Skamania Lodge Art of Discovery Tour Brochure

rrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrr Art of Discovery z

ON-SITE ACTIVITIES Skamania Lodge Golf Course, an 18-hole, par-70 championship facility Waterleaf Spa, featuring massages, wraps, pedicures, manicures, saunas, hydro-therapy pools, an indoor heated swimming pool and state-of-the-art exercise equipment Two outdoor tennis courts and a basketball court Sand volleyball court Complimentary use of mountain bikes for adult guests Zip lining

OFF-SITE ACTIVITIES Columbia Gorge Interpretive Center Cruises on the Columbia Gorge Sternwheeler Bonneville Dam Visitors Center and Powerhouse Multnomah Falls Wine tours and tasting in the Columbia River Gorge Walking path to the town of Stevenson from the Lodge

Skamania Lodge · Authentic. Inspired. Rejuvenating.

A DESTINATION HOTEL • SKAMANIA LODGE SCENIC COLUMBIA RIVER GORGE 1131 SW SKAMANIA LODGE WAY STEVENSON, WA 98648 PHONE 509.427.7700 or 800.221.7117 FAX 509.427.2547 SKAMANIA.COM w rrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrr�

DESTINATION " HOTELS SKAMANIA.COM rrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrr rt o Discover Skamania Lodge’s art collection, located throughout the property, is a wonderful way to discover the history of the property and this part of America’s Pacifc Northwest.

When construction studios throughout Washington and the Northwest, of Skamania Lodge eventually purchasing an additional 250 pieces for began in 1991, guest rooms. They also surveyed Gray’s personal developer John Gray collection to assemble the collection you’ll see today. saw the Lodge as the While there are hundreds of pieces of art throughout perfect home for a the Lodge’s public spaces, we’ll focus this tour on collection of art that he and his wife, Betty, had been some of the highlights and more prominent works. accumulating for more than 50 years. John Gray, Feel free to enjoy it all and stop along the way. To known for his development of Sunriver Resort in help you identify each piece described on this tour, Central Oregon and Salishan Lodge on the Oregon we’ve included a Coast, had always made regional art an important numbered plaque part of his projects. next to the featured pieces. While Salishan focused on prominent Oregon artists, Mr. Gray wanted to expand his focus with the building of Skamania Lodge. Peter and Gwen Stone were brought in to ensure that this building, which Mr. Gray felt “called out for art,” would refect Then~ tourttoTJ11Jl' starts~ inm thettlhi~ ffdblb~lobby, wherew.rlhi~ 'f©TJJJ'111you’ll &mdlfnd its setting in the Columbia River Gorge and the state thettlhi~ fflftfrst of manymlJllJJf NativeN11ttire A.mm~American rugsJ't1!Jf? onOlm of Washington. The Stones toured galleries and each~ sideddl~ of thettlhi~ registration~ttioim desk.~ rrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrr

Now step into the Gorge Room to continue your tour. 1 Rugs 3 You’ll find numerous pieces in our collection that reflect the Carole LaRoche, Acrylic Grays’ interest in These unique works were created Southwestern art, by Carole LaRoche. LaRoche’s including several hand- paintings are instantly recognizable woven rugs created by because of the impact of their Native American tribes glorious color, strong composition indigenous to Arizona and powerful graphic presence. and New Mexico. Given that the Lodge was located in a region of great Viewers respond to the art on their importance to early Native American peoples, the Grays own terms. From casual tourist to experienced collector, felt the Columbia River Gorge was the perfect place to each person is drawn to the compelling subjects and to the display this part of their collection. Considered museum- sheer excellence of LaRoche’s work. The spirit of the earth, quality examples of Native American weaving, these sun and moon is present in every frame. Navajo rugs were created in the early 1900s and are very valuable today. The rug to your right, with its olive LaRoche has been an artist green and brown tones, is of the Wide Ruins style. The since she was a very young coloring is one of this rug’s most unique aspects, as the woman, attending art school fibers incorporated into its pattern were all created from and collecting African sculp- vegetable dies. ture. She found the ideas of the academic world confining, For more examples of the Lodge'sLodge’s collection of rare so after acquiring the basic Native American rugs, walk toward the fireplace and technical skills that any artist taketake a right, where where you’llyou71.ind find two two more on either side must begin with, she moved of the General Store.Store . to New Mexico and set out on her own. Her creative spirit soared.

