Frank Mitchell

Education

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MFA in Multimedia/Intermedia, University of Iowa, Iowa City, IA 1995

MA in Multimedia/Intermedia, University of Iowa, Iowa City, IA 1995

BA in Fine Arts with concentration in painting, sociology, and technical theatre, Indiana University Northwest, Gary, IN 1990

BFA in Fine Arts, California Institure of the Arts, Valencia, CA 1993

Diploma in French Studies, University of Borgogne, Dijon, France, Overseas Study Program, Indiana University, Bloomington, IN 1988

Illustration, Graphics and Commercial Art, Kendall College of Art and Design, Grand Rapids, MI, 1979-1981 No degree received.

Symposium: Writing, Arthur Miller, 1998, University of Evansville. Evansville, IN.

Symposium: Art, Robert Rauschenburg, 1998, Evansville Museum of Art. Evansville IN.

Teaching Experience

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Lecturer/Art Talk: Native American Film and Art, National Museum of the Native American, Smithsonian, NY, NY, Spring 2005

Art History, Mt. Mercy College, Fall 2003/Spring 2004 Painting, Drawing, Art History, Kirkwood Community College, Spring 2003

Art History, Art, Introduction to Art, Mt. Mercy College, Fall2002/Summer 2003

Instructor, Mt. Mercy College, Art Department, Summer 2002/Fall 2002

Guest Lecturer, University of Iowa, Intermedia Department, Spring 2002

Guest Lecturer, University of Iowa, Intermedia Department, Fall 2000

Painting 1, Painting 11, and Art History/Survey: University of Kentucky,
1999-2000

Fundamentals of Design: Ivy Tech College, Evansville Campus, 1999-2000

Art History/Survey, Appreciation: Brescia University, 1999-2000

Art and Art History, Art 105 and Art 210: University of Evansville, 1998-1999

World Cultures 101 and 102: University of Evansville, 1998-1999

Special Problems in Art, Art 104: University of Southern Indiana, 1998-1999

World Cultures 101-102, Literature and Writing, Comparative Religious Studies, and Western Civilization, University of Evansville, 1997-1998

Art 104, Design in Materials, Art 400, Special Problems in Art, University of Southern Indiana, 1997-1998

Lecturer and Visual Presentation Retrospect, University of Southern Indiana, February 1998

Art Instructor, Coalinga-Huron Unified School District, CA 1996-1997

Montessori School, Coralville, IA, 1995-1996Art Instructor and Materials Maker, Calumet Region Montessori School, IN,1988-1990

Related Work History

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Social Worker, Counsellor, Independent Living Support Staff, Impact, 2007, Crown Point, IN

Mental Health Professional, Community Support at Threasholds 2006, Chicago, IL

Independent Living Provider and Councillor, Jay Nolan Independent living, 2005-2006, LA, CA

Pearson's Scoring Supervisor, Scorer, February 200l-2005, Iowa City, IA

Co-curator Latino Native American Culture Center's 30th Anniversary Art Exhibit, July 2001, University of Iowa Producer and Videographer: "When I Talk Indian I think Differently," a documentary in association with the Iowa Multimedia Workshop for Endangered Languages. This documentary was distributed and aired across the country by BrendaFarnell, anthropologist, Dr. Wallace Chafe, Linguistics Department, University of California, Santa Barbara, and the panel members consisting of Betsy Buck(Cyuga), Melvin Grey Owl (Dakota), Richard Grounds (Euchee), Shirl Snyder(Navajo), and Mike and Mari Talks Different (Assiniboine). The video is part of aCD-ROM and Web Page, 1996

Assistant Youth Counselor (art therapy, art project and instruction), YouthHomes, Inc. (runaway shelter), Iowa City, IA 1994-1995

Producer and Director of the Commercial for the 1995 and 1996 Pow Wows whichaired on Heritage Cablevision Public Access Station, including ABC, CBS, andNBC, Iowa City, Cedar Rapids and surrounding cities

