HEATHER DEW OAKSEN  

AWARDS & COMMISSIONS  |  EXHIBITION & COLLECTIONS  |  EDUCATION & EMPLOYMENT

AWARDS & RESIDENCIES

GRANTS & COMMISSIONS

  • 2009: 4Culture, Independent Artist’s Project, Seattle, WA
  • 2009: Artist Trust, GAP Grant, Seattle, WA
  • 2008: Seattle Office of Arts & Cultural Affairs, City Artist Project GrantSeattle, WA
  • 2005: Artist Trust, GAP Grant, Seattle, WA
  • 2004-’02: Seattle Public Library & Mayor’s Office of Arts & Cultural Affairs,
             Permanent Video Installations, N.E. Branch Seattle Public Library,
  • 2000: Seattle Arts Commission, Seattle Collects 2000, Seattle
  • 1997: Kongsgaard-Goldman Foundation, Artist’s Grant, Seattle
  • 1997: Seattle Arts Commission, “Seattle Artists’ Program”, Seattle
  • 1997: Artist Trust, GAP Grant, Seattle, WA
  • 1997: Cornish College of the Arts, Research Development Grant, Seattle
  • 1996: King County Arts Commission, Artist Grant, Seattle, WA
  • 1996: Jack Straw Foundation, Artist Fellowship, Seattle, WA
  • 1994: Art Matters, Inc., Artist Grant, New York, NY
  • 1984: King County Arts Commission, Artist Grant, Seattle, WA
  • 1991: Seattle Arts Commission, Seattle Artists 1991, Seattle, WA
  • 1990: American Film Institute, Western States Regional Media Arts Fellowship, CO
  • 1990: Washington State Arts Commission, Artist Fellowship, WA
  • 1989: Seattle Arts Commission, Artist Grant, Seattle, WA
  • 1989: Art Matters, Inc., Artist Grant, New York, N.Y.
  • 1988: American Film Institute, Western States Regional Media Arts Fellowship, CO
  • 1988: New England Foundation for the Arts, Artist Fellowship, MA
  • 1985: Mid-Atlantic Regional Media Arts Center, Artist Fellowship, WA, D.C.
  • 1984: American Film Institute, Western States Regional Media Arts Fellowship, CO
  • 1984: Washington State Arts Commission, Artist Fellowship, WA
  • 1984-’82: Seattle Arts Commission, Artist Grant, Seattle, WA

