ABOUT DENITA BENYSHEK
(PDF Short Artist Bio, PDF Short Artist Statement, and PDF CV below).
I was born in north central Kansas, in a small, rural community of Czech immigrants. In festivals, embroidery, quilts, and certain ways of being, there were elements of Slavic animism and folk belief. My childhood was rich with close relationships to nature through my grandparents' farm, gardening, and camping. My parents moved to Wichita, Kansas, where my father, Eldon Benyshek, worked as a graphic artist for Boeing. My mother was also artistically talented, a fine seamstress, taking me to dance lessons. Both parents talked about design choices. In elementary school, the Board of Education gave me a full scholarship to study at the Wichita Art Association.
After earning a BFA in painting at Wichita State University, I worked part time to allow time to make art, primarily painting and also multi-media performance integrating visual arts, dance, and writing, sometimes in collaboration with other artists. The gift of time expanded during a Ucross Foundation artist in resident grant, allowing me to concentrate on painting day after day.
I moved to the Pacific Northwest, attended lectures at the Jung Society in Seattle, worked as a runway and print model for clients such as I. Magnin's and Nordstroms, painted and sculpted scenery for Seattle Repertory Theater, Intiman Theater, Pacific NW Ballet, and a few movies, and taught as an artist in the schools, teaching visual and performing arts, primarily in remote, Alaskan bush villages.
In the isolation of the arctic winter, without the distractions of modern life, I traveled far into the frontier of my soul – and enjoyed hiking on the frozen Beaufort Sea. As a form of dreaming-awake, paintings from this time tended to be symbolic and archetypal. The peripatetic lifestyle (and travel in bush planes, skiffs, and snow mobiles) required an art medium that was light weight and quick to dry. I used watercolor and gouache on cotton rag paper.
(PDF Short Artist Bio, PDF Short Artist Statement, and PDF CV below).
I was born in north central Kansas, in a small, rural community of Czech immigrants. In festivals, embroidery, quilts, and certain ways of being, there were elements of Slavic animism and folk belief. My childhood was rich with close relationships to nature through my grandparents' farm, gardening, and camping. My parents moved to Wichita, Kansas, where my father, Eldon Benyshek, worked as a graphic artist for Boeing. My mother was also artistically talented, a fine seamstress, taking me to dance lessons. Both parents talked about design choices. In elementary school, the Board of Education gave me a full scholarship to study at the Wichita Art Association.
After earning a BFA in painting at Wichita State University, I worked part time to allow time to make art, primarily painting and also multi-media performance integrating visual arts, dance, and writing, sometimes in collaboration with other artists. The gift of time expanded during a Ucross Foundation artist in resident grant, allowing me to concentrate on painting day after day.
I moved to the Pacific Northwest, attended lectures at the Jung Society in Seattle, worked as a runway and print model for clients such as I. Magnin's and Nordstroms, painted and sculpted scenery for Seattle Repertory Theater, Intiman Theater, Pacific NW Ballet, and a few movies, and taught as an artist in the schools, teaching visual and performing arts, primarily in remote, Alaskan bush villages.
In the isolation of the arctic winter, without the distractions of modern life, I traveled far into the frontier of my soul – and enjoyed hiking on the frozen Beaufort Sea. As a form of dreaming-awake, paintings from this time tended to be symbolic and archetypal. The peripatetic lifestyle (and travel in bush planes, skiffs, and snow mobiles) required an art medium that was light weight and quick to dry. I used watercolor and gouache on cotton rag paper.
Denita Benyshek inside a cave of a captive iceberg, Beaufort Sea north of Barrow, Alaska.
Before my MFA studies, I traveled twice through Russia and taught as a visiting artist at a folk arts college in Pskov. What I learned there echoed what I knew from my childhood and extensive reading of Slavic literature. Many Slavic artists synthesize animist folk beliefs into their fine art creations. The Slavic perception of reality is richly layered. Magic, fantasy, visions, and dreams are interwoven with sensate reality. Nonlinear time, reverie provoking discontinuous space, intuitive combinations, and a belief in the transcendent power of beauty is typical of much Slavic art and my own creations.
Two weeks before starting the MFA program at the University of Washington, I injured my drawing arm in a horseback riding accident. I could not even hold a brush or pencil. I underwent a year of intensive physical therapy and slowly learned to draw again. I drew in the dark at the Seattle Opera and at other art events. This work continues into the present (see the Artists Art Audiences tab). I also began a series of large scale works using reverse-painted glass. Thanks to a full scholarship from the Pilchuck Glass School, I studied with a Czech master and learned how to engrave glass.
Two weeks before starting the MFA program at the University of Washington, I injured my drawing arm in a horseback riding accident. I could not even hold a brush or pencil. I underwent a year of intensive physical therapy and slowly learned to draw again. I drew in the dark at the Seattle Opera and at other art events. This work continues into the present (see the Artists Art Audiences tab). I also began a series of large scale works using reverse-painted glass. Thanks to a full scholarship from the Pilchuck Glass School, I studied with a Czech master and learned how to engrave glass.
Denita Benyshek, A Tree in Winter Remembers Spring, engraved and sandblasted glass.
Ethnic Heritage Collection of King County Arts Commission,
Harborview Medical Center, Seattle, WA
Ethnic Heritage Collection of King County Arts Commission,
Harborview Medical Center, Seattle, WA
For 25 years, I lived with my son, Hans, in the Cascade Mountains. During this time, I chose to discontinue exhibiting my artwork. Yet, I continued painting, writing, publishing, performing/presenting at conferences. I worked extensively in sketchbooks. Paintings were primarily of my garden and landscapes inspired by the Pacific Northwest and the Southwest. I created a lush garden around our home, painted doors, floors, and furniture.
Denita Benyshek (2018). Front doors of mountain home.
There was an active jazz scene in the nearby town. After years of deliberate auto didactic study of singing, while washing dishes or painting, there was an opportunity to formally study jazz vocals.
To financially support my child, I returned to school and earned an MA in psychology, a graduate certificate in the psychology of creativity, and a PhD in humanistic and transpersonal psychology from Saybrook University in San Francisco. My dissertation considered the similarities between contemporary artists and shamans. In 2018, I was initiated by three shamans from South Korea. During this time, my dear son was severely ill, missed four years of school, and became disabled. I am his devoted caregiver.
To financially support my child, I returned to school and earned an MA in psychology, a graduate certificate in the psychology of creativity, and a PhD in humanistic and transpersonal psychology from Saybrook University in San Francisco. My dissertation considered the similarities between contemporary artists and shamans. In 2018, I was initiated by three shamans from South Korea. During this time, my dear son was severely ill, missed four years of school, and became disabled. I am his devoted caregiver.
I continue integrating auto ethnography, poetry, creative nonfiction, and visual images in published research on artists-as-shamans and art audiences as shamanic communities, as well as topics such as the Exxon Valdez oil spill, the COVID pandemic, and Black Lives Matter (BLM). I also create multi-media art performances/research presentations for professional conferences.
