Susan Seubert ...... 2 Rick Araluce ...... 9 Debora Moore ...... 11 Susan Robb ...... 13 Stephanie Robison ...... 16 sarah hood ...... 20 Margie Livingston ...... 24 Doug Keyes ...... 29 Victor Maldonado ...... 33 Michael Brophy ...... 37 tannaz farsi ...... 45 Michael Kenna ...... 49 Jack Daws ...... 50 Robert Jones ...... 53 Denzil Hurley ...... 59 Zhi Lin ...... 64 Isaac Layman ...... 72 Chang-Ae Song ...... 74 scott trimble ...... 78 Eric Elliott ...... 81 Ross Sawyers ...... 84 Linda Hutchins ...... 87 Micki Lippe ...... 90 Gala Bent ...... 93 Susan Seubert

The submitted work is entitled, ""Iraqi Extraction."" These are photographs of teeth that were extracted from Iraqi prisoners of war by U.S. Army medics during the first Gulf War. The over-sized images represent a duality: how humanity can exist within the paradigm of war. When I was first told what these teeth were, I was immediately horrified, assuming that the teeth were extracted for torture purposes, (i.e. Abu Gharib), or that they were some kind of morbid souvenir from the battlefield. However they were not removed under coercion: they were removed at the request of the Iraqi soldiers because their own health care was insufficient and they were in pain.

Immediately, I was taken aback by my own assumptions and realized that I was jumping to a conclusion based not on reality or truth. My conclusions were drawn from information stemming from mainstream news media in the United States. I have never stepped foot anywhere near the front lines where so many soldiers are serving, and subsequently dying, every day. This is a perfect example of how (my own) ignorance creates a reality that may not exist.

Nonetheless, these teeth also present a way to contemplate the atrocities that happen every day in Iraq. They become symbolic in many ways, such as representing postmortem identification techniques. Teeth are unique like fingerprints as no two sets of teeth are identical. The enamel being 98 percent inorganic, teeth are the most durable part of the human body and sometimes the only remaining fragment available for identification. It is more common for people to have been to a dentist than to have been fingerprinted. "Forensic dentistry plays a major role in the identification of those individuals who cannot be identified visually or by other means. "[1] They may represent the human casualties that are so badly disfigured or destroyed that the only remnant may be a tooth.

The teeth enable one to think of the families of casualties on both sides, many of who must have to go through the grueling process of identifying body parts or providing dental records to the authorities.

[1] www.Froensicdentistryonline.org/forensic_pages_1/identguide.htm Resume

Susan Seubert

BORN 1970 Indianapolis, Indiana

EDUCATION 1992 BFA Photography- Pacific Northwest College of Art, Portland, OR

GALLERY REPRESENTATION Froelick Gallery, Portland, OR G. Gibson Gallery, Seattle, WA J. Crist Gallery, Boise, ID

SOLO EXHIBITIONS 2009 Science, Fiction, Froelick Gallery, Portland, OR (scheduled April 2009) 2005 Memento Mori, Froelick Gallery, Portland, OR One Hundred Cheerleaders, Donald Sheehan Gallery, Walla Walla, WA Memento Mori, G. Gibson Gallery, Seattle, WA 2003 Neurasthenia, Froelick Gallery, Portland, OR University of Portland, Portland, OR 2002 Fotofest, Mixture Contemporary Art, Houston, TX 2000 Chimeras, Froelick Adelhart Gallery, Portland, OR Oregon Health and Sciences University, Portland, OR 1998 Ten Most Popular Places to Dump a Body in the Columbia River Gorge, Froelick Adelhart Gallery, Portland, OR 1997 Panphobia, Houston Center for Photography, Gallery X, Houston, TX 1996 Panphobia, Froelick Adelhart Gallery, Portland, OR Violence Objects: YWCA Week Without Violence, Pioneer Place Atrium, Portland, OR 1993 Every Three Seconds, Jamison Thomas Gallery, Portland, OR

