May 5, 2014
Sierra Arts Foundation
17 S. Virginia St. #120
Reno, NV 89501
Dear Grants Selection Committee:
I have been fortunate to have a long career in the arts in which I have accumulated a variety
of experiences. My first remembrance of becoming an artist and curator was at the
University of Nevada, Reno as an undergraduate student 1985--‐ 1994. During this time, I
made sure that I took advantage of every opportunity to show my own work in the art
department galleries at UNR as well as alternative community spaces open to students. I still
remember one of my professors saying, “You could be the best art student in the
program….if…you didn’t talk in class so much!” I still think that is funny because I really
was terrified of social talking. I loved teaching, which I felt wasn’t really “talking”. I was
helping my classmates with the assignments. That statement stuck with me because I realized
that I needed to not only be a teacher but also be good at socializing. Artists tend to be
introverts. The successful ones learn to come out of their shells in order to market their work.
I found that I wasn’t good at marketing my own work, but I was good at organizing artists
and collaborating on group projects. That struggle has pushed me towards what I successfully
do now – Teach, Curate, Organize.
Later in my undergraduate career, my professors encouraged me to organize a group show
that would be exhibited in the Sheppard Gallery. I wrote up a proposal and invited artists to
exhibit. The exhibit “One Fish, Two Fish, Red Fish, Dead Fish” featured students, faculty
members and community artists. The participants created art that was specific to the theme
and they also came together to collaborate on an installation (a dry creek with overhead
“water” plexiglass panels) that stretched across the middle of the gallery. At the time, Nevada
was experiencing a 7--‐ year drought and we felt as artists that we should address this
environmental issue. This project was the first exhibit that I organized and wrote a grant for.
Sierra Arts awarded me $1,200 for materials to create the installation and for publicity.
I continued to collaborate with other artists through my undergraduate years and when I
started teaching at Galena High School in 1995, I organized group exhibitions for my
students. It was always my dream to earn a Masters of Fine Arts and I had the opportunity to
move to Boise, Idaho where they offered a MFA program and also specialized in non--‐ toxic
printmaking techniques. It was in Boise where I met Melanie Yazzie, a printmaking mentor
who taught me the “business of art” and what it took to become successful in the arts. She
taught me how to organize my first print exchange where artists are invited to create an
edition of prints relating to a particular theme. The organizer collects all the prints and
redistributes the finished portfolio to all the participants. “Blur Purlieu” was my first print
project that represented different viewpoints of community. That print exchange led to many
more opportunities in the national and international printmaking world. With this, I found a
family of artists and colleagues dedicated to sharing their knowledge, their time and their
talent to those that were willing to learn and share as well. Within this printmaking world, I
have been able to participate in many projects, including all the print exchanges listed on my
resume, the creation of Printmakers’ Conspiracy, Oxbow/Oxboo Press and the creation of
Rocky Mountain Print Alliance.
The path that I took as an artist (with regards to Male Nude subject matter) has been met with
some criticism and censorship, but at the same time, I have found that by foraging ahead, I
am creating a path for younger artists to follow. It’s been 10 years since I started down that
path and in the past few years, I have had several students at UNR ask to read my thesis. It
makes me proud that I have been able to make a contribution to the reversal of the “gaze”
and that the younger generation is becoming less afraid to use the male nude as subject
matter.
It is hard to separate the educator and the artist and both roles are driving forces behind what
I do. A lot of my art is a direct result of something I have taught. For example, I developed a
new technique in printmaking--‐ viscosity printing on Borco board. I started teaching
workshops using this technique. Through those workshops, I was able to create a body of
work titled ORNA which is now touring in the Nevada Arts Council exhibit titled Panorama:
Selections from the NAC Artist Fellowship Program. I am also an avid learner and make sure
that I am constantly experimenting with new materials, new techniques and new concepts.
Many will find me taking different classes at the museum, Saint Mary’s Art Center and at
TMCC. I am also constantly learning from my students. They come in with an abundance of
knowledge with regards to technology and I’m not ashamed to say that two students in
Portfolio Emphasis have taught me a lot about film, videography and sound.
While working as Interim Gallery Curator at Truckee Meadows Community College I have
had immense opportunities and a lot of freedom to re--‐ invent the galleries’ programming.
I’ve always had a vision that we need to support our community artists first. I implemented
the development of new galleries that would focus on student shows and community artists.
The first is the Meadowood Center gallery (located at the satellite site on Neil Road in Reno).
Student work as well as community group shows are exhibited in this space. The second
gallery is the Red Mountain Student Gallery. This gallery is used for art students ready to
have a solo show. Part of the programming changes that I made at TMCC was to change the
mission from showing a lot of national artists to one that focused on community and regional
artists.
Thank-you for you time and consideration looking at my grant application.
Sincerely,
Candace Nicol