Instructor for youth project, Iowa Arts Council, Iowa City, IA 1995

Producer, Videographer and Technical Editor in association with BrendaFarnell, anthropologist: Documentary on Kevin Lock, Native American ring dancer, storyteller and flute player, Iowa City, IA 1994

Producer and Technical Editor of Documentary for the Native American Pow Wow, Iowa City, IA 1994, 1995, 1996 Founder and Curator, Parquet Gallery, International Center, University of Iowa, Iowa City, IA 1994-1995

Story boarder and Visual Researcher for Ancient Mysteries and Mysteries of the Bible on A&E; Jack Houseman, creator of "In Search of' and "Ripley's BelieveIt or Not" television shows, Studio City, CA 1992

University Theater Positions; chief scene painter, lighting and sound, set construction and costumer, Indiana University Northwest, Gary, IN 1986-1990

Curator and Attendant for Gallery Northwest, Indiana University Northwest, Gary, IN 1986-1990

Set Designer, The Hobart Community Theater, Hobart, IN 1989

Lighting Design and Sound Technician, Great Midwestern Music Hall, Grand Rapids, MI 1989. Musical artists included: DEVO, Hall and Oats, Hank Williams, Jr., Johnny Winter, Johnny Paycheck, The Romantics, Joe Perry of Aerosmith, etal. Video and Computer Instructional Media Center, Indiana University Northwest, Gary, IN 1988

Cameraman, "This Is Your University," Indiana University
Northwest, Gary, IN1988

Exhibits, Shows, Videos, and Performances 2005

Long Road Home, Paintings Installations and Film, The American Indian Community House Gallery, NY, NY

Film Short: Scrubbed White, The American Indian Community House
Gallery, NY, NY 2004

Scrubbed White, Circle Theatre, Coralville, IA

Prayers for the Ancestors, Tunnel, Mt. Mercy College 2003

Art at the Crossroads of Culture (one-man show). Hall Art Gallery, CedarRapids, IA 2002

Benefit for Leonard Peltier. Art Show-The Mill, Iowa City, IA 2001

Latino and Native American Cultural Center 30th anniversary exhibit"Malu White as a God." Collaboration with Richard Ocompo, Manila, Philippines, April (also scheduled exhibit for 2002) 2000

Private first glimpse show: Characters and paintings for my book "My Tribe,"a collection of short stories, manipulated dolls, and other art oncontemporary Native American issues and people, Iowa City, IA

Performance, lecture with slides and video, and discussion: Colloquium:
"Spirituality in Art." University of Iowa

Retrospective, performance: "About Scrubbed White." Intermedia Workshop, University of Iowa

Performance and installation: "Vandals & Ruins." With painting site specificing the woods, Evansville, IL

Raven Blue Wolf performance and installation: KCTCS Gallery, Owensboro, KY

Painting: "Ancestors." Group show, KCTCS Gallery, Owensboro, KY

2-D and 3-D Work and Installation: "I Object." Museum of Arts and Science, Evansville, IN 1999

Performance, painting, and installation: "2000 Prayers". 3rd Street Gallery, Evansville, IN

Retrospective, Paintings: KCTCS Gallery, Owensboro, KY Faculty Show: University of Evansville Gallery, Evansville, IN

Installation /Ritual Site: "Suburban Sweat Lodge." Evansville, IN2-D and 3-D Paintings, Sculpture and Installation: "My Tribe." 3rd Street Gallery, Evansville, IN 1998

Paintings/Installation: East Meets West Show, Museum of Arts and Science, Evansville, IN John Streetman, Museum and Gallery Curator, Pieces: Painting,"Once Upon A Time," oil on masonite, stand oil glaze.

