My home is the Tonawanda Seneca Nation. I interact as a multidisciplinary artist ranging from the traditional arts to contemporary artistic expression. My artistic educational background includes industrial and graphic design, and multidisciplinary fine arts. The wealth of my employment experience encompasses cultural artistic consulting, and presentation. I have curated and cocurated two contemporary Haudenosaunee (Six Nations …Iroquois Confederacy) art exhibits. I have authored articles published by the Smithsonian Institution. I have presented cultural program presentations for the Smithsonian Institution. I have served on numerous grant review panels. I participated by invitation in two International Indigenous Visual Artists’ Gatherings in Hawaii 2007, and Rotorua, New Zealand 2010. I serve on local, and regional arts boards.
I interact as a multidisciplinary artist with my foundation in the traditional arts and my applied artistic statement conveyed through contemporary artistic expression. I have engaged a broad range of the two-dimensional arts from printmaking to painting, and in the three dimensional arts worked in carving, silver jewelry, pottery and three-dimensional lost and found art creations.
I attended the Institute of American Indian Arts, Santa Fe, New Mexico. I received an AFA in Two Dimensional Arts, and AFA in Three Dimensional Arts, and engaged Museum studies, 1985.
I attended a session in ceramics at the Haystack Mountain School of Crafts, Deer Isle Main, 1985.
I attended the Rochester Institute of Technology for a BFA in Industrial Design, 1987. I have co-curated contemporary Haudenosaunee art exhibits, reviewed arts grants, and authored cultural articles on traditional dance and indigenous internet implications.
I have co-curated contemporary Haudenosaunee art exhibits. I co-curated “Iroquois Art in the Age of Casino’s”, Iroquois Indian Museum, 1995. I served on the curatorial committee representing Seneca artists for the “Where We Stand” Contemporary Haudenosaunee art, Fenimore House Museum, 1997.
I authored “Native American Dance, Ceremonies and Social Dance Traditions” published by the National Museum of the American Indian, Smithsonian Institution, 1994. A similar article titled “Dancing the Cycles of Life” is published in the 1993 Festival of American Folklife program catalog. The article was part of the social dance in the America’s program for the Festival of American Folklife. for the Center for Folklife programs and Cultural Studies, Smithsonian Institution, 1993.
I organized and presented a number of Haudenosaunee social dance programs for the Folklife Festival, and the National Museum of the American Indian, Smithsonian Institution
Linley B. L o g a n – Seneca, Deer clan As an artists I attended the International Gathering of Indigenous Visual Arts in Hawaii, 2007. I accepted the invitation to participate in “Creation, Migration, and Change” an indigenous arts forum, co-organized by the Seventh Generation Fund and
sponsored by the Ford Foundation. I accepted the invitation to participate in the Te Tihi International Gathering of Indigenous Visual Arts hosted by the Maori people in Roturura (New Zealand) in 2010.
In the mid 90’s I authored the grants, developed and directed a Cultural Retention Program in the Tonawanda Seneca Nation. The Cultural Retention Program focused on researching documentation of our social and ceremonial song & dance traditions. As founder and director of the Cultural Retention Program, I published the Cultural Retention Program Newsletter (vol. 1, issue 1) for the Tonawanda Seneca Nation. My employment experience includes the Center for Folklife and Cultural Heritage Office and the National Museum of the American Indian, Smithsonian Institution. I have served on numerous grant review panels from the NEA Folk and Traditional Arts grant review panel, All Roads Seed Film program for the National Geographic Society,
“ARTOGRAPHY” the Ford Foundation/Leveraging Investments in Creativity, Michigan Council for the Arts, and the Longhouse Education and Cultural Center @ the Evergreen State College. I have reviewed Community Spirit Award nominations for the First Peoples Fund for seven years, as well as their Cultural Capitol grants. I have served on National Initiative to Preserve American Dance forums.
I have authored articles on Haudenosaunee social dances, “Dancing the Cycles of Life” Native American Dance, Ceremonies and Social Dance Traditions, published by the National Museum of the American Indian, Smithsonian Institution.
I have authored articles, co-curated contemporary Native Art exhibits, founded and directed a Cultural Retention Program in Tonawanda.
I live in Bremerton, Washington and serve on local, county, and regional arts boards. I currently serve as the Chairman of the Kitsap County Arts Board.
I served in many capacities for the Tonawanda Seneca’s Traditional Chiefs Council from education to health issues. I also served the Six Nations Confederacy’s Traditional governement concerns such as repatriation and environmental issues. There are many aspects of Cultural identity that shape my art that I engage. I servedon the Haudenosaune Repatriation Committee for the Tonawanda Band of Senecas.This experience defines relevance of repatriation issues reflective of our sacred ceremonial, and medicine society values. I fulfill a role within our religious way of life which obligates my participation to ensuring our ceremonial way of life.
I aso served on the Haudeosaune Environmental Task Force representing the Tonawanda Seneca Chief’s Council. The HETF developed a Environmental Strategic Plan which addressed our Environmental concerns for presentation to the United Nations Environemental Protection Agency. Our environmental values assert our Linley B. L o g a n – Seneca, Deer clan relationship and stewartship of balance within the natural world. My ability to articulatea cultural perspective of values has lead to my being invited as an Elder for the Traditional Ecological Knowledge Sumit, hosted by the National Oceanic and Atmospheric Association, in Hawaii. The repatriation and Environmental experiences enhance articulation of a cultural identity which benefits artistic perspective and articulation for me as a Seneca. I currently live in Bremerton, Washington and serve on local, county, and regional arts Boards Linley B. L o g a n – Seneca, Deer clan