GROUP EXHIBITIONS 2009 Virtually Mixed for Life, Jumeirah Towers, Dubai, UAE (scheduled 2008) Alaska Yukon Pacific Exposition Centennial, Gallery 4Culture, (scheduled June 2009) 2008 Untraceable, Ronald Feldman Gallery, Portland, OR curators: Stephanie Snyder, Cooley Gallery, Reed College and Stuart Horodner, Atlanta Contemporary Art Center WAR, Guestroom Gallery, Portland, OR 100 Cheerleaders, Froelick Gallery, Portland, OR Yer Killin' Me, ArtsWest Gallery, Seattle, WA curator: Deborah Paine 2007 Building Tradition: Contemporary Northwest Art from the Tacoma Art Museum, Whatcom Museum of History and Art, Bellingham, WA Winter Group Show, Froelick Gallery, Portland, OR. Irqai Extraction (grop show), Froelick Gallery, Portland, OR Photoing On Car, J Crist Gallery, Boise, ID 2006 Winter Group Show, Froelick Gallery, Portland, OR. Experience, L. Coscino Galllery, Pacific Grove, CA. Group Show, J Crist Gallery, Boise, ID Le Noir C'est La Vie, Abbaye St. Andre Centre d'Art Contemporain, Meymac, France 2005 Lewis and Clark Territory: Contemporary Artists Revisit Place, Race, and Memory, Paley and Levy Galleries, Moore College of Art and Design, Philadelphia, PA Winter Group Show, Froelick Gallery, Portland, OR. Landmark, Portland Institute for Contemporary Art, Portland, OR Black and White Photography, 4 Culture Collection Seattle, WA Turning Light into Silver, Museum of Fine Arts, Houston, TX

2004 Lewis and Clark Territory: Contemporary Artists Revisit Place, Race, and Memory, Tacoma Art Musuem, Tacoma, WA curator: Rock Hushka, also at the Yellowstone Art Museum, Billings, MT Susan Seubert, New Work, G. Gibson Gallery, Seattle, WA 2003 The Female Aim, G. Gibson Gallery, Seattle, WA Crossroads, New Art from the Northwest, Center on Comtemporary Art, Seattle, WA- curator: Michael Klein, Microsoft Collection Celebrating Women in the Arts- Contemporary Northwest Women Photographers Juried Exhibition, Frye Museum, Seattle, WA Pacific NW Photography Now, Whatcom Museum, Bellingham, WA- curator: Scott Wallin Building Tradition: Gifts in Honor of the Northwest Art Collection, Tacoma Art Museum, Tacoma, Washington Art About Agriculture, Oregon State University, Corvallis, Oregon 2002 Out of the Frame, G. Gibson Gallery, Seattle, WA Terra Infirma, University of Puget Sound- Kittredge Gallery, Tacoma, WA, Curator: Greg Bell Alumni Exhibition, Feldman Gallery, Pacific Northwest College of Art, Portland, OR Small Wonder, G. Gibson Gallery, Seattle, WA 2001 Danger, Exit Art, New York City, NY East Meets West, Froelick Gallery, Portland, OR The Visual Chronicle of Portland: 1999-2001,Portland Community College- Northview Gallery, Portland, OR Northwest Narritive: Portland, Portland Institute for Contemporary Art, Portland, OR Northwest Annual, Center on Contemporary Art, Seattle, WA. Juror: Michael Sweney Northwest Visions: Recent Acquisitions, Key Tower Building Gallery, Seattle, WA Oregon Biennial, Portland Art Museum, Curator: Bruce Gunther (catalog) Contemporary Photo Gravure, Kala Art Institute, Berkeley, CA Sextablos, Augen Gallery, Portland, OR, Curator: Michael Hernandez Guns in the Hands of Artists, Interstate Firehouse Cultural Center, Portland, OR Northwest Photography, Prague House of Photography, Czec Republic (Dec 2001) New Year, New Work, G. Gibson Gallery, Seattle, WA Winter Group Show, Froelick Gallery, Portland, OR 2000 Oregon's Twentieth Century in Photography, Portland Art Museum- Copeland Gallery, Portland, OR, Curator: Terry Toedtemeier Gallery Artists, G. Gibson Gallery, Seattle, WA

