ARTS + CULTURE MAGAZINE
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BRIAN BATEMAN NOV| DEC 2020 - ISSUE 30 www.artchowder.com November | December 2020
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Angel Art Gallery Pat Kovatch 208-665-7232 423 Sherman Avenue Coeur d’Alene, ID 83814 angelgallery.co gangegallery.co@gmail.com Artisans At Damien Barn Julie Hartwig 509-229-3414 419 N. Park Way Uniontown, WA 99179 artisanbarn.org info@artisanbarn.org Avenue West Gallery Artist Co-Operative 509-838-4999 907 West Boone Avenue Spokane, WA 99201 avenuewestgallery.org avenuewestgallery@gmail.com Blackwell Gallery Calie Wendlandt 208-699-2116 205 Sherman Avenue Coeur d’Alene, ID 83814 blackwellgallerycda.com blackwellgallerycda@gmail.com Cedar Glen Gallery Jerry Ferrara 208-304-5393 300 N. First Ave. Ste. #1 Sandpoint, ID 83864 ferrarawildlifephotography.com Ciscos Gallery Sam Kennedy 208-769-7575 220 N. 4th Street Coeur d’Alene, ID 83814 ciscosgallery.com info@ciscosgallery.com Chase Gallery Spokane Arts Program 509-615-6050 808 W. Spokane Falls Blvd Spokane, WA 99201 spokanearts.org artshelper@spokanearts.org 509-321-9614 Coeur d’Alene Galleries Buddy Le 208-667-7732 213 E. Sherman Avenue Coeur d’Alene, ID 83814 cdagalleries.com buddy@cdagalleries.com Drew Boy Creative Davin Diaz 509-619-4116 285 Williams Blvd Richland, WA 99352 drewboycreative.com davin.dbc@gmail.com Emerge Jeni Hegsted 208-828-3342 208 N. 4th Street Coeur d’Alene, ID 83814 emergecda.com emergcda@gmail.com
Entrée Gallery 208-443-2001 1755 Reeder Bay Rd Nordman, ID 83848 entreegallery.com info@entreegallery.com
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Gallery at the Park 509-943-9815 89 Lee Blvd Richland, WA galleryatthepark.org info@galleryatthepark.org Gallery One Monica Miller 509-925-2670 408 N. Pearl Street Ellensburg, WA 98926 gallery-one-org director@gallery-one.org
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Jan Cook Mack Gallery Jan Cook 509-662-8383 529 Easy Street Wenatchee, WA 98801 jancookmack.com jan@jancookmack.com Jones Gallery James T. Jones 509-548-1077 220 9th St. Ste.A Levenworth, WA 98826 jamestjones.com
Kolva Sullivan Gallery 509-462-5653 115 S. Adams Street Spokane, WA 99201 Kress Gallery 509-456-3413 808 W Main Street Spokane, WA 99201 River Park Square - 3rd Level Larson Gallery 509-574 4875 S.16th Ave & Nob Hill Blvd. Yakima, WA 98902 larsongallery.org gallery@yvcc.edu
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New Moon Art Gallery Michele Mokrey 509-413-9101 1326 E. Sprague Spokane, WA 99202
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Telander Gallery Todd Telander 509-540-0068 34 S. Colville St. Walla Walla, WA 99362 toddtelander.com toddtelander@gmail.com The Art Spirit Gallery Blair Williams 208-765-6006 415 Sherman Avenue Coeur d’Alene, ID 83814 theartspiritgallery.com info@theartspiritgallery.com The Jacklin Arts & Culture Center Darla Dryer 208-457-8950 405 N. William St. Post Falls, ID 83854 jacklincenter.org director@thejacklincenter.org The Liberty Art Gallery 203 N. Washington St Spokane, WA 99201
Pottery Place Plus 509-327-6920 203 N. Washington St Spokane, WA 99201 potteryplaceplus.com
The Gallery Tedd 509-684-4571 Tri County Economic Office Colville, WA - Tri County Economic Office
Saranac Art Projects 509-954-5458 2910 E. 57th Ave #5-282 Spokane, WA 99223 thesaranacartprojects.org
The Prichard Art Gallery 208-885-3586 414 S. Main St. Moscow, ID 83843 uidaho.edu pagallery@uidaho.edu - University of Idaho
Sarah Spurgeon Gallery 509-963-2665 400 E. University Way-Randall Hall Ellensburg, WA 98926 cwu.edu/art/sarah-spurgeon art_dept@cwu.edu - Central WA University
Jordan Schnitzer Museum 509-335-1910 Public Safety, WSU Pullman, WA 99163 bobjamisonart.com jamisonart@wavecable.com - of Art WSU
Kingfisher Gallery & Custom Framing 509-529-6963 11 S. Spokane Walla Walla, WA 99362 kingfisherwallawalla.com shanna@kingfisherwallawalla.com
Museum of North Idaho Dorothy Dahlgren, Director 208-664-3448 115 Northwest Blvd Coeur d’Alene, ID 83814 museumni.org dd@museumni.org
NW Museum of Arts & Culture 509-456-3931 2316 W. 1st Ave. Spokane, WA 99201 northwestmuseum.org mailtothemack@northwestmuseum. org
Jamison Art Studio Bob Jamison 360-271-7171 703 Front St Levenworth, WA 98826
Jundt Art Museum 509-313-6843 200 E. Desmet Ave. Spokane, WA 99202
Marmot Art Space Marshall Peterson 509-270-5804 1206 W. Summit Pkwy Spokane, WA 99201
Trackside Studio 509-462-5653 115 S. Adams St Spokane, WA 99201
Spectrum Fine Art 509-747-5267 21 W. 34th Ave Spokane, WA 99203 Spokane Gallery & Framing 509-747-0812 409 S Dishman Mica Rd Spokane Valley, WA 99206 spokane-gallery.myshopify.com MFAspokane@gmail.com Spokane Falls Comm. College 509-533-3710 3410 W. Fort George Wright Dr. Spokane, WA 99224 sfcc.spokane.edu/ Thomas.ODay@sfcc.spokane.edu -Fine Arts Gallery, Bldg #3 Steven A Scroggins 208.659.8332 P.O. Box 1164 Coeur d’Alene, ID 83814 stevenascroggins.com -Fine Arts Gallery
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Two Rivers Art Gallery 509-888-9504 102 N Columbia St Wenatchee, WA 98801 2riversgallery.com 2riversgallery@nwi.net Urban Art Co-Op 509-720-7624 3017 N. Monroe St Spokane, WA 99205 Wenaha Gallery 509-382-2124 219 East Main Street Dayton, WA 99328 wenaha.com art@wenaha.com William Grant Gallery 509484-3535 1188 W. Summit Pkwy Spokane, WA 99201
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CONTENTS: 02
art galleries
04
from the publisher
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living outside the box with artist jill smith
By Dean Cameron
By M.J. Hudon
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interview with artist brian bateman
By Sue Eller
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an interview with polly buckingham
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By Karen Mobley
the contrasting worlds of tsarist russia in natural color
— 1905-1915
By Melville Holmes and Kathryn Brogdon
November | December 2020
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From the Publisher
Dictionary com·mu·ni·ty
Dean Cameron
1.
A group of people living in the same place or having a particular characteristic in common.
2.
A feeling of fellowship with others, as a result of sharing common attitudes, interests, and goals.
Our Community is a beautiful place filled with creative, talented and beautiful people. As the holidays approach and we are able to close this crazy 2020 year off on a positive note, please remember those who make it possible to bring the gift of beauty into our homes.
Our artists and art galleries have sacrificed much and worked hard to keep the gift of art alive in our community. When we are shopping for gifts this year remember that the gift of art is something that is appreciated every day of the year and even for a lifetime.
We normally sell advertising on the inside cover of Art Chowder. In fact, it is premium space. This year however we are donating that space to our artists and galleries. We need to maintain the growth and appreciation for what our artisans bring into our lives.
Consider this the year to turn your “Black Friday” into “Art Daily.” May you see peace and happy times ahead for the remainder of this year and 2021!
Dean
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CONTENTS:
1312 N. Monroe St. Suite #246 Spokane,Washington 99201 509-995-9958 ISSUE No. 30
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from the cellar’s chill to a tasty winter table
By Eric Cook
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HOLIDAY GUIDE TO SHOPPING LOCALLY
By Spokane Eats Team
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regional report News and Updates From Regional Art Associations
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SPOKANE PRINT FEST
By E.J. Iannelli
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EVERGREEN ASSOCIATION OF FINE ARTS
By Deanna Morgan
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art chowder marketplace
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advertiser directory
Publisher Dean Cameron dean@artchowder.com
Advertising & Sales Ginny Brennan ginny@artchowder.com
Creative Director & Editorial Designer Rebecca Lloyd rebecca@artchowder.com
Photography Credit Creative Life Spokane Rogue Heart Media Grace June Imagery for Spokane Arts.
Editor & Proofreader Ann Contois ann.contois@gmail.com
Contributing Writers: Dean Cameron Karen Mobley Melville Holmes
Contributing Writers: Kathryn Brogdon M.J. Hudon Eric Cook Spokane Eats Team Deanna Morgan E.J. Iannelli
Cover Artist: Brian Bateman
www.artch o w d er. co m November | December 2020
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NOVEMBER | DECEMBER 2020 ISSUE NO. 30
MEET THE ART CHOWDER TEAM Dean Cameron - I like to tell people I am a “Serial Entrepreneur in need of a 12 step Program.” I have a passion for business as long as it helps people grow and produces a positive result for the clients. My deep admiration of the artists and the often therapeutic benefit I get from their talents inspires me to work with this amazing team and build our arts community into a world class destination.
