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Of Hopes and Dreams: New Paths, New Generations

Jordan Craig. We are Different (2016), oil on canvas. Photo courtesy of the artist

IARC Speaker Series, Eric S. Dobkin Boardroom, School for Advanced Research, 660 Garcia Street, Santa Fe
Wednesday, April 18, 6:00-7:30pm, Admission is free.

Moderator: Jaclyn Roessel, artist and founder, Grownup Navajo
Panelists: Jordan Craig, artist; Dr. Jessica Metcalfe, owner, Beyond Buckskin; Eliza Naranjo Morse, artist

The 21st century brings about new opportunities and a bright future for Native American women today.  This panel discussion cycles back to our opening lecture presented by Tessie Naranjo, takes a look at today’s emerging generation of women artists, and explores their needs, wants, and concerns for the future as well as the role art plays for themselves, family, and community.

Jaclyn Roessel was born and raised on the Navajo Nation. An alumnus from Arizona State University, she was the inaugural recipient of the Arizona Humanities Rising Star Award and has been named one of Phoenix 100 Creatives You Should Know. Her work as a writer/poet and installation artist is motivated by theories of Futurism and healing. Jaclyn is a 2017-2018 National Art Strategies Creative Community Fellow and a recent graduate of the Native Entrepreneurs-In-Residence program. As president of Grownup Navajo, Jaclyn’s consulting firm, is dedicated to integrating Native American teaching into museums & non-profits. Through all her work, Roessel aims to inspire Native people to use their traditional knowledge and creativity as a catalyst for change.
Jaclyn Roessel
Jordan Craig
Jordan Craig Jordan Craig is a Northern Cheyenne artist based in California. She uses painting, printmaking and collage to create abstract spaces, landscapes and patterns. As an emerging artist in the nascence of her career, Jordan currently participates in artist residencies around the United States and Europe. In 2017, she received the H. Allen Brooks Travel Fellowship to study printmaking in communal print shops across Europe. She recently completed an artist residency in Venice, Italy at the Scuola Internazionale di Grafica where she also had a solo exhibition in the Scuola’s gallery. Before her residency in Venice, she practiced printmaking at Kala Art Institute in Berkeley, CA. Jordan studied Studio Art and Psychology at Dartmouth College, and graduated with high honors in printmaking and painting. She creates monoprints, woodcut prints and collographs, and oil paintings. Her work is meticulous, and she often uses repetition, pattern, and mark-making in her practice. She draws inspiration from Indigenous textiles and pottery, Aboriginal paintings, and landscapes. She tells stories about her childhood, family, trauma, healing, and the appealing mundane. She explains, “Using dots, peculiar geometries, cut paper and pattern, I explore the feeling of forgetting how to sleep, the memory of building homes inside homes, and the translation of language and dreams.” As the 2018 Eric and Barbara Dobkin Native Artist fellow, Jordan looks forward to creating large-scale pattern paintings at the School for Advanced Research.
 

Dr. Jessica R. Metcalfe (Turtle Mountain Chippewa) is the owner of Beyond Buckskin, which is a website and boutique dedicated to promoting and selling Native American-made fashion. She has co-curated exhibitions and taught college courses in Native American studies, studio art, art history, and literature. Her current work focuses on American Indian art, clothing, and design from all time periods, with an emphasis on contemporary artists.

Dr. Jessica Metcalfe
Eliza Naranjo Morse is thankful for her recent collaborators; Her Family, Kha’ P’o Community school,  SAR and the Youth Correctional facility, Axle Contemporary, MOCNA with Terran Kipp Last Gun and Praksis Oslo. As well as the teams of Always Becoming, SITE Santa Fe, MIAC, the Poeh Center, the NMAI and also the Richard T. Coe Foundation.  Go teams!

From the years 2016-2017 Eliza avidly listened to Democracy Now, painted two murals, irrigated acres of vegetables that were eventually eaten by grashoppers, and created large sculptures out of panty hose, paper, and sticks.  She sat in conversation at three Indigenous institutions about what caring for Pueblo pottery in collections could look like, became the art teacher at her Pueblo’s day school and poured concrete for her greenhouse. She spent a month in Norway sharing thoughts with many creative thinkers about time, ancestry and balance.  She visited her wider family and listened to stories about their histories, belief systems and language.  In this time period she was most at peace running by the Rio Grande.

All of these moments, efforts and information help define Eliza’s work. The work is to creatively engage with and consider definitions of community, history, self, time and place.   She was born in 1980.