah Sense Choctaw Irish Relationship 3 (2015) Bamboo paper, rice paper, pen and ink, inkjet print, wax, and tape 22 x 30 inches Sarah Sense Choctaw Irish Relationship 4 (2015) Bamboo paper, rice paper, pen and ink, inkjet print, wax, and tape 22 x 30 inches Sarah Sense Choctaw Irish Relationship 5 (2015) Bamboo paper, rice paper, pen and ink, acrylic paint, inkjet print, wax, and tape 22 x 30 inches Sarah Sense Choctaw Irish Relationship 6 (2015) Bamboo paper, rice paper, pen and ink, collagraph print, inkjet print, wax, and tape 22 x 30 inches
EXHIBITION LIST
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Sarah Sense Choctaw Irish Relationship 7 (2015) Bamboo paper, rice paper, collagraph print, inkjet print, wax, and tape 22 x 30 inches
Sarah Sense Choctaw Irish Relationship 12 (2015) Bamboo paper, rice paper, inkjet print, wax, and tape 22 x 30 inches
Sarah Sense Choctaw Irish Relationship 8 (2015) Bamboo paper, rice paper, inkjet print, wax, and tape 22 x 30 inches
Sarah Sense Choctaw Irish Relationship 13 (2015) Bamboo paper, rice paper, inkjet print, wax, and tape 22 x 30 inches
Sarah Sense Choctaw Irish Relationship 9 (2015) Bamboo paper, rice paper, pen and ink, inkjet print, wax, and tape 22 x 30 inches
Sarah Sense Choctaw Irish Relationship 14 (2015) Bamboo paper, rice paper, pen and ink, inkjet print, wax, and tape 22 x 30 inches
Sarah Sense Choctaw Irish Relationship 10 (2015) Bamboo paper, rice paper, collagraph print, inkjet print, wax, and tape 22 x 30 inches
Sarah Sense Choctaw Irish Relationship 15 (2015) Bamboo paper, rice paper, inkjet print, wax, and tape 22 x 30 inches
Sarah Sense Choctaw Irish Relationship 11 (2015) Bamboo paper, rice paper, pen and ink, inkjet print, wax, and tape 22 x 30 inches
Sarah Sense Choctaw Irish Relationship 16 (2015) Rice paper, inkjet print, wax, and tape 22 x 30 inches
Sarah Sense Doolough Trail 1 (2014) Bamboo paper and archival inkjet prints 12 x 17 inches Sarah Sense Doolough Trail 2 (2014) Bamboo paper and archival inkjet prints 12 x 17 inches Sarah Sense Doolough Trail 3 (2014) Bamboo paper, archival inkjet prints and metallic paper 12 x 17 inches Sarah Sense Doolough Trail 4 (2014) Bamboo paper and archival inkjet prints 12 x 17 inches Sarah Sense Doolough Trail 5 (2014) Bamboo paper, archival inkjet prints and metallic paper 12 x 17 inches Sarah Sense Doolough Trail 6 (2014) Bamboo paper and archival inkjet prints 12 x 17 inches
Sarah Sense Doolough Trail 7 (2014) Bamboo paper, archival inkjet prints and metallic paper 12 x 17 inches Sarah Sense Doolough Trail 8 (2014) Bamboo paper and archival inkjet prints 12 x 17 inches Sarah Sense Doolough Trail 9 (2014) Bamboo paper and archival inkjet prints 12 x 17 inches Sarah Sense Doolough Trail 10 (2014) Bamboo paper, archival inkjet prints, and metallic paper 12 x 17 inches Sarah Sense Doolough Trail 11 (2014) Bamboo paper, archival inkjet prints, and metallic paper 12 x 17 inches Sarah Sense Doolough Trail 12 (2014) Bamboo paper, archival inkjet prints, and metallic paper 12 x 17 inches
Sarah Sense Her Story, Our Legacy (2015) Bamboo paper, rice paper, pen and ink, inkjet prints, tape, wax, and wallpaper 8 x 12 feet Sarah Sense Her Story Retold (2015) Digital video Length: 5:36 minutes
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Community Partners
Special Thanks
108 Contemporary
Matt Anderson
Cherokee Heritage Center
Cherokee Arts Center
Philbrook Museum of Art
Christina Burke Gina Burnett Candice Byrd
About the Hardesty Arts Center The Arts & Humanities Council of Tulsa is the champion for area arts and culture. Diverse education programs advance its mission to inspire creativity, foster appreciation, promote lifelong learning, enhance the quality of individual lives, and contribute economic vitality to the greater community. The Hardesty Arts Center, fondly known as AHHA, opened in December 2012 and is the home of the Arts & Humanities Council of Tulsa in the heart of the Brady Arts District. Offering exhibition space, classrooms, a family studio, woodshop, darkroom, rooftop artist studios, and event space, creativity is truly at the core of the building. AHHA internally organizes and supports traveling, guestcurated, and collaborative exhibitions organized with area artists and organizations. A broad range of themes, styles and mediums present the best exhibitions of interest to the Tulsa community. Long-term residencies at AHHA introduce students to new art forms and reach the broader community through exhibitions.
Shawna Morton Cain and Roger Cain Cherokee Nation James Pepper Henry JR Warren Pratt Kim Rice Lisa Rutherford Oklahoma Fancy Dancers Southeastern Indian Artists Association Theresa Secord Dr. Candessa Tehee Tony Tiger
Catalogue Design
GITWIT CREATIVE
Copyright Š 2015 by Arts & Humanities Council of Tulsa All rights reserved. This catalogue or any portion thereof may not be reproduced or used in any manner whatsoever without the express written permission of the publisher except for the use of brief quotations in a book review. Printed in the United States of America First Printing, 2015 ISBN 978-0-692-42261-8 Arts & Humanities Council of Tulsa Hardesty Arts Center 101 East Archer Street Tulsa, Oklahoma 74103 www.AHHATulsa.org