Rebecca Lloyd, is the founder of Art Chowder and currently holds the Creative Director position for the publication. She is passionate about sharing the talents of artists and creating opportunities for art enthusiasts to connect with art within our communities. She enjoys spending time with her husband and two children, traveling and painting — primarily working with acrylic on canvas.
Denny Carmen was born and raised in Spokane, Washington, where he had a long career as a Journeyman Plumber. His career ended because of injuries, so Denny turned heavily to his painting. He has shown his art at many venues and sold around the country. Denny is the past President of River Ridge Association of Fine Arts; Co-Founder of Charts, Child Humanitarian Arts; Resource Manager of Art Chowder Magazine and current member of the Spokane Arts Commission. Denny is involved with many art fundraisers and he truly loves what he does.
Ann Contois is Editor/Proofreader for Art Chowder; she is a stained glass artist, writer, web designer and arts marketing consultant. With a curious spirit and myriad interests, she has traveled widely, visiting European castles and Asian temples ... always feeding her artistic vision. She earned a BA in Fine Arts/English from University of California, Berkeley and is co-owner of Contois Reynolds Art Glass Studio, creating fine art glass for gallery, residential, and liturgical markets.
M.J. Hudon is a Pacific Northwest native, art lover/blogger, and writer. A member of Spokane Authors and Self-Publishers, the Tin Pencil and St. Francis writers groups, she specializes in urban fantasy and personal interviews.
Ginny Brennan - Life and career allowed good fortune of living in the West, Midwest and Southeast all the while painting and exploring art as well as studying the works of favorite artists — Winslow-Homer, Charles Reid and Richard Taylor. Ginny has been associated with co-ops, galleries and art associations across the country. Returning to Spokane in 2013, Ginny is actively involved in the arts community, with her own art and Art Chowder magazine.
Karen Mobley is a visual artist, poet and arts consultant. Her poems have been published in WA129, Spokane Writes, and Lilac City Fairytales. She was a artist in residence at Laboratory (2018). She serves as a Program Contractor for Spokane Arts. She served as Arts Director for the City of Spokane from 1997-2012. She holds an MFA from the University of Oklahoma and a BFA with Honor from the University of Wyoming. For more information: karen@karenmobley.com 509 499 0784
Melville Holmes is a traditional artist and published scholar versed in historic techniques and the chemistry and technology of painting materials. His subjects include still lifes, figure paintings, landscapes, and architectural pieces. He is best known for his major role in Davenport Hotel renovation and the new Davenport Tower. Other work has included the Post Street Alehouse, the Great Western Building, Riverview Corporate Center, the Patsy Clark Mansion, and private painting restorations.
Eric Cook is a Certified Specialist of Wine who loves wine, sharing it with others and exploring the regions in which it grows. This fascination earned him the title of Sommelier in 1991. Since then, he has taught classes for local wine retailers and community colleges, opened historic hotels, and traveled to Europe’s most renowned wine regions having bought and sold millions of dollars in wine. This happy responsibility finds its next expression in writing about wine to make it more delicious for readers at CorkJockey.com and Art Chowder.
Chandler Baird - When I moved to Spokane in 2014, I had two questions: “What is there do in Spokane, Washington?” and “Where can I buy a raincoat?” Three years later, I can say I have found a raincoat and I have fallen in love with this city I call home. I am an almost six-foot-tall Texan girl who found myself in the Pacific Northwest. I discovered my passion for food and travel in college when I studied abroad in Europe and Asia. This allowed me to master the art of multimedia storytelling. Now, living in Spokane, my curiosity allows me to continue to seek out the food, communities, and businesses that make this city unique.
Photo Credit: Creative Life Spokane
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LIVING OUTSIDE the box
With Artist Jill Smith By M.J. Hudon
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D
riving up to the Smith homestead I was greeted by what Mr. Smith called their welcoming committee — two large German Shepherds named Nicky and Kalli. As the fur flew and wet noses inspected me, I had the pleasure of meeting Jill Smith. Her ready smile and relaxed demeanor put me at ease as she walked me to a place on her property she likes to call “The Point.” Sitting on 2.5 acres, a creek runs through their land, slowing at a small pond. The Point is a mini-peninsula jutting into the pond and beyond that, a waterfall adds its own laughing, natural music to the area. Well maintained, colorful, and full of life, it is lovely — and a perfect reflection of the woman who lives here. M.J.: Jill, please tell our readers where you grew up and how you came to be in Spokane. Jill: I was born in St. Paul, Minnesota but since the age of three grew up in the Pacific Northwest — in first the Portland area and then Bellevue, Washington. After graduating with an art degree from the University of Puget Sound I married my husband, Doug, who was a pilot in the Air Force. He was transferred to Fairchild and after he left the Air Force we couldn’t think of a nicer place to be than Spokane. We have been here ever since. M.J.: What first got you interested in art? Jill: I came from a very creative family who always encouraged me to appreciate art and express myself. My parents owned a photography studio and my dad was an excellent photographer. My mother specialized in hand painting photographs (way before there was color photography!). My dad instilled in me the passion to create — as a business, hobby, and way of life. From him also came my sense of humor and a lifetime mission to make people smile! Mom, an avid cook, whose true talent was bringing people together over food, gave me the desire to feed people both in body and soul. They made sure I always had the “tools” to create art myself. I have always had a fascination with working with my hands and with the earth. When I was three years old — you know, back in prehistoric times — I had a sandbox. I’d play in there and make things. Being a true Taurus, I’m very much a child of the earth and as stubborn as they come, so my parents were not surprised when I grew up to be a clay artist! November | December 2020
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M.J.: You graduated from the University of Puget Sound? Jill: I have a bachelor’s degree from the University of Puget Sound with a major in pottery and a minor in both printmaking and psychology. I also have a master’s degree from Whitworth University in Art Education, with a secondary certificate and a minor in counseling and guidance. I taught pottery, printmaking, and intro to art at Whitworth for several years. But I really believe most of my clay lessons came from just having my hands in clay and making literally thousands of pots! M.J.: I understand you also breed horses. How did that come about? Jill: At the root of me, is a clay artist but I also have a broader view of what it means to live a creative life. Sometimes we limit ourselves thinking we are only creative in one sense. That can keep us confined within a box of our own making. We have to step out of that box. I’ve learned to live outside of it and that has enlarged my life as a creative person. I analyze myself quite often (Jill is grinning widely as she says this); it must have been all those psychology classes. But early on, I knew my life mission was to live a creative life and make people smile. M.J.: Sounds like you’ve succeeded. 10
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Jill: I think I have! *We both laugh* See, I made you smile! When I became determined to live a creative life (no matter where it took me) it eventually lead me into breeding horses. It’s a creative endeavor of matching up bloodlines, studying pedigrees and horses, and what goes together. My dad’s lessons in photography have helped me do all my own horse sales pictures. My mother, beyond being a good cook, was also a very good writer and from her, I acquired fairly decent English skills and have become a writer myself. I started writing about my stallion, Commander, for a local horse magazine. He starred as the talking horse and I would write articles that presented a humorous look at what goes through a horse’s mind and the exasperations of the cowgirl (me) who tries to deal with a talking horse! Many of my stories have been published. Writing has also flowed into my passion for food and again, that desire to make people smile. Years ago, a friend and I created a specialty food company, Buckeye Beans & Herbs. We thought we’d just have this little fun company but six months into it she had some personal issues so I bought her out and hired my husband. During that time I developed a knack for writing farfetched food fables and together we created a catalog that, along with the bean mixes, featured the Adventures of Black Bean Bart and The Pinto Kid. They sort of galloped through the catalog telling tall tales from the ranch. Those fables became very popular and because of the rate of return from our catalog we were named one of the top food catalogs in the U.S. by the National Catalog Association. In total, I (we) owned the company for 16 years. We also ended up growing that little company into a seven million dollar a year international award-winning company.
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M.J.: Do you still run the company? Jill: No. We sold the bean company years ago. But I missed it. I missed food. Like my mother, I enjoy feeding people. That’s who I am. My mom was an avid cook. Not a gourmet cook but a GOOD cook. So, three or four times a week somebody else would be at our dinner table. We’d ask them what they do when they aren’t working and they’d get excited and tell us all about themselves. They would always tell stories about living life, not politics or sports like so many people talk about. Or, of course, the virus now. So I grew up watching people connect over food and stories. We truly broke bread together and shared experiences. I guess that’s why (a year ago) I launched another specialty food company, Cowgirls Cookin’, which creates seasoning mixes for soups, chilies, and entrée dishes. It again features farfetched food fables from the Cowgirl Ranch and this time I also became a decent package designer using my computer to create some of the package front pictures. Other pictures came from some of my good art friends in Spokane, Gordon Wilson, Ric Gendron. Melissa Cole, and Debbie McCulley. M.J.: *Half joking* Art, horse breeding, and a food company. Anything else? Jill: Yes. Another endeavor I’ve done for the last 10 years (this would have been 11 if not for the virus) is hosting a retreat at my ranch for women veterans. With two cowgirl friends, Shannon Morse and Lou Ratcliffe, I started a retreat called “Women Warriors & The Cowgirls.” The first year we were almost rained out but we had 15 women veterans show up and it has continued to grow since then. Last year we had 44 women veterans from all over the Northwest. They come on Friday and leave on Sunday. 12
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We rent the Greenbluff Grange to use as our barracks. The Red Cross supplies cots and the Valley Vet Center helps with counselors. We do this to honor and recognize them. I am the Master of Ceremonies but I prefer to call myself the Mistress Cowgirl. We run the weekend very humorously. We blow bubbles, play kazoos, and feed the ladies very well. They ride horses and take art classes as well as cooking classes. With the counselors and activities, it’s been a great way for them to connect and heal from things that happened during their service. It’s a lot of fun and we’ve changed lives. I don’t know how many times I’ve had an attendee come up to me and say, “This is the first time I’ve laughed since I got back from war,” or “It’s the first time I’ve connected to other women vets.”