Painting/Installation: 6' x 6' 3rd Street Gallery, Evansville, IN

Painting: "The Child Within." Oil on canvas, mixed media, 20" x 24", 3rd Street Gallery, Evansville, IN

Painting: "Reflections." Oil on canvas, 6' x 8', 3rd Street Gallery, Evansville, IN

Painting: "Home?" Oil on canvas, 12" x 14", Alternative Space, Curator, J.Rosevere, Munster, IN Curator: Show of Young Artists, "The Office." Lori Frairie, Proprietor. Show still on display. Opening February 1998

Urban Sweat Lodge Installation: Crow Mask. Mask materials: wood and crowfeathers, 18" x 24", 3rd Street Gallery, Evansville, IN

Painting/Installation: "Cornucopia." Oil painting on puzzled masonite. Dimensions: painting 20" x 20"; installation space, 18' x 18', yd Street Gallery, Evansville, IN

Installation: "Changing the Cards You Are Dealt." Materials: bisque statues, cloth, candles. Installation space: 18' x 18'. Dimensions of piece, 30" x 30".Alternative Space, 14 SE Third Street, Evansville, IN

Installation/Conceptual: "Well Read." Media/materials: wooden chair, silkrope (noose), reading glasses, book. University of Southern Indiana Faculty Show, Owensboro Community College, Owensboro, KY

Performance: "Crush." Alternative Space, Evansville, IN 1997

Installation: "Maze." Mixed media, Coalinga Artist Workshop Space, Coalinga, CA

Installation and Painting Installation: "Path to the Light." Materials: wooden mouse traps painted white, white puzzle pieces and white candle. Painting: Oil. Wabash Valley College, Mt. Carmen, IL

Painting: "Redemption." Oil on canvas, 8' x 6'. Coalinga Artist Workshop Space, Coalinga, CA

Painting: "Balancing the Male." Oil on canvas, 4' x 6'. Coalinga ArtistWorkshop Space, Coalinga, CA

Painting: "Djinn." Oil on canvas, 6' x 8', Coalinga Artist Workshop Space, Coalinga, CA

Painting: "Born Under a Bad Sign." Oil on canvas, 8' x 6', Coalinga Artist Workshop Space, Coalinga, CA

Painting: "Untitled." Triptych, oil on canvas, 6' x 6', Coalinga ArtistWorkshop Space, Coalinga, CA 1996

Video: "Mosaic of Rhythm, The Red River Flows." Perfonnances by Rodney Hanson. and Ivan Doutt, percussionists. Acted as creative consultant, set designerand cameraman. Produced and aired on Public Access Television, Iowa City, IA

Video: "WeAre Here." Video production and collaboration with Shirl Snyder andMarissa Cummings, fellow Native Americans. Interviews with Native Americansconcerning their contributions to society. Acted as creative and technicaldirector and editor. University of IowaVideo: "Mosaic of Rhythm." Performances by Rodney Hanson and Ivan Doutt, percussionists. Acted as creative consultant and cameraman. Produced and aired on Public Access, Iowa City, IA

Video: "The Ophelia Project, Between the River and the Moon." Produced and directed the video production and documentation for the production that expresses strong feminist view on the abuse of women and their plight throughout history. University of Iowa

Video: Commercial for Pow Wow aired on Heritage Cablevision, Public Access, Iowa 1995

Video: "Om to Om." University of IowaEarthwork: "Peace Circle." Work in continual progress and collaboration, "In the Woods," Holiday Road, Iowa City, IA

Earthwork: "Contemplation, Realization/From Seed to Seed." Collaboration with students and instructors of the Montessori School of Iowa City, IA

Installation, sculpture, ritual and performance: "Contemplation/As Above SoBelow/Forming of the Seed Pod." Iowa City, IA

Installation, sculpture, ritual and performance: "Contemplation/Harvest."Parquet Gallery, Iowa City, IA

Painting, installation and performance: "Contemplation." Parquet Gallery, Iowa City, IA

Sculpture, installation and performance: "Puzzled." Parquet Gallery, Iowa City, IA Video: "Ritual and Realization." University of Iowa, IA

Twelve paintings: "Spermata Pingere," Series 11 "Framed." Parquet Gallery, Iowa City, IA
Video: "Fog." University of IowaVideo: "There Ain't Nobody Here But Us Chickens." University of Iowa Video: "Mixed Blood." Interviews with Native Americans of mixed blood. University of IowaVideo: Commercial for Pow Wow aired on Heritage Cablevision and 1996 Public Access, Iowa1994

Video: Amsterdam collaboration with visiting artist and performer Harry Heyink, Head of the Department of Intermedia at Garrit Rietveld Academie, Amsterdamand Dutch artists Harco Haagsma, Maarten Vanderploeg, Matthys DeBruijne, and Guido Van Gennep. Live television show with video inserts and performances broadcast in Iowa and P.A.R.K. TV Amsterdam, Netherlands. Contributed a video:"Lasca Ditto Will You Marry Me," and performed with Harry Heynik during the liveshow. Also acted as floor director.

