Sunday, May 31, 2009

Desmadre / Vermillion


Airplane by Vincent Pachecho

You've got one week more week (it ends June 7th) to catch Desmadre: Fresh Latino Perspectives in America at Vermillion Gallery.  In its simplest form, this show is an exploration about Latino cultural identity and its relationship to contemporary art.  The show was curated/assembled by Jose Tapia, Damion Hayes and Julio Guerrero. Desmadre is an ongoing project and will be producing more shows.  You can read more about the idea and read interviews with your favorite artists here

Porky #3 by Alejandro Diaz

"As we head into this 21st century there has been a departure from the old cultural identities. We are seeing what curator Nicholas Bourriard calls the “Creolization” of culture, a blending of various traditional cultures with some local specific contemporary elements. This show is equally about this moment in history, a time in which America is living up to it's promise to be the worlds melting pot, as it is about any given culture. There is a sense of reinvention present in much of the work by the artists participating in the show, an urge to respect the past while pushing forward to forge new means to celebrate their heritage."

Luna de Miel by Antonio Pelayo 

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Coming up next at Vermillion: A group photography show with Shaun KardinalJesse DeLira and Katherine Dyke.

RIP Helm Gallery



One of the best galleries is the Puget Sound is closing their doors today. After an amazing run that lasted almost 2 years, Peter Lynn and Sean Alexander are shutting down to pursue other projects.  The Helm always supported artists, respected their vision and had a really cool periodic residency. All of this earned them a special place in a lot of people's hearts.  

I loved them since their first show called "The Kindness of Strangers".  Anyone who can create a show that proves how kind strangers are is pretty great in my book!  

Phil Roach was the final artist to show there. City Arts Magazine (Tacoma Edition) talks about the closure here.

Best of luck in your next endeavors, guys! And a big, ol' thank you from artists and fans everywhere!

Saturday, May 30, 2009

Mancha!

Mancha: Feb 14, 1995 - May 30, 2009

My dear friend Dave had to say goodbye to his beloved dog of 14 years today.  She was one of the most lovable and neurotic bundles of energy I ever had the pleasure to meet. It doesn't matter how long you get 'em for, it's just never enough time. 

It's poor comfort but in moments like these the lines from Instant Karma always run on a perpetual loop in my head, "We all shine on, like the moon and the stars and the sun."

To Mancha - no matter where you are now - you will always stay in our hearts.

Target Practice


Seattle Art Museum has some really great exhibits in the upcoming months.  One that immediately caught my attention (due in part to an eye-catching marketing campaign referencing Lucio Fontana) is Target Practice: Painting Under Attack 1949-1978.  Billed as an international survey examining the attitudinal shift around painting, post-WWII. The exhibit will include 7o works of art by artists like Andy Warhol (the piss paintings!, excuse me - the "oxidation paintings"), Jasper Johns, Yoko Ono and Gerhard Richter. I'm so excited to finally get to see Rauschenberg’s legendary Erased de Kooning Drawing.


Image of Niki de Saint-Phalle’s Tirs (exhibition catalogue cover)

Curator Michael Darling says, “If the works in Target Practice are any measure, one might say that between 1949 and 1978 painting was not killed off so much as tortured.” 

The exhibit opens up June 25 and runs through September 7.  As usual, SAM has done a great job of organizing supplemental workshops, tours and lectures.  The event I'm most excited for? The Experience Painting Project with Matthew Offenbacher. It's no secret I think he's one of the smartest, most talented community-builders in Seattle. Whatever Matt does, I promise you'll learn a lot and really enjoy your time with him.  This 2 hour workshop should sell-out quickly so buy your tickets early!

Thursday, May 28, 2009

Debra Baxter & Heide Hinrichs


Next Thursday (June 4), Debra Baxter and Heide Hinrichs are opening up new shows at Howard House.  This will be the first solo show at Howard House for each of them. I can't imagine a better juxtaposition of artistic styles.  Where Debra is precise, Heide is loose. Debra seeks to master form, Heide wants to reinvent it. It will be really interesting to see how they play off each other.


Debra Baxter, Suck It Up (hyperventilation bag) (detail), 2009

In so proud of you, "...objects made of alabaster, glass, and stone simultaneously interrogate the body’s physicality and human emotion. Interested in the relationship between the body’s interior and exterior, her common subjects—the neck, the tongue, and objects referencing entrapped air—intimate both strength and susceptibility."