In 2021, my son asked to move away from our beautiful, but isolated, elfin mountains. He wanted to live in a city. I had long desired to return to the prairie and Wichita because of the active, welcoming, supportive arts community and the kind, friendly people. In 2022, we moved into the Crown Heights neighborhood, I received a Botanica Gardens artist-in-residence grant from Fisch House OpenStudios project ,and I began planting another garden around our new home. In 2024, I started the Sacred Geometry series and received an enabling grant from the Koch Cultural Trust.
For me, making art is an act of service. whether I am creating visual art, creative nonfiction or poetry, theater, dance, music, or multi-media performance. During daily meditation and shamanic prayer, I invite the spirits of nature to enter me and speak through me. I create compelling doorways through which onlookers enter visionary realms. In this liminal state, my audience experiences awe-inspiring moments of beauty while undergoing expansive and integrative, meaning-making creative processes of their own. They are simultaneously connecting intimately to self, the eternal cycle of life, and the cosmic soul of nature through which we are all together traveling.
For me, making art is an act of service. whether I am creating visual art, creative nonfiction or poetry, theater, dance, music, or multi-media performance. During daily meditation and shamanic prayer, I invite the spirits of nature to enter me and speak through me. I create compelling doorways through which onlookers enter visionary realms. In this liminal state, my audience experiences awe-inspiring moments of beauty while undergoing expansive and integrative, meaning-making creative processes of their own. They are simultaneously connecting intimately to self, the eternal cycle of life, and the cosmic soul of nature through which we are all together traveling.
Recent/Upcoming Career Events
2027
Solo Exhibit at ________ Museum of Art (not yet announced to the public)
2025
Solo Exhibit, Andover Library, KS.
Positive Disintegration, mixed-media group exhibit, co-curator, Wichita, KS
2024
Koch Cultural Trust Enabling Grant.
Contemporary Artists as Shamans, Creativity & Madness Conference, Psychological Studies of Art and Artists, AIMED American Institute of Medical Education, Santa Fe, NM.
Group exhibit, Symphony in the Flint Hills.
Voices of the Midwest, group exhibit, Kavanagh Gallery, St. Charles, IL.
Benyshek, D. (2024). The art audience as shamanic community. In Y. Owens (Ed.), Trans-Disciplinary Migrations: Science, the Sacred, and the Arts. London, UK: Cambridge Scholars.
2022
OpenStudios artist in residence at Botanica Gardens, Wichita, KS.
2018
Naerim Gut, initiation as shaman, by South Korean mansin (master of 1,000 spirits) Kim Junghee.
Formal Education
2013
PhD in humanistic and transpersonal psychology, Saybrook University.
2010
Graduate certificate in the psychology of creativity, Saybrook University.
2004
MA psychology, Saybrook University.
1995
MFA painting, University of Washington.
1994
Pilchuck Glass School.
1979
BFA painting, Wichita State University.
Training in dance (ballet, modern, jazz, ethnic) and vocals (jazz, blues).
Public art collections
University of Washington Medical Center, Seattle, WA.
Harborview Medical Center, Seattle, WA.
Arts in Public Places, Olympia, WA.
King County Ethnic Heritage Collection, WA.
Snoqualmie Point Park, WA.
The Glass Museum, Ebeltoft, Denmark.
Selected Solo exhibits
2000
Hope Collection, Canyon Road, Santa Fe, NM.
NW Women in Glass, Meloy Gallery, Bellingham, WA.
1999
The Return of White Horse, Gallery Oscar, Sun Valley, ID.
1997
In the Red Year, Anderson Glover Gallery, Kirkland, WA.
1996
The Still Lake of Revery, Childhood's End Gallery, Olympia, WA.
1995
Artist's Collection, Pilchuck Glass School Open Studio Tour, Seattle, WA.
Windows to the Past, Continuous Spectrum Gallery, Tacoma, WA.
1991
Glimpses of Soul, Olympia Art Walk, Olympia, WA.
My Soul The World, Bell Gallery, Seattle, WA.
Benyshek Solo, Littman Gallery, Portland State University, Portland, OR.
1990
Visionary Paintings, University of Alaska - Anchorage, National Competition.
1989
New City Theater, Seattle, WA.
1988
New Work, Bruskin Gallery, Pt. Townsend, WA.
Solo Benyshek, Broadway Performance Hall, Seattle, WA.
1987
I Tell Stories, Bruskin Gallery, Pt. Townsend, WA.
Of Two, University Unitarian Gallery, Seattle, WA.
Letters, St. Mary's College, Notre Dame, IN.
1985
From My Garden, Century II Gallery, Wichita, KS.
1984
Paintings from Wyoming, Big Red Gallery, The Ucross Foundation, WY.
1983
Components of Multi-Media Performance, Duerkson Fine Arts Center, Wichita, KS.
1981
Inscapes, Century II Gallery, Wichita, KS.
1977
Recent Work, McFarland Gallery, Wichita State University, Wichita, KS.
Selected Group Exhibits
2024
Symphony in the Flint Hills, KS.
2001
Alumni Exhibit, Ulrich Museum of Art, Wichita State University, KS.
2000
Wendy Morehead Fine Arts, New Orleans, LA.
Vitrum Gallerie, Ashland, NC.
Masters of Drawing, Invitational, Shoreline Community College Gallery, Seattle, WA.
1999
Northwest Women in Glass, American Art Gallery, Tacoma, WA, in conjunction with International Glass Museum.
Work on Paper, West Coast Paper Company, Seattle Center, WA.
1998
The View from Here: 100 Artists Mark the Centennial of Mt. Rainier National Park, Invitational, Peggy Weiss, Curator.
Exhibit tour:
Yakima Valley Museum of Art, Yakima, WA,
Museum of NW Art, La Conner, WA,
Whatcom Museum of History and Art, Bellingham, WA,
Seattle-Tacoma Airport,
Citizens Cultural Center, Fujinomiya, Japan (Mt. Rainier/Mt. Fuji Sister Mountains),
Seafirst Bank Art Gallery, Seattle.
Best of 1998, Bainbridge Arts Center, Bainbridge Island, WA, invitational.
Northwest Expression of Landscape, Coos Bay Museum, Coos Bay, OR, juried.
University of Washington Medical Center Collection Highlights, Washington Convention Center and Trade Center, Sharon Ducey, curator.
1997
The Glass Gallery, Bethesda, MD.
The Healing Arts, Washington Center, Olympia, WA, juried.
Glass Invitational, Pratt Fine Arts Center, Seattle, WA.
Human Figure, Center on Contemporary Art, Seattle, WA.
1996
Pacific NW Annual, Bellevue Art Museum, WA.
16th International Northwest Art Competition, Whatcom Museum of History and Art, Bellingham, WA.
1995
Glass Invitational, Owens Gallery, Arts Commission of Toledo, OH.
Paint and Glass: The Expressive Connection, Philabaum Gallery, Tucson, AZ, Robert Carlson, curator and president of the Glass Art Society. Participating artists included Erwin Fisch, Tom Farbanish, Italo Scanga, Ulrica Hydman-Wallien, Walter Lieberman, Therman Statom.
