The original plan was to treat this contest like all of our other contests, to pick one grand prize winner and a handful of runners-up. Like so many other plans made this year, this plan has changed, but in this case, we believe it's for the better. We were so moved by the work of two of our artists that we decided give out two grand prizes. And through a mixture of indecision, admiration, and the sincere belief that the images work better together, we've included several from each of the grand prize-winning artists. We can all use some more art in our lives right now!

Both of these artists use gorgeously-rendered art to speak powerfully about social issues. But the art itself--the creation and reception of it, the process from artist to viewer--is a source of strength and hope, that fortifies us to face our own struggle of resistance.

TWO FROM KAREN CLARKSON

"My art has always been about self-discovery, and in so doing, developing a way of communicating to others. Different methods of achieving this are constantly presenting themselves, and I am thrilled by the challenge! Can a raven communicate tenderness and love? Can a symbolic representation of my Choctaw heritage show the same? To me it is all one long journey. This path has been my greatest pleasure and in this way I am focused on revealing my Native American history and mythology."

 

 

Resilience
Oil on Stretched Canvas  
25 x 19.  
Painted  for "Year of the Woman",  from a photo by Matt Toledo of the Navajo Nation.
 

Strength
Oil  on Solid Wood Panel
33 x27
Original stylized portrait of Erin Lewis Johns. Erin is a 19-year-old Diné woman currently attending college where she enjoys studying medicine.
 

In her series Today's Native Women: Portraits of Celebration, Clarkson portrays native women as advocates rather than victims. In this video she speaks movingly of sitting in her studio, surrounded by these strong women, and letting their strength empower her to keep going. She uses art to resist damaging labels, discouragement and societal obstacles.

THREE FROM LYNETTE COOK

We have always admired Lynette Cook's evocative photorealistic paintings, which find a beautiful poetry in light and shadow. These three images contain subtle stories that tell of a personal and communal struggle to find hope and strength in difficult times. Like Clarkson, Cook uses art to resist the darkness that surrounds us and threatens to dim our strength and sense of purpose.

"To me, resistance is (in part) about creating artwork that points to the political and social issues of the day. On one hand it is about documenting the current times and what is occurring. On the other - and in the sense that “silence equals complicity” - it is a way for me to give voice to the need for change and to show solidarity with other people who are longing for and working for change, be it voting rights, racial equality, etc."

Lynette Cook
Mark of Zorro
Acrylic on Canvas
24 x 24

Is the potted plant dormant or dead? Like all things, what we hold most dear must be nourished to survive, whether it be our physical form, an idea or construct, or a nation. We want a hero to come along and save us, not always realizing that the hero already is here. Who is Zorro? We are. Acrylic on canvas. (For zoom: place cursor over image.)

Lynette Cook
Faded
Acrylic on Canvas
48 x 24

"Faded" features a wall mural of the US flag that was painted in Chinatown following 9/11 and in memory of that event. Originally, the entire starfield was visible and "God bless America" was written under the stripes. When I took photos of this building for reference material the text as well as a portion of the star field had been painted out. I show the flag here with the colors faded, symbolizing the shift we have made as a country from the solidarity we experienced following 9/11 to the bipartisan rancor we have today. "Faded" also points to the current dimming of the founding fathers' vision of what America was intended to be: a beacon to all nations and all people for freedom and justice. With the COVID-19 pandemic being called the "Wuhan Virus," Asians are experiencing increased discrimination. Should you go to Chinatown today, you will not find this mural at all. It is gone, presumably lying under new coats of paint where a completely different mural now exists 

Lynette Cook
Move On
Acrylic on Canvas
24 x 48

One role of the artist is to document the news of the day. In so doing, the artist creates an historical record. This painting is about the impeachment proceedings of President Trump and ongoing political division in the US. The grayscale palette points to a complex situation that is neither black nor white, while the red highlights - and Bay Alarm sticker in the lower right-hand corner of the right window - denote a state of alarm. The closed blinds indicate feelings that the "other side" is "turning a blind eye" to the gravity of the circumstances. Acrylic on canvas. (For zoom: click on the gray square with the four arrows.) 

THE RUNNERS-UP

Running Fisher Ledgers
Robert “Running Fisher” Upham
Boldt 40
Colored Pencil on Paper
Various print sizes available

The Boldt 40 Ledger is a written and drawn image commemorating the 40th Anniversary of the historic decision by Judge Boldt in the Washington vs. US.  The Decision affirmed the right to half of the fishing harvest to the tribal nations who were signers to several notable Treaties.  Every signature on this 1890 Ledger Paper from the Washington Southern Railroad has a heartfelt interest in the Fishing Rights Struggle.  This decision was important not only to Pacific Northwest Tribes, but also to tribes nationwide.  
Each signature has a red circle before their name, symbolic of the salmon egg representing the rebirth of activism.  The very first signature is Billy Frank Jr., who was a major catalyst in this struggle.  Billy’s legacy is as important to the tribes of Washington as Sitting Bull, Red Cloud and Crazy Horse were to the tribes in South Dakota.  Also in attendance were Governor Jay Inslee, Senator Claudia Kaufman and Hank Adams.  
The Train is drawn to symbolize a syringe to represent the inoculation of the American Indian by the U.S. education system to “Kill the Indian, Save the Man”.  The Indian inside the salmon resists this by breaking off the needle tip.  The needle tip is then drawn to represent other kinds of power—canoe and the feather pen (used to sign the Treaties).  The Paddler could be any Indian, or it could represent the main catalyst to the fishing rights battle, Billy Frank Jr. (Nisqually, Puyallup).
The male element is represented by the man and paddle, and the female element is represented by the salmon and egg.  When the two meet, then the embryo of the salmon in the egg is born.  This represents Indian Activism, which reignited pride with the American Indian People of the 60’s and 70’s as well as future generations.  
This struggle is parallel with the struggle of the Plains Indian and the killing of over 20 million across the Plains.  The train brought about this destruction and so-called progress.  The image of the salmon could just as well be that of a buffalo, halting the train.  Robert “Running Fisher” Upham, the artist, says that this art is part of him being a “Witness” to history.  The NW Pacific Tribes received help from many tribes, include Plains tribes.  For instance, Hank Adams (Dakota), Plains Indian, signature #4, was one of the right hands to Billy during his entire life fighting for fishing rights.  
The Seahawk resemblance is inserted because on this day, February 5 2015, some of the participants at the Boldt 40 celebration also went into Seattle to celebrate in the Super Bowl parade for the 2014 NFL World Champion Seahawks.  Ramona Bennett spoke at the event and referred to the Boldt 40 Anniversary Celebration as “Our” Super Bowl Celebration.  

