What happens when you put 194 art pieces from all over the world in a restored warehouse?

People show up! 10x10x10xTieton wraps up this weekend, and what an enjoyable exhibition it has been. Tieton Arts & Humanities’ annual international art show was viewed by almost 900 people this summer, including 400 people at the Opening Reception on Saturday, August 12th and about 500 people during weekend gallery hours. That’s a lot!

If you made it out to see the show, thank you! We hope you discovered a piece or two in the show to call your favorite.

Might have missed the show? You can still view it online here. Interested in supporting this project? Your donations make a difference in the community. You can donate to Tieton Arts & Humanities here.


And the winners are...

The five recipients of the 2017 10x10x10xTieton Juror's Award have been announced! The jurors had to select from the largest showing yet, at 196 pieces. Through October 8, visitors of the show will have a chance to cast their own vote for the People's Choice Award. Stay tuned!

Click here to learn more about the 2017 exhibition.

Yakima Herald: Grant paves way for Tieton mosaics of fruit labels

More mighty big news coming from Tieton! Tieton Arts & Humanities and Tieton Mosaic has been awarded a grant from the National Endowment for the Arts for a new project to create seven large murals of vintage Yakima fruit labels to be displayed throughout Tieton, Washington. First up, the Tieton T. What other historical fruit grower’s label will be next? We’re excited to find out!

Read more at the Yakima Herald

Fashion "COMME(s)" to Tieton!

COMME to Tieton | Comme des Garçons Fashion and Design features work from three decades by Rei Kawakubo’s Comme des Garçons. The fashion designer’s works are currently on display at the Metropolitan Museum of Art in New York. Kawakubo is only the second living fashion designer to ever have a retrospective there--the first being Yves Saint Laurent in 1983 exhibit. Now you can see her work right here in Tieton!

Rei Kawakubo’s avant-garde designs have been highly influential to generations of fashion designers, and they demonstrate art and fashion as one, sometimes privileging one over the other. From the Collection of Cynthea J. Bogel, eleven Kawakubo-designed ensembles, many with shoes, from sculptural to flat, abstract to velvet and lace, will be on display at Mighty Tieton’s newest event space, 617, August 4 through September 3. There will be a reception free and open to the public on August 12 from 12 - 3pm.

10x10x10xTieton Juror Spotlight on Lloyd Herman

10x10x10xTieton yet again hosts exceptional jurors who represent a wide perspective of art, craft, curating, and community engagement. The 2017 jurors are:

Gia Hamilton, Director of Joan Mitchell Center in New Orleans
Lloyd Herman, Founding Director of the Renwick Gallery of the Smithsonian American Art Museum.

To help you get to know them a little better, we invited our jurors to share about themselves. Today, we hear from Lloyd.

Don't forget, submissions are due June 16! Submit your work today.

Photo courtesy of Renwick Gallery

Photo courtesy of Renwick Gallery

Lloyd Herman was the founding director of our national craft museum, the Renwick Gallery of the Smithsonian American Art museum and, after 20 years at the Smithsonian returned to the Northwest. The University of Washington Press, publisher of his 1990 book, Art that Works: The Decorative Arts of the Eighties, Crafted in America, called him “one of the foremost authorities on America’s contemporary craft movement". For the past twenty-five years he has worked as a museum planner (Museum of Glass, Tacoma) and guest curator of exhibitions for museums, traveling exhibition services and the U.S. Information Agency. He has led craft trips to India, Jordan, Morocco, Vietnam and Iran, and lectures regularly on the evolution of “craft” into “art” and on the contemporary glass movement.

How did your love for craft begin?

When I was about 8, living on a farm in Oregon, I became a 4-H woodworker. Though I made a footstool and a wall shelf, I was so bad at woodworking that I began to admire those who were good.

How did you see American craft and appreciation for craft evolve during your time at the Renwick Gallery?

“Craft” evolved from largely-functional objects to those that were more sculptural or expressive of ideas. The creation of a support group, the James Renwick Alliance, fostered greater national recognition and support for craft.

What was a favorite exhibition (or two, or three) from your time at the Renwick Gallery, and why?

Certainly “Craft Multiples,” which looked at functional objects made in multiples by their creator, and juried from a national competition was a favorite. It toured to towns with under 50,000 population and served as a counterpoint to the large “Objects USA” touring exhibition that featured the sculptural direction of craft and traveled only to large museums. Another was “American Porcelain: New Expressions in an Ancient Art” which juxtaposed contemporary functional sculptural work in porcelain with historical 18th century examples. It toured nationally and was picked up by U. S. Information Agency for an international tour. I’m also proud of solo artist retrospectives like that of weaver/printmaker Anni Albers.

What do you enjoy most about contemporary craft?

Originality, skill and ingenuity working with fairly mundane materials.

How do you see craft evolving in the near future?

In recent years we’ve seen the decline of functional works and shops and galleries that used to sell them, the movement to room-filling installations of sculpture made from “craft” materials, and the decline of craft disciplines in universities and art schools, and “art and design” replacing “craft” in some museums and schools. At the same time, several museums have newly embraced “craft” in their names and programs. As professional education in clay, glass, metals, wood and fibers as declined, we see the emergence of the DIY movement, embracing simple techniques requiring less skill (and education) making handmade goods widely available on such websites as Etsy.com. Repurposed and recycled materials—“mixed media”—are now a large category in recent competitions I’ve juried or judged. I expect this trend to continue.

What are a few of your favorite pieces that you own?

I treasure a large 3-D wall piece by Lynn DiNino and the late Robert Purser called the “Wedding Reception Quilt” made from repurposed decorated paper plates and hors d’oeuvres made from wood scraps. They made it for an exhibition where they were prevented from serving food at the opening. Another is Jim Kraft’s ceramic sculpture, “Swimming Dog.”