SOLO EXHIBITIONS

GROUP EXHIBITIONS

  • 2017: SOUL Gallery, Media Installations: Kali; Itinerants #98245. Orcas Island, WA
  • 2016: Tampere Film Festival, Tampere, Finland.
  • 2013: Bainbridge Island Museum of Art, First Light: Regional Group Exhibition.
  • 2012,'10,'08: Cornish College of the Arts, Faculty Exhibition, Video Installations.
  • 2009: Electronic 4Culture (e4c), New Media Gallery, TBA. Seattle.
  • 2007: Northwest Film Forum’s 10th Annual Local Sightings Film Festival, Instal.
              Pause.
  • 2007: Visual Codec, One Shot 2006 project. Photo. Faze, Seattle/Portland/Vancouver.
  • 2007: Artist Trust Auction, Video Installations: Reflector; Twitch, Seattle, WA.
  • 2007: Henry Art Gallery, Birthday Bash. PhotoTryptich. P,P,F; Seattle, WA.
  • 2006,’05,’04: Artist Trust, Midnight Movie Night, Selected Work, Seattle, WA.
  • 2005,‘04: The Seattle Channel, The American Avant Garde, Selected works, King Co.
  • 2004: Cornish College of the Arts, Faculty Exhibition, Fazed. Video Installation.
  • 2001: Henry Art Gallery, deBASHery, Seaside. Wood Cut, Seattle, WA.
  • 1999: Commencement Art Gallery, Tacoma Art Commission, Gulf, Window
              Installation, Tacoma, WA.
  • 1999: Center on Contemporary Art, Here & There, Letters from the Hill. Seattle.
  • 1999: Henry Art Gallery, Y2BASH, Remainder. Etching, Seattle, WA.
  • 1999: Cornish College of the Arts, Faculty Exhibition, Remainder. Etching, Seattle.
  • 1999: The Children’s Museum, The Nightingale Project, Photographic Series, Seattle.
  • 1998: Henry Art Gallery, Paper Anniversary. Double. Etching, Seattle
  • 1997: The Objects in Hanger 2, Seattle Arts Commission. Inside Passage. Installation.
  • 1997: Human References: Mark of the Artist, Ten Year Retrospective of Seattle
  • 1997: Artists’ Program Collection, Seattle Arts Commission, Inside Passage.
  • 1996: Cornish College of the Arts, Faculty Exhibit, Fisher Gallery, 4/4 Time, Seattle.
  • 1996: The Children’s Museum, A Changed World. Video & Photography, Seattle
  • 1995: The 90’s Channel, Independent Media Artists TV, Engram, Chicago.
  • 1995: 911 Media Arts Center, 4/4Time. Seattle, WA.
  • 1995: Elliott Bay Book Co. Inc., Selected Works. Seattle, WA.
  • 1994: Women in the Director's Chair Festival, Engram, Chicago
  • 1994: American Film Institute National Video Festival, Engram, Los Angeles.
  • 1994: CSUN Art Galleries, Sovereign Turfs: L.A. Freeways. Engram, Los Angeles
  • 1994: 911 Media Arts Center, Visions of U.S. Competition. Engram. Seattle
  • 1994: DCTV, Visions of U.S. Competition. Engram, New York, New York
  • 1994: Cornish College of the Arts, Fisher Gallery. Faculty Show, Engram.
  • 1993: KCTS-9, Midnight Theater Festival. Engram, Pacific N.W. Region
  • 1993: San Francisco Museum of Modern Art, Phelan Award, Engram.
  • 1993: 20th Northwest Film & Video Festival, Engram, Portland, Oregon
  • 1993: Randolph Gallery, Engram. Chicago, Illinois
  • 1993: Video Art Theater, Tacoma, WA
  • 1993: RKCNDY Extravaganza, I Can’t See Myself, Seattle, WA
  • 1993: University of Washington, Women in Lit & Film, Selected Works. Tacoma
  • 1993: Elliott Bay Book Co. Inc, Selected Works. Seattle, WA
  • 1993: Bad Girls: Feminist Sex & Magic, I Can’t See Myself. Vancouver, and B.C.
  • 1993: Pacific Film Archive, Engram. Berkeley, CA
  • 1993: 12th Annual Video Shorts Festival, Remainder, The Other. Seattle, WA
  • 1992: Carnegie Gallery, 1991 Seattle Artists Program, Seattle, WA
  • 1992: Seattle University, Women's Herstory Project, Seattle, WA
  • 1990: Seattle Art Museum, 5th International Festival of Films by Women Directors
  • 1990: N.W. Film & Video Center, New work by N.W. Women Filmmakers, Portland
  • 1990: Western Washington University, Bellingham, WA
  • 1990: New England Cable Systems, “Myth America”, New England Foundation for the
              Arts, Boston, MA
  • 1989: AFLN Gallery, Project Choice, Can We Now Be Heard? Seattle, WA
  • 1985: King County Arts Commission, Art Reach, Kent, WA
  • 1983: Northwest Artist Workshop, Portland, Oregon
  • 1982: Focal Point Media Center, and/or, Seattle, WA
  • 1982: The Media Project, International Women's Day, Portland, OR
  • 1981: and/or, Best of Northwest Group Show, Seattle, WA
  • 1981: Bumbershoot Film Festival, Seattle, WA
  • 1981: Fifth Native American Film Festival, Finalist, San Francisco
  • 1980: Northwest Film Festival, Highlights, Portland, Oregon
INSTALLATION AND PERFORMANCE
  • 2012: “…EACH MINUTE, THE LAST MINUTE”, Title from Denise Levertov's Living., Super 8mm film transferred to High Definition Digital; 3 digital projectors, audio, multiple scrims: dimensions variable. An ineluctable distortion of knowledge, and remembering as images shift in spatial relationships.
  • 2010-‘09: RONDELET, Four channel pattern piece explores the manipulation of time through expansion and contraction to confound our sense of linear sequencing.
  • 2009-‘08: STILL POINT, Multi-media performance, considering the layered fluctuations and tension between dependence and independence, and the palpable connections between the past and the future.
  • 2008: ITINERANTS, Multiple video projections onto various buildings and objects. Itinerant faces contemplate the surrounding space and activities.
  • 2006: CHAMBERS ST., Large dual video projections on exterior walls. 10 min. loops. Homage to pre 9/11 “ground zero” subway location.
  • 2006: REFLECTOR, Multiple video projections onto various buildings and objects. 5 minute loops. Itinerant faces contemplate the surrounding space and activities.
  • 2004: FAZED, Sound and video installation exploring the existential realities of time. 6 minute loop.
  • 2001: PAUSE, a six-channel video and sound installation (in collaboration with artist Norie Sato). Examination of the notion of parallel experience as it relates to simultaneity, quotidian cycles and the space-time continuum during a 24 day period.
  • 1999: LETTERS FROM THE HILL, Video, Sound, Paper Installation. A companion piece to Gulf: a video portrait series, inspired by the four-year correspondence between the artist and the incarcerated youth.
  • 1997,’94: INSIDE PASSAGE, media Installation. 4 Video Projectors, 16 audio monitors. Located at the Colman Ferry Terminal, and Hanger at Sandpoint Art & Cultural Center, the installations explored our collective “sense of place” using memory and the metaphor of travel to observe the past and consider the present.
  • 1993: NO PLACE LIKE HOME, Video/sound Installation, with Norie Sato, Bellevue Art Museum, Seattle, WA. Environmental space with nine monitors, switching between two channels of pre-recorded video/sound and one channel of “live” video of imagery made by participants utilizing electronic drawing tablets.
  • 1987: MOONS, by Laura Brenner. Performer, two-person dialogue and movement piece. Seattle Arts Commission, New Writer's Series, Seattle, WA
  • 1986: AUTOCRATIC, by Alan Lande. Performer in series of subversive “Americana” vignettes held in the SCCC Parking garage. Seattle Arts Commission.
  • 1985: RUBBER BLOOD, by Alan Lande. Performer in large-scale audience interactive work, held in Memorial Stadium. Pioneer Square Theater, New Works Series. Seattle, WA.
  • 1983: PERSON -TO -PERSON: DIAL DIRECT, with Jill Medvedow. Mixed-media window installation, 911 Contemporary Arts Center, Seattle, WA.