Painting: "Spermata Pingere." Series 1; Painting 1, "On the Art World. "Parquet Gallery, Iowa City, IA

Twelve Paintings: "On the Art World." "Spermata Pingere." Series 1. Parquet Gallery, Iowa City, IA

Performance: "Ice." On the icebergs in January at -20 degrees, Lake Michigan, Gary, IN

Video and performance: "Ice/Red, White and Blue." Intermedia Performance Space, Iowa City, IAVideo: "Ice/Red, White and Blue." Fairfield Video Show, MID, Fairfield, IA Video: "Time." Fairfield Video Show, MID, Fairfield, IA

Video production: "TV Dinners." Aired on University of Iowa Television and Public Access

Videos: "Cheap Shots, Full Circle." Introduction piece designed to unite the individual videos of the group of artists contributing to the show.

"Because I don't have a wooden heart"

"It's not unusual"

Videos re-aired that were shown previously at the University Video Night. Shown on Wednesdays "Video Night" through the summer months at the 620 Nightclub, Iowa City, IA

Video: "Pow Wow Highlights 1994."University of Iowa and the Latino Native American Cultural Center, Iowa City, IA

Video: "Kevin Lock." University of Iowa and Latino Native American Center, Iowa City, IA

Installation and opening of Parquet Gallery: "Been There, Done That:"International Center, University of Iowa 1993

Video: "Rough Zone." University of Iowa

Altar piece installation and performance: "Churches of Earth." Cosgrove Institute, Cosgrove, IA. Re-shown at the University of Iowa.

Collaboration with other Native American writers and artists: "Indian RadioDays." This was a radio playas well as a live show performed on stage at CSPS, a gallery in Cedar Rapids, IA It was also broadcast on radio and reviewed in"Tractor" magazine.

Video production and collaboration with Jymie Davidovich. Group show at the California Institute of the Arts, The University of Iowa television Station and EXIT Gallery, New York. My piece was entitled, "Time."

Text installation: "Follow Me." Main Hall Gallery, California Institute of Arts, Valencia, CAInstallation: "Identity Work in Progress." Tatum Gallery, 12 pieces, California Institute of the Arts, Valencia, CA

Installation: "Time." California Institute of the Arts Group show: "Action Reality Transformation." Sponsored by Community ArtsPartnership of Los Angeles, CA

Participation in performance ball: "The Drag Bal1." Arranged by Matias Viegenet and Millie Wilson, California Institute of the Arts 1992

Installation: "Bah, Bah, Black Sheep." Animal show arranged my Maria Cardosa, Main Gallery, California Institute of the Arts

Student group performance and ritual: "Prayer for the Riot." Campus Lawn, California Institute of the Arts

Installation: "Mao'nds." In collaboration with Vesper a Pekin Nightingale for the animal show, arranged by Maria Cardosa, Main Gallery, California

Institute of the ArtsPainting: "I Have A Friend." Group show, Mint Gallery, California

Instituteof the ArtsPainting/Installation: "Flowers for a Goddess." Group show, arranged by NancyMitchnik, Mint Gallery, California Institute of the Arts 1991

Painting: "Hung." Group show arranged by Lime Gallery, Judith Linhares, visiting artist, California Institute of the Arts Solo exhibition, paintings and installation: "Spirit in Painting." Food for Thought bookstore, Merrillville, IN