Heide Hinrichs, 2009

"In Rose Belongs to Lotus/Rikki’s,...Hinrichs employs discarded soccer balls to create delicate new sculptures, each reminiscent of their previous life yet wholly changed through the artist’s play with texture, volume, and shape. In so doing, she explores questions of belonging—belonging in a sense of ownership as well as of locality and place."

Both artists will be giving a talk on Saturday, June 13 at noon. 

If you still haven't seen this show, you've only got a few days to check it out.  It's definitely worth it.  

Wednesday, May 27, 2009

Health Care Reform, cupcake-style!


Me and Jody, just before her interview with Robert Bazell (photo by Troy Gua)

Y'all know my good pal, Jody Hall right?  Sure, she can make delicious cupcakes and coffee. What you might not know is that when she's not doing that, she's out there tirelessly working for health care reform for small businesses.  Not just here in her favorite Seattle neighborhoods, but on a national level.  Last month, she was one of a handful of business owners from across the country invited to talk to Nancy-Ann DeParle (Director of White House Office of Health Reform) about why we need a public health care option.

Hot on the heels of her big White House visit, NBC News sent out Chief Science and Health Correspondent Robert Bazell to her Ballard store today to talk about...yep, you guessed it,  health care reform!  We don't know when it will air, but stay tuned, it could be a week, could be a month.  

Not one to ever sit back and say, "Good enough!", Jody's leading the charge and rallying folks to participate in this Saturday's HEALTH CARE FOR ALL march.  I'll be there, she'll be there and I sure hope you'll be there. 

As an artist, I have so many uninsured friends. But I'm guessing no matter what line of work you're in, you probably know folks, too.  The time is now, there's a growing momentum to finally get some form of national health care.  If you don't want to march, no problem, join us all down at Westlake Center to watch Senator Patty Murray talk about why this is so important. 

"We're winning!"

The Prop 8 decision came down yesterday and the outcome was just what I expected. I had a lot of outraged friends, but for once, I was pretty calm about it. I guess most of my anger occurred right after it passed. Prop 8's passage was my introduction to gay discrimination. Living in Seattle, it just hadn't ever been an issue. I mean, like never, not once. So at the age of 36, I got what felt like the biggest punch in the gut ever. Years and years of living blissfully oblivious to the very real day to day struggles that other folks faced constantly. Retrospectively, I think I was most mad for the people without a voice like the suicidal gay teens crying in their rooms at night. I wanted to wrap them all up and say, "Hold on -- your life is going to be really amazing someday -- I promise you." I still don't understand how anyone can hate a child.
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It's a really weird feeling to suddenly realize that the majority of folks in a progressive state (in this case, California), don't feel that your loving relationship isn't valid. The weird thing about bigotry is its insidious method of eroding trust. My anger was so extreme and my trust level so low that anyone who self-identified as religious (Mormon, Christian, Catholic, Muslim, pretty much any religion) became an "enemy". I didn't like that feeling at all. Because that put a fair amount of folks that I love and cherish into places where they didn't belong. Since then, polls and states like Massachusetts, Connecticut, Vermont, Iowa and Maine have buoyed my faith in my fellow human. I've learned that a lot of folks who love God also believe in marriage equality. Straight friends and allies have poured out their support, marched in rallies, held signs at protests and continued to fight for me when I just didn't have the energy to do it anymore.
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I thought about it a lot. I blogged about it a lot (here, here, here, and here). And it's the closest I've come to crying in years. At the end of the day, it just didn't serve me well and I knew I had to get rid of that hate. Here's part of my blog post from winter solstice last year. It signaled an end to my anger.
Surprising to many of my Seattle kin, I was a real big church-goer during high school. In fact, I got baptised at age 18. Like a lot of gay people, the older I got, the more it became apparent I just didn't fit in with traditional church.. There's still a lot to love about Christianity (in an abstract form for me personally). Love your neighbor. That's one I don't do enough. I hope in 2009, I'll do a better job of not letting my politics divide me from those that might believe differently. But I'll be honest, it's been especially hard this year. Because I live in a city with the 2nd most population of gays and because I live in a city where the vast majority are not church-going, being gay has simply never ever not even once been an issue in the 12 years I've been here. Until this year. And I don't like that how that feels. It's been baffling and surprising and has put me at odds with some folks I really love and care about. I want to put it bed before 2009 rolls around. I know that time is on my side. Statistics show that each successive generation will be as shocked as I am that being gay was ever an issue.

