The workshop will be followed by a Q&A session featuring artist and 2019 Fellowship Recipients, Johnaye Kendrick and Lynne Siefert.
ABOUT THE GUEST ARTISTS
Johnaye Kendrick is a vocalist, multi-instrumentalist, composer, arranger, and educator. She received a Bachelor of Music from Western Michigan University, a Master of Music from Loyola University and an Artist Diploma from the prestigious Thelonious Monk Institute of Jazz. After graduating from the Institute, Johnaye was immediately hired by trumpeter Nicholas Payton, who raves “Johnaye has the potential to be a vocalist of the highest order; the likes of which we have seen seldom since the grande dames of the golden era of jazz roamed about the earth. She’s got IT!” Johnaye was also featured with the Ellis Marsalis Quartet and the New Orleans Jazz Orchestra.
In 2014, she founded her johnygirl record label in efforts to release honest music representative of her world. On this label she has recorded, produced, and released two albums: HERE, a collection of heartfelt originals and FLYING a collection of original works and thoughtful arrangements of Jazz Standards and contemporary works. A dedicated mentor and educator, Johnaye serves as Professor of Music at the Cornish College of the Arts in Seattle, Washington. https://www.johnaye.com/
Lynne Siefert is a filmmaker originally from Seattle, WA. In her work, Lynne tries to reconcile her attraction to art and aesthetics with her commitments to social justice and interests in philosophy. Shooting both on 16 mm film and digitally, Lynne creates experimental documentaries and short, poetic world-scapes. Lynne has exhibited nationally and internationally in festivals such as Edinburgh International Film Festival, EXiS Experimental Film and Video Festival, Antimatter Media Art, and Chicago Underground, among others.
Lynne received 2017 GAP funding for her project “PowerPlants” (working title). The painting, “The Lackawanna Valley” (1855) by George Inness depicts the beginning of the industrial revolution in an American townscape. A man, a train, factories, mountains, and sky are all compositionally balanced; serenity pervades the scene. Yet, looking longer tree-stumps become apparent. Is this a result of industry, or is this negative commentary about industrialization? It is ambiguous: industry is present, but the implication is unknown.This painting is inspiration for her project “PowerPlants,” an experimental, documentary film. https://lynnesiefert.com/home