Painting: "Woodsman." Commissioned for Karlene Cantrell, Merrillville, IN

Painting: "In an Iris." Commissioned for Karlene Cantrell, Merrillville, IN 1990

One sculpture and three paintings: "Around the Coyote." Group show arranged by Jim Happy Delpech, exhibited in Coyote Headquarters, Chicago, IL

Five paintings in an installation: "We're Sorry, Blah, Blah, Blah, We Regret." Group show, Gallery Northwest, Gary, IN

Social Work, Mental Health Professional

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Training used in various situations and institutions:

. Cognitive therapy

. IBI Individual Behavior Intervention

. PSR Personal Social rehabilitation

. Cognitive therapy

. Behavior Modification (entry Level)

. Mandt Training

. Understanding Circles of Support

. Understanding inclusion

. Community Building

. Person Centered Planning

. Conflict resolution

. The history of the treatment of people w/ disabilities

. Flortime training

. PECS, training, (picture exchange communication system)

. Art Therapy training

. Music Therapy training

. Literature Therapy training

. Theatre as Therapy

. Marriage and the Family

. Society, and the individual

. Society and the Individual

. Colloquium: Civilization and Society

. Sexual Roles

. Social stratification

. Social implications of Biology

. Colloquium: Ascent of Man and Society

. Principles of Sociology

. Colloquium: Technology and change in society

. Contemporary social problems

. Substance abuse training

. Social Psychology

. Personal Anthropology

. Body Language

. Native American Studies

Further training:

. First Aid/CPR

. Medical manager training

. Aids facts and representation (through ACT UP) National Organization

. World Cultures and societies (I taught)

. Comparative religious studies (I taught)

. Suicide Prevention and dealing with Loss

Honors

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Certificate of Teaching Excellence, awarded by Coalinga High School, 1997

Native American Student Award, 1995-1996

Iowa Arts Fellowship Award, University of Iowa (two-year fellowship with tuition scholarship), 1993-1995

Ahmanson Scholarship, California Institute of the Arts, 1992

The Special Service Award, Indiana University Northwest, 1990

Best in Painting, Indiana University, Northwest, 1986, 1987, 1988, 1989, 1990

National Dean's List 1986, 1987, 1988, 1989, 1990

Higher Education Award and Scholarship, 1986, 1987, 1988, 1989, 1990

Student Guide Award, a service award. Acted as ambassador to visiting lecturers and other VIP's 1987-1990

Who's Who Among America's Universities and Colleges, 1988 International Poet's Society Award

Teaching Philosophy

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My philosophy of teaching has developed and continues to evolve from observations, experience, practice and study. I have found that to be effective, instruction must be adjusted to the individual or group within this growing and diversifying culture. I believe that a healthy teaching philosophy should work within the context of the culture being addressed. I have been fortunate to study with many instructors who taught in an open and positive environment that encouraged individuality and personal growth while being sensitive to particular and cultural differences.

In my own teaching I have worked in this manner with students ranging in age from three to sixty-five and find that the creative mind evolves individually. Each student brings to his or her learning experience a personal history. I have instructed people with a variety of personalities from many different social, economical, cultural and geographical backgrounds. I have found that a positive and open environment encourages learning and personal artistic growth, as opposed to learning from an instructor's personal history agenda or style.

I aim to balance an atmosphere of openness with an extensive yet loosely structured curriculum. I bring to this format a philosophy of teaching that familiarizes students with all media of artistic creative expression, including computer, film, theater, dance, performance, video, sculpture, installation, printmaking, bookmaking, painting, and storytelling. This expands their artistic horizons by encouraging student to seek sources outside their present chosen field or medium and helps them develop an appreciation of all media.

The study of an art and its history through exposure to visiting exhibits and artists, along with museum and gallery trips, give students an opportunity to learn from others, and to criticize or rebel. Most importantly, it gives students the freedom to form opinions and make informed personal choices. In this way students become stimulated by experiences that can then be brought back to the classroom, where students can be introduced to articles and literature, both current and historical, along with techniques of debate and discussion. By making this a part of class discussion students learn to broaden their own concepts of themselves as artists and to articulate their visual language with both the written and the spoken word. Removing the barriers around words such as ontological, epistemological and didactic, which may intimidate novice students, is integral to developing a sound conceptual framework for discussion.