Seattle Community College Art Faculty Exhibit, North Seattle Community College, Seattle, WA.
Pratt Fine Arts Center Faculty Exhibit, Center on Contemporary Art, Seattle, WA.
University of Washington MFA Thesis Exhibit, Center on Contemporary Art, Seattle, WA.
1994
Interpretation of Human Form, Childhood's End Gallery, Olympia, WA.
Works on Paper, Jacob Lawrence Gallery, University of Washington, Seattle, juror Diane Douglas, Director, Bellevue Art Museum.
1993
The Elements, Washington Center, Olympia, WA, juried.
1992
Spirituality in Art, Washington Center, Olympia, WA.
Summer Faculty Exhibit, University of Alaska, Fairbanks.
1990
Women Artists, Matrix Gallery Satellite Exhibit, Sacramento, Ca, juried.
Summer Faculty Exhibit, University of Alaska, Fairbanks.
1989
9th Annual Competition, Phinney Center Gallery, Seattle, WA.
6th Alcoa/Gallery '76 Juried Exhibit, Wenatchee, WA.
Redefining Visionary Art, Dome Gallery, New York, NY, juror Suzi Gablik.
Summer Faculty Exhibit, University of Alaska, Fairbanks.
1988
In Her Image, Seattle Women's Caucus for Art, Seattle, WA, juried.
Dreams, Fantasy, Visions, Greeley, CO, juried, 1st place award.
Summer Faculty Exhibit, University of Alaska, Fairbanks.
1987
4th Alcoa/Gallery '76 Juried Exhibit, Wenatchee, WA.
3rd Annual Salute to the Arts, Seattle, WA, jurors LaMar Harrington, director, Bellevue Arts Museum, and Glenn Weiss, director, 911 Media Arts Center, Seattle.
Past Presence: A Circle of Women's Visions, Corvallis Art Center, OR.
Summer Faculty Exhibit, University of Alaska, Fairbanks.
1986
Brand XVI, Brand Library Art Galleries, Glendale, CA, juried.
BirthArt Project, Saratoga, CA, juror Janet Isaacs Ashford.
Summer Faculty Exhibit, University of Alaska, Fairbanks.
1985
Community Art Action, 9th International Conference on the Future of Religion, Dubrovnik, Yugoslavia, invitational, Diane Lincoln, curator.
Women in the Arts, Phoenix Art Institute, Wichita, KS.
1984
Intimate Images, Westin Crown Center, Kansas City, MO, juror Lynn Warren, Assistant Curator, Museum of Contemporary Art, Chicago, IL.
Kansas Four, Mulvane Art Center, Washburn University, Topeka, KS, juror William Struve, Frumkin & Struve Gallery, Chicago, IL.
Women's Caucus for Art '84 National Juried Exhibition, Wilson Gallery, Lehigh University, Bethlehem, PA, jurors Audrey Flack, Joyce Kozloff, Jean Marter.
1983
Womanart 6, Century II Gallery, Wichita, KS, juried.
Aqueous '83, Museum of Fine Arts, Owensboro, KY, juried.
7th National Watercolor Exhibit, Art Association, Springfield, IL, juried.
1982
Exhibition: 1982 Kansas City Calendar, City of the Arts, Crown Center, Kansas City, MO.
1981
3rd Annual Jurored Show for Kansas Artists, Salina Art Center, KS.
Art, Inc. Juried Exhibitions, Great Bend, KS, two cash awards.
1980
Womanart 3, Century II Gallery, Wichita, KS, juried.
1979
Aqueous '79, Museum of Fine Arts, Owensboro, KY, juried.
Womanart 2, Century II Gallery, Wichita, KS, juried, first place award.
1978
8th Greater New Orleans International Art Exhibit, New Orleans, LA, juried.
Selected Awards
2024
Koch Cultural Trust Enabling Grant.
2022
Artist in Residence at Botanica Gardens, Wichita, KS, through Fisch Bowl, Inc.
2019
Mary Lou Panter Scholarship, Creativity & Madness Conference, Santa Fe, NM.
2012
Nominated for Dissertation with Distinction Award, Saybrook University.
2011-12
Doctoral candidate research grant, Saybrook University.
2010-11
Alumni Scholarship, Saybrook University
2008
Society for Shamanic Practitioners, Santa Fe Conference Scholarship, Olivenhain, CA.
2007
Rudy Melone Presidential Scholarship, Saybrook.
2006
The Alfred G. and Elma M. Milotte Art Scholarship, Atlanta, GA .
2006-09
Seclef-Hoetzel Scholars Merit Award, Council of Higher Education Scholarship Program for Students of Czech, Slovak, or Rusyn Descent, Chicago, IL.
2006
Finalist, Eileen J. Garrett Research Library Fellowship, Parapsychology Foundation, New York.
2006-09
Tuition Grant, Saybrook.
2006-07
USA Funds Access to Education Scholarship, Indianapolis, IN.
2005
Tuition Grant, Saybrook Graduate School.
1995
Liquitex Paint Product Grant, Binney & Smith, Inc., Easton, PA.
Liquitex Paint Product Grant, Binney & Smith, Inc., Easton, PA.
1994
Full Scholarship, Pilchuck Glass School, Stanwood, WA.
Special Project Grant, School of Art, University of Washington.
1994-95
W.W. Stout Fellowship, The Graduate School, University of Washington.
1993
Support Grant, Gary Smith, Ross, CA.
1988
Emerging Artist Grant, 200+1 Corporation, Seattle, WA.
1984
Artist-in-Residence, The Ucross Foundation, Ucross, WY.
1975-79
Miller Art Scholarship, Wichita State University.
1973-78
Kansas State Board of Regents Scholarships, Wichita State University.
1973-77
Art Scholarships, City of Wichita, KS.
1965
Scholarship, Wichita Art Association (now MARK Arts).
Multi-Media Performance Art and Conference Presentations
Benyshek, D. (2024). Contemporary Artists as Shamans. Creativity and Madness Conference, Psychological Studies of Art and Artists, AIMED American Institute of Medical Education, Santa Fe, NM. https://www.creativityandmadness.com
Benyshek, D. (2018). My Initiation into Shamanism. Indigenous Wisdom & Shamanism: Within, Between, and Beyond Worlds. The 34th International Conference on Shamanism, Healing, and Transformation. Sonoma State University, Rohnert Park, CA. http://www.indigenouswisdom.info/.
Benyshek, D. (2017). Disintegration and Reintegration Healing Processes: Seeing and Working with Spirits. Protecting Earth, Water, Air, and Light, Honoring the Wisdom of our Ancestors for Future Generations: The 33rd International Conference on Shamanism, Healing, and Transformation. Santa Sabina Retreat Center, San Rafael, CA. http://shamanismconference.org/
Benyshek, D. (2014). Transliminality in artists, shamans, and art audiences. The 31st International Conference on Shamanism, Healing and Transformation. Santa Sabina Retreat Center, San Rafael, CA. http://shamanismconference.org/recordings/highlights-31st/ .