What will you be looking for in submissions?

Originality always, use of materials and visual appeal as much as content.


10x10x10xTieton is made possible through a gift from Doug and Laurie Kanyer.


This year on May 10th Tieton Arts & Humanities participates in GiveBIG. GiveBIG is an opportunity for nonprofits in the Pacific Northwest to be highlighted through the Seattle Foundation. TA&H is looking for your support to help fund the creative and enriching programs that it offers, like Día de los Muertos, LiTFUSE: A Poet’s Workshop and the Student Art Show.

TA&H’s fundraising goals is $10,000. An anonymous donor has agreed to match each donation up to $5,000. Your donation can double when you give on May 10th. Be part of Tieton and support arts and cultural programming!

Donations can be made here.

10x10x10xTieton Juror Spotlight on Gia Hamilton

10x10x10xTieton yet again hosts exceptional jurors who represent a wide perspective of art, craft, curating, and community engagement. The 2017 jurors are:

Gia Hamilton, Director of Joan Mitchell Center in New Orleans
Lloyd Herman, Founding Director of the Renwick Gallery of the Smithsonian American Art Museum.

To help you get to know them a little better, we invited our jurors to share about themselves. Today, we hear from Gia.

Don't forget, submissions are due June 16! Submit your work today.

Gia Hamilton brings over two decades of experience in the philanthropic sector as a residency director, community engagement organizer and consultant and senior executive in areas as diverse as arts, education, food security, healing practices domestically as well as internationally. Known for her visionary ability to identify and cultivate support systems, she has worked as a thought leader and change agent in a leadership capacity with numerous organizations with assets ranging from $2 million to $100 million.

Gia currently serves as the Joan Mitchell Center Director, an artist residency program of the Joan Mitchell Foundation in New Orleans; which acts as a place based, community centered incubator for visual artists, curators and arts professionals to connect with each other and the larger community. In addition, she is an independent curator where she most recently co-curated the Atlanta Biennial in 2016.  Hamilton is also an organizer and founder of the Afrofuture Society, a connecting platform for creative of African descent. She serves on the board of Tulane University’s Newcomb Museum, Alliance for Artist Communities and New Orleans Video Access Center. Gia lives in New Orleans with her four sons and is finishing an ethnographic memoir centered on new practices in matriarchy.

What attracted you to work at the Joan Mitchell Center? How would you define its role in the greater art culture of New Orleans? Of the US?

I am a native of New Orleans, I spent almost 15 years in New York City working in the arts and education world, but in 2008 New Orleans called me back to contribute to the rebuilding and re visioning of a place I call home.  New Orleans is an epicenter of culture in the US, creativity is way of life and is bubbling up from the streets here.  The food, houses, people and every other aspect of life are colorful, centered around family and relationships, time and spending it with those you care about and creativity, daring to live you life most authentically. Culturally it is a complex place that fuses the African traditions with European and native traditions that are sometimes in alignment and blend well and other times showcase the complexity of those histories. 

How has the diversity of your background and experiences shaped your view of art? Shaped your methods of curating?

I majored in cultural anthropology and minored in studio art and had a studio practice for a while. I worked a lot with found object, metal, wood and fabric telling narratives and trying to understand myself and my identity through the use of those materials. I began working with artists in the 90's and enjoyed the creative freedom to solve larger spatial issues from performance arts to curating visual arts exhibitions. I am fascinated with how and why people gather, public rituals - the ones we are complicit with and the ones we intentionally create.  My curatorial practice and work center around the intersection of art, healing, food and education as the pillars of sustainable communities.

Can you tell us a little about the memoir you are writing?

I am writing an ethnographic memoir that started off as my doctoral work- I am interested in matriarchy and matriarchal spaces that women develop as a lifestyle and this is my attempt to use my birth experiences as rites of passage that support my growth in creating what I call a Contemporary Long House, a matriarchal space that centers around me as a woman and mother. It is funny, vulnerable and meant to support women who are challenged by societies labels that are not quite fitting. I also discuss raising 4 sons in this female centered space and the challenges and unexpected benefits that play out.

I have a modest but growing collection: Katrina Andry print, William Cordova drawing, Firelei baez pen and ink, Matthew Rosenbeck prints, Jeremy Tauriac photography, Andrea Dezdo cut outs, Shani Crow photographs, Heather Hart prints and am always on the look out for new artists to connect with and collect.

What will you be looking for in submissions?

I look for authenticity of the artists voice. There is something emotional that happens when I connect with work. When I am curious, stimulated, soothed or moved by work and usually it is that beautiful moment when you and the artist have a connection and it is usually not simply intellectual but a deeper more energetic connection. I am looking for passion in one's practice, technical excellence and authenticity.

You can follow what Gia is up to on Instagram or on her website.


10x10x10xTieton is made possible through a gift from Doug and Laurie Kanyer.

Student Artists in Action

Thank you to those who made it to the Opening Reception to celebrate the achievements of our local youth! Tieton Arts & Humanities’ Upper Valley Student Art Show exhibits 200 pieces from Highland, Naches and West Valley School Districts and Oakridge Montessori. The exceptional talent of these students is clear, with various different mediums; acrylic, watercolor, collages, mixed media, and group projects. There were fifteen student winners, including the top piece from each grade, Best of Show, and People's Choice. Each student received their award in front of family, friends and teachers. The opening reception featured local high school student musical performances and hands-on art and educational activities.

You still have time to see this talent—the exhibition is open Fridays, Saturdays and Sundays from 12 - 3pm through May 14th at the Mighty Tieton Warehouse.

TA&H is thankful for support from the Fresh Hop Group, Tieton Lions Club, Home Depot, Tree Top, an anonymous donor, and all the teachers and families who encourage our young artists. Their support makes this event possible!