That's why it came as a relief for me personally that I wasn't angry about yesterday's Prop 8 decision. It meant that I had let it go and could go back to doing what I'm best at - building bridges, not burning them.
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I'm certainly not the only one thinking and talking about this. After reading Sharon Arnold's post yesterday, I joked that I had been going to write the same post and now didn't need to. She encouraged me to write it anyway to add one more voice to the discussion. Fellow blog-friend Susanna Bluhm, in all her prescient glory, wrote an amazing blog post last week that makes a compelling read. It's sparked a beautiful, thoughtful discussion with all parties being gracious, civil and vulnerable.

Monday, May 25, 2009

UW MFA 2009

The University of Washington's 2009 MFA show opened up Friday and I think it's one of the best in recent years.  The most immediate trend is that painting is back.  Of the 12 graduates, nearly half come from the painting department.  Of those 5 graduates, there's a wide spectrum of scale, style and themes.  The smallest painting is 8 inches tall while the largest tops out at a formidable 10 feet. 


Erin Elyse Burns, Learning to Fly

As you enter the North galleries, to the right are Erin Burns' videos where she engages in Sisyphean tasks.  In the end, she wasn't able to fly but the video is a joy to watch.

Arun Sharma, Untitled

To the left, Arun Sharma negotiates the space between life and death.  It might be a familiar theme, but Arun personalizes it in a new way. As the ants journey through their Plexiglas coffin, viewers are reminded that even in death our flesh provides new life.


George Rodriguez installing Instrumental Divide (image by Kathy Sauber)

As you enter the main gallery space, you're greeted by the backside of George Rodriguez's 9 piece mariachi band.  Nearly 7 feet tall and 20 feet wide, you're almost offended by their turned backs.  Once you engage with them, face to blank face, you understand the divide isn't malicious and everyone is invited to the party. I love it!


Anne Petty, Untitled

Also in the main gallery are large scale paintings by Anne Petty and Hugo Shi.  The large scale is new for Anne who usually paints much smaller.  Her gestural paintings focus on capturing specific moments in time. 


Hugo Shi, Dried Fish

Hugo Shi merges cultures in his paintings. The backgrounds are traditional Chinese landscapes which represent his past and foundation.  On top of these, he paints Western objects like glass jars containing organic forms of previous living things.  The large diptych of dried fish (based on Rembrandt's Flayed Ox) is especially powerful. 


Robert Gardner, Equivalent

As you make your back through the show, you encounter the modestly sized paintings of Robert Gardner.  The paintings, in most cases, are larger than the actual objects.  I'm a sucker for anything that's reflective and his paintings of small cans are beautiful. 


Marie-Claire Bozant, installation view

Across the room, Marie-Claire Bozant has a suite of drawings of broken furniture. Accompanying them are sculptural renditions created in cardboard.  They're crude and fragile. Her spindly-legged table is especially charming. 


Alice Case, Studio Fold

While Alice Case's painting look abstract, she's actually using paint to investigate a specific moment.  More precisely, she appears to be exploring how the individual informs the experience of viewing art.  She gave an amazing explanation of what they're really about that involved physics, light and color.  As she was talking to me, I couldn't help but think that Emily Pothast and her would have wonderful conversations about art.  


Haley Farthing, Untitled

Using organic forms as a point of departure, Haley Farthing creates beautiful paintings that look like piles of lightweight fabric falling through space. I could look at these all day.


Ben Waterman, A Thousand Readings 
(note: image updated 5/26)

Ben Waterman's installation is a meditation on the illuminating power of the written word. Reading a trio texts 1,000 times each by match light, it ceases to become a futile exercise by raising itself into a special category where the experience becomes the art and the viewer is left with the detritus to form their own conclusions.  It's the most conceptual piece in the bunch.  


Bo Young Choi, Second Skin (detail)

As you approach Bo Young Choi's piece Self-Defense it's nearly impossible to separate the form from last year's Henry exhibitor, Kader Attia.  While the shape might be the same, the intent is very different.  Bo Young Choi is illustrating the fruitlessness of humans' instinctive fetal position as a form of protection. I feel vulnerable just looking at it.  


Laurel Schultz, Landfall 132

I spent a lot of time admiring Laurel Schultz's photographs of bonsai trees (beautifully paired with a bronze cast of dead bonsai).  Her photo of trees on an eroded bluff looks straight out of a diorama.  I couldn't stop staring at it and I think it just might be my favorite piece in the show. 

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Related:

Carol Mallett Adelman wrote a beautiful essay for the MFA catalogue. 