Benyshek, D. (2013). Shamanistic arts benefit audience healing, growth, and social change. R. Richards (Chair), Art as healer: Preschoolers to seniors to society at large. American Psychological Association Annual Conference, Division 32: Society for Humanistic Psychology, Honolulu, HI.
Benyshek, D. (2011). Exploring Artists as Shamans: A Critical and Historical Overview and Some Friendly Advice to Scholars. The 10th Conference of the International Society of Shamanistic Research: Shamanism and its Arts. State Ethnographic Museum, Warsaw, Poland.
Benyshek, D. (2011). Art Audience as a Shamanic Community. The 28th International Conference on Shamanism, Healing and Transformation: The Shaman’s Gift to the Community, San Rafael, CA.
Benyshek, D. (2009). The Contemporary Artist as Shaman, The International Society for Shamanistic Research, University of Alaska, Anchorage.
Benyshek, D. (2008). Creative Opportunity within Creative Block, Creativity Studies Department, Saybrook Graduate School, Residential Conference, San Francisco, CA
Benyshek, D. (2007). Seer and Seen, Creativity Studies Department, Saybrook Residential Conference.
Benyshek, D. (1996). Northwest Women Artist Series, North Seattle Community College, Seattle, WA.
Benyshek, D. (1995). Public Art Panel – Guest Speaker, Olympia Arts Commission, Olympia, WA. Exhibit Lecture, Continuous Spectrum Gallery, Tacoma, WA.
Benyshek, D. (1993). Influence of Folk Art on the Fine Arts of Eastern Europe and Cultural Roots in thePaintings of Denita Benyshek, Collection Artist Series, University of Washington Medical Center, Seattle, WA.
Benyshek, D. (1993). Denita Benyshek, visiting artist. College of Folk Arts & Culture, Pskov, Russia.
Benyshek, D. (1991). Exhibit Lecture, University of Alaska, Anchorage.
Benyshek, D. (1989). Labore est Orare (To Work is To Pray), Carl Jung Society, Seattle, WA.
Benyshek, D. (1989). The Milky Way. Performance art collaboration with Summer Fine Arts Camp students at University of Alaska, Fairbanks.
Benyshek, D. (1988). What do you do with a drunken sailor? A ritual of grief following the Exxon Valdez oil spill. Performance art collaboration with Summer Fine Arts Camp students at University of Alaska, Fairbanks.
Benyshek, D. (1987). The Role of Visiting Artists in Native Villages, Young & Associates, Artist in the Schools Conference, Anchorage, AK.
Benyshek, D. (1986). Primordial. Choreography created in collaboration with Huslia, Alaska students. Artist-in-the-Schools grant.
Benyshek, D. (1983). Solo art performance. Art Live: An Evening of Performance, Phoenix Art Institute, Wichita, KS.
Benyshek, D. (1983). Deerfield. Commissioned by McPherson College, KS. Also performed at Wichita State University, KS, University of Wyoming, Laramie. Video commissioned by English Department, Wichita State University.
Benyshek, D. (1983). Denita Benyshek: Visiting Artist, Convocation Speaker Series, McPherson College, KS.
Benyshek, D. (1983). Multi-Media Performance Art, Dance Dept., Wichita State University, Wichita, KS.
Benyshek, D. (1982) Farewell Rose. Collaboration with environmental sculptor, M.A. Kelly. Commissioned by University of Northern Iowa Museum of Art, Cedar Falls, IA.
Publications
Benyshek, D. (forthcoming). My naerim-gut: Initiation of a Western shaman by Kim Junghee, Korean manshin. Y. Owens (Ed.).
Benyshek, D. (2024). The art audience as shamanic community. In Y. Owens (Ed.), Trans-Disciplinary Migrations: Science, the Sacred, and the Arts. London, UK: Cambridge Scholars.
Benyshek, D. (2022). Branch sky. Coreopsis: A Journal of Myth and Theater, 10 (1). http://societyforritualarts.com/coreopsis/spring-2022-issue/final-word/
Benyshek, D. (2020). Smoke apocalypse. Coreopsis: A Journal of Myth and Theater,
8(2).http://societyforritualarts.com/coreopsis/autumn-2020-issue/smoke-apocalypse/
Benyshek, D. (2020, October 09). Our Time of Coronavirus and Black Lives Matter. Coreopsis: A Journal of Myth and Theater, 8(2).
http://societyforritualarts.com/coreopsis/autumn-2020-issue/our-time-of-coronavirus-and-black-lives-matter/
https://www.apadivisions.org/division-32/publications/newsletters/psychotherapy/2021/03/narrating-pandemic
Benyshek, D. (2015). The contemporary artist as shaman: An artist-researcher perspective. ReVision, a Journal of Consciousness and Transformation, 32(2-3), 54-60.
https://www.academia.edu/36891520/The_Contemporary_Artist_as_Shaman_An_Artist-Researcher_Perspective
https://revisionpublishing.org/the-contemporary-artist-as-shaman/
Benyshek, D. (2015). A historical and critical overview of the artist as shaman and recent research. In A. Czyżewski & E.E. Djaltchinova-Malets (Eds.), Shamanhood and its arts. Budapest, Hungary: Bibliotheca Shamanistica, Akademia Kiado, and The Polish Institute of the World Art Studies, Warsaw.
https://www.academia.edu/2066714/Artists_as_Shamans_Historical_Review_and_Recent_Theoretical_Model
Benyshek, D. (forthcoming). An Overview of Western Ideas regarding the Artist as Shaman (Wang, Trans.). In G. Shuyun, W. Weibo & Q. Fang (Eds.), Modern artists and shamanism (Vol. II of Encyclopedia of shamanism). Beijing: 商務印書館 (The Commercial Press).
Benyshek, D. (2013). The power of shamanic art. Reprinted on Threads of the Spiderwoman,
http://threadsofspiderwoman.blogspot.com/2013/02/the-power-of-shamanic-art.html.
Benyshek, D. (2013). An archival exploration comparing contemporary artists and shamans. PhD, Saybrook University, San Francisco, CA.
https://www.academia.edu/25182315/Contemporary_Artists_as_Shamans_-_Archival_Exploration_full_text_and_references
Benyshek, D. M. (2011). The flapping butterfly wings of gifted mentorship: Ruth Richards and
Saybrook University. NeuroQuantology: An Interdisciplinary Journal of Neuroscience and Physics, 9(3), 535-544.
http://www.academia.edu/927579/The_Flapping_Butterfly_Wings_of_Gifted_Mentorship_Ruth_Richards_and_Saybrook_University
Benyshek, D.M. (1990). Journey into the Dead Zone. Helen Frost (Ed.), Season of Dead Water, Breitenbush Books: Portland, OR. A collection of writing regarding the Exxon Valdez oil spill in Prince William Sound, Alaska, including Mary Tallmountain, Jean-Michel Cousteau, Wendell Berry, and interviews I conducted with the grieving townspeople in Cordova, AK and workers on bird and animal rescue boats.