Wonder Women: 34 Amazing Oregon Women Artists, The Art Gym- Marylhurst University, OR (catalog) Printwork, Froelick Adelhart Gallery, Portland, OR Open Walls, Portland Institute for Contemporary Art, Portland, OR Winter Group Show, Froelick Adelhart Gallery, Portland, OR 1999 Necropolis, Galerie Georges-Philippe et Nathalie Vallois, Paris, France Oregon Biennial, Portland Art Museum, Curator: Katherine Kanjo (catalog) Pacific Rim Exhibitions: Portland, Terrain, San Francisco, Ca Newport Biennial, Newport Visual Arts Center, Oregon Coast Council for the Arts, Curator: Kristy Edmunds (catalog) Portland Photographers, SK Josefsberg Studio, Portland, OR Plant Forms, Froelick Adelhart Gallery, Portland, OR 18th Annual Gender Studies Symposium Art Exhibition, Lewis & Clark College, Portland, OR, Curator: Ted Vogel Artists Collect, L&B Viewing Room, Portland, OR, Curator: Nan Curtis 1998 Paper, Froelick Adelhart Gallery, Portland, OR 98 Interiors, The Pavilion at the Japanese Gardens, Portland, OR 1997 Observation and Invention: Women Photographers 100 Years After the Photo- Succession, The Art Gym, Marylhurst College, OR, Curator: Terry Hopkins The Alchemists Backroom, Benham Studio Gallery, Seattle, WA, Curator: Marita Holdway ZYZZYVA: Portland Black and White, Froelick Adelhart Gallery, Portland, OR Eye Contact, Bumbershoot, Seattle Center, Seattle, WA Curator: Jill Janow The Garden Show, Portland Institute of Contemporary Art, Lutz Tire Building No. 2, Portland, OR, Curator: Victoria Beal Artslate '97, CoArts, Condon, OR Curator: Jane Beebe (award) 1996 Pushing Image Paradigms: Conceptual Maneuvers in Recent Photography, Portland Institute for Contemporary Art, Portland, OR, Curator: Kristy Edmunds The Tool Show, Portland Institute for Contemporary Art, Portland, OR Bloom, The Heathman, Portland, OR Curator: Elizabeth Leach Gallery 1995 Fifteen Years, Jamison Thomas Gallery, Portland, OR The Flower Show, Jamison Thomas Gallery, Portland, OR Resonance, Bush Barn Art Center, Salem, OR 1994 Photo Biennial, Westport Arts Center, Westport, CT (award) Recent Works, Jamison Thomas Gallery, Portland, OR Botanical Photographs, Hiram Butler Gallery, Houston, TX 1993 Crosscut, Portland Art Museum, Portland, OR, Curators: Kristy Edmunds, Terry Toedtemeier, John Weber 1992 Thesis Exhibition, Portland Art Museum, Portland, OR (award) 1991 AICA New York Studio, New York, NY 1990 Wentz Gallery, Pacific Northwest College of Art

CORPORATE AND PUBLIC COLLECTIONS The Gilkey Center for the Graphic Arts, Portland Art Museum, OR City of Portland, Oregon- The Visual Chronicle City of Portland, Oregon- Portable Works Collection City of Seattle, Washington- Northwest Visions Microsoft Corporation, Redmond, WA Museum of Fine Arts, Houston, TX Portland Art Museum- Permanent Collection, OR Oregon State University- Valley Library, Corvallis, OR Research and Education Group- Portland, OR Stoel Rives, LLP, Portland, OR Tacoma Art Museum, Tacoma, WA Hallie Ford Museum Collection, Salem, OR 4 Culture, Seattle, WA