FILMS AND VIDEOTAPES (Selected)

  • 2012-‘99: MINOR DIFFERENCES. HD Video, 1:16minutes. Five juvenile offenders are followed for nearly 20 years as they grow from boys to men. In 1994 they were incarcerated 15-to-18 year olds: Caucasian, Mexican-American, Native American and African-American. As kids they committed serious crimes: murder, kidnapping and assaults. They were felons by age 16.
  • 2007: REMORSE, Videotape. 90 seconds. Primordial longing unfolds.
  • 2004: TWITCH, Videotape, :30 seconds. Space and time hiccup.
  • 1999-‘94: GULF, a Portrait Series, Videotape, 92 minutes. An in-depth look at ten juvenile offenders in maximum security. A reality check from their point of view.
  • 1993: ENGRAM, Videotape, 18 minutes. Part-fiction/part-fact, interwoven memories uncover the unspoken beneath everyday routine. Though three characters have outwardly diverse cultures and background, they discover a shared experience in familial relations.
  • 1991: CAN WE NOW BE HEARD?, Videotape, 37 minutes. Co-produced with Annie Grosshans. A series of interviews with ten very diverse women talking about their experience in making reproductive choices.
  • 1990: INTERRUPTIONS, Videotape, (3) :60 second spots. Commissioned by the New England Foundation for the Arts as part of their Myth America project, for their cablecast program," Mixed Signals ". Developed as interruptions to regular cable programming, while using the same format as commercials, the content in the tapes subverted the consumer intent and provided an opportunity to engage in ideas rather than commodities. Issues included racism, gender, and aging.
  • 1990: I CAN’T SEE MYSELF, Videotape, 4 minutes. An experimental exploration in perceptual awareness.
  • 1985: MUSICAL CHAIRS, 16mm Film, 23 minutes. A fact with fiction film about Palestinians and Israelis, homes/homelands, borders/walls, and the need to talk.
  • 1983: IN BALANCE, Videotape, 15 minutes. Without narration and traditional documentary form, this videotape finds a relationship between popular American Culture and traditional Native American life.
  • 1980: A FISHING PEOPLE, The Tulalip Tribes, 16mm Film, 17 min. This documentary traces the historical role of fishing as an integral part of the culture and economy of the Tulalip Tribes of Washington.

PUBLIC COLLECTIONS

  • King County Library, Minor Differences, feature length documentary.
  • Seattle Public Library, Luminaire, three permanent installations in the N.E. Branch.
  • Mayor’s Office of Arts & Cultural Affairs, Artists’ Program Collection, Videotapes: Inside Passage, Engram, Gulf, and Pause.
  • Lowell Seattle Public School. The Videre Project. Permanent Photo Installation.

PRIVATE COLLECTIONS

  • Robert Coron, Seattle, WA
  • Carole Fuller and Ethan Schwab, Seattle, WA
  • Cynthia Hayward, Seattle, WA
  • KrekowJenningsInc, Seattle ,WA
  • Jeffery Murdock, Seattle, WA

EDUCATION


ARTS-RELATED EMPLOYMENT

  • 2013-‘89 Professor, Cornish College of the Arts, Art Department, Seattle Teach all levels of moving digital art and super 8 film: the history, aesthetic tradition, and production skills: camera, lighting, and editing.
  • 1999–Spring Acting Co-Chair, Art Department, Cornish College of the Arts
  • 1996-‘79 Producer/Director/Photographer, Oaksen Productions, Seattle & WA Operated a full service film/video production company - responsible for the completion of documentary, and educational media concerned with public affairs, art and culture.
  • 1996 Instructor, Artworks, Seattle Arts Commission, Seattle, WA Created an intensive seven-week class in video production as part of a summer youth-in-art training project for at-risk teens.
  • 1995-‘94 Instructor, Videotek, Green Hill School, Chehalis, WA In tandem with conducting an independent documentary at Green Hill, developed a media production curriculum, and taught weekly classes training incarcerated youth in writing, photography, videography, and video editing.
  • 1994 Visiting Artist, Experimental Gallery, Olympia, WA Taught six-week summer workshop in painting, drawing and writing to incarcerated youth at three Washington State juvenile institutions.
  • 1984-‘81 Founding Director, Focal Point Media Center (formerly part of and/or service), became 911 Media Arts Center, Seattle, WA Founded regional center for media exhibition and post-production access, serving independent producers and artists.
  • 1979-‘75 Planner, The Tulalip Tribes of Washington, Marysville Design and implementation of Overall Tribal Health and Social Services Plan, an integrated approach to employment, training, and social services. Created a tribally controlled on-reservation health clinic.
© 2008-2016 Heather Dew Oaksen