Reviewed: Kaganoff, P. (1990, May 25). Review of Season of Dead Water, Publishers Weekly. Referring to Benyshek’s chapter, Kaganoff wrote:
Far more inspiring are the prose pieces, several of which use matter-of-fact images to chilling effect: "There are oiled loons making their calls, oiled otters and babies . . . dead deer floating in the water" (Benyshek, 1990, p. 54).
Benyshek, D.M. (1982). Deerfield: A multimedia performance. Calyx: A Journal of Women’s Art and Literature, 8 (1). https://www.calyxpress.org/product-category/journals/
Reviews, Articles, Research about Benyshek
Cardeña , E., Iribas-Rudin, A., & Reijman, S. (2012). Art and psi. Journal of Parapsychology, 76(1), 3-23.
Coreopsis: A Journal of Myth and Theatre. (2009). Featured art and artist: Denita Benyshek. 1(1),
McGuire, R. (2008). Snoqualmie Point Park to get orientation table. Mountains to Sound Greenway, 15(2), 2.
McGuire, R. (2007). ALPS creates orientation table for Snoqualmie Point, Alpine: The Newsletter of the Alpine Lakes Protection Society, Seattle, WA, 2, p. 2. Black and white reproduction.
This Side Up, Journal of European Glass Art (1999). Stand, Amsterdam, Holland, p. 32. Color reproduction.
Sun Valley Art (1999). Brief Accounts – Sketch, pp. 16-17. Color reproductions.
Wood River Journal. (1999, March 3). The Great Mahaska. B5-6. Reproductions.
Express. (1999, March 3). March gallery walk. C-3. Reproductions.
American Craft Magazine (1997). Gallery, 57, 5, p. 13. Black and white reproduction.
Im, S. (1997, October 22). Visual Arts: Mohammed Eunus & Denita Benyshek, Eastsideweek, Arts & Leisure, p. 29. Black and white reproduction.
Art Access (1997). Denita Benyshek, 6. Cover, pp. 14 & 42.
Eastsideweek. (1997, October 8). Mirror, mirror, p. 73. Reproduction.
Eastsideweek. (1997, September 3). Fall arts guide. Reproduction.
Boylen, J. (1996). Interesting art covers walls at annual show. Journal American, D4. Polaris. (1996, March 11). Women artists: New course comes to North Seattle Community College, p. 5.
Airlines Magazine. (1995). Destination: Seattle/Pioneer Spirit. 5F. Reproduction.
Artist Trust Tri-Annual Journal. (1995). Artist news.
Boylen, J. (1995). University of Washington MFA show at Center on Contemporary Art (COCA). Reflex Magazine (August).
City Week - Tucson. (1995). Live glass.
Glass Art Magazine. (1995). Paint and glass. (July/August), 22-23. Reproduction
McLennan, D. (1995, March 3). New gallery opens with works by Denita Benyshek, News Tribune. Reproduction.
The Olympian. (1995, October 21). New art to grace Olympia, pp. C-1. Reproduction.
Tucson Television. (1995). Arizona today. Tucson, AZ.
University of Washington School of Art Newsletter. (1995). Student news.
Rosenthal, A. T. (1993). Seattle Women's Caucus for Art. In L. Brunsman & R. Askey (Eds.), Modernism and beyond: Women artists of the Pacific Northwest. New York City, NY: Midmarch Arts Press.
The Olympian. (1992, November 6). A peak at the innermost of Olympia artists, p. ETO 4.
Mathieson, K. (1991, March 1). Real fantasies of family and earth, Seattle Times.
http://community.seattletimes.nwsource.com/archive/?date=19910301&slug=1269109
Williamette Week. (1991, January 12). Art choice: Beauty.
Doma Gallery. (1990). Redefining visionary art. New York City, NY. Reproduction.
Kaganoff, P. (1990, May 25). Season of Dead Water. Publisher's Weekly, 54.
High Performance Magazine - Los Angeles. (1983). Action Alaska. 8(3), 6. Photograph.
High Performance Magazine - Los Angeles. (1982). Deerfield. 7(1), 3. Photograph.
2027
Solo Exhibit at ________ Museum of Art (not yet announced to the public)
2025
Solo Exhibit, Andover Library, KS.
Positive Disintegration, mixed-media group exhibit, co-curator, Wichita, KS
2024
Koch Cultural Trust Enabling Grant.
Contemporary Artists as Shamans, Creativity & Madness Conference, Psychological Studies of Art and Artists, AIMED American Institute of Medical Education, Santa Fe, NM.
Group exhibit, Symphony in the Flint Hills.
Voices of the Midwest, group exhibit, Kavanagh Gallery, St. Charles, IL.
Benyshek, D. (2024). The art audience as shamanic community. In Y. Owens (Ed.), Trans-Disciplinary Migrations: Science, the Sacred, and the Arts. London, UK: Cambridge Scholars.
2022
OpenStudios artist in residence at Botanica Gardens, Wichita, KS.
2018
Naerim Gut, initiation as shaman, by South Korean mansin (master of 1,000 spirits) Kim Junghee.
Formal Education
2013
PhD in humanistic and transpersonal psychology, Saybrook University.
2010
Graduate certificate in the psychology of creativity, Saybrook University.
2004
MA psychology, Saybrook University.
1995
MFA painting, University of Washington.
1994
Pilchuck Glass School.
1979
BFA painting, Wichita State University.
Training in dance (ballet, modern, jazz, ethnic) and vocals (jazz, blues).
Public art collections
University of Washington Medical Center, Seattle, WA.
Harborview Medical Center, Seattle, WA.
Arts in Public Places, Olympia, WA.
King County Ethnic Heritage Collection, WA.
Snoqualmie Point Park, WA.
The Glass Museum, Ebeltoft, Denmark.
Selected Solo exhibits
2000
Hope Collection, Canyon Road, Santa Fe, NM.
NW Women in Glass, Meloy Gallery, Bellingham, WA.
1999
The Return of White Horse, Gallery Oscar, Sun Valley, ID.
1997
In the Red Year, Anderson Glover Gallery, Kirkland, WA.
1996
The Still Lake of Revery, Childhood's End Gallery, Olympia, WA.
1995
Artist's Collection, Pilchuck Glass School Open Studio Tour, Seattle, WA.
Windows to the Past, Continuous Spectrum Gallery, Tacoma, WA.
1991
Glimpses of Soul, Olympia Art Walk, Olympia, WA.
My Soul The World, Bell Gallery, Seattle, WA.
Benyshek Solo, Littman Gallery, Portland State University, Portland, OR.
1990
Visionary Paintings, University of Alaska - Anchorage, National Competition.
1989
New City Theater, Seattle, WA.
1988
New Work, Bruskin Gallery, Pt. Townsend, WA.
Solo Benyshek, Broadway Performance Hall, Seattle, WA.