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any times female veterans are overlooked and when you mention it to people they are usually horrified they didn’t even think about it. They then really want to help so our event is funded by donations. I also recently applied for a SAGA grant from Spokane Arts and I’m happy to say I just received that grant. It will allow me to do eight classes in clay for women veterans who can’t spend an entire weekend away from home or work. It’ll be called Clay by the Creek and over the next year, I’ll be working with the counseling services and putting together workshops that will be free for female vets. I’m hoping to offer two classes this fall, but I’m still putting it all together and I’m super excited about it! M.J.: Wow! You are a diversely talented and busy woman. Jill: Clay is still my anchor in life. Most of my pottery career was spent making utilitarian pottery. I enjoyed making cups, plates, and bowls because of the intimate use it would be serving. Think about it, cups are brought to the lips. People are fed from plates and bowls. Memories are made over the dinner table or when breaking bread with someone. I enjoy that particular idea but again I ended up having to step out of that box.
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or years, all I did was make utilitarian pottery until one day at my ranch a three-day old filly and I slipped ... I like to tell people we were trying to do the Texas Two Step, only I was doing the one-step and she was doing the three-step and we got our legs all tangled. We went down and all I could think of was not to let her head hit the ground so I put out my hand out to stop us. She was fine but I broke my wrist really badly. My doctor, when he looked at it, asked me what I did for a living. I told him I was a potter and he said, “Well, you won’t ever do that again.” Wonderful bedside manner, huh? So I got my wrist set, went home, and a couple of days later I sat in my studio and cried. But then that Taurus spirit came out and I thought, “Well, I’ll show him!” So I glanced over to the slab roller and realized I can do that with one arm! It sent me into a whole other part of my career because it made me into a sculptor as well. Now, I probably do just as much with the slab roller and flat slabs of clay as I do on the wheel. **Yes, her wrist healed enough to use the wheel again. Yay!** With the slab roller, it’s all about texture. It’s about pushing things into the clay. It’s so receptive! I’ve used leaves, rocks, and anything I can find texture-wise. Home Depot and craft stores have become a wealth of ideas about what I can push into clay, from mesh to screws and more. It started me into the realm of making “fossils of the future” and more artistic pieces. Lately, I have also written farfetched fables about animals and nature and expressed pieces of those stories in clay totems and columns. Working with the slab roller gave me a whole different look at clay than I’d have had if I’d kept myself boxed into what I knew - just throwing on the wheel. M.J.: I understand you’re now using encaustics with your clay.
Their arms are always crossed and there’s a simple body with legs. They were all carved from marble before there were any metal tools and the shape of them fascinated me. So I bought every book I could find on them, hauled them home, and stashed them away.
Jill: Yes! A recent turn is mixing clay sculpture with the artful wax of encaustics. Pottery, as in any art medium, is one of those things where you never explore it all. There’s always something new to learn. New designs, new shapes, new colors. I’ve been a potter since prehistoric times *haha* and I still learn new things.
Years later when I came across them I thought, “Now’s the time.” So, I started making my version of these Cycladic ladies. At first, I tried to copy them but over time I added my own style. Unfortunately, I was having a hard time deciding on the surface quality. I must have tried 50 different surface qualities, but they just weren’t right. Well, a girlfriend of mine suggested I try encaustics and I said, “Wax? I’m a clay person! How durable can wax be?”
Many years ago in Greece, I became entranced by the ancient Cycladic figurines made there. They were very simple with an oval face and a nose.
And she said, “Well, they’re digging it up in tombs in Egypt and it’s several thousand years old so it’s probably pretty durable.”
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s it turned out, not only was it durable, but it gave a surface quality that I can’t get in clays. There’s a depth to it because the wax is somewhat translucent. It was the perfect thing for my ladies and made me want to do more encaustics in my clay. M.J.: Where do you find inspiration for all of this? Nature walks, music, tossing water balloons at porcupines? Jill: I reallllllllly wanted to go with the water balloons and porcupines. I think nature is my biggest inspiration. I live by a creek and it flows through my mind and artwork. A sense of place is very important to me. I press leaves into clay to create impressions that I see as the “Fossils of the Future.” In all my travels I constantly gather leaves from different places and many of my galleries feature clay impressions from the leaves in their own back yards. I also listen to the radio. The EWU jazz station is always on in the background of my studio and I love piano jazz. M.J.: What are your goals for the future? Jill: To keep my hands always muddy! I will be a clay artist forever and continue to find new ways to express myself in clay. Also will work to create and build awareness for the Cowgirls Cookin’ seasoning mix line and its fundraising component. Continue to live my life missions of living a creative life and making people smile. And always continue to follow my three passions in life… clay….horses…food…not in any particular order. My short bio reads: Jill Smith Does dirty art Races horses Plays with food If you would like to see more of Jill Smith’s pottery, visit: Wilde Meyer Gallery – https://wildemeyer.com/ Entrée Gallery – https://entreegallery.com/ Little Spokane River Artist Studios Tour - https://www. littlespokanestudios.com/ Gallery At The Park – https://www.galleryatthepark.org/ Earthworks Gallery – Facebook ClayFox Gallery & ClayFox Clay School - Facebook 16
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Interview with ARTIST 18
Brian Bateman
ART CHOWDER MAGAZINE
By Sue Eller
November | December 2020
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rian Bateman has been in the art world since he was little. He started like most kids ― all children draw when they are young ― and he just kept it going. At an early age he would sit at the kitchen table and draw sports pictures out of the newspaper. From there, he started getting into the military aspect. First, he delved into the Civil War, and from there migrated into the WWI and WWII eras, and became fascinated with those twentiethcentury conflicts. Concurrently, he became interested in Native American culture, so he went back and forth between the two genres. Recently, he has delved deeper into the Native American way of life — their storytelling, their culture, and the way they lived off the land, and he still is fascinated by it. As for the military, he didn’t serve, but had several uncles who were in WWII. One uncle was at the Battle of the Bulge, and his uncle Julian flew B-24 bombers. He was always interested in aircraft as a kid and was excited about fighter planes and the way they looked. As he grew older, he realized the planes were built because people were fighting against one another. He doesn’t condone war, but he does like to tell the stories of those men and women who fought in the wars. Through his art, he tries to make each painting a personal story of the plane and its pilot. 20
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rian got bitten by the model bug at 12 or 13 years old, and still enjoys building them, even though he doesn’t have a lot of time for model making. However, just recently, he has been working on a Fokker DR 1 ― the plane that Baron Von Richthofen flew ― and he is doing a piece on that right now. To combine two things he loves, Brian builds a model of the aircraft he is currently painting. Logistically, he can’t have access to every aircraft he wants to depict, so he takes the model outside after he builds it and studies how the light and shadows fall in order to make his composition more true to life. The actual pilots who flew the planes Brian depicts in his paintings used to give him signatures on lithographs and offer those for sale, but most of those gentlemen and ladies are gone. The love of history is why Brian expresses himself through his art. Whether it is aviation, Native American, mountain man, cowboy — whatever he does, it’s usually history related. What he tries to do is put himself in the situation and put it down on canvas, based on the facts mixed with his own emotions. “Now if I do that right, it comes out where I’m pleased with it. If it doesn’t, I struggle. I’m not sure I’ve ever done a painting that I’m 100 percent in love with.” Creatives are really hard on themselves. They produce something, but just keep nitpicking. However, there comes a point where it’s time to let it go and move on. Creighton Block Gallery in Big Sky, Montana, an unincorporated tourist destination, is owned by Colin Mathews and Paula Craver, and is located close to Yellowstone National Park in the southwestern section of the state. Brian Bateman is a featured artist on their website, and Creighton Block Gallery is also one of 150 galleries featured on Amazon Art. They specialize in Western art. November | December 2020
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Aviation Art Hangar owner Ross, who is a Marine veteran and likes to keep his last name confidential, has known Brian for over ten years. The gallery features aviation art and is located in Smithville, Maryland. Brian calls Ross, “a very nice guy,” and says he can send Ross his work and he will post it. Lovetts Gallery in Tulsa, Oklahoma features an eclectic variety of local, regional, national, and international artists and is owned by Jack Summers. Brian says he knows a lot of brilliant artists in that gallery. He has yet to visit it in person, but he and Jack have talked for over a year. Closer to Art Chowder’s home in Spokane, Washington, the Coeur d’Alene Galleries is located in beautiful downtown Coeur d’Alene, Idaho. The gallery features original western, wildlife, and sporting art from historical and contemporary artists. Brian works with owners Ron and Tori Nicklas and participated in the annual event “Miniatures by the Lake” in September of 2019, as one of “today’s leading contemporary artists.”
