On Tuesday, October 28, 2025, at 11.30 a.m. Joseph Gallivan interviews artist Alx Jujana (PRONOUNCED Alex Koo-JAR-na) and curator Rebeccqa Dobkins about the Crow’s Shadow Institute of the Arts Biennial.
Alx talks about being a native artist and fan of James Lavadour whose dream came true with a two week residency at the famous print studio in the Gorge in Umatilla, and Dobkins looks at three works in the show and talks about how printmaking relates to other media.
Alex Kujana works at a casino on the Umatilla Reservation and is also a graphic designer and muralist, and Rebecca Dobkins is a retired professor of anthropology at Willamette University and is the curator of Indigenous art at the Hallie Ford Museum of Art in Salem.
From the press release:
Alx Kujana
Alx Kujana, a contemporary artist with Cayuse and Nez Perce roots, seamlessly navigates the digital and traditional art realms. His multifaceted talent encompasses beadwork, mixed-media paintings, and murals. Alx aspires to expand his mural artistry and explore fabric art. His work bridges tradition and modernity, igniting a passion for art in all its forms. Explore his captivating portfolio at http://alxkujana.com for art that transcends boundaries.
https://hfma.willamette.edu/exhibitions/library/2024-25/crows-shadow-2025.html
Crow’s Shadow Institute of the Arts Biennial
July 12, 2025 – June 20, 2026
Study Gallery and Print Study Center
Crow’s Shadow Institute of the Arts Biennial, a popular biennial exhibition hosted by the Hallie Ford Museum of Art since 2006, will feature a selection of contemporary prints created at this important printmaking atelier in northeastern Oregon during the past two years. Organized by Rebecca Dobkins, professor emerita of anthropology at Willamette University and curator of Indigenous art at the Hallie Ford Museum of Art, the exhibition opens July 12, 2025 and continues through June 20, 2026, in the Study Gallery and Print Study Center.
The Crow’s Shadow Institute of the Arts was founded in 1992 by Oregon painter and printmaker James Lavadour (Walla Walla), who envisioned a Native American printmaking atelier on the Umatilla Reservation near Pendleton, Oregon that would provide a creative conduit and outlet for educational, social, and economic opportunities for Native Americans through artistic development. From its modest beginnings, Crow’s Shadow Institute of the Arts has emerged as one of the most important printmaking ateliers in the country, bringing Native and non-Native artists from around the world to make prints under the guidance of a master printer and becoming one of Oregon’s artistic treasures.
Included in this year’s exhibition are prints by Natalie Ball (Klamath/Modoc), Marwin Begaye (Diné), Iván Carmona, Lisa Jarrett, Alx Kujana (Cayuse/Nez Perce), James Lavadour (Walla Walla), Wendy Red Star (Apsáalooke), rhiannon skye tafoya (Cherokee/Santa Clara Pueblo), and Dyani White Hawk (Sičhą́ǧu Lakóta). Two of this year’s artists—Wendy Red Star and Dyani White Hawk—are recipients of the prestigious John D. and Catherine T. MacArthur Award. Often called the “Genius Grant,” the award aims to recognize and support individuals who demonstrate exceptional creativity, originality, and potential contributions in their respective fields.
https://www.crowsshadow.org/about-us
Crow's Shadow Institute of the Arts (CSIA) is a 501(c)(3) nonprofit organization founded in 1992 with a mission to support Native American artists and communities. CSIA was envisioned by artists, Phillip Cash Cash (Cayuse and Nez Perce), and James Lavadour (Walla Walla) as a place where Indigenous voices in the arts could flourish. Today, CSIA’s vision continues to inspire a world elevated by Indigenous creativity, providing an essential space for artistic and cultural growth.
Over the past three decades, CSIA has evolved from a small initiative into a nationally recognized studio known for advancing Native voices in contemporary fine art printmaking. Its reputation as a leading printmaking center attracts artists from across the United States and beyond, fostering collaborations that place Indigenous perspectives at the forefront of contemporary art. Located at the foothills of Oregon’s Blue Mountains on the ancestral homelands of the Umatilla, Walla Walla, and Cayuse people (CTUIR), CSIA has become a beacon for both artistic innovation and cultural heritage.
CSIA’s Traditional Arts program is equally integral to its mission, preserving and promoting Indigenous practices such as beadwork, basketry, and garment-making. Through these programs, CSIA sustains a legacy of deep cultural knowledge, offering artists a unique space to explore both ancestral techniques and contemporary expressions.
CSIA’s commitment to Native perspectives in fine art has established it as an influential presence within the broader arts community, where tradition and innovation converge. This commitment, born from the vision of its founders and nurtured by decades of community support, ensures that Indigenous creativity remains a vibrant, relevant, and evolving cultural force.
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Joseph Gallivan has been a reporter since 1990. He has covered music for the London Independent, Technology for the New York Post, and arts and culture for the Portland Tribune and for Axios Portland. He is the author of two novels, "Oi, Ref!" and "England All Over" which are available lightly used.
He is a TriMet bus operator. Smile and say hello on the 75, but please stay behind the yellow line.