1987
I Tell Stories, Bruskin Gallery, Pt. Townsend, WA.
Of Two, University Unitarian Gallery, Seattle, WA.
Letters, St. Mary's College, Notre Dame, IN.
1985
From My Garden, Century II Gallery, Wichita, KS.
1984
Paintings from Wyoming, Big Red Gallery, The Ucross Foundation, WY.
1983
Components of Multi-Media Performance, Duerkson Fine Arts Center, Wichita, KS.
1981
Inscapes, Century II Gallery, Wichita, KS.
1977
Recent Work, McFarland Gallery, Wichita State University, Wichita, KS.
Selected Group Exhibits
2024
Symphony in the Flint Hills, KS.
2001
Alumni Exhibit, Ulrich Museum of Art, Wichita State University, KS.
2000
Wendy Morehead Fine Arts, New Orleans, LA.
Vitrum Gallerie, Ashland, NC.
Masters of Drawing, Invitational, Shoreline Community College Gallery, Seattle, WA.
1999
Northwest Women in Glass, American Art Gallery, Tacoma, WA, in conjunction with International Glass Museum.
Work on Paper, West Coast Paper Company, Seattle Center, WA.
1998
The View from Here: 100 Artists Mark the Centennial of Mt. Rainier National Park, Invitational, Peggy Weiss, Curator.
Exhibit tour:
Yakima Valley Museum of Art, Yakima, WA,
Museum of NW Art, La Conner, WA,
Whatcom Museum of History and Art, Bellingham, WA,
Seattle-Tacoma Airport,
Citizens Cultural Center, Fujinomiya, Japan (Mt. Rainier/Mt. Fuji Sister Mountains),
Seafirst Bank Art Gallery, Seattle.
Best of 1998, Bainbridge Arts Center, Bainbridge Island, WA, invitational.
Northwest Expression of Landscape, Coos Bay Museum, Coos Bay, OR, juried.
University of Washington Medical Center Collection Highlights, Washington Convention Center and Trade Center, Sharon Ducey, curator.
1997
The Glass Gallery, Bethesda, MD.
The Healing Arts, Washington Center, Olympia, WA, juried.
Glass Invitational, Pratt Fine Arts Center, Seattle, WA.
Human Figure, Center on Contemporary Art, Seattle, WA.
1996
Pacific NW Annual, Bellevue Art Museum, WA.
16th International Northwest Art Competition, Whatcom Museum of History and Art, Bellingham, WA.
1995
Glass Invitational, Owens Gallery, Arts Commission of Toledo, OH.
Paint and Glass: The Expressive Connection, Philabaum Gallery, Tucson, AZ, Robert Carlson, curator and president of the Glass Art Society. Participating artists included Erwin Fisch, Tom Farbanish, Italo Scanga, Ulrica Hydman-Wallien, Walter Lieberman, Therman Statom.
Seattle Community College Art Faculty Exhibit, North Seattle Community College, Seattle, WA.
Pratt Fine Arts Center Faculty Exhibit, Center on Contemporary Art, Seattle, WA.
University of Washington MFA Thesis Exhibit, Center on Contemporary Art, Seattle, WA.
1994
Interpretation of Human Form, Childhood's End Gallery, Olympia, WA.
Works on Paper, Jacob Lawrence Gallery, University of Washington, Seattle, juror Diane Douglas, Director, Bellevue Art Museum.
1993
The Elements, Washington Center, Olympia, WA, juried.
1992
Spirituality in Art, Washington Center, Olympia, WA.
Summer Faculty Exhibit, University of Alaska, Fairbanks.
1990
Women Artists, Matrix Gallery Satellite Exhibit, Sacramento, Ca, juried.
Summer Faculty Exhibit, University of Alaska, Fairbanks.
1989
9th Annual Competition, Phinney Center Gallery, Seattle, WA.
6th Alcoa/Gallery '76 Juried Exhibit, Wenatchee, WA.
Redefining Visionary Art, Dome Gallery, New York, NY, juror Suzi Gablik.
Summer Faculty Exhibit, University of Alaska, Fairbanks.
1988
In Her Image, Seattle Women's Caucus for Art, Seattle, WA, juried.
Dreams, Fantasy, Visions, Greeley, CO, juried, 1st place award.
Summer Faculty Exhibit, University of Alaska, Fairbanks.
1987
4th Alcoa/Gallery '76 Juried Exhibit, Wenatchee, WA.
3rd Annual Salute to the Arts, Seattle, WA, jurors LaMar Harrington, director, Bellevue Arts Museum, and Glenn Weiss, director, 911 Media Arts Center, Seattle.
Past Presence: A Circle of Women's Visions, Corvallis Art Center, OR.
Summer Faculty Exhibit, University of Alaska, Fairbanks.
1986
Brand XVI, Brand Library Art Galleries, Glendale, CA, juried.
BirthArt Project, Saratoga, CA, juror Janet Isaacs Ashford.
Summer Faculty Exhibit, University of Alaska, Fairbanks.
1985
Community Art Action, 9th International Conference on the Future of Religion, Dubrovnik, Yugoslavia, invitational, Diane Lincoln, curator.
Women in the Arts, Phoenix Art Institute, Wichita, KS.
1984
Intimate Images, Westin Crown Center, Kansas City, MO, juror Lynn Warren, Assistant Curator, Museum of Contemporary Art, Chicago, IL.
Kansas Four, Mulvane Art Center, Washburn University, Topeka, KS, juror William Struve, Frumkin & Struve Gallery, Chicago, IL.
Women's Caucus for Art '84 National Juried Exhibition, Wilson Gallery, Lehigh University, Bethlehem, PA, jurors Audrey Flack, Joyce Kozloff, Jean Marter.
1983
Womanart 6, Century II Gallery, Wichita, KS, juried.
Aqueous '83, Museum of Fine Arts, Owensboro, KY, juried.
7th National Watercolor Exhibit, Art Association, Springfield, IL, juried.
1982
Exhibition: 1982 Kansas City Calendar, City of the Arts, Crown Center, Kansas City, MO.
1981
3rd Annual Jurored Show for Kansas Artists, Salina Art Center, KS.
Art, Inc. Juried Exhibitions, Great Bend, KS, two cash awards.
1980
Womanart 3, Century II Gallery, Wichita, KS, juried.
1979
Aqueous '79, Museum of Fine Arts, Owensboro, KY, juried.
Womanart 2, Century II Gallery, Wichita, KS, juried, first place award.
1978
8th Greater New Orleans International Art Exhibit, New Orleans, LA, juried.
Selected Awards
2024
Koch Cultural Trust Enabling Grant.
2022
Artist in Residence at Botanica Gardens, Wichita, KS, through Fisch Bowl, Inc.
2019
Mary Lou Panter Scholarship, Creativity & Madness Conference, Santa Fe, NM.
2012
Nominated for Dissertation with Distinction Award, Saybrook University.
2011-12
Doctoral candidate research grant, Saybrook University.