Friday, May 22, 2009

Photo Exhibit


Some friends came up with a fun experiment and want to present the fruits of their labor. The challenge was to dust of their point-and-shoot camera and take ten pictures a day during the month of February.  They've each chosen their favorite 100 and have a created a slideshow complete with music (Sarah -- you better put some Journey on yours!) that will play during their big shindig.  The mood  will be informal and the party will be fun.  





Sunday, May 31, 4 - 7 pm
At Stacy Logan, 409 1st Avenue S (between King & Jackson)

Wednesday, May 20, 2009

Say hello (hello) to Gretchen Bennett



Dying Fawn

If I tried to sum up your work with one word, it would be reverberate.  Can you talk about that idea? 

I just finished a show with Matthew Offenbacher, Heide Hinrichs and Jenny Heishman, in which we talked about what it is to live in a place, given it's history, and make it our own.  Through my work with them and the Helm show, I was able to leave things quite open, so that the work still feels like its living and morphing. In the last year I've translated online digital footage of Nirvana into colored pencil drawings, preserving the visual noise. When I leave stickers on the street, it's an act of commemoration, it's never pointing to the present, actually. Because the viewer is always coming up on what I leave at least a moment later. The message is always: I was here, rather than, I am here. In this way, I am always aware of reverberation; of memory and landmarks.

Johnny Cash Died of a Broken Heart

Last year, Jen Graves said about you, “Her work is always about landscapes, and often about mapping, about being located somewhere and being absent from somewhere else.”  Have you resolved the longing to be where you are not? Are you feeling more rooted? 

I still want to place myself within a given landscape, to deconstruct those elements within a place that shape me. Absence is still a part of the work. However, I also want to explore light and pixelation, those qualities that cause something to fall apart, come back together in perception. This exploration has led me to new media, such as video and sound. Being in a community with Yann Novak, Garek Druss, Wyndel HuntDW Burnam, Dawn Cerny, I've been thinking of things in very aural and lateral terms, wanting to work more and more the way musicians and writers work. I've been taking piano lessons from Brant Campbell (Celebrity Orphans), in order to explore other (recording) artists' approach to creative output. I'm focusing on those artists, like Cat Power, Kurt Cobain and Gus Van Sant, who at times say what I want to say. By repeating them in specific ways, through drawings and recording, I am learning about structure, and I think this process of recitation and repetition is leading me to original creation, to output of my own in new ways. 

From Along the East River

Community is very important to you.  You frequently collaborate and influence.  How does this concept of community present itself in your work?

I really owe KAWS and other sticker makers quite a debt. They've been instructive and generous, and even though I haven't met a lot of them, I am engaged in a dialog with them, and with the culture they are pushing forward. I should make a sticker edition just for KAWS. The fact that someone like the Free Sheep Foundation chooses to bring people together is a model for me and has been generative. I was at an opening of theirs, which involved them serving dinner and red wine, a white elephant gift exchange and some spontaneous performance.

Black Bag

Thinking about your Helm Residency, your migration into film/music and your breakthrough drawings (five of which will be included in Michael Darling’s S.A.M. show, Kurt), you seem heavily influenced by Kurt Cobain.  Do you identify with him? 

Charles Mudede directed my attention to Alain Badiou and his concept of "the void". In the context of Charles Peterson's new book, Cypher, Charles Mudede went on to describe second wave break dancers and Nirvana as having created a space for new things to happen by creating a void, or nullifying certain key aspects of culture that had come before, such as Whitesnake and Def Leppard.  In a Stranger article he talks about flying bodies, in the context of the void. I've been thinking about Yves Klein, how his leap could be about falling or rising. These are all things that have given me a lot to think about. 

Fence

Your writing has become an increasingly important component of your art. The piece you wrote for La Especial Norte made my heart ache (in a good way). How does your writing relate to your artistic practice? 
I use the Alaska Way Viaduct as my umbrella on rainy days. It runs along the water till it disappears over the dirt cliff north of the Pike Place Market. It's my shelter from the rain, but not my compass. Going south, the mountains are on my right, moving north, they are on my left. If I am in the streets, I know where home is, because I am not at home. That fact is what keeps me moving.  There are landmarks I navigate by, but they all lead somewhere else; they all point homeward. One day I was waiting in line at a magazine kiosk to buy my paper. I mistook a vendor for a fellow customer and asked him, “Are you waiting?” “Yes,” he replied, “I work here and I’m waiting to go home.” Gretchen Bennett (excerpt, L.E.N. #1)
For the L.E.N. piece, I was writing based on "Two of Us", a Lennon/McCartney song. And, while, in the end, the song structure was all but invisible, it was really what I was thinking about the whole time, and just plugging in my own words and experience. I want to gather from observation, to literally take and reconfigure those things I encounter that speak to me. I can do this with words and sounds, as well as with found paper and collected street stickers. My collaborations with other artists, including you, have led me to new ways of expression. Part of my process is learning new materials and technology, in order to move the work forward, learning new methods as I go. I've started applying this to writing. Reading and reconfiguring is not new, I'm just noticing it, using it to my ends. 

