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👜 Give fabric scraps a second life! 🧵

Join teaching artist Alix Twiggs Wright for an Upcycled Quilt Tote Workshop at Studio 32! Turn upcycled textiles into a one-of-a-kind tote bag and get creative with color, pattern, and repurposed materials. ♻️🎨

📅 November 14
📍 Studio 32 at The Monarch
✨ FREE + all ages welcome
🎨 No experience needed!

Choose your workshop time:
🕚 11 AM–1 PM
🕐 1–3 PM

🚨 RSVP required! Spots are limited, so sign up early to save your spot.

🔗 Register at the link in bio!

Artist Factory is made possible with the support of: @ogden_arts, @webercountyramp, @genesisinspirationfoundation, @millerfamilyfdn, @utahartsandmuseums, Drs Dave & Rosemary Lesser, and George and Mary Hall.

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Pablo Picasso once said, “Art washes away from the soul, the dust of everyday life.” If your soul needs a little dusting, visit the fabulous Mary Elizabeth Dee Shaw Gallery located in the Ethel Wattis Kimball Visual Arts Center on Weber State’s Ogden campus. It’s free and open to the public during fall and spring semesters.

Established in 2002, the Shaw Gallery now serves more than 15,000 visitors each year. It exhibits work by local, national, and international artists. The current exhibition, Of This Place: Great Basin Neighbors, features a group exhibition of work by Newe (Shoshone), Numu (Paiute), Nuche (Ute), and Diné (Navajo) artists. Through diverse artistic mediums, these artists celebrate and express concern for the landscapes of our shared region while reflecting on the cultural impact of boarding schools. The exhibition is on view through November 20, so plan your visit soon!

Shaw Gallery programming includes a dynamic schedule of art exhibitions, a visiting artist lecture series, and an arts outreach program geared towards K–12 school groups. The Shaw Gallery also curates and hosts exhibitions at the Dumke Art Plaza, located at 445 25th St. in downtown Ogden.

Make sure to save your photos and experiences viewing a Shaw Gallery art exhibit to complete Wildcat Tradition No. 42. Doing so will get you one step closer to being an official WSU Traditions Keeper and earning great rewards!

#WeberState #WeberStateAlumni #TraditionTuesday #TraditionsKeeper

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@al_groves (Northern Ute/Hopi) Butterfly quillwork medallion (2026) @wsushawgallery rawhide, hand dyed porcupine quills, glass seedbeads, horse hair
#contemporaryart #indigenousart #nativeart #americanart #wearableart #quillwork

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Chelsea Kaiah James (White River Ute/White Mountain Apache) @chelsea.kaiah @wsushawgallery Alluring (2026) and Nuchu (2022) #beadwork #contemporaryart #indigenousart #americanart #greatbasinnativeartists

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Fawn Douglas (Las Vegas Paiute Tribe), Nuwu Um-buh-gah, Learn Nuwu Deck #1, Southern Paiute Language Learning Flashcards (2024) and Kwee You Its! (2019)
Artist and activist Fawn Douglas created this deck of cards and game to contribute to Nuwu (Southern Paiute) language revitalization efforts. The flash cards focus on animals, birds, insects, and weather of the Mojave Desert, as well as people and cultural items such as elders, basket, gourd, and cradleboard. Kwee You Its translates to”whirlwind” in Southern Paiute.
Northern and Southern Paiute are part of the Uto-Aztecan language family. Like many Indigenous languages, they are critically endangered. Children forced to attend boarding schools were punished, sometimes severely, for speaking their native languages. One survivor recalled having pins put in her tongue.
Students at some Nevada high schools can take Paiute language classes for credit toward graduation, and in 2019 the University of Reno developed a Paiute language program.
@nuwuart @wsushawgallery #nuwu #paiute #indigenousdesign #nativedesign #greatbasinnativeartists #languagerevitalization

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@twotribesart / @two_tribes_pottery @wsushawgallery Rowan Harrison (Isleta Pueblo/Diné) Mythological Bird Form (2026), Untitled Vase Form (2025), Atomic Blue Deck (2026) and Warm Petal Deck (2025), and package design for @oribe in Of This Place: Great Basin Neighbors, on view until Nov 20th. Rowan visited @weberstate to give a demo and talk. #greatbasinnativeartists #contemporaryart #nativeart #indigenousart #ceramics #skateboardart #pueblodesign

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@karmasbrain (Paiute/Italian/Portuguese)
Tongobi hüdzama’ mía-wei (The clouds are moving slowly) (2025)
Pasükitü’ iona tsawu-nabuni-ti (The baskets from here are beautiful) (2024)
Kaw~aha (Remember) (2025)
Wutui-ti Taawano (Waiting for Spring) (2025)
Nüügwa io nana-wei (We will grow here) (2025)
acrylic on canvas

@wsushawgallery loan from and available @galleryhozho #painting #landscapes #contemporaryart #nativeart #greatbasinnativeartists

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Jacqueline Rickard (Walker River Paiute), Birds, coiled willow with glass seed beads (2026) @wsushawgallery #greatbasinnativeartists #contemporaryart #americanart #nativeart #basketry …and the artist drove 10 hours to see the exhibit! 🦉 🦅 🕊️

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Fannie King (Diné), coiled sumac tray @wsushawgallery #americanart #contemporaryart #nativeart loan from @nevadaart

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@greggdeal @wsushawgallery : The Place Where the Spirits Get Eaten (2026)
This towering installation visualizes the violence of assimilation. The residential “school” system was operated in a partnership between the federal government and select religious groups in the U.S. and Canada from 1879 to the early 2000s. Children were forcibly taken from their families to be “civilized” into settler-colonial lifestyles. Military institutions were the model. All cultural markers were erased: the children’s hair was cut, they wore uniforms, were subject to regimented schedules with marching and Christian worship services, were prohibited from speaking their native language, and often had no contact with their families for months or years. Abuse was rampant and many children died. Cultural genocide was the goal. As Barbara Welke explains, “the tools of civilization were themselves the instruments of acute suffering.” Mass graves are still being discovered today.

Teepugoobakwaetu Modu (Animals that Roam the Earth) (2023)
This cloak and accoutrements were created for a performance. The artist grappled with the question, What would Indigenous tradition, dress, and identity look like if Native people had been treated with dignity, respect, and trade rather than hostility and derision?
#installation #performance #contemporaryart #indigenousart #americanart

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Topaz Jones McCoy @jonestopaz Once Upon a Time (2014) and Flowers for the Bees (2022), acrylic on canvas @wsushawgallery #contemporaryart #painting #indigenousart #nativeart #americanart

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Linda Eben Jones (RISC Northern Paiute), Hummingbird with Flowers (2025) and Quail with Yellow Flowers (2026), deer hide, cloth, glass seed beads @wsushawgallery #greatbasinnativeartists #beadwork #americanart

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