Tieton Farm & Creamery steps up to the competition in Washington DC


Over ten years ago, Lori and Ruth, created a farm with a plan to make real cheese by real people on 21 acres of land in Tieton, Washington. They've since raised many happy farm animals, sold cheese at farmer's market after farmer's market, and now they're ready to take on Washington DC. Best of luck at the 2019 Women's Farm to Food Competition Tieton Farm & Creamery! Mighty Tieton will be rooting you on!

617 on Tieton Square: A place to connect


Many creative things happen in Tieton. Stop by, strike up a conversation, have a drink and a bite, explore our wall of ideas, and get to know the place. If you prefer, sketch, write, or read at a table by the front window. We want you to feel comfortable and welcome at 617. They’re open Thursdays from 4 to 6pm, Fridays from 5 to 9pm, and Saturdays from 11am to 9pm.

Yakima Herald: Kickstarter campaign for TIE-IT-ON mosaic mural exceeds goal


“One of the Yakima Valley’s most popular vintage fruit labels will be reproduced yet again, this time as a large mosaic mural in Tieton.

The Kickstarter campaign for the TIE-IT-ON terrier label reached its fundraising goal nearly 24 hours before it was scheduled to end Friday morning. The goal of the monthlong campaign was $39,500; the final tally was $41,233.

Success means the label for the F.H. Cubberley Fruit Co. will become the fourth of seven permanent colored glass mosaic murals mounted in the center of town, all fabricated by Tieton Mosaic.

“Clearly, these labels still resonate in our collective imaginations,” said Ed Marquand, founder of artisan incubator Mighty Tieton.”

Read more at Yakima Herald

Welcome to Tieton!


Tieton Arts & Humanities welcomes its new Executive Director, Amber Knox of Selah, WA. Amber replaces Megan Newell, who served as Executive Director for the last two years.

Amber joins the organization with 15+ years working in the nonprofit field, including experience working with Seattle-based grantmaking foundations the Bullitt Foundation and the Campion Foundation. She also sang with and served on the board of the Medieval Women’s Choir for more than 12 years, appearing on both of the ensembles’ studio recordings.

She is a graduate of Cornish College of the Arts, in Performance Production with a focus in Costume Design. Before moving to nonprofit management, she worked with the Seattle Repertory Theatre, Seattle Opera, Idaho Shakespeare Festival, the Empty Space Theatre, and Theater Shmeater, among others.

An avid naturalist, beekeeper, and Master Gardener in training, Amber recently returned home to Selah with her husband Sam and 9-year-old son Rowan and together they steward Belleflower Farm, a nascent native plant nursery and small event venue centered around a historic stone apple warehouse. In her spare time, Amber also enjoys exploring the great outdoors, participating in citizen science, and cooking good food. Amber is looking forward to demonstrating the economic value of creative placemaking with TA&H.

A Two-Sided Tieton Mosaic


Another larger than life mosaic is complete! Tieton Mosaic has created a commissioned piece for Yakima Federal Savings, the first to be on display in Downtown Yakima. This piece has approximately 12,000 hand cut and laid tiles and is two-sided. 

The new sign is the first of its kind in downtown Yakima, and has been funded partially by a $5,000 grant from the Façade Improvement Grant Program of the Downtown Association of Yakima. The new mosaic sign will replace the current Yakima Federal sign on Yakima Avenue. 

While Tieton Mosaic has created and installed several signs in the city of Tieton, this will be the first of its kind in the city of Yakima. The sign has been custom designed to coordinate with the style and age of the building façade as well as those of the adjacent Larson Tower. 

Yakima Federal Savings and Loan Association has been in business operating in downtown Yakima since 1905, and has owned and occupied the building located at 118 East Yakima Avenue since 1957. In 1957, general contractor Gilbert Moen completed the façade update with stone panels and metal spires. 

Prior to 1957 the building was owned by Yakima Hardware. 

The North façade has had little updating since the office grand opening on November 25, 1957. As part of a separate project, restoration was recently completed to protect the existing stone panels on the North façade.

The official unveiling of the custom sign is set for Thursday, August 16, at 11:30AM at the main office of Yakima Federal Savings and Loan, 118 East Yakima Avenue. Hope to see you there!

What's next for Tieton Mosaic? Find out here!

The First Annual Tour de Tieton a Success


Tour de Tieton bike ride on July 7 was a success, and we want to thank all our riders and sponsors! We had 227 riders from as far away as Pittsburgh, Colorado, California, Utah, and Boise. Most were from the Yakima Valley, but we were impressed how widespread the participation was. Our youngest rider was 11, who rode 25 miles. Our oldest was 79, and he rode 50 miles. The registrants were nearly 50/50 male/female, which is impressive for an event like this.