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ight now, with COVID-19, it seems that everything in the art world is up in the air. Expendable income is the first thing to go, and artwork is an expendable item. Western art in general seems to be changing more toward a posterization graphic movement, and the traditional is, in some cases, going away. However, Brian’s relationship with the galleries and the fact that they each have an online presence, has helped him maintain his place in the art world. His own website, as well, has a wealth of information and representation of his artwork. Brian’s style is evolving, and he is not sure where it will go. There are some digital artists out there who are phenomenal, and what they do is what he would consider art, but Brian says he is not one to want to lock into a style such as digital art. It appears to him to be popular in the youth market right now, but Brian says he prefers the niche he has carved out for himself and adds that he enjoys what he does. An artist, an actor, and a writer all fall into the category of entertainment and not many of them achieve the notoriety, recognition, and financial success of the rich and famous. It’s a struggle all the time, and people who aren’t in the entertainment area don’t understand what creative minds go through. “As long as I can eke out a living and be comfortable, I’m fine,” Brian says. “We get better at what we do as we do it repetitively, and over the years we learn what works and what doesn’t; we learn how long it’s going to take, and we learn whether it’s worth tackling or if we should just walk away from it. There are some good things about growing older. As long as we have our minds and can move, we make up for the disadvantages age brings. We all have that creative mind, and there’s a special connection between each of us and other creative people.” Brian and his wife have two kids, both of whom are married, and two grandkids. “The grandkids are a joy. We haven’t seen them much lately because of the COVID-19 thing, but once in a while we get a peek and get to catch up and say hello through Instagram. My wife works from home right now because of the virus. We have a dog (but no cats) and a garden, because I need to get up, stretch, get some fresh air, and reconnect with nature.” To see more of Brian’s artwork, visit his website at brianbatemanartstudios.com. You can also visit (and follow) his Facebook and Instagram pages, the links to which are at the bottom of each page on his website. For Brian, having a website and social media pages is a way for him to share his thoughts artistically. Says Brian, “It’s wonderful to hear someone say they love my art and keep looking at for it years after they purchase it, but most of all I want my paintings to bring a brighter light to a dismal time.” November | December 2020
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Christmas Shoppe Craft workshops, Potted Trees, Cut Trees, Greenery & Gifts
WWW.WESTWOODGARDENSIDAHO.COM
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ART CHOWDER MAGAZINE
A PROJECT
INTO FUN Join GO Art Center for one or all three of our monthly Clay to Go Projects. Celebrate the season creating art from the comfort of your home!
SEPTEMBER
Fall Luminaries & Pumpkins
Turkey Platters OCTOBER Leaf Imprint Contact-Free Ceramics & Serving Dishes
NOVEMBER Holiday Ornaments & with Virtual Studio time/ Lessons Gingerbread trays Supplies & Virtual instructions
included. Limited enrollment, Visit www.goartstudio.com visit goartstudio.com to learn more and get on the list! for more information
November | December 2020
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Polly Buckingham Conducted via email by Karen Mobley during the By Karen Mobley September forest fires
P
olly Buckingham’s book, The River People, is being released by Lost Horse Press in Sandpoint, Idaho. In anticipation of this book release, I asked Polly questions about her work and her life. For information, http://www. losthorsepress.org/
I’ve written poetry and fiction since childhood. I wrote my first story in third grade. Before then, I told stories endlessly, much to the agony of my six older siblings. I got hooked on poetry in high school when someone finally explained to me that it was okay not to “understand” it. They have always been complimentary art forms for me, though sometimes they compete for my time.
Would you please describe your poetry book?
The River People is written in a surreal vein with a deep attention to landscape, in This is, as I understand it, your first this case the landscape of Florida, the Pacific Northwest, and the Spokane region. book of poetry. These are the places I lived from age 18-38. The poems were written over twenty years. It’s sectioned off chronologically and based on these regions. Windows, Yes, it is not only my first published book doors, memory, ghosts, loss, and water are among the prominent motifs woven of poetry, but it is the first book of poetry throughout the book. The speaker in these poems is often in a state of not knowing, I’ve written. I have two more collections that can be both terrifying and revelatory. waiting to find their publishers that were written subsequently. What is most important for a future reader to know? What brought you to this new genre and how does it relate to your previous works? 26
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Approach these poems as experiences. Don’t worry about any stories that might be behind them or whether they make sense. Enjoy the places they bring you. Hold on to whatever speaks to you. Don’t worry about what doesn’t.
Describe your trajectory as a writer? Has the development of this book changed your focus?
“STEAM PLANT” BY FRANKIE BENKA
I’ve written poetry and fiction alongside one another since high school. As creative writing faculty at Eastern Washington University, I’ve taught both. While my MFA was in fiction, I took as many poetry classes as I could and tagged along with the poets. My personality is more poet than fiction writer, but storytelling is at the core of my being. My poems, oddly, don’t tend to be narrative, but my fiction does tend toward poetry: that is, it is more concerned with imagery than plot, more prone to leaps of association than logic. But, definitely the poet in my left ear is competing more with the fiction writer in my right ear than she used to. I’ve just finished up a bundle of poems (some 150) that began a couple years ago, as a loose collection titled Why the Stars Drink Wine in Tennessee, after a dream I had where my dead sister sang a folk song with chorus “Why do the stars drink wine in Tennessee?” Last summer the poems took a turn away from the sky and into the garden. This summer, I struggled between more garden poems and short stories. The short stories won out. The idea for them started last summer when a development threatened (and still threatens) the gorgeous scablands behind my house where for seventeen years I’ve walked my dogs. Some of them, I think, are ghost stories. But when I started them this summer, I couldn’t ignore the dramatic change in our landscape, that is, COVID and civil unrest, and now fire. So, they are very contemporary.
Who are your favorite writers, publications, or events? I cannot get enough of John Cheever and Joy Williams. I’ve been a Faulkner-head since high school. I’m drawn to the speculative and experimental and writers who have a strong sense of region and of the natural world: Alice Munro, Gabriel Garcia Marquez, Jim Crace, José Saramago, Jeannette Winterson, Ramona Ausubel, Muriel Spark, and Kevin McIlvoy. In poetry, I love deep image and surrealist poets such as Pablo Neruda, Marosa di Giorgio, Federico García Lorca, Jean Valentine and Tomas Tranströmer. William Stafford and Robert Bly are perhaps my greatest guides in poetry, as is mentor and friend Christopher Howell. Recently, I’ve fallen in love with poets Melissa Kwasny, Michael Hettich, Ada Limón, Bruce Bond, David Axelrod, Kenji Miyazawa and Rolf Jacobson. And new fiction crushes include José Emilio Pacheco and Ann Pancake. Some of my favorite journals include The Moth (out of Ireland); The Poetry Review (out of the U.K.); Crazyhorse, Field (now defunct); Sugar House Review; Conduit and Hanging Loose.
COMING UP NOVEMBER 6, 2020 DECEMBER 4, 2020
SPOKANE’S OFFICIAL
presented by downtown spokane
November | December 2020
FirstFriSpokane | FIRSTFRIDAYSPOKANE.ORG
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Do you have any other new publications? I’ve had poems published in 2020 in Confrontation, Sugar House Review, Cloudbank and forthcoming in Conduit.
How would someone from the region meet you or learn about your work? I organize a lot of readings and events. I’ve taught local workshops at the library and in Sandpoint through Lost Horse Press. I visit community colleges to talk about Willow Springs magazine, where students read an issue of the journal and we discuss publishing. I can be found on the EWU website, on my own website — http://www. pollybuckingham.com — and on KYRS radio as the host of Eloise’s Feast. What other interests do you have and does this inform your work? Gardening has grown exponentially over the past five years. It’s a subversive act in many ways, and the magic and chaos of my gardens has really exploded my inner world. My love affair with Death Valley (I’ve been hiking there for ten years now) turned into a novel about a woman hermit living in a mining town populated with ghosts. The research for that book on edible and medicinal plants of the region and my long-time love of foraging, mushrooms in particular, show up across the board in my work. I’ve also tinkered in the occult most of my life, in particular Tarot. These images and deep streams of story appeal over and over and form my thinking about writing and storytelling: that it is an ancient, life-giving force; that it is subversive in that it rejects the dominant culture’s obsession with data; that it values magical thinking over empiricism. I was a human dignity activist fighting anti-queer initiative in Oregon in the 90’s and almost took a job working for an organization called the Rural Organizing Project. I choose to follow a more artistic path instead, but my leanings toward issues of equity and ecological sensitivity certainly show up in my work. I’ve been giving to the foodbank, which is the start of answering a little voice inside me that, years ago said, “You should feed people.” I don’t know what that is, but I’m following it. 28
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Do you have another form of employment or avocation, community involvement that shapes your life? I’m an editor. I was an independent bookseller for eight years between undergrad and grad school. I started my own journal and press, StringTown, over twenty years ago. I worked with Willow Springs Books as Associate Director and occasionally filled in as Director. About three years ago, I stepped in as editor of Willow Springs magazine. StringTown is my contribution to the writing community. And though Willow Springs is part of my job, it’s a vocation that is very much about community engagement, if you make it that, which I have. I have been a DJ for community radio in Astoria, Seattle, and now Spokane. I’ve done a music show on KYRS called Eloise’s Feast, Saturdays from 2-4pm, for some fifteen years. I’ve worked in the Lind and Ritzville libraries through Humanities Washington on a program for struggling third graders and their families, called Prime Time.