Junk Dog (N. 3rd)

Supernature was one of my favorite shows last year.  Where did that come from?  Will we see more curation by you in the future? 

I wanted to rekindle and exchange with some artists, living for the most part on the east coast.  It was rewarding, even if I didn't have face to face contact with most of them. All who participated were generous. In the course of putting the show together, working pretty closely with Billy Howard, I became very interested in the framed image, the implications of what might be outside of the frame, and with painting. 


Mountain of Dirt

What’s next, Gretchen?

In the last year I've really been going back and forth between very formal drawings, made of digital information, and expanding into digital media and sound, in a very raw way. I'm also really in love with clay work. I'm working on an artist edition for Open Satellite that may take me back to felting. I should be writing more. I can't really sum it up, but it seems exciting.

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Belle of the Ball + UW MFA


George Rodriguez, 2009

After seeing his work in the Mentoring show, I really wanted to check out George Rodriguez's solo ceramics show, Belle of the Ball.  The UW Ceramics compound was packed with folks. George provided kegs and food. His buddy Bob had been smoking pork since 6am that morning. Even the torrential downpour couldn't kill the mood of this celebration!  

George will also have a huge installation at the UW MFA show opening this Friday at Henry Art Gallery. Other presenting artists include
 Arun Sharma, Ben Waterman, Bo Young Choi, Alice Case, Haley Farthing, Bob Gardner, Anne Petty, Hugo Shi, Marie-Claire Bozant, Erin Elyse Burns Burns, and Laurel Schultz.

The party is from 7-9pm.  More details here.  It's a don't miss for sure!

Tuesday, May 19, 2009

Sutton Beres Culler public art

image via SBC

Local favorites Sutton Beres Culler (2005 Stranger Genius winners) have put the finishing touches on their first public art project.  It's a piece called Salon and is installed in the sidewalk outside a park in West Seattle at Fauntleroy and California.

Salon is basically a public chalkboard where people are encouraged to make their own art. So grab some chalk and head on over!


image via SBC

When talking to reporter Patrick Robinson, John Sutton explained, "We wanted to make something that was playful and interactive, that was engaging the community that was constantly being renewed by the community and decided to go back to the idea of sidewalk art work, chalkboards."

Monday, May 18, 2009

The Puppet Show / Frye Art Museum

Kiki Smith (image via Frye Art Museum)

Like most Seattleites, I spent almost every possible minute I could outside enjoying this beautiful weekend.  The few hours inside were spent being transfixed by the new show at Frye Art Museum.  Ingrid Schaffner and Carin Kuoni have cocurated a wonderful exhibit called The Puppet Show.  But the exhibition isn't really about puppets; the show is about control and manipulation through contemporary puppet imagery. 

Laurie Simmons, still from Music of Regret, 2006 (image via Frye Art Museum)

It's a pretty full show (30 artists) and I have a feeling that I'll be going back frequently to watch all the videos (over seven hours worth).  Nathalie Djurberg (recently seen at Howard House) alone has around five video pieces. 

There's also a large installation called Puppet Storage (which serves as the exhibit's unconscious), full of various objects/puppets that have inspired or relate to the show.  You'll want to spend a lot of time here exploring various objects (such as Nayland Blake's childhood Winnie-the-Pooh).

Cindy Loehr, video still (image via Frye Art Museum)

Ingrid's talk on Saturday really got me thinking about the role of puppets and their relationship to society.  The goals of puppets are to either entertain (I can think of several ways I'd rather be entertained) or to act as an agent to say/do the things we can't (a function I find much more interesting).  The Puppet Show is heavily curated on the latter.  Sexual abuse, violence, apartheid, rape, loneliness, the inability to communicate and many more adult themes are covered here.  