It is important that a class operate as a functioning group. The teacher operates within boundaries of mutual respect for backgrounds and personal ideologies while maintaining an appropriate degree of professional distance, rather that espousing a teacher's platform. My experience with the Hobart Art League taught me how much artists can learn from each other, despite the necessary distinction between teacher and student.

It is important to help each student find their own voice. I believe in offering support and encouragement, focusing on the positive without neglecting a firm critique from which students may grow. Assignments should be adaptable, subject to change based on location, background of students, and sensitive issues they may bring with them as individuals. For example, while working with teenagers at a runaway shelter, it became obvious to me that art classes intertwined with personal therapy. In every group of artists of students with which I have had contact, the subject of art therapy has emerged. There is a place for this type of art as it usually, if not always, develops into a strong social, cultural or political statement. Artists that participate in this genre, deal with issues as diverse as racism, child abuse, battered women, and feminism.

It is my place as a teacher to encourage the students to familiarize themselves with professional artists who deal with issues that concern each student. Giving students this personal encouragement often provides the driving force necessary for creation.

In addition to work in the studio, a teacher need to encourage students to display their work in outside venues and shows because exposure and feedback are crucial in establishing artistic identity, self-image and artistic purpose. I enjoy working with students as well as colleagues to help bring about such opportunities and find networking with fellow teachers and other artists beneficial for the department and school as a whole.

It is through having an open and accepting attitude and a deep appreciation for art and the individual that I have developed my teaching philosophy. It is in this way that I can give the student a guiding hand, an artistic background to stand on and draw from and the strength and confidence to express themselves in their own individual voice.

Appendix to Statement of Purpose - Part II

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APPENDIX TO STATEMENT OF PURPOSE - PART II
ADDRESSING MY NATIVE AMERICAN DESCENT (HERITAGE), HI-CULTURAL AND CROSS-CULTURAL INTERESTS

The few lines written in Part I of my Statement of Purpose could not possibly disclose to you the entirety of the intent for my work without including this additional information.

Although I have yet to register with the Cherokee Nation, because of political and personal beliefs, I am Cherokee by descent on my father's side of the family. I have spent time on reservations and with many other Native American people, both independently and through my involvement with the Native American student groups at the University of Iowa.

Many times my "Indianess" has intertwined with that of my "Western" education and interests; on other occasions I have addressed it independently or purposely juxtaposed it in order to confront issues of personal and cultural identity.

I consider myself an outspoken proponent of the importance of aboriginal/Native American art, spirituality, cultural beliefs and interests. Still, I do not deny the impact of Western civilization on my life. This has led me to compare and contrast cultural similarities and differences, not only in dealing with issues of personal identity, but as an investigation into the larger issue of multiculturalism.

My desire to examine issues of personal identity, considering its collective process, as well as my interest in cultural similarities and differences, propels me in my examination of anthropological and spiritual aspects of the world. It is from these interests that my work is cultivated and has evolved.

From this research I have drawn many connections between western philosophy/theory and spiritual doctrines and practices of other cultures. My quest for ontological resolution has broadened my interests past that of my bi-cultural, Native American concerns to cross-cultural interests reflected in some of my work.

I trust that this additional insight will help clarify my position, interest and intent for my work as it has added a new dimension in the stratus (stratum) of meaning to be found there. As with all artwork, meaning becomes derived in the process of interaction by the viewer and what he or she has brought with them via their education, background and experiences. I always welcome new readings and insight into my work as I believe an artist's work goes beyond his comprehension and intent.

Letters of Recommendation

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Please, click on the letters to enlarge enlarge them:

Academy of Art College

University of Southern Indiana

University of Illinois

Mount Merci College

Dine College

Gallery Talk

University of Evansville

New Harmony Gallery Of Contemporary Art

University of Kentucky (KCTCS)

University of Iowa

Richard Ocampo

Valparaiso

Art Work (1)

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Art Work (2)

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Art Work (3)

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Art work (4)

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