F
The Last Day of January I visit the amphitheatre
inally, I’m working hard at making EWU friendlier to community members seeking classes but not seeking a degree, that is, doing my part to continue to shift the culture of universities to be more inclusive. As such, I’ve made it possible for non-degree seeking students to take undergrad creative writing courses at half the usual price. Community is at the heart of most of what I do and how I think about what is most important.
at Morbid Pond. The ground is gauzy with snow’s left over netting. Red limber trees circle us. I sit on one of many logs, the theatre’s scattered benches. All around me small men in black paper hats catcall and clap. Morbid Pond has shrunk to a disc of soft ice the size of a manhole. Somebody’s knocking but I won’t open the door. The air,
What do you want people to know about your writing or your life?
thick and dizzy, smells of sap and leaves.
I approach writing with great reverence. It is a dream state in which my primary obligation is to the integrity of the dream.
There is no program, the men wave nothing but their hands. There is no beginning to this show. There’s only an end.
Roy Lichtenstein (American (1923-1997) Sweet Dreams Baby!, plate 1 from the Portfolio 11 Pop Artists, Vol. III, edition 54/200, 1965 screenprint. Collection of Jordan D. Schnitzer © Estate of Roy Lichtenstein
POP POWER
from Warhol to Koons
MASTERWORKS FROM THE COLLECTIONS OF JORDAN D. SCHNITZER AND HIS FAMILY FOUNDATION
October 4-January 24
From Campbell’s Soup to Mickey Mouse, and from comic strips to balloon dogs, POP Power provides a fun, irreverent, and sometimes ironic look at the influence of popular culture on fine art with works by Pop art masters such as Andy Warhol and Roy Lichtenstein alongside today’s leading Neo-Pop provocateurs like Jeff Koons. Organized by the Taubman Museum of Art. Support provided by
Cheryl Westerman
Caren and Erle Furbeyre
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Armenian Woman in Festival Costume Near Artvin, a city near the Black Sea, now part of Turkey.
By Melville Holmes and Kathryn Brogdon
In the evening, Professor Prokudin-Gorskii1 gave an interesting report on photography in color and showed many beautiful slides. 30
Diary of Tsar Nicholas II, May 3, 1909 ART CHOWDER MAGAZINE
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Human memory, helped by visually interesting presentation, will stretch far beyond its normal capacity. Attributed to Prokudin-Gorskii
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n the spring of 1908, Sergei Mikhailovich Prokudin-Gorsky wrote to Leo Tolstoy (1828-1910) requesting permission to photograph the great author in full color. “Photography ‘in natural colors’ is my specialty … After many years of work, I have now achieved excellent results in producing accurate colors. My colored projections are known in both Europe and in Russia. Now that my method of photography requires no more than one to three seconds, I … ask your permission to visit for one or two days … in order to take several color photographs …” The request was granted. His were not idle boasts. Prokudin-Gorsky (1863-1944) was a chemist, especially devoted to photography at a time when scientific understanding was growing by leaps and bounds, and was in the vanguard of photography’s new frontiers, e.g. motion pictures, but especially his passion: color. By 1905 he had developed a photo-sensitive emulsion with highly increased sensitivity to light across the whole color spectrum. He was a member of prestigious academic and scientific societies when, before World War I, there was a high level of intellectual collaboration across Europe. In 1902 Prokudin-Gorsky traveled to Germany to study color photography with physicist and professor of photochemistry Adolf Miethe, later that year presenting Miethe’s method of making color photo transparencies to the Imperial Russian Technological Society.
Professor Dr. Adolf Meithe’s repeating back three-color camera, the type used by Prokudin-Gorskiĭ, had a vertical sliding film pack cassette that held a 9 x 24cm glass slide, on which was a photo emulsion, and blue, green, and red filters. For every color picture three exposures were taken, one with each filter as the film pack slid down the camera body with great precision, resulting in a color separation. A three-lens “Magic Lantern” projector, c. 1885
With a blue, green, and red filter on the lenses, in the same order as those used to make the color separation, the full color photo could be projected on a screen. The trick was to make sure that the three projections were perfectly aligned.
(Bottom Left) An example of one of Prokudin-Gorskiĭ’s own black-and-white color separations, taken in Samarkand in 1911. This full-color view of the Registan in the ancient fabled city of Samarkand, on the Silk Road in Central Asia, which I made using channels in Photoshop in RBG mode, illustrates the same principle Prokudin-Gorskiĭ followed. The Registan was the main square at the heart of ancient and medieval Samarkand. The Turco-Mongol conqueror Tamerlane, properly Timur (1336-1405), made Samarkand his capitol.
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I
n 1906 he traveled to Lyon to meet with the Lumière brothers, inventors of the autochrome color process, and presented his own efforts using their process to the Society later the same year. Briefly, the autochrome process (the first widely available commercially) involved a photo emulsion of potato starch grains dyed red, green, and blue and applied to glass slides, which the Lumière brothers manufactured. With their soft focus and graininess, autochromes imbued their images with an Impressionistic beauty, almost as if a blindfolded photographer had only to point the camera anywhere to produce an artwork. In the long run, though, Prokudin-Gorsky preferred both Miethe’s process and the particular type of color camera he invented. Miethe’s approach, more fully refined by Prokudin-Gorsky, followed the same principles as the Lumière but by a different route. Using a specially designed camera, three separate blackand-white photos were taken using three color filters: red, green, and blue: the same RGB that make color TV and computer monitors work. It should be borne in mind that this was all before film photography; Kodachrome, Technicolor, and one-hour photos were decades in the future (let alone PowerPoint presentations). For the public to view the resulting images the process of their creation was reversed. The three black-and-white photos on glass slides were projected onto a screen by means of three color filters, red, green, and blue. Voila! True, natural color. The impact was spectacular. A demonstration in St. Petersburg during the winter of 1908 caught the attention of Grand Duke Mikhail Aleksandrovich, brother of Nicholas II. The following year, Prokudin-Gorsky was invited to demonstrate his work at the imperial palace of Tsarskoe Selo. The Tsar was delighted with what he saw and asked Prokudin-Gorsky what further plans he had. It was then that ProkudinGorsky outlined his grand plan “to capture all the splendors of our far flung native land in natural colors.” The Tsar’s enthusiasm mounted. Transport was provided to include a Pullman railroad car with an onboard darkroom, large and small steamships, and a Ford motorcar equipped for rough roads. 32
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Geogievskaia Street in Artvin is among the photos that seem particularly composed as works of art. The man walking up the street and the people on the balcony would certainly have been staged to hold still.
On the Deck of the Steamboat “Shesna” of the Ministry of Communication, Rybinsk on the Volga River.
The Emir of Bukhara, Alim Khan (1880-1944), posing solemnly for his portrait, taken in 1911 shortly after his accession. As ruler of an autonomous city-state in Islamic Central Asia, the Emir presided over the internal affairs of his emirate as absolute monarch, although since the mid-1800s Bukhara had been a vassal state of the Russian Empire. With the establishment of Soviet power in Bukhara in 1920, the Emir fled to Afghanistan where he died in 1944. (from Library of Congress commentary)
Prison in the Town of Bukhara
Not surprisingly, the scope of this enterprise became vast. From the shores of the Black Sea, to the source of the Volga, to the steppes of Central Asia, the photographer recorded sacred and secular architecture and artifacts, rivers and waterways, public works like railroads and power plants, cityscapes, virgin landscapes, and exotic peoples of all stations. Compared to the buzz-talk today, this was true cultural diversity of myriad kinds, whose ways of life had gone on essentially unchanged for centuries prior. It’s not hard to imagine viewers of his color slide lectures in St. Petersburg as enthralled as we should be, seeing real peoples and places we only heard about from passing footnotes in dreary history textbooks. November | December 2020
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Group of Workers Harvesting Tea, Greek Women, Chakva Village, former Georgian SSR
At the Saliuktin Mines, Kyrgystan
D
uring World War I, when travel became potentially dangerous, Prokudin-Gorsky’s expertise and skills were transferred to military purposes. After the Bolshevik Revolution his last public color slide presentation in Russia appeared in 1918 under the auspices of the People’s Commissariat for Education, with the title “The Miracles of Photography.” Before the end of the year he left for a business trip to Norway, never to return. From there he moved to England and later to France, where he remained active, in the early ‘20s patenting a color camera that made color separations by means of prisms so that the photo could be taken by a single click of the shutter, and for a color cinematic camera. Several color slide presentations of his photos of Russia were made in the 1930s. Prokudin-Gorsky died in Paris in 1944 shortly after the liberation of France by the Allies. 34
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Fabric Merchant, Samarkand
Interior of the Power Plant, Gundukush, Turkmenistan
In 1948 what remained of his collection was sold by his heirs to the Library of Congress (LOC). After languishing in obscurity for decades, the collection has in recent years been digitized and made readily available online. It includes 1,902 triple black-and-white color separations on glass slides that now appear in full color and albums containing 2,433 contact prints with captions that form a visual “notebook” of the photographer’s work. This can be found on three highly detailed, searchable websites, the chief of which is from the LOC but the latter two also have some distinct advantages: https://www.loc.gov/collections/prokudin-gorskii/about-thiscollection/ http://prokudin-gorsky.org/?lang=en https://sechtl-vosecek.ucw.cz/en/prokudin-gorsky/buchara.html
Group of Jewish Children with Their Teacher, Samarkand
(Middle Right) General View of the Shakh-i Zindeh Mosque, a complex of graves and mortuary chapels built over many centuries for the women of the dynasties descended from Timur (Tamerlane, 1336 – 1405), the great medieval ruler of Central Asia, Samarkand, Uzbekistan
The slight irony is that the digital restorations are “better” than what Tsar Nicholas II was able to see, and are much more widely available. But then we are so jaded by the glut of color images that the excitement felt by those early viewers of Prokudin-Gorsky’s “Magic Lantern” lectures can be easily missed. But there is no time machine to take even National Geographic photographers back to record the latter years of the vast Russian Empire, before the catastrophes of the twentieth century.