William Kentridge, Act 4 Scene 1 (image via Frye Art Museum)

There are some amazing artists represented.  Yes, the Kentridge-palooza continues but I couldn't quit looking at these pieces. Also included are Nayland Blake (I love this man!), Louise Bourgeois, Kiki Smith, Pierre Huyghe (can't wait to see the complete video), Mike Kelley, Paul McCarthy, Bruce Nauman, Dennis Oppenheim (simultaneously beautiful and cacophonous), Kara Walker and lots more.


Nayland Blake, Joe Dallesandro as Augustin, 1994 (image via Frye Art Museum)

In addition to the already fantastic exhibit, the amazing Frye staff (led by chief curator, Robin Held), have created tons of supplementary programming.  My predicted highlights will be Robin's talk, John Bell's presentation, and Robert Horton's film screenings.  

The Puppet Show is up now through September 13 -- don't miss it!

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Frye Art Museum also recently opened Bringing Munich Home:  Selections from the Frye Founding Collection and Over Julia's Dead Body: Gabriel von Max's Mystics and Martyrs. I just love how they continue to reinterpret these familiar pieces. 

Sunday, May 17, 2009

Gallery news


Great news for Howard House! I was super happy to hear that Billy has hired Nancy Stoaks as the newest gallerist for Howard House.  Nancy might already be a familiar face to fans of James Harris Gallery where she was the previous gallerist (post Carrie Scott).  Congratulations to Billy and Nancy. 



You might have already heard that The Henry is switching things up a bit (their constant change is one of my favorite things about them!)  But just in case you haven't, beginning June 1st Henry Art Gallery will be adopting a new schedule.  Thursdays and Fridays, 11am - 9pm. Saturdays and Sundays, 11am - 5pm.  First Thursdays are still free.  I'm kind of psyched about the later hours.  I sometimes get a hankering to go see art after work and so this will be great for people like me.  Take a peek at their upcoming exhibition schedule -- I can't wait for the MFA show this Friday.

Friday, May 15, 2009

Self-portraits


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My friend, Jenny, has been taking these really cool self-portraits. You can check out more of her photostream here.
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George Rodriguez / Mentoring

George Rodriguez (detail)

Last night, I went to the opening of Mentoring at SAM Gallery.  If you're not familiar with the idea behind the show, four established artists chose an emerging artist they felt deserved more attention.  The pairings were Claire Cowie/George Rodriguez, Joe Park/Robert Hardgrave, Ellen Garvens/Colleen Choquette-Raphael and Eva Isaksen/Dan Hawkins.  As you can see, the looseness of the mission allowed for some interesting pairings.  I don't know if I'd consider Robert Hardgrave an emerging artist, but I love that Joe Park chose him.  They both have some of the most amazing brush-work I've seen in town!


George Rodriguez (detail from MFA show)

It was the Claire/George pairing that I was most interested in last night.  George is just about to get his MFA from the UW and I can't wait to see a larger collection of his work.  What I've seen so far is so sweet and adorable, full of mariachi bands and pinatas.  He has a beautiful installation at SAM Gallery.  It's the print (at top) of the band  and below it, the same thing but recreated in ceramics.  I wanted it so bad!  

Thursday, May 14, 2009

Saturday lectures

There's something for everyone on Saturday, especially in terms of great lectures. Unfortunately, I really want to see all three of these.


Noah Grussgott

If you're hungry and want a yummy crepe with your lecture, swing by Grey Gallery and Lounge from 1-3pm. Noah Grussgott will be discussing his current show, Caution Kid, and be available to answer questions about his work. He's great, the show is great and who doesn't like crepes?

John Grade, Preserve (open), 2009 (image via)

Davidson Galleries will be hosting an artist talk by John Grade from 2-4pm. The artist will be discussing his current work and how it relates to future work. I'd love to see this.


video still by Kara Walker, 2004 (image via)

Tomorrow night, the Frye Art Museum is hosting a member's preview of The Puppet Show. This show looks great. It includes pieces by Kara Walker, William Kentridge, Nayland Blake, Louise Bourgeois and many more. It's cocurated by Carin Kuoni and Ingrid Schaffner. Ingrid also cocurated Dirt on Delight at ICA, Philadelphia which included such greats as Lucio Fontana, Nicole Cherubini and Jeffry Mitchell.

On Saturday, beginning at 2pm, Ingrid Schaffner will be discussing the imagery of puppets in contemporary art in her presentation, Backstage at the Puppet Show. Call (206) 432-8289 to reserve your seat.