AWARDS 2003 Carey and Glen Strome Agricultural Art Memorial Award, Oregon State University - Giustina Gallery, Corvallis, Jurors: Harrison Branch, Tallmadge Doyle, John Olbrantz, purchase award 2001 Betty Bowen Award - Finalist, Seattle Arts Museum, WA 1999 Alfred Eisenstaedt Award- Cover of the Year, administered by Columbia University, Graduate School of Journalism in conjunction with LIFE Magazine, New York, NY 1998 1998 Visual Arts Awards: Not Afraid to Walk on the Wild Side Award, Randy Gragg and DK Row, The Oregonian, Portland, 1 January, pp 54, 50 1997 Best of Show- Artslate '97, CoArts, Condon, OR, Curator: Jane Beebe 1996 Honorable Mention- Western States Individual Artist's Grant, National Endowment for the Arts 1992 The Abraham and Anna Helman Award for Fine Art Thesis Award for Fine Art, Pacific Northwest College of Art Photography Department Award, Pacific Northwest College of Art

COMMISSIONS 2000 The City of Portland, Oregon - Regional Arts and Culture Council, for The Visual Chronicle of Portland, six platinum prints of The Chinese Garden in Old Town/Chinatown

LECTURES 2007 National Geographic Traveler Photographers Lectures, Puerto Rico 2005 Whiman College, Walla Walla, WA National Geographic Traveler Photographers Lectures, Coeur d'Alene, ID 2003 Women In the Arts, University of Portland, Portland, OR Artbeat, Portland Community College, Portland, OR Portland Art Museum, Portland, OR 2002 Microsoft Artist Talk, Microsoft Corporation, Redmond, WA 2000 Issues Facing Women Artists Today, Marylhurst University- The Art Gym, Portland, OR, panel discussion, Moderator: Lois Allan, author 1999 Bluesky Gallery, Portland, OR 1998 Harvard University, Cambridge, MA Pacific Northwest College of Art 1997 Oregon Writers Workshop Pacific Northwest College of Art 1995 Astoria Arts Association, Astoria, OR 1993 Evergreen State College, Olympia, WA

