Call to Artists

Historical Buildings of Kenai

Entry Deadline: 6/1/2019 5pm Saturday

As an artist, reflect on the rich and varied history of Kenai using buildings or settings within the Kenai city limits. Bring in work that showcases all facets of culture, industry, environment of our city. Use history’s bones, the historic buildings, to communicate where we’ve been and what we’ve learned. Communicate this spirit in 2 or 3D. Use any media such as pastels, water color, oils, fiber art, sculpture, metal, canvas, wood, found object or stone.


Entry Fee : $25 KFAC members and $35 for non members

  • Competition is open to all artists high school age and older.
  •  Each artist may submit original 2D or 3D artworks with maximum size of 36”x 36”(artwork must be framed and/or ready to hang (wired or d-rings) or otherwisedisplay) in any medium.
  •  Entry forms can be found on our website ​​ or at KFAC.
  • The event is a non-juried show, h​owever, the KFAC Exhibition Committeereserves the right to refuse artwork deemed not suitable for the exhibit.
  • A non-refundable fee entitles the artist to submit up to 2 pieces of artwork forconsideration.
  • Opening reception Thursday June 7th
  •  You may submit work as NFS (not for sale) but you will need to submit a price forinsurance purposes.
  •  For all sales, Artist-Gallery split is 70%-30% for KFAC members and 60%-40%for non members. Membership forms are available on our website or in ourgallery.
  •  All selected pieces must hang until the end of the show and picked up after6/29/2019 Wednesday-Saturday noon-5pm.
  •  Submission of your form to the Kenai Fine Art Center is considered acceptanceof the terms and conditions of the exhibition.
  •  See attached map for city limits

Call to Artists Histoical Buildings of Kenai Map

Art Entry Form


The works of UAA Art Professors, Alanna DeRocchi and Jonathan Green can be seen at the Kenai Fine Art Center Gallery starting May 2nd through, June Their show features Jonathan’s multi-disciplined approach to drawings and amazing outsized, hand built ceramic creatures by Alanna.

Jonathon Green

Jonathan S. Green’s research and practice is concerned with climate crisis in the era of the Anthropocene. The Anthropocene is our new geological epoch – defined by the impact and domination of humanity on the earth. While the timeline marking the precise beginnings of the Anthropocene is still under debate, it nevertheless signals humankind’s rapid and devastating ecological and cultural impact on the earth in less than a century. This is a startling juxtaposition to prior geological epochs – which demonstrate comparable amounts of changes over several millionsof years. 

A collaboration between mineral and stone informs the body of work exhibited here. For instance, Green uses printmaking to render materials in a way that attempts to enable its inhuman agency. In the act of etching copper [a mineral of the earth], and the drawing-based lithographic process [which employs a natural limestone matrix], the artist participates in what Jeffery Jerome Cohen has termed “an ecology of human-lithic enmeshment” (StoneAn Ecology of the Inhuman, 2015). Meaning, a relationship in which rock and human a/effect each other. This implies a boundary between animate life and inanimate life that is more permeable than we currently imagine. 

By working with stone, and of stone, Green is collaborating with a cold but (perhaps) sympathetic companion. One that has seen catastrophe before. More than simply inert resources to extract, copper and stone may help guide us through changing notions of time and place. Helping us conceive of blueprints beyond our limited frames of reference in the face of calamity. 

The imagery in these prints appears ambiguous in scale, time, and purpose. Stones, wooden supports, rocks, and scaffolding. The construction elements provide a glimpse of human interaction in the natural world. But they are left fragile, temporal. These can be understood as the architecture of ‘shoring’ – supporting – but to what purpose? Are these abutments meant to support and preserve? Are they fool-hardy attempts to contain and conquer the enduring, distant mountainscapes (Matthew R. Hills, Alberta Printmakers Gallery, 2019).

Alanna DeRocchi 

My curiosity surrounding strange, elusive animals comes from a sense of wonder, empathy, and sincere longing for an encounter with these creatures in the natural world.  Museum wildlife displays and taxidermy dioramas act as artificial experiences that create narratives through the viewer’s observation and speculation.  This re-creation of once sentient beings into inanimate objects produces an unsettling encounter of stillness and disconnect. Through their transformation, the animal remains physical and their story oddly lives on, saving them from the tragedy of being forgotten.  While such practice carries morbid implications, it also has the ability to fascinate and inspire awe.  I find interpreting animals as objects can evoke expansive and expressive stories with the openness to make connections to our own behaviors and beliefs.  As an act of preservation, each animal I create as an object can represent a memory, a significant experience or relationship that is no longer tangible in everyday life.  


Join physician and amateur photographer Dr. Kristin Mitchell as she shares stunning photographs of her journey to Antartica.

March 21 6pm Kenai Fine Art Center

In 2017, local physician Kristin Mitchell, MD participated in a panel about women in science at the Kenai Fine Arts Center, and learned about a transformative leadership program for women in STEMM fields. She applied and was selected to participate in the Homeward Bound program, a leadership program building a global network of 1000 women in STEMM to lead and influence decision making as it shapes our planet.

Homeward Bound situates the culmination of the year-long leadership development program in the remote Antarctic peninsula because Antarctica, like the Arctic, is experiencing climate change at a more rapid pace than temperate parts of the planet. The isolation and challenging environment helps focus attention on the tasks of understanding the challenges of climate change and women in leadership.

Dr. Mitchell hopes to inspire her community with images and stories about the Antarctic environment. She is optimistic that we can all work together to live more lightly on this planet.

Lifelong Alaskans

Thursday, Feb. 21, 6 p.m.

Steve & Anne will talk about living on Lake Clark, their writing, their building project, & their latest artistic endeavor: a documentary film.

Steve Kahn is the author of The Hard Way Home: Alaska Stories of Adventure, Friendship, and the Hunt. He has written numerous pieces for Alaska Magazine and Alaska Dispatch News. Born and raised in Anchorage, he now divides his time between Homer and Lake Clark.

Anne Coray was born at Lake Clark and grew up in Kenai. She is the author of three full-length poetry collections. She has also written and published short stories and is at work on two novels.

Both Steve and Anne have received awards from the Rasmuson Foundation for their writing.