2003 Fellows

Past Fellows: 2003

  • Kay Walking Stick (b. 1935, Cherokee Nation)

    kaywalkingstickWalking Stick was born in Syracuse New York, but her mother moved her daughter from Oklahoma before she could become acquainted to her father’s side of the family.  Walking Stick’s unique upbringing outside her cultural base has influenced her artwork, which explores identity, and more often, landscapes.  In 1959, she received a Bachelor of Fine Arts from Beaver College and in 1975 a Masters of Fine Arts from the Pratt Institute.  Walking Stick was a professor at Cornell University from 1988 to 1990, and then again from 1992 to 2005; she retired as a full professor of drawing and painting.  She has won several awards including: a grant from the National Endowment of the Arts in 1983; a Joan Mitchell Foundation award in 1995; a National Honor award for Achievement in the Arts from the Women’s Caucus for Art in 1996; and a Lee Krasner award for lifetime achievement from the Pollock-Krasner Foundation in 2011.

  • Corwin “Corky” Clairmont (b. 1946, Confederated Salish-Kootenai Tribes)

    corwincorkyclairmontClairmont was born in St. Ignatius, Montana, on the Flathead Indian reservation, and now lives in Ronan, Montana.  His career in art began at fifteen when he entered and won a contest to design his tribal seal—the seal is still used today.  He received his Bachelor of Arts in Art from Montana State University in 1970, and in 1971, a Master of Arts in Art from California State University—Los Angeles.  Clairmont remained in Los Angeles until 1984 as a printmaking teacher at the then Otis Art Institute of Parsons School of Design.  In 1985, he returned to his reservation to work at the Salish Kootenai Tribal College, where he first worked in administration before creating the arts department that he directed from 1989 to 2016.  From 2008 to 2013, he was a board member of the Montana Arts Council.  Clairmont works primarily in printmaking, but he is also known for his conceptual and installation pieces that confront common Native American themes of colonization, sovereignty, and community.

  • Robert Houle (b. 1947, Saulteaux)

    RobertHouleHoule was born in St. Boniface, Manitoba, Canada, and he currently lives in Toronto.  His first spoken language was Ojibwe.  At the young age of seven, he was removed from his family by the local priest and reserve agent and relocated to the Sandy Bay residential school.  Houle received his Bachelor of Fine Arts in Art History from the University of Manitoba in 1972.  In 1975, he received a Bachelor of Arts in Art Education from McGill University.  Two years later, in 1977, the Canadian Museum of Civilization hired Houle as the first curator of contemporary art.  For over fifteen years, Houle taught at the OCAD from where he retired.  In 1993, he was the recipient of the Janet Braide Memorial Award for Excellence in Canadian Art; in 2001, the Toronto Arts Award for the Visual Arts; and in 2015, the Governor General’s Award in Visual and Media Arts.  Houle is also a member of the Royal Canadian Academy of Arts.  His paintings, photos, and installation pieces reflect his personal indigenous knowledge, his understanding of abstraction, and his experiences at residential schools.

  • Nadia Myre (b. 1974, Kitigan Zibi Anishinabeg)

    nadiamyreMyre was born in Montréal, Quebec, where she currently works and lives.  Her mother was adopted; consequently, it was not until 1997 that she reclaimed her Native Status for herself daughter.  Myre’s multi-disciplinary visual and participatory art embodies her reclamation of identity, family, and culture.  She studied at both Camosun College in Victoria and Emily Carr University of Art and Design in Prince George.  In 2002, she obtained her Master of Fine Arts from Concordia University in Montréal, Quebec.  Myre won the Quebec Arts Council’s Prix á la creation artistique pour la region des Laurentides in 2009; was a recipient of Pratt and Whitney Canada’s “Les Elles de L’art” from the Conseil des arts de Montréal in 2011; and was awarded the Sobey Art Award in 2014.  Since 2012, Myre has been a member of the Royal Canadian Academy of Arts.  In 2016, she was an artist in residence at the McCord Museum in Montréal, Quebec.

  • Jody Naranjo Morse (b. 1953, Santa Clara Pueblo)

    jodynaranjomorseNaranjo Morse was born into a family of artists: her mother was Rose Naranjo, a noted Santa Clara-Laguna potter.  She is an enrolled member of the Santa Clara Pueblo, where she has lived most of her life.  She graduated from the College of Santa Fe with a Bachelor of Arts in 1980.  In 1982, she was granted a Southwestern Association on Indian Affairs Fellowship, and from 1983 to 1984, she taught her traditional clay techniques to students in Aarhus, Denmark and Hildesheim, Germany.  In 1988, Naranjo-Morse was an artist in residence at the Museum of Northern Arizona.  In 2005, her installation piece Always Becoming, won an outdoor sculpture competition held by the Smithsonian Institution’s National Museum of the American Indian.  Recognized not only for her whimsical clay figurines and installations, including paintings, prints, and jewelry, she is also a published poet.

  • Hulleah Tsinhnahjinnie (b. 1954, Seminole/Muscogee and Navajo)

    HulleahTsinhnahjinnieIn 1966, Tsinhnahjinnie relocated to the Navajo reservation, and thus has lived most of her youth in the southwest.  She attended the Institute of American Indian Arts prior to graduating with a Bachelor of Arts in Painting from the California College of Arts and Crafts in 1981.  In 2002, Tsinhnahjinnie received her Master of Fine Arts in Studio Arts from the University of California—Irvine.  In 1994, she received a California Arts Council Artist Fellowship; in 1997, a Rockefeller Foundation Humanities Fellowship; and in 2000, a First Peoples Community Artist Award.  Currently, she is an associate professor of Native American Studies at the University of California—Davis and the director at the university’s C.N. Gorman Museum.  She is known for her innovative and revisionist photography that often includes collage or reworked historic images of Native Americans.  Her work both challenges non-Native views of Native Americans and offers Native viewers an opportunity to see themselves in a different light.

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