Tekin and His Family Outside Their Yurt, Bairam-Ali, Turkmenistan
The tiny selections here elicit stories, some happy, some sad, others no story at all, save for the artistic beauty in the photographer’s own soul. Endnotes 1. Prokudin-Gorsky’s name is often spelled “Prokudin-Gorskii.”
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From the Cellar’s Chill to a Tasty
Winter Table By Eric Cook
The first breath of air entering a proper wine cellar reminds us of the impact of temperature on wine, one of the lessons to learn firsthand in a cellar that are not as obvious in a warm, well-lit dining room — first among these are the effects of temperature on the aging process and the taste impressions of wine.
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ince we first started aging wine in caves, Mother Nature’s refrigerators, wine retained its freshness better and was capable of tasty pleasure far longer than that left above ground. From then on, we knew the balance of cool is just right for fruit juice/wine as much as for cheese, cured meats, produce and a host of other foodstuffs.
In wine storage, the trick is to slow the maturation but not to stop it - let it age gracefully, let it mature slowly to develop complexity of flavor that cannot be reached with shortcuts. In wine’s taste, 10 degrees of difference highlight different faces of the wine — and like a closed flower opens with time and temperature to release ever more of its aromatic essence, so wine also “opens” as it warms.
Here are five wines for the winter months and the influence of a chilled presentation:
Gewurztraminer from the Columbia Gorge Dowsett Family’s Celilo Vineyard bottling is well-known for its cooler climate influence. This cooler site and temperature-controlled fermentation strike a refreshing balance with this generous alcohol-leaning grape. Gewurztraminer’s heady perfume loves the chill of a cellar as it moderates the impact of the wine and leaves the taster feeling refreshed instead of heavy. (www.dowsettwines.com - $19) The diversity of a Thanksgiving table or the creamy heat of Pad Thai are no less famous with this wine.
Sémillon’s weighty neutrality can have a mere touch of oak influence for a broader range of flavor like the dry version made by Walla Walla’s Amavi Winery (www.amavicellars.com - $25), where the chill raises our ability to taste the soft melon and white peach acidity of the wine and keep it refreshing. Poultry, rich cheese sauces and even butter-soaked crab fare well. November | December 2020
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Barbera, the red Italian import to Washington State, in the hands of CasaSmith (www.winesofsubstance.com - $20) renders this flavorful, tobacco-y berry version that drinks best with our 55 degree motif. Another way to achieve this temperature is to place the wine INTO the refrigerator 20 minutes before serving for that fresh-from-the-cellar feel.
Petite Sirah matches the hearty food of our cooler season well, but can be overwhelming in its opaque density and alcoholic charm. California’s Peirano family (www.peirano.com - $16) makes a great under-rated version that rewards cellar temperature by letting its forward alcohol and dark bramble berry character be tempered with refreshing acidity and crisper blackberry impressions. This wine highlights the textures of braised meats as the tannins are even friendly enough for an après-dîner sipper.
Cabernet Sauvignon, especially within eight years of its vintage date, shows rougher textures from tannin and growing conditions that are easily mitigated with cellar temperature. Freehand Cellars (www.freehandcellars. com - $25) of the Yakima Valley offsets these qualities to let the tastes that matter come to the front and avoid the rougher edges of barrel aging or tannin. Moderate temperatures make a dense Cabernet Sauvignon even brighter for leaner cuts of beef or cruciferous greens. 38
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ellar temperature is not refrigerator temperature, so should your wine get too cold, the best sommelier trick is to get it into a decanter where the temperature can rise more quickly; remember the temperature of the wine is the volume control for the wine’s flavor, but let it get too loud (warm) and the speakers will always blow out. Experiments with wine temperature forge a fascinating path through the journey of wine.
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C
hristmas time is my absolute favorite time of year. The snowcovered trees, cuddling up next to the fireplace, all the delicious goodies, and spending time with loved ones. Although I love Christmas, I struggle with Christmas shopping. Figuring out where to go and what to get is beyond stressful. I always end up waiting until the last minute and making a mad dash to the mall. This year, I am determined to change my ways and not only get my shopping done on time, but support some of the amazing local businesses in our city. Here’s your ultimate guide to shopping local this holiday season and getting your friends and family gifts that come from the heart.
Gifts for the fashionista… Swank Boutique (4727 N. Division St., Spokane) As many of y’all know, Swank is one of my go-to stores in Spokane. The team at Swank travels across the country and hand picks items to be featured in their store. The result? Cute, chic clothing perfect for every occasion! The Swank girls are extremely knowledgeable and can help you find the perfect gift for the fashionista in your life. They sell clothing, shoes, jewelry, perfume, and tons of accessories. Shop instore or online: (https:// www.swankboutique.net/). Use code ‘Spokaneeats15’ for 15 percent off! 40
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By: Spokane Eats Team
Terra Cotta Beauty By Clay I am currently obsessed with these earrings! They are fun, flirty, and the perfect addition to any outfit. Jenna Wilson, the creator and owner of Terra Cotta, taught herself how to mold terra cotta clay into jewelry from online tutorials. Recently she decided to turn her hobby into a business so she could work from home as a mom. You can find Jenna’s amazing creations at the Garnet District in Coeur D’Alene, The Bohemian in Spokane, or you can shop them directly from her site at: https://www.terracottashop.org/.
Jackson and Hyde Jackson and Hyde is the result of a honeymoon shopping trip in Central America. There, Genevieve and Ryan found some one-of-a-kind cowhide clutches which eventually took on a life of their own. After using some as an accessory back in the States, Genevieve was flooded with compliments. Since then, they have worked with their Central American friends to bring these cowhide leather designs to the States. They run their business out of Spokane and we love supporting this lovely couple and their creative accessories and bags. Shop online at: https://jacksonhyde.com/.
Natalie Wood Designs At Natalie Wood Designs, they design affordable luxury jewelry and encourage the women who wear it. They sell stunning, timeless earrings, bracelets, necklaces, rings, and more. These pieces are perfect for mom, your bestie, your sister or your significant other. This will be something she wears for many years to come and even better… it will always remind her of you! Shop online at: http://www. https://www.nataliewooddesigns.com/.
Gifts for the tots or mom’s-to-be… French Toast Children’s Boutique (1170 W. Summit Pkwy., Spokane) This curated boutique carries “stylish and sophisticated items that you simply can’t find anywhere else.” When shopping at French Toast, you can expect quality clothing, toys, books, etc., perfect for the mom-to-be or your little ones. “They offer the most curated selection of children’s items anywhere in the area!” They also have a variety of party supplies and festive decorations so you can pick some of those up for yourself while you’re there! November | December 2020
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Gifts for the homebody… Tin Roof Furniture (1727 E. Sprague Ave., Spokane) The Tin Roof is a third generation, locally-owned Spokane business. Heather Hanley, creative director and current owner, believes every person is unique and their home should be too. To achieve this vision, The Tin Roof has a highly talented staff of interior designers and stylists who work hand-in-hand with their clients to make their home picture perfect. Constantly on the hunt for interesting products, all three showrooms at The Tin Roof are lively and fresh with new, exciting looks to explore. The Tin Roof also has the ReSkued furniture outlet, which features designer styles at discounted prices.
Gifts for the girly girl… Luxe. Salon & Spa (314 W. Francis Ave., Spokane) What’s even better than giving/receiving an item…? Giving/receiving an experience! We all have those people that are super hard to shop for because if they want something, they will go buy it themselves. So, you have to get creative. Enter Luxe. Salon & Spa. Give your special someone something they don’t know they want but will definitely enjoy. For example, we are completely obsessed with the HydraFacial treatment from Luxe. Salon & Spa. In addition to the HydraFacial, Luxe. also offers a variety of other facial treatments, as well as laser hair removal, chemical peels, lashes, and waxing. They also sell a variety of amazing hair products (Unite) and skin products (Epionce) for your product-junkie friends and family.
Gifts for the local lover… Atticus Coffee & Gifts (222 N. Howard St., Spokane) Atticus Coffee & Gifts is a win, win! Shop for your loved ones and grab yourself a drink and pastry to get you through all the holiday chores. Atticus sells a variety of gifts and trinkets from local makers including local tea, apparel, books, and so much more. No matter who you are shopping for, you’ll find something extra-memorable at Atticus. They’re old school so you must shop their brick and mortar, no online sales.
Boo Radley’s (232 N. Howard St., Spokane) Named after the character in To Kill a Mockingbird who collected unusual and wacky items, this novelty shop is the perfect place to find unique stocking stuffers, fun toys, and gag gifts. Owner Andy Dinnison is committed to filling his store with unique products that will delight, or disgust, his customers. From vintage lunch boxes to funky t-shirts, there is really something for everyone at Boo Radley’s. Make sure to check out their sister store, Atticus Coffee & Gifts, for more amazing gift options! 42
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Coeur D’Alene Resort (115 S. 2nd Street, Coeur d’Alene, Idaho) Give your special someone a gift card for an overnight stay or a relaxing day at the spa. Whatever you decide, it’s sure to be a memorable and magical experience. If you’d rather send a physical gift, we’d love to help you select some Coeur D’Alene Resort gear from our shop, or choose huckleberry pancakes or taffy — to give someone a real taste of the Pacific Northwest.