2010-11
Alumni Scholarship, Saybrook University
2008
Society for Shamanic Practitioners, Santa Fe Conference Scholarship, Olivenhain, CA.
2007
Rudy Melone Presidential Scholarship, Saybrook.
2006
The Alfred G. and Elma M. Milotte Art Scholarship, Atlanta, GA .
2006-09
Seclef-Hoetzel Scholars Merit Award, Council of Higher Education Scholarship Program for Students of Czech, Slovak, or Rusyn Descent, Chicago, IL.
2006
Finalist, Eileen J. Garrett Research Library Fellowship, Parapsychology Foundation, New York.
2006-09
Tuition Grant, Saybrook.
2006-07
USA Funds Access to Education Scholarship, Indianapolis, IN.
2005
Tuition Grant, Saybrook Graduate School.
1995
Liquitex Paint Product Grant, Binney & Smith, Inc., Easton, PA.
Liquitex Paint Product Grant, Binney & Smith, Inc., Easton, PA.
1994
Full Scholarship, Pilchuck Glass School, Stanwood, WA.
Special Project Grant, School of Art, University of Washington.
1994-95
W.W. Stout Fellowship, The Graduate School, University of Washington.
1993
Support Grant, Gary Smith, Ross, CA.
1988
Emerging Artist Grant, 200+1 Corporation, Seattle, WA.
1984
Artist-in-Residence, The Ucross Foundation, Ucross, WY.
1975-79
Miller Art Scholarship, Wichita State University.
1973-78
Kansas State Board of Regents Scholarships, Wichita State University.
1973-77
Art Scholarships, City of Wichita, KS.
1965
Scholarship, Wichita Art Association (now MARK Arts).
Multi-Media Performance Art and Conference Presentations
Benyshek, D. (2024). Contemporary Artists as Shamans. Creativity and Madness Conference, Psychological Studies of Art and Artists, AIMED American Institute of Medical Education, Santa Fe, NM. https://www.creativityandmadness.com
Benyshek, D. (2018). My Initiation into Shamanism. Indigenous Wisdom & Shamanism: Within, Between, and Beyond Worlds. The 34th International Conference on Shamanism, Healing, and Transformation. Sonoma State University, Rohnert Park, CA. http://www.indigenouswisdom.info/.
Benyshek, D. (2017). Disintegration and Reintegration Healing Processes: Seeing and Working with Spirits. Protecting Earth, Water, Air, and Light, Honoring the Wisdom of our Ancestors for Future Generations: The 33rd International Conference on Shamanism, Healing, and Transformation. Santa Sabina Retreat Center, San Rafael, CA. http://shamanismconference.org/
Benyshek, D. (2014). Transliminality in artists, shamans, and art audiences. The 31st International Conference on Shamanism, Healing and Transformation. Santa Sabina Retreat Center, San Rafael, CA. http://shamanismconference.org/recordings/highlights-31st/ .
Benyshek, D. (2013). Shamanistic arts benefit audience healing, growth, and social change. R. Richards (Chair), Art as healer: Preschoolers to seniors to society at large. American Psychological Association Annual Conference, Division 32: Society for Humanistic Psychology, Honolulu, HI.
Benyshek, D. (2011). Exploring Artists as Shamans: A Critical and Historical Overview and Some Friendly Advice to Scholars. The 10th Conference of the International Society of Shamanistic Research: Shamanism and its Arts. State Ethnographic Museum, Warsaw, Poland.
Benyshek, D. (2011). Art Audience as a Shamanic Community. The 28th International Conference on Shamanism, Healing and Transformation: The Shaman’s Gift to the Community, San Rafael, CA.
Benyshek, D. (2009). The Contemporary Artist as Shaman, The International Society for Shamanistic Research, University of Alaska, Anchorage.
Benyshek, D. (2008). Creative Opportunity within Creative Block, Creativity Studies Department, Saybrook Graduate School, Residential Conference, San Francisco, CA
Benyshek, D. (2007). Seer and Seen, Creativity Studies Department, Saybrook Residential Conference.
Benyshek, D. (1996). Northwest Women Artist Series, North Seattle Community College, Seattle, WA.
Benyshek, D. (1995). Public Art Panel – Guest Speaker, Olympia Arts Commission, Olympia, WA. Exhibit Lecture, Continuous Spectrum Gallery, Tacoma, WA.
Benyshek, D. (1993). Influence of Folk Art on the Fine Arts of Eastern Europe and Cultural Roots in thePaintings of Denita Benyshek, Collection Artist Series, University of Washington Medical Center, Seattle, WA.
Benyshek, D. (1993). Denita Benyshek, visiting artist. College of Folk Arts & Culture, Pskov, Russia.
Benyshek, D. (1991). Exhibit Lecture, University of Alaska, Anchorage.
Benyshek, D. (1989). Labore est Orare (To Work is To Pray), Carl Jung Society, Seattle, WA.
Benyshek, D. (1989). The Milky Way. Performance art collaboration with Summer Fine Arts Camp students at University of Alaska, Fairbanks.
Benyshek, D. (1988). What do you do with a drunken sailor? A ritual of grief following the Exxon Valdez oil spill. Performance art collaboration with Summer Fine Arts Camp students at University of Alaska, Fairbanks.
Benyshek, D. (1987). The Role of Visiting Artists in Native Villages, Young & Associates, Artist in the Schools Conference, Anchorage, AK.
Benyshek, D. (1986). Primordial. Choreography created in collaboration with Huslia, Alaska students. Artist-in-the-Schools grant.
Benyshek, D. (1983). Solo art performance. Art Live: An Evening of Performance, Phoenix Art Institute, Wichita, KS.
Benyshek, D. (1983). Deerfield. Commissioned by McPherson College, KS. Also performed at Wichita State University, KS, University of Wyoming, Laramie. Video commissioned by English Department, Wichita State University.
Benyshek, D. (1983). Denita Benyshek: Visiting Artist, Convocation Speaker Series, McPherson College, KS.
Benyshek, D. (1983). Multi-Media Performance Art, Dance Dept., Wichita State University, Wichita, KS.
Benyshek, D. (1982) Farewell Rose. Collaboration with environmental sculptor, M.A. Kelly. Commissioned by University of Northern Iowa Museum of Art, Cedar Falls, IA.
Publications
Benyshek, D. (forthcoming). My naerim-gut: Initiation of a Western shaman by Kim Junghee, Korean manshin. Y. Owens (Ed.).
Benyshek, D. (2024). The art audience as shamanic community. In Y. Owens (Ed.), Trans-Disciplinary Migrations: Science, the Sacred, and the Arts. London, UK: Cambridge Scholars.