Shirley Brauker
Missing Sisters
Stoneware Pottery
12 x 6.75

"This hand carved stoneware jar shows Native American women who have disappeared because of crimes committed against them.  The Women featured wear traditional to contemporary clothing. Foot prints line the bottom of the jar. Moccasin top vamps line the top section. Woodland floral designs are cut through the center area. Flowers that represent hands are painted red.  It has iron oxide stain and was fired in an electric kiln."

Lynda McClanahan
Red Vine
Oil Painting
24 x 36

Linda McClanahan's bright, lively painting of quarantined figures in windows during the great pandemic of 2020 shows a community finding ways to resist boredom, disease, depression, isolation, and all of the other unprecedented challenges of the last half-year.

 Richard Levine

New Monument 2020
Acrylic, graphite and watercolor on Arches.
25 x 17

Proposal: A new addition to Richmond's Monument Avenue.
From a photo by Elijah Nouvelage, Getty Images.

Juneteenth
Acrylic and graphite on Stonehenge Aqua Black
24 x 18

In 100 cities across America, citizens exercising their First Amendment rights were tear gassed.
From photos by Justin Wan, Lincoln Journal Star and Ricardo Arduengo, Getty Images.

Get Your Knee Off Our Necks
Acrylic and graphite on Arches
30 x 22

I usually put text into my political paintings, but for this one I think this man's gesture alone is profound and explanatory.
From a photo by Bryan Denton, The New York Times, Los Angeles

Peg Grady
Smoking Bird Honors John Lewis
Thread on Linen
8 x 6

When not relaxing in the bath, solving a crossword puzzle with the cat, or waiting in line at the DMV, Smoking Bird likes to make a statement. In this tribute to John Lewis, smoking bird expresses resistance to oppression. 

Dana Bilello Barrow
Everything's Fluid Chartreuse
Hand-thrown and Altered Porcelain
7 x 9

Dana Bilello Barrow's beautiful work explores the idea of resistance as an art-making technique. "Throwing and moving clay into fluid forms and pushing the material against its typical nature to be strong and immovable forms is my goal with the 'Everything's Fluid' Series.  The title not only speaks about the vessels but also about our need as humans to be fluid given our current social and health situation."

Scott Brill
Woke Ain't Enough
Black and White Photograph
Various Print Options

Brill's largely vernacular photographs examine "what's at risk of being forgotten by a culture." This photograph of a man in Ohio captures the mood of much of the country in the wake of events of this remarkable summer.

Maralyn Wilson
The Endangered Honey Bee and its Spokesperson
Hand-built Clay
17 x 14

"Resistance to me means to bring awareness to people of the plight of many endangered animals so we can fight, resist extinction of these wonderful animals and insects."

Peter Ketchum
Kinship
Mixed Media on Canvas
40 x 36

"KINSHIP is  made with found b&w photos from the 1850's-1950's.  Four modern color photos were also used and color enhanced with markers, paint pens and acrylics. Each was copied and hand-colored with acrylics, photo dyes, pens, paint pens, and/or markers. Photos were then enlarged, cut out, and glued to the stretched, painted canvas. The handmade KINSHIP nameplate is carved 1/2 inch painted pine. It is attached with velcro. 

The portraits move from women of the 1800's at the bottom to modern women at the top. Most of the older women in the bottom rows were born into slavery. They were photographed in the 1930's as a WPA project. With one generation building a firm foundation for the next, KINSHIP pays homage to the kinship and strength of women of color.  

The flowers represent plants from Africa including cotton and forget-me-nots. The improbable clouds are a reminder of ones unseen by the chained captives in the hull of the American-bound ships.

The surrounding names were all used on slave ships. All but one is a woman's name. Many slave ships were named after the daughters and wives of the ship's owner. The exception is JESUS, a 700 ton ship owned by Elizabeth I, and one of the early transports."

Liz Ghitta Segal
OFRED Will Come For You, MF
Mixed Media and Oil on Canvas
25 x 49

Inspired by the book,  A Handmaid’s Tale by Margaret Atwood, "I meant this painting to be a political statement that we, women of America, will NOT sit idly by and watch our civil rights be taken away by evangelical extremists. Nor will we (I) ignore the turning back the clock on our reproductive (roots, origins, birth) rights and control over our own bodies by a hard line, misogynist Regime. If you pull out a plant by its roots and do not replant it, it will die. If you ignore the roots of a people, in this case, women of all creeds, colors and origins, the rights of all people to freedom over their history and of course, their bodies, will die."