Gifts for the one with the green thumb… Ritters Garden & Gift (10120 N. Division St., Spokane) If you are searching for a gift for someone with a green thumb, Ritters is your place. This family-owned and operated company had been serving the Spokane community for over 75 years. The team at Ritters strives to provide the best customer service and expert advice for all of your gardening needs. Not only is Ritters the destination for plants, trees, and shrubbery, they also have an adorable shop with pottery, gifts, wine, and bouquets. Fern Fern now has three plant shop locations open daily: @fernspokane 10-4:30 in Browne’s Addition, Spokane @fernplantshophq 9-5 in Downtown Spokane @ferncda 9-5 in Downtown Coeur d’Alene Fern features a wide range of high-quality indoor houseplants, modern pots and botanically inspired gifts, goods and jewelry. Enjoy a unique plant experience and find yourself enchanted. Find a plant, pick a pot, and they transplant it for you for free!
Gifts for the ultimate foodie… When in doubt, gift cards are the way to go! Visit our Instagram for an extensive list of some of our favorite spots or browse the blog for some recent visits http://www.spokaneeats.net. Falcos Spokane (9310 E. Sprague Ave., Spokane) Falcos is your one-stop shop for everything grill and fireplace related. They have the best selection of BBQ grills, fireplaces, fuel, accessories, parts, and more. Last year we got a Traeger Smoker from Falcos and it’s truly the gift that keeps on giving! We’ve had so much fun experimenting and trying new recipes. We also have to mention that the customer service at Falcos is top of the line. The staff is incredibly educated and accommodating. If you want something a little smaller, pick up some of Barker BBQ’s famous rubs and spices (another locally owned business).
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Churchill’s Steakhouse — Create your custom steak box! (165 S. Post St., Spokane) How does Santa do it? Finding meaningful gifts for your loved ones can be so daunting. The key to Dan’s heart? Really, really good steak. That’s why I was so glad to find out that Churchill’s Steakhouse sells these gorgeously decadent steak boxes that can be shipped all around the country for any occasion so your loved ones can enjoy the same prime filet mignon, New York and ribeye’s you get at the restaurant, in your own home! They even include their signature herbed finishing butter and seasoning. These steak boxes are guaranteed to impress anyone on your “NICE” list! Order yours at: https://www.churchillssteaks.com/collections/frontpage Kitchen Engine (621 W. Mallon Suite 416, Spokane) Is someone on your list wanting a new kitchen gadget? With over 7000 unique items, the Kitchen Engine probably has it! They have great service so if they don’t have what you’re looking for, they’ll help you find the next best thing. Looking for more of an experiential gift? Sign up for one of their intimate cooking classes! Spiceology “With 250-plus spices, blends, herbs, chiles, salts, confections, fruit and vegetable powders and modernist ingredients, it’s no wonder that Spiceology’s ‘grind fresh, deliver fresh’ philosophy is loved by professional and home chefs alike.” Shop online at: https://www.spiceology.com/
Gifts for the one that’s hard to shop for… Southern Specialties (307 E. 18th Ave., Spokane) “Southern Specialties is located in the heart of the Spokane South Hill and is locally owned by a Southern mother-daughter duo who have made their permanent home in the Pacific Northwest. Southern Specialties offers a personalized shopping experience both in-store and online, gift baskets for any occasion, corporate gifts, and custom design services, including embroidery, vinyl, and heat press. Featuring items born in The South, popular brands from around the country and products created by local talent in Spokane.”
Photo Co Spokane – Photo Mosaic (10502 E. Montgomery, Spokane Valley) Photo Co sent us a DIY Mosaic Photo Kit this summer and it’s such a fun activity for any age that you can then display in your home. Just submit all your photos, then complete the puzzle to display one large photo made up of hundreds of small photos. GENIUS! Now I’m reminded of endless happy times when I look at all the tiny photos that make up a larger photo. They can ship or deliver locally. DM them and mention Spokane Eats for 15 percent off your order! 44
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Ye Olde Hock Shoppe (9315 E. Trent Ave., Spokane) Pawn shopping is the new thrift shopping, right?! We found so many fun things at Ye Olde Hock Shoppe — from guitars, vintage records, tools, camera equipment, electronics, jewelry, neon signs, outdoor equipment and so much more! It’s the trendiest pawn shop in town that will beat any competitor’s price!
Gifts for the Nature Lover…
Ridge Line Rings I liked it so I put a ring on it! Then Dan lost it so I recently upgraded him to an incredibly unique, hand-crafted bentwood ring, made with Elk antler and lapis lazuli from Spokane’s own Ridge Line Rings! They have a ton of different styles using natural materials and it’s truly a piece of art that you’ll cherish forever! Browse their designs online at: https://www. ridgelinerings.com/shop-online
Gifts for the book worm…
Aunties Book Store (402 W. Main Ave., Spokane) Auntie’s Bookstore opened in 1978 in the Spokane Flour Mill and they’ve been selling books ever since. It is a full-service, independent bookstore and if they don’t have what you’re looking for, they can get most orders in just a couple days. Well, there you have it! The ultimate list for supporting local this holiday season. Now there’s nothing left to do but go out and shop ‘til you drop! November | December 2020
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Welcome
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See our video!
SpokaneGallery.Com.
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509-747-0812
REGIONAL REPORT News & Updates
From Regional Art Associations
E.J. IANNELLI SPOKANE ARTS Spokane Print Fest
DEANNA MORGAN
EVERGREEN ASSOCIATION OF FINE ARTS Evergreen Association of Fine arts
November | December 2020
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SPOKANE
PRINT FEST
W E.J. IANNELLI SPOKANE ARTS COMMISSION CHAIR Journalist, copywriter, editor and translator with more than a decade of experience spanning three countries. Literature, music and technology/gadgets are both personal interests and professional strengths.
hen Spokane Print Fest launched in April of 2019, the success of the firstever regional printmaking celebration left its organizers looking forward to the promise and possibilities of its second year. Then came COVID-19, and plans changed. This year, Spokane Print Fest is evolving in important ways that are both a direct response to and a byproduct of pandemic restrictions. For starters, it moved from its anticipated date in April to November. It’s also extended itself into a monthlong event. Beyond that, SPF has adopted a hybrid format of virtual and face-toface workshops, panel discussions and gallery exhibitions. “In the past we had all the universities and nonprofit galleries from the region coming together and doing these demonstrations in the form of little booths and showcasing all these different things. But now we cannot do that, so we’re moving a lot of things to social media. But we’re keeping the same essence of the festival,” says Reinaldo Gil Zambrano. “The gallery shows are moving online, too, but now the galleries are open. So people can still come and see the work in person using social distancing and mask protocols.”
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Photo credits: Rogue Heart Media | Grace June Imagery
REGIONAL REPORT SPOKANE ARTS
I
n addition to being a key SPF organizer and co-founder of the nonprofit Spokane Print and Publishing Center, Zambrano is a printmaker himself. Visually, his work has often combined baroque levels of detail with surreal, figurative imagery, such as two heads — one male, one female — connected by a tangle of telephone wires that spill out of the urban and rural scenes that fill the hollows where their faces should be.
Formerly of Caracas, Venezuela, Zambrano came to the United States in 2014 to attend graduate school and later teach his craft at Spokane-area universities. One of his ambitions along those lines has been to bring increased attention and new energy to the historic practice of printmaking through initiatives like the Spokane Print and Publishing Center and the SPF. And while that effort has always benefitted from resiliency and openness to innovation, COVID-19 has highlighted the importance of those qualities. “What is exciting is that, as artists, we’re always adapting ourselves. Sometimes you don’t have the canvas that you need. Sometimes you don’t have the paint that you need. We’re always adapting ideas and finding new media in order to approach those ideas in the best way that we can,” he says. Some of that adaptation has been facilitated through partnerships with local art advocacy organizations such as Terrain and Spokane Arts, the Emerge gallery in Coeur d’Alene, Idaho, as well as community colleges and universities throughout the Inland Northwest. November | December 2020
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REGIONAL REPORT SPOKANE ARTS
“W
e all share the same passion for community education and printmaking. This is just another way that we see the benefits. It’s definitely a difficulty, but once we accomplish this, we are going to be getting more experience with digital media under our belt. It’s going help reinforce the Print Fest and make it even stronger in terms of engagement.”
In 2020, Spokane Print Fest runs from November 6 to 28. Information on workshops, artists Q&As, panel discussions and galleries, both virtual and physical, is available at spokaneprintfest.com.
In discussing Spokane Print Fest, Zambrano repeatedly emphasizes the need for accessibility. That’s been a guiding principle since the event came into existence, and he envisions even broader involvement among artists and audience alike thanks to the increased use of online platforms.
“Now we can engage with people who are outside of the region. For example, artists coming from Florida are now participating in the show. They can do a demonstration from their studio but still engage with the community here and also with other audiences that they have on social media too.” But more than that, the event also shows how we might sustain the positive legacies of our past amid a tumultuous present. As Zambrano points out, the idea of accessibility underpins the very process of printmaking itself. “The core of printmaking is the act of making multiples. This is a technique that has been used before to pass on information and preserve history and preserve stories through time. It’s been used to educate and bring knowledge to people in an affordable way,” he says. “At the same time, printmaking is a tool that develops and strengthens community. It empowers the people to also use it as a way to tell their story and communicate ideas with others, sometimes beyond the limitations of the written language. It equalizes people and shows them that they matter.” 50
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Artisan, Clean Label Hummus Made In The NW
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1/2 the calories of most brands
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November | December 2020
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EVERGREEN
Association of Fine Arts [This article was written the way EAFA operated before the Corona Virus shut everything down.]