The weather was perfect, the route was beautiful and well planned, and the many local volunteers did a great job. Our second Tour de Tieton planning is already in the works for 2019. We expect this event to be even bigger and better next year, so stay tuned.

A huge thank you to our sponsors, Varietal Beer CompanyTieton Cider Works, and Cowiche Creek Brewing Company, who supplied riders with the much-deserved end to their 25 and 50 mile rides.

10x10x10xTieton Juror Spotlight on Sean Elwood

10x10x10xTieton yet again hosts exceptional jurors who represent a wide perspective of art, craft, curating, and community engagement. Meet one of the 2018 jurors, Sean Elwood, former Director of Programs & Initiatives at the Creative Capitol Foundation in New York.

To help you get to know him a little better, we invited Sean to share about themselves. 

Don't forget, submissions are due June 15! Submit your work today.


Can you share with us a little about Creative Capital and your experience working there?

Creative Capital was launched in 1999. I joined the staff in 2000 as the grants officer and worked there through a number of jobs until my retirement as director of programs & initiatives on the first of July, 2017. During those 17 years I had the opportunity to work (at different levels of engagement) with over 400 artists across every creative discipline. Creative Capital awards money for a project, but then also stays attached to those projects as they develop, providing advice, opportunities to improve professional development skills, and facilitate access to networks of artists and other professionals in positions to provide opportunities to the artists we were trying to help.

I had come from the visual arts world by way of both my education (as a painter) and through my professional career to that point, so there was a fairly steep learning curve involved as I began to work with performing artists, filmmakers and writers. But by luck, or the coincidence of the historical moment, it turned out that those disciplinary “silos” have begun to break down and a majority of the projects we were supporting were blurring the lines of how they were going to manifest themselves, while at the same time, many of the concerns and issues (the content) were being shared across the different disciplines. 

I learned a lot from both my entering into the different artistic approaches, and by trying to perfect our responses to those approaches to be more effective in our ability to help. The generosity and intelligence of the artists with whom I worked provided me with a wonderful education.


How does a funding and advisory opportunity for artists like Creative Capital enhance local economies? Our national economy?

At the beginning of Creative Capital particularly, I know we were aware of Richard Florida’s whole notion of the “creative economy” and how it could positively benefit cities, states or geographical regions. Creative people can certainly help envigorate an economy. But our focus was more on providing the tools that might help an individual artist or collaborative team better support themselves. . .that is, how they could learn to better sustain their artistic career over a lifetime. With greater or lesser success, that was what we tried to do. Artists in order to make their work need a variety of skills that they may not to be taught in art school. With more artists competing for limited support and increasingly fragmented audiences, we tried to help focus of how they could better find both. 


As the National Endowment for the Arts and other government-funded arts/cultural projects are often contentious funding areas with certain administrations, what do you suggest to artists, art organizations and anyone in the creative field seeking funding and support?

The National Endowment combined with every other pubic or private funding source in the United States does not, nor have they ever, (or will they ever) provide a logical, sequential (let alone adequate) means of support for the arts and/or artists. So to make oneself more competitive in a more competitive world, one needs to be more than a talented and committed artist (or artworker). You need to become a better speaker, writer, and planner. You will need to learn how to make and follow budgets; learn about copyright laws; how to read a contract; maintain an archive and/or inventory of your work; and make out a will. You will need to understand and keep up with the technological developments in your field. Learn about marketing, branding, promotion, and advertising. Define what “success” means to you. Set some goals and write them down. None of these are particularly glamorous. And many artists don’t think these things are appropriate skills for an authentic creative person. But if you want to make work for life, you will need to know something about all of the above, even if you are lucky enough to have someone else doing these things for you, you will need to know enough to tell those people what to do. 


Why jury a small arts show like 10x10?

Because it is a challenge.  In all likelihood there will be more good work than we’ll be able to display. Some people will be sore. We will feel badly that more works couldn’t be shown. We will have to admit that this is a somewhat subjective process. We will have to admit that a day earlier, or a day later, we might have made different choices.  But I’m curious to see the work that will come in. I will see things I’ve never seen, by artists I’ve never heard of (and some I have). I’ll learn something about the region, the times, and maybe even something about myself.

What is the significance of “small” art?

The fact that you limit the size means the artists will have to adjust, they will be playing tennis with a net (they probably don’t usually limit their work to this size, or necessarily to the medium they’ll use for this show). I suspect the works will be a little more personal because they’re small. Small works are not as institutional, they are less public, they are, by their nature, more intimate.