BIBLIOGRAPHY 2008 ""'War'"": What is it good for""?, The Oregonian Blog D.K. Row, Jan.18 ""Taking on Torture,"" The Oregonian, D.K. Row, March 6, 2008, Section E, pp. 1, 4 Artistic Combat: ""War"" as theater of the absurd, The Oregonian, Brian Libby, Jan. 18, 2008 A Refugee From Gangland, The New York Times, Mimi Read, February 29, 2008. House & Home, pp. 1 & 7 2007 Memento Mori: The Cameraless Tintype, Boise Journal, Oct./Nov. 07, p.34 2006 Memento Mori: The Cameraless Tintype, Camera Arts Magazine, Susan Seubert, Dec. 05/Jan 06, pp.18-23 2005 Best Western, The Philadelphia Weekly, Roberta Fallon, Feb. 16-22, 2005 Spectral Innocence, Afterimage, Claire Sykes, July/August 38-39, 2005 Susan Seubert: Dark Elegance, Photographer's Forum, Claire Sykes, Fall 2005, pp. 24-31 Susan Seubert at Froelick Gallery, Artweek, Lois Allan, May 2005 pg. 23 vol. 36 issue 4 Insider's New York City, National Geographic Traveler, Washington, D.C. May/June. 2005 pp.66-79 Insider's Los Angeles, National Geographic Traveler, Washington, D.C. July/August. 2005 pp.50-63 Going Native, National Geographic Traveler, Washington, D.C. September 2005, pp82-92 Memento Mori and Other Tintypes, The Portland Tribune, Jill Spitznass, March 2005 Thanks, Just Looking, The Portland Mercury, Chas Bowie, March 2005 F-Stops on the Art Walk, The Oregonian, Portland, OR, 3 March pg. E1 & E3 2004 Hot Ticket, Sheila Farr, The Seattle Times, Seattle, WA March 4 Exploring the Legacy of Discovery, Regina Hackett, The Seattle Post Intelligencer, Seattle, WA, February 20 Catalogue: Lewis and Clark Territory, Contemporary Artists Revisit Place, Race, and Memory, Rock Hushka, pp.32-35 Catalogue: Building Tradition, Tacoma Art Museum, pg.41 Lewis, Clark Territory Gets New Look, Billings Gazette, Christene Meyers, July 30 Canada Coast-to-Coast, National Geographic Traveler, Washington, D.C. Nov./Dec. 2004 pp.60-72 Neurasthenia, The Northwest Review, University of Oregon, Eugene, OR. Vol. 42, #3, 2004, pp.77-84 2003 Fry's Focus is on Women Photographers, M. Kangas, The Seattle Times, Seattle, WA, January 24 Tacoma's Winning Combination, A Posh new Art Museum Gives Double the Measure of the Region's Artists, D.K. Row, The Oregonian, Portland, 4 May, F10 Artsweek, Radar, D.K. Row, The Oregonian, Portland, 4 May F6 2002 Prints and Proofs of a Curator's Passion, D. K. Row, The Oregonian, Portland, OR, 17 July, B1 Photography in New York International, New York, NY, March/April, p.118 2001 Danger, Ken Johnson, The New York Times, Art in Review, 4 May, p B31 Exit Art, Lauren Parker, New York Observer, Spring Art Walk, 2 May, p 4 Contemporary Photogravure, Lindsey Westbrook, San Francisco Bay Guardian, Critic's Choice, 21 February Oregon Biennial 2001, Karrin Ellertson, The Mercury, Portland, OR, 10 May, p 28 A Shot of Truth, Lisa Lambert, Willamette Week, Portland, OR, 28 March, p 69 Firearm Art is on Target, Michaela Bancud, Portland Tribune, Portland, OR, 20 April, C4 Sextablos, Karrin Ellertson, The Mercury, Portland, OR, 12 April, p 27 The City's Art Collection Your Art Collection, Seattle Arts, WA, Spring, vol 24, #1, p 5 ""Guns in the Hands of Artists"" at IFCC, Bob Hicks, The Oregonian, Portland, OR, 30 March, p 49 Sensuous ""Sextablos"", Bob Hicks, The Oregonian, Portland, Oregon, 30 March, p 48 Small Show Creates Big Stir, Bob Hicks, The Oregonian, Portland, OR, 11 February, E6-E7 Farewell to All That, D.K. Row, The Oregonian, Portland, OR, 4 February Oregon Biennial 2001, Portland Art Museum, Portland, OR, pp 15, 52-53, 63, Essay: Bruce Guenther 2000 The Season's Best Bets: Photo Americas 2000, D.K. Row, The Oregonian, Fall Arts Preview, Portland, OR 8 September, A&E, p 21, (feature image) Art: Susan Seubert, CALYX, Corvallis, OR. vol 19, #2, Summer, pp 47-51 PICA: Open Walls, Michaela Lowthian, Willamette Week, Portland, OR, 17 May, p 79 Gardens, Meigher Communications 20th Century Photography in Oregon, David Row, The Oregonian 1999 Tin House Magazine, Randy Gragg, No 2 Chinese Box, PLAZM, Randy Gragg, No 23 Jenny Deller, PLAZM, Portland, OR, No 21, p 2 The Accidental Photographer, Linda Knittel, Willamette Week, Portland, 30 June, pp 41-3 Earthly Delights: Eleven Artists Get Their Hands Dirty, Terri Cohn, Artweek, February, pp 14-15 Drawn By Gravity, Randy Gragg and DK Row, The Oregonian, A&E. 1 January, pp 54-5 Oregon Biennial, Portland Art Museum, Essay: Katherine Kanjo, p 28 (exhibition catalog) A Good Look Around, Daniel Duford, Willamette Week, Visual Arts, Portland, OR 11 August, p 75 The Best Magazine Photography of the Year, LIFE, Spring, pp 132-33 Hooray for Biennial! Let's Change it for 2001, Randy Gragg, The Oregonian, 8 August In The Spotlight, Randy Gragg, The Oregonian, 4 August Art on the Edge, Ron Cowan, Statesman Journal, Salem, OR, 1 August, pp 1D, 5D Oregon Biennial: Two Views, Sue Taylor and Randy Gragg, The Oregonian, 1 August