Benyshek, D. (2022). Branch sky. Coreopsis: A Journal of Myth and Theater, 10 (1). http://societyforritualarts.com/coreopsis/spring-2022-issue/final-word/
Benyshek, D. (2020). Smoke apocalypse. Coreopsis: A Journal of Myth and Theater,
8(2).http://societyforritualarts.com/coreopsis/autumn-2020-issue/smoke-apocalypse/
Benyshek, D. (2020, October 09). Our Time of Coronavirus and Black Lives Matter. Coreopsis: A Journal of Myth and Theater, 8(2).
http://societyforritualarts.com/coreopsis/autumn-2020-issue/our-time-of-coronavirus-and-black-lives-matter/
https://www.apadivisions.org/division-32/publications/newsletters/psychotherapy/2021/03/narrating-pandemic
Benyshek, D. (2015). The contemporary artist as shaman: An artist-researcher perspective. ReVision, a Journal of Consciousness and Transformation, 32(2-3), 54-60.
https://www.academia.edu/36891520/The_Contemporary_Artist_as_Shaman_An_Artist-Researcher_Perspective
https://revisionpublishing.org/the-contemporary-artist-as-shaman/
Benyshek, D. (2015). A historical and critical overview of the artist as shaman and recent research. In A. Czyżewski & E.E. Djaltchinova-Malets (Eds.), Shamanhood and its arts. Budapest, Hungary: Bibliotheca Shamanistica, Akademia Kiado, and The Polish Institute of the World Art Studies, Warsaw.
https://www.academia.edu/2066714/Artists_as_Shamans_Historical_Review_and_Recent_Theoretical_Model
Benyshek, D. (forthcoming). An Overview of Western Ideas regarding the Artist as Shaman (Wang, Trans.). In G. Shuyun, W. Weibo & Q. Fang (Eds.), Modern artists and shamanism (Vol. II of Encyclopedia of shamanism). Beijing: 商務印書館 (The Commercial Press).
Benyshek, D. (2013). The power of shamanic art. Reprinted on Threads of the Spiderwoman,
http://threadsofspiderwoman.blogspot.com/2013/02/the-power-of-shamanic-art.html.
Benyshek, D. (2013). An archival exploration comparing contemporary artists and shamans. PhD, Saybrook University, San Francisco, CA.
https://www.academia.edu/25182315/Contemporary_Artists_as_Shamans_-_Archival_Exploration_full_text_and_references
Benyshek, D. M. (2011). The flapping butterfly wings of gifted mentorship: Ruth Richards and
Saybrook University. NeuroQuantology: An Interdisciplinary Journal of Neuroscience and Physics, 9(3), 535-544.
http://www.academia.edu/927579/The_Flapping_Butterfly_Wings_of_Gifted_Mentorship_Ruth_Richards_and_Saybrook_University
Benyshek, D.M. (1990). Journey into the Dead Zone. Helen Frost (Ed.), Season of Dead Water, Breitenbush Books: Portland, OR. A collection of writing regarding the Exxon Valdez oil spill in Prince William Sound, Alaska, including Mary Tallmountain, Jean-Michel Cousteau, Wendell Berry, and interviews I conducted with the grieving townspeople in Cordova, AK and workers on bird and animal rescue boats.
Reviewed: Kaganoff, P. (1990, May 25). Review of Season of Dead Water, Publishers Weekly. Referring to Benyshek’s chapter, Kaganoff wrote:
Far more inspiring are the prose pieces, several of which use matter-of-fact images to chilling effect: "There are oiled loons making their calls, oiled otters and babies . . . dead deer floating in the water" (Benyshek, 1990, p. 54).
Benyshek, D.M. (1982). Deerfield: A multimedia performance. Calyx: A Journal of Women’s Art and Literature, 8 (1). https://www.calyxpress.org/product-category/journals/
Reviews, Articles, Research about Benyshek
Cardeña , E., Iribas-Rudin, A., & Reijman, S. (2012). Art and psi. Journal of Parapsychology, 76(1), 3-23.
Coreopsis: A Journal of Myth and Theatre. (2009). Featured art and artist: Denita Benyshek. 1(1),
McGuire, R. (2008). Snoqualmie Point Park to get orientation table. Mountains to Sound Greenway, 15(2), 2.
McGuire, R. (2007). ALPS creates orientation table for Snoqualmie Point, Alpine: The Newsletter of the Alpine Lakes Protection Society, Seattle, WA, 2, p. 2. Black and white reproduction.
This Side Up, Journal of European Glass Art (1999). Stand, Amsterdam, Holland, p. 32. Color reproduction.
Sun Valley Art (1999). Brief Accounts – Sketch, pp. 16-17. Color reproductions.
Wood River Journal. (1999, March 3). The Great Mahaska. B5-6. Reproductions.
Express. (1999, March 3). March gallery walk. C-3. Reproductions.
American Craft Magazine (1997). Gallery, 57, 5, p. 13. Black and white reproduction.
Im, S. (1997, October 22). Visual Arts: Mohammed Eunus & Denita Benyshek, Eastsideweek, Arts & Leisure, p. 29. Black and white reproduction.
Art Access (1997). Denita Benyshek, 6. Cover, pp. 14 & 42.
Eastsideweek. (1997, October 8). Mirror, mirror, p. 73. Reproduction.
Eastsideweek. (1997, September 3). Fall arts guide. Reproduction.
Boylen, J. (1996). Interesting art covers walls at annual show. Journal American, D4. Polaris. (1996, March 11). Women artists: New course comes to North Seattle Community College, p. 5.
Airlines Magazine. (1995). Destination: Seattle/Pioneer Spirit. 5F. Reproduction.
Artist Trust Tri-Annual Journal. (1995). Artist news.
Boylen, J. (1995). University of Washington MFA show at Center on Contemporary Art (COCA). Reflex Magazine (August).
City Week - Tucson. (1995). Live glass.
Glass Art Magazine. (1995). Paint and glass. (July/August), 22-23. Reproduction
McLennan, D. (1995, March 3). New gallery opens with works by Denita Benyshek, News Tribune. Reproduction.
The Olympian. (1995, October 21). New art to grace Olympia, pp. C-1. Reproduction.
Tucson Television. (1995). Arizona today. Tucson, AZ.
University of Washington School of Art Newsletter. (1995). Student news.
Rosenthal, A. T. (1993). Seattle Women's Caucus for Art. In L. Brunsman & R. Askey (Eds.), Modernism and beyond: Women artists of the Pacific Northwest. New York City, NY: Midmarch Arts Press.
The Olympian. (1992, November 6). A peak at the innermost of Olympia artists, p. ETO 4.
Mathieson, K. (1991, March 1). Real fantasies of family and earth, Seattle Times.
http://community.seattletimes.nwsource.com/archive/?date=19910301&slug=1269109
Williamette Week. (1991, January 12). Art choice: Beauty.
Doma Gallery. (1990). Redefining visionary art. New York City, NY. Reproduction.
Kaganoff, P. (1990, May 25). Season of Dead Water. Publisher's Weekly, 54.
High Performance Magazine - Los Angeles. (1983). Action Alaska. 8(3), 6. Photograph.
High Performance Magazine - Los Angeles. (1982). Deerfield. 7(1), 3. Photograph.
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| 2024_0127_short_bio_benyshek.pdf |
| 2024_0127_art_cv_benyshek.pdf |