What will you be looking for in submissions?

I don't know what, specifically, I'm looking for, but I'll know it when I see it. There will be beautiful things and un-beautiful things, clever objects and silly ones. . .all can be compelling, and all will be represented in the exhibition.

Generally, I’ll be looking for artworks that are well realized, that embody beauty, and/or intelligence, that are of this time, or are timeless. . .any or all of the above. I hope to be surprised, challenged and to walk away after our selections feeling tired, but knowing that I’ve discovered something new to my experience, and that we have created an exhibition worth seeing and talking about. 

10x10x10xTieton Juror Spotlight on Monica Miller

10x10x10xTieton yet again hosts exceptional jurors who represent a wide perspective of art, craft, curating, and community engagement. Meet one of the 2018 jurors, Monica Miller, Executive Director of Gallery One Visual Arts Center of Ellensburg, Washington.

To help you get to know her a little better, we invited Monica to share about themselves. 

Don't forget, submissions are due June 15! Submit your work today.


Can you share with us a little about Gallery One Visual Arts Center in Ellensburg, WA, where you are Executive Director?

Like Tieton, our existence is still a surprise to many, what with us being out here in the middle of the state. You sort of have to bust through the invisible force field of gas stations and fast food restaurants to find us. We're in a historic building, but we have a contemporary vibe. We try and pack every square inch of the gallery with artwork and with people. To do that we have regularly rotating exhibits, studio spaces for artists, classrooms for artists of all abilities on the third floor, five gallery-like spaces (including the hallway), a gift shop, and a great ceramics studio. We even painted a mural in the alley adjacent to the gallery. We want people to have access to the arts regardless of their income or ability. Our goal is to offer a range of entry points. From the skeptic to the optimist, the beginner to the most accomplished artist, we want to give each person a chance to discover and explore their creative self, as well as be inspired by others. 


Per your experience working in Seattle and now in Ellensburg (population ~20,000), how do you view the role of art and creativity in smaller, more rural towns versus larger cities?
Since moving to Ellensburg, I have learned so much about the impact that art can have on people's daily lives. I've been able to see specifically and intimately how art can affect multiple aspects of what makes a healthy community. Whether it be the health benefits art has on those who’ve experienced brain trauma, or the impact art has on local businesses when we have a First Friday, the effect is truly tangible. Since the City of Ellensburg voted to create a percent for art plan, the visual impact the arts can have has become even more apparent. Where there was nothing, now there is art! I feel the various sectors (health, government, university, schools, businesses, etc.) are open to and responsive to the benefits that art has in their lives and are part of a coalition of people interested in creating a happy, healthy community where art thrives. All of that is present in Seattle too, I know after living there for 12 years, it's just more intimate and direct here.


What exciting things are planned for this year at Gallery One?
Where to begin? This month we are exhibiting 12 photo wall boards from artists and arts organizations from around the state. Visitors are invited to literally get #intoart and share their photos on social media. It's a fun way to break the boundaries that often exist in gallery spaces and get people to imagine themselves as Sasquatch, a bush (literally), or a cowboy. One of the pieces was contributed by Steve Morgan, who was inspired by the Dia de los Muertos celebration in Tieton. This summer we celebrate our 50th Anniversary with a floor to ceiling exhibit of artists who have exhibited here over the past 50 years. That opening weekend (July 6-8), artists in Kittitas County will open their studios for a fun day of studio visits! We're open seven days a week too, so I invite anyone driving by on I-90 to pull over and visit us! Also, in October, we're hosting the Washington State Arts Alliance's Cultural Congress. Arts advocates will gather, dialogue, learn from each other, and ultimately develop a statewide agenda for the ARTS. I feel very positive about the cohesion building around the arts in the state right now. Our current #intoart exhibit reflects that connectivity.


Why is celebrating small art like 10x10 important? 

Small art is important because it can live anywhere. It can also be more affordable and portable. I love art that doesn't have to feel like it belongs in "the Met" or that might dominate your living space. Rather, I love art that can simply move in with you and cohabitate with you and your family, creating dialogue with you and any of your other personal objects. What I've experienced by going to these 10x10 shows over the past years is that the size gives artists a chance to play because, for many, the stakes aren't as high as they are with larger pieces of art. There have been a lot of artists whose work I thought I knew until I saw their submission to the show.


What will you be looking for in submissions?

I'll be looking for those moments, those pieces, that make me pause and make me want to linger longer.