E
DEANNA MORGAN EVERGREEN ASSOCIATION OF FINE ARTS — PRESIDENT
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vergreen Association of Fine Arts (EAFA/eafa), began almost fifty years ago under the name of Eastside Association of Fine Arts. Miriam Lansdon, an art instructor from Bellevue Community College, along with five of her students, started EAFA, growing from a drawing class sponsored by the Bellevue Park Department. These five students took the ten week class and when it was offered a second time, took it again! The friendship of these six artists inspired the idea of an organization that included all fine artists (painters, photographers and sculptors) from beginners to professionals — all levels of development, all mediums —everyone supporting one another. EAFA became Evergreen Association of Fine Arts when many artists wanted to join but they did not live on the Eastside (Eastside of Lake Washington from Seattle). We now include members from many cities close to Seattle and Bellevue, as well as some from out of state, who just want to support us. EAFA is governed by a Board of Directors, the President, Vice-president, Secretary and Treasurer … these positions are voted on by the members at our May meeting. The office of Treasurer has been redefined in the last several years, as balancing the checkbook with our QuickBooks account has become increasingly more difficult. With so many people paying their dues through PayPal and sales going online, etc., we have hired an accountant to balance the checkbook and QuickBooks. This is the only person we have hired at EAFA, every other position is filled by a volunteer. Some of the chairs that are filled by volunteers are: refreshments, website, program, plein air, advertising, newsletter, public art, DVD library, internet (FaceBook and Twitter), shows, etc.
REGIONAL REPORT
EVERGREEN ASSOCIATION OF FINE ARTS
F
illing these positions is key to our continuing success as an organization and all of it depends on the fabulous volunteers who step forward to help and do their part. EAFA’s membership has been well over two hundred artists for many years and reflects a wide variety of interests and styles. We have members who produce 2 and 3D conceptual work, abstract art, representational art including portraits, landscapes, seascapes and figurative, photography and computer designs. Our exhibits always represent every subject and style imaginable in a wide variety of mediums. Many of our members are instructors; some are students of fine art; some have worked as professional artists and some are retired, but all enjoy the creative outlet that EAFA offers. EAFA meets once a month, always on the third Thursday and at the same time, so everyone can remember the meeting date. The first part of the meeting is the business side — who can volunteer; who sold a painting; who won an award; upcoming events — and then we enjoy a thirty-minute break. During the break we provide refreshments, and we have a member critique paintings that were brought in for that purpose.
We have a DVD library where members can check out a DVD for five dollars. There is also a sharing table where you can bring brochures of upcoming shows, paintings that you want to share — anything that was created (we have had jewelry, etc.) by a member. The last hour is a demonstration or a slide show presentation by a well-known artist and once in a while, a member. Members love coming to the meetings early so they can spend time visiting with others or just helping to get everything ready. The creative energy that is felt during these meetings is a real joy to see and often gives a boost to those seeking new directions for their art.
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REGIONAL REPORT
EVERGREEN ASSOCIATION OF FINE ARTS
n addition to the monthly meetings, EAFA has a monthly newsletter, a plein air group, a public art program, a website, juried shows and more — all programs are run by wonderful volunteers. Our Public Art Program uses the largest number of volunteers, as we now have ten public art venues, with a separate manager for each venue and most have a co-chair as well. We have venues in two libraries, the Department of Ecology, Kelsey Creek Farm Park, North Bellevue Community Center and five locations in Overlake Hospital. The hospital enjoys the program so much that they have asked us to start hanging art in a new wing of the hospital when it is completed. The amazing benefit for our members in the public art program is that they have a place to display their artwork and when a painting is sold, none of the venues charge a commission, with EAFA receiving a fifteen percent commission for handling the sale. EAFA has many operating expenses, some are monthly and some are yearly expenses. At our monthly meetings, we pay a fee for where we hold our meetings; we have a yearly insurance fee; our guest speaker runs two hundred dollars a meeting; with bank fees, state fees, government fees, storage locker fees and more. EAFA owns a large number of grids to hang paintings at shows and sometimes we rent these grids out to other art organizations to use for their shows. We have stands for sculptures, expense records, video and speaker equipment, tables, glasses, napkins etc. for receptions, name it and we have it. This is too much for someone to put in their garage and also much of it has to be available at any time. Every year at our May meeting, EAFA has an art rummage sale; members bring any and all art products that they are no longer using.
At this meeting we do not have a guest speaker but three of our members volunteer to demonstrate their painting styles during the sale. We get many frames, paints of all kinds and all ages, paper, brushes, mediums, canvases, easels and more. This is always a very fun time for everyone. The proceeds go to another nonprofit organization with the understanding that the money will be used for art supplies. Last year, the money went to an organization that offers an after school art program in an area of our city that has a number of homeless and low income people. EAFA received its 501(c) 3 nonprofit status from the Federal Internal Revenue Service in 1997 and because of this designation we are able to apply and receive financial aid through several grants. Having a good grant writer is extremely important for a nonprofit organization! Our annual dues are forty-five dollars a year for active membership and membership is required for our public art program and other benefits. Anyone may come to our monthly meetings and join the plein air outings — member or not, no one will be turned away. EAFA is proud to share what Evergreen Association of Fine Arts is all about, to you, our members and to our local artists. We have original artwork on display in many locations, seven days a week, twenty four hours a day. You may visit our website at eafa.org at any time. If you have questions, feel free to contact Deanna Morgan at deannaeafa@gmail.com or Jean Beuoy at jeanprattbeuoy@yahoo.com
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November | December 2020
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I’m back bari cordia federspiel Avenue West Gallery, 907 W Boone, Spokane WA Razzlebari Watercolours on Facebook Etsy “Work4GoodMercantile” spokanewatercolor.org/bari-cordia-federspiel-SWS.html
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SPACE IS LIMITED
www.carolschmauder.com
“Song From the Flats” Oil on canvas 20”x 24”
Nora Egger
noraegger.com |509-991-0041
Carol Schmauder F
i
n
e
A
r
Avenue West Gallery 907 W. Boone, Suite c Spokane, Washington 509- 325- 4809
t
ELSTEWART.COM espainter2@gmail.com
Steven A. Scroggins
Fine Art
artist@stevenascroggins.com
208-659-8332 Post Falls, Idaho
BY APPOINTMENT
Vicki West
Hours Fri - Sat 11 AM to 4 PM
Also Available By Appointment
FINE ART — ILLUSTRATION Flootie.com/Vicki A.West —— 509.990.4545 —— westwatercolor@gmail.com
November | December 2020
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ADVERTISER
DIRECTORY 55
Sandy Aronson www.artbysandyaronson.com
25
GO Art Center www.goartstudio.com
57
Carol Schmauder www.carolschmauder.com
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Artisans At The Dahmen Barn www.artisanbarn.org
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Gonzales Creative 509-598-1722
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Steven A. Scroggins artist@stevenascroggins.com
57
Avenue West Gallery www.avenuewestgallery.org
25
Greencastle Soap Company www.greencastlesoap.com
51
Spokane Art Supply www.spokaneartsupply.com
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Ginny Brennan www.ginnybrennan.com
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Mary Gunn Designs www.marygunndesigns.shop
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Spokane Gallery phone: 509-747-0812
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Blackwell Gallery www.blackwellgallerycda.com
25
Hoffman Music www.hoffmanmusic.com
07
Spokane Potters’ Guild www.spokanepottersguild.org
17, 56
Ladd Bjorneby www.beartrackart.com
56
Debbie Hughbanks debbie@hughbanksart.com
57
E.L. Stewart www.elstewart.com
56
Jessica L. Bryant www.jessicabryant.com
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Kool 107.1 www.kool1071.com
07
John Thamm www.jthamm.com
57
Denny Carman www.densoils@yahoo.com
55
Rebecca Lloyd Art www.rebeccaloydart.com
55
The Art Spirit Gallery of Fine Art www.theartspiritgallery..com
55, 56, 57 Marmot Art Space www.marmotartspace.com
17
The Clay Connection
57
Mary Gunn Designs www.marygundesigns.com
56
Urban Art Co-op www.urbanartcoop.com
17
Sonja Metzler www.sonjametzler.com
57
Vicki West
51
Victor’s Hummus www.victorfoods.com
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Westwood Gardens www.westwoodgardensidaho.com
24, 55
William Grant Gallery phone: 509-484-3535
60 Digital Visions Art Etsy.com/shop/DigitalVisionsAr 07 Doe + Jane www.doeandjane.com 27
Downtown Spokane www.downtownspokane.org
57
Nora Egger www.noraegger.com
56
Bari Federspiel
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07
spokanewatercolor.org /bari-cordia-federspiel-sws.html
Frame It www.frameitcda.weebly.com
Gallery One www.gallery-one.org
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Garland Sandwich Shoppe www.garlandsandwich.com
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55 River Ridge Association of Fine Art www.spokanerrafa.com
56
Marcella Rose www.marcellarose.com
24
New Moon Gallery www.newmoonartgallery.com
29
Northwest Museum of Arts and Culture www.northwestmuseum.org
clayconnectionspokane@gmail.com
westwatercolor@gmail.com
November | December 2020
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