The Magic 25 - 1998, IFCC artist fellowship program
I came to the IFCC in 1985. At that time there was not a designated gallery, but its early exhibits were truly community based, sponsored by the women’s organization, Links Inc. and coordinated by the late Katherine Bogle of Progressive Fine Arts, Inc. The first exhibit was a collective of African American artists, known as the Members Gallery. Many of those artists would return over the years to exhibit in solo and group shows.
In my years as gallery coordinator, and later as gallery director, I worked with many talented artists known within their respective communities. But at a time when there were few galleries, few had established themselves commercially. IFCC was a venue that supported their growth, allowing artists to develop professionally, and some with noted success.
In 1998, IFCC initiated a pilot program that recognized artists who were 1) personally invested in community, volunteering their own time and talents; 2) artistically developed in their own style and medium; and 3) positioned for professional growth. The IFCC Community Artist-in-Residency and Award was a strategic vote of confidence for artists who merited the monetary award to produce new works; a venue for the presentation of visual arts or performing arts; a specially designed educational outreach program to teach artistic and cultural aspects of their work, i.e., a workshop or lecture program; and with the marketing support to gain greater visibility and marketability.
This year-long relationship between the artist and IFCC began with Fiber Artist Adriene Cruz and Dancer/ Choreographer Chisao Hata in 1998. The second year: Mask/Jewelry/Sculptor Lillian Pitt and Dancer/ Choreographer Bobby Fouther received the honor; In its third year: Photographer Richard Brown was awarded; and in 2001, Weaver/Fiber Artist Pat Courtney Gold was the last recipient.
In those first years it was identified as Artist Fellowship, but as the program was redefined each year the term “Artist in Residence” was used interchangeably.
* As a nonprofit gallery, IFCC collected no sales commission in the early years. Instead, appreciative artists donated their art, initiating the IFCC Art Collection, a diverse collection of styles, media, content and culture that continues to grow in 2008!
by Roberta Wong
1985–1988 Administrative Assistant & Gallery Coordinator, IFCC
1991–1992 Project Director, IFCC 10th Anniversary Exhibit & Auction
1995–2004 Gallery Director, Interstate Firehouse Cultural Center (IFCC)
"In 1999, I was given funding to do newer larger sculptures, a show of these works, and an outreach clay workshop of clay masks to Native American youths . We made the masks then with the help and in-kind donations of clay, glazes, the rake firing kiln and the help of Christy Bunyan of Georgia's Clay supply, we all had a great time. Ken MacKintosh was the fabricator of the larger works and he had work in the show at IFCC as well. I gave a slideshow of the process for the featured Origin's Lecture Series: the finished pieces, my ancestry and inspiration for my work. That was well attended. Roberta Wong worked long and hard on my show and was instrumental for my future work with Tom Rudd, Imna Arroyo and Margo McCafferty, Voices of Water, (group show at different times) a collaboration between two women from China, one from New York, Gail Tremblay and myself. Roberta was such a mainstay and an enthusiastic supporter of all us artists. Carol Chism was a strong supporter as well and my experience with IFCC was very positive and it helped my career with helping me do public works, it gave me confidence, for Trimet, PSU, The Convention Center and Hillsboro. It all started there, I will always be grateful."
Lillian Pitt
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