Carole LaRoche has watched her work enter countless public and private collections all over America and in 2 Europe and Asia. She is known for an astonishing range of media, producing large canvases, mixed media, pastels, Rugs acrylic on paper, monotypes and collages. She became one To the right of the door you’ll find a rug with strong of the best-known artists on Canyon Road. geometric angles on a black background, which indi- cates that it is most likely from the Two Grey Hills style Please walk to the Gorge Room window to continue created in New Mexico. The rug to the left of the door, your tour. with its diamond pattern in the center and gray background, is of the Western Reservation style, and was created in Tuba City, Arizona, circa 1920. rrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrr

Sundial tour and in many of the Lodge’s guest rooms. We invite Looking out the window you will notice what appears to you to study their detail and marvel at this historic art form be a large rock cluster, located just to the left of the center that has been lost to the ravages of time and the advance- portion of the grass mound. While it appears to be a ment of technology. You also might want to pick up our natural part of the environment, this boulder is actually a brochure that tells the story of these petroglyphs and the precise timepiece. When developer John Gray was designing people who created them. Just ask the front desk for a the Lodge’s landscape, he commissioned Oregon artist John copy. Bear to create a sundial that would measure time in a very time-honored way. The use of these devices dates back To continue your tour, please walk toward the Cascade millions of years to when early man calculated time using Dining Room. the orbit of the sun and rotation of the earth. This particular sundial is quite precise and, by using complex mathematics to adjust for the movement of these two planets during the year, can tell time quite accurately – to within a few minutes over the course of 365 days. If you go outside to get a view up close, you’ll notice a fiberglass device that casts a shadow onto a six-foot diameter steel plate. The entire apparatus is pointed exactly due celestial north and the steel plate that reads the sun’s shadow is adjusted slightly to correct for our local longitude – in other words, our place in the Pacific Standard Time zone. Depending on what month it is, the sundial can tell time almost as precisely as your electronic watch. The nice thing is…we’ll never need to change the batteries.

Please enter the corridor walking toward the River Rock to continue your tour.

Jeannie Hillis, Petroglyph Rubbings One of the cornerstones of our entire collection is a group of petroglyph rubbings done by the late artist Jeanne Hillis of The Dalles, Oregon. Each of these hundreds of rubbings, which range in size from the large 5 pieces you see behind you to the smaller examples located in our guest rooms, are Amanda Snyder, Oil original works. Beginning in the early This oil painting was done by the 1950s, before the dams on the Columbia late Amanda Snyder, who lived and River covered these ancient works of art, worked in the Portland, Oregon area Hillis worked with archaeologists to record during the 1960s. While Snyder’s work these visual stories of early Native American appears quite studied and advanced, hunting and religion. Sadly, most of these the fact is she didn’t even take up rock carvings are now lost forever under painting until well into her 60s. The water. John Gray first purchased three of Hillis’s works in use of abstract figures, particularly 1965 and, years later, acquired her entire collection for those of birds and animals, can be Skamania Lodge. Hillis was motivated to sell by her desire seen throughout her work. While this to preserve the entire collection intact and make it available particular piece is a great example to the public. These petroglyphs also gave Gray a central of her use of monochromatic tones, unifying theme around which all of the Lodge’s art could be much of Snyder’s work featured won- assembled. But the most important reason that this rare derfully subtle color combinations. collection lives here today is because it embodies the history and geology that formed the foundation for creating the The second painting in our collection by the late Amanda Lodge in 1993. You’ll see these petroglyphs throughout the Snyder, coincidentally, is entitled “Conference,” but was rrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrr

not commissioned specifically for this space. The whimsical portrayal of birds was a favorite subject matter, and here she draws them into an understated yet powerful study of 8 form and primary colors. This is another piece that came to the Lodge from the collection of John and Betty Gray. Ford Ruthling, Embossed Paintings In addition to being a colorful welcome into the Lodge’s dining room, these two works represent the native fishes so important to 6 our Columbia River Gorge for thousands of years. Roy Setziol, Wood Carving This work in Entitled “Loaves and Fishes” mahogany and “5th Day of Creation,” was commis- they are by artist Ford Ruthling of Santa Fe, New Mexico. sioned by These embossed paintings were created by forming and Skamania. soldering together pieces of tin to create various patterns. It was created The tin plates are then brushed with lithographer’s inks and by North- stamped onto fine paper. Ruthling then brushes on addi- west sculptor, Roy Setziol (Setz-el), who was 77 at the time tional paints over these embossed surfaces, to create more of its creation. A prolific artist, Setziol continued his regular color and texture. These two pieces were purchased in the routine of working seven hours a day in his studio in the early 1990s from the artist specifically for the Lodge’s dining hills above Sheridan, Oregon well into his 80s. area.

To see our next piece, turntum right into the dining area and head toward the window.window . 7

Eugene Bennett, Acrylic and Gary Anderson, Acrylic The piece on the left is an acrylic on 9 canvas by Eugene Bennett from 1967. A resident of Jacksonville in Douglas Campbell Smith, Oil Southern Oregon, Bennett was the This oil on canvas, entitled “Shadow recipient of the Oregon Governor’s Buttes,” was created in 1985 by Art Award in 2002. His home and Oregon artist Douglas Campbell studio are listed on the historical Smith. Smith was a professor of art at register, and once served as the Western Oregon University in the town’s stagecoach stop and tavern. 1970s before moving to The Dalles. This piece was originally part of the “Shadow Buttes” is a colorful exam- Salishan collection before it was ple of the environment and geology acquired for Skamania Lodge. of the eastern Oregon plains that are located just east of the Lodge. This piece was acquired for Skamania Lodge from Behind you is an acrylic mixed media the personal collection of John and Betty Gray. piece created by Gary Anderson of Seattle, Washington, whose work is For our next stop, please walk to the far side of the featured in galleries and museums dining room. throughout the United States. rrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrr

Our tour continues again a few steps toward the conference 10 center with the ceramic piece to the right.

John Simon, Oil This large oil painting is by Mount Vernon, Washington artist John Simon. 13 Purchased for the Lodge in 1993, it is a wonderful study of light and water, Raymond and Jere Grimm, Ceramic reflecting the calmness and serenity The sculpture you see here is the first of a found in the hundreds of salmon- multiple-paneled work that illustrates the spawning streams that feed into the unique story of the Bridge of the Gods, the Columbia River. Simon’s work is geological formation that surrounds the Lodge. found in many of the Pacific North- You can read the plaque to the left of this west’s top private and corporate collections. sculpture for an explanation of the ancient Native American mythology behind the Bridge NowNow,, our tour will take us back toward the lobby area.area. of the Gods. Then, step through the double doors behind When you reach the River Rock Lounge, turntum right toward you to see the remaining eight pieces that make up this thethe conference area. area. Your next stop will be the ceramic installation, which portrays the various stages of geological piece on the left wall. development that created this section of the Columbia River Gorge. This work was created by Portland artists Raymond and Jere Grimm. 11

Betty Feves, Ceramic There are three works by Betty Feves in Skamania Lodge, one of which you see here. A prolific potter and ceramic sculptor, Betty was born in 1918 in Lacrosse, Washington and raised in Walla Walla. After earning a Master of Arts degree from Columbia University in 1941, she married and moved to Pendleton, Oregon. There she lived, worked and raised three children, all accomplished musicians. Her work was exhibited in many galleries throughout the Pacific Northwest and can be found in numerous private and public collections today. Feves continued to produce her unique style well into her later years, and passed away in 1985.

Wally Schwab, Ceramic This oversize ceramic plate is from the private collection of John and Betty Gray. The artist, Portland native Wally Schwab, hallmarked the glaze work seen in this design. Known as a master of glazes, Schwab is able to pull intense colors and saturated tones using a high-fire kiln process. This piece with its various shapes and colors echoes the mountains, water and environment surrounding the Columbia River Gorge. rrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrr

Now that you'veyou’ve seen the outdoor pieces, come back throughthrough the the double doors and continue down the hallway toto justjust pastpast the bank of windows on your left, where you’llyou71 16 find two two black and white lithographs. Valerie Wilson, Oil and Pastel This next piece is a mixture of oil paint and pastel on 14 paper by Valerie Wilson of Vashon Island, Washington. Entitled “The Last Kind John Rock, Lithographs Days of Autumn,” it was This pair of lithographs purchased for the Lodge in was created by the late 1983. Oregon artist John Rock, who also served for years as the head of the printmaking department at Oregon State University. These two pieces, 17 from the collection of John and Betty Betty Feves, Ceramic Gray, were purchased during one of Rock’s exhibitions in see description 11 the 1960s.

Roy Setziol, Wood Carving This wood carving was done by Roy Setziol (Setz-el), one of the Pacific Northwest’s most prolific woodcarvers. Setziol was 77 at the time he created this work, and living in Sheridan, Oregon. The work shown here is, in fact, the back of a teak wood divider, originally installed in the Salishan lodge dining room. Setziol sketched directly on the wood, using no drawings or models. He was given free reign by John Gray to create the work for Skamania’s open- ing. His carving takes advantage of the patterns created by the light sources available in the Gorge. The panel changes form subtly throughout the day, based on the changing light. In addition to being a wonderful example of Northwest woodcarving, this piece reflects the spirit of the style used by Native American tribes who once lived in great numbers throughout the Columbia River Gorge. rrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrr

find in Kalama, Washington. These five carvings were placed in the conference center lobby when the Lodge 18 opened in 1993, and are on permanent display thanks to the Oregon Historical Society. Wally Schwab, Ceramic see description 12 20

Rugs Now to see the last Navajo rugs on our tour: The rug on your right reflects the Western Reservation style of weaving, evident in the strong beige and brown diagonal pattern. The design is known as a “chevron” pattern, and it hails from Tuba City, Arizona, circa 1920. On your left is the largest of our Native American 19 I •U"'"'-::::;~ · rugs, which represents the Western ; Reservation style of craftsmanship Chief Lelooska, Wood Carvings ...... found in Tuba City, Arizona in the Take a few moments to -· early 1920s. read the plaques that describe these large woodcarvings. There are three available…one near the business center 21 window, and one on either side of the ballroom Scott Sonniksen, Collage doors. Once you’ve read This collage is by Portland artist Scott the plaques, step back Sonniksen. It is an early piece, into the lobby for the best acquired by the Grays during a show perspective on all five at Salishan Lodge in the early 1980s. pieces.

The overhead panels and small center totem are of the Haida design, named for the nation that once populated much of southeast Alaska, British Columbia and the Puget Sound area, dating back thousands of years. The Haidas were known for the massive scale and intricate detail work 22 of their totems and architectural panels. The two overhead panels were carved from Alaska yellow cedar, and the Monica Setziol-Phillips, Mahogany and Wool Tapestry center totem is of Northwest red cedar. This totem was The inspiration for this work was carved in the 1900s by the late Chief Don Lelooska, who taken from the color palette and helped keep alive the traditions and culture of the Pacific geometrical designs used by the Northwest’s coastal tribes until his death in 1996. In addi- Salish weavers of the Pacific North- tion to being a prolific painter and author of Native American west. These highly skilled weavers stories and legends for chil- have given us a legacy of finely dren, Lelooska is listed in the woven works of great beauty. The • I mahogany wood was chosen for its ' Guinness Book of World . Records as the carver of the strength and compatibility in color .. world’s highest one-piece with the weaving. The concept of “pathways” was the inspi- • totem, a 140-foot pole you’ll ration behind the work. Finding the right pathways through - the Gorge must have been a remarkable feat in earlier times. The sun, giver of life, showed the way. rrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrr

23 25

Adam Mac Issac, Wood Carving Jennifer Williams, Oil and Lithograph Triptych These woodcarvings were com- The large vertical piece in the middle of the pleted in 2002 by artist Adam Mac stairwell is an acrylic and paper collage Issac, who lives and works in La mounted on a birch wood board. Entitled Center, Washington. The panels “Endure,” it is by Ridgefield, Washington use the geometric designs and artist Jennifer Williams. Her work captures skeletal human figures typically many of the colors and textures of our found on sheep horn bowls carved Pacific Northwest environment, and this by the early Native Americans of piece is an homage to the battle waged the Columbia River basin. Issac’s every year by native salmon returning to intention was to capture the sophis- the spawning grounds of the Columbia ticated art of these peoples while River basin. conveying the suffering they en- dured during the smallpox epidemic that killed most of their population by the early 1800s. This suffering is characterized in the sunken or closed eyes, the open toothless grin, and the exposed ribs. Small- pox, along with several other diseases never before experienced by Native Americans, spread like wildfire across this region with the arrival of European traders. Due to the extensive tribal trading network, natives who had never As you walk down the stairwell, you71you’ll notice three even seen a white man became ill and died from their woodblock prints on your right. diseases. By the time Lewis and Clark reached the lower Columbia River in 1806, over 90% of the Native Americans -- along with their culture -- had been wiped out by smallpox. 26 24 Nancy Wilson, Woodblock Prints These whimsical works, titled “Chain of Command,” “Twig Bruce West, Metal Sculpture Peddler” and “Cardboard Warrior” are by Nancy Wilson. Bruce West is one of the region’s most recognizable public artists, and his work can be found in many major public build- ings throughout Oregon and Washington. West’s distinctive polished aluminum figurative sculptures range in size from this small piece to the 12 by 36 foot installation in Portland’s Waterfront Park. He was the head of the sculpture department at Lewis and Clark College in Portland and continues to receive significant commissions through-

out the Pacific Northwest.

For our next group of paintings, move over to the stairs that For our next group of paintings, move over to the stairs that Our next piece is to your left at the bottom of the stairs. go to our lower level. rrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrr

Throughout the Lodge you will find many pieces of fine craftsmanship that serve as 27 works of art, in addition to being part of the architectural design. The iron sculpture to Carl Morris, Oil your right is just one example. It was created This oil on canvas by Carl by Daryl Nelson of the Fire Mountain Morris is one of the best- Forge, located in Eatonville, a small town at known pieces in our collec- the base of Washington’s Mount Rainier. tion, and was curated from Nelson, who began blacksmithing in the the private collection of John 1970s, also designed all of the ironwork and Betty Gray. It’s entitled you’ll find throughout the Lodge. When “Intersecting Light Series.” you have a chance, take a look at his detail Carl Morris was recognized work on the Gorge Room fireplace. early in his career as a North- Nelson’s unique style also can be found in west original, and his work another of the Pacific Northwest’s premier lodges. Working was widely shown throughout Europe and around the from original designs, he restored and replicated much of United States. Morris was one of the first artists to bring the ironwork in Oregon’s historic Timberline Lodge. recognition to the Pacific Northwest, and in the 1940s and 1950s was considered a contemporary of other renowned abstract expressionists, such as Willem de Kooning and Jackson Pollock. Early in his career, Morris supplemented 29 the income from his art by serving as a carpenter, a truck driver, and a superintendent of a crew of lifeboat builders Peter Stone, Ceramic in California. He also taught at the University of Colorado Created by the curator of this collection, and was director of the Federal Art Program in Spokane, this work is a fine example of the clay Washington. slab work produced by artist Peter Stone. Entitled “Ritual,” the embossed Our tour continues at the far wall at the entrance to patterns on this piece were pressed thethe restrooms. into the base slab using canvas, and then additional layers were added with high-impact lamination before the surface was pushed from behind to create the raised textures you see. 28 Stone lives on the Oregon Coast, where he continues to produce work using a variety of media. Karmen Thompson, Oil and Daryl Nelson, Iron If you’re visiting the Colum- bia River Gorge for the first time, you’ll be interested to 30 know that we are home to one of the country’s finest Marilyn Bolles, Prints apple-growing regions, These two prints, entitled located about 20 minutes “Lewis and Clark Camp” away in the Hood River and “Columbia Gorge Valley. The oil on canvas you Mist,” are by hometown see to your left, entitled artist Marilyn Bolles. “Skamania Winter Apples” by While Bolles spent most Northwest artist Karmen Thompson, celebrates Hood of her career concentrat- River’s annual harvest. Also known for her illustration work ing on watercolor painting, of children’s books, Thompson was featured in the popular she began exploring children’s book “Meet the Symphony.” etching as a way to better capture her feelings about the Columbia River Gorge. While she began her art career as a medical illustrator at the University of Oregon, Bolles moved to Stevenson in 1989. Once she settled in the Columbia River Gorge, Bolles found she could spend her entire life here and continually be inspired by it’s ever-changing colors, textures and seasons. rrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrr

For your next stop, step justjust outside of the foyer. Continue throughthrough thethe lower level meeting rooms for our next piecepiece.. 32

Shep Levine, Lithograph 31 This lithograph, entitled “The Climbers,” is by Oregon painter Shepherd Levine, who taught art at Oregon State University. Margaretha Bootsma, Brass Triptych Levine, who was fascinated by how This large triptych is humans overcame extreme challenges, by Vancouver, British was inspired to create this piece after Columbia artist seeing a painting at a museum in Swit- Margaretha Bootsma, zerland. Using the metaphor of mountain and was commis- climbing to capture that spirit, he chose sioned for the Lodge’s to portray climbers of another era, when conference center a simple rope was the only bridge expansion in 2002. between safety and danger. Levine gave this lithograph to By combining numerous materials and objects found in a John Gray as a gift, and he in turn provided it to the Lodge given location (such as industrial metal, branches, leaves, for its permanent collection. roots, earth or sand), Bootsma seeks to connect the viewer with the environment of a specific place.

A photograph and the materials are then combined with paint, wax, pigments or earth composites to be reintro- 33 duced as a reconstruction of the site. Because all of the elements incorporated into her work are reclaimed from the earth, Bootsma uses them to represent the ongoing William Givler, Lithograph The final piece is another lithograph, evolutions that we experience, such as annual seasons or entitled “Mountain Falls,” by the late the constant cycle of human life. Her work can be found in William Givler, who lived and painted in numerous galleries and private collections throughout Portland, Oregon until the age of 92. Canada and the United States. Givler, known as one of Oregon’s finest

mid-century artists, was featured in shows Now,Now , for the final two pieces on our tour, continue down at the Whitney and Metropolitan museums thethe end of thethe hall and look left. in New York, as well as most major museums on the West Coast. He served as the dean of what is now Pacific North- west College of Art from 1944 until 1973. His work can be found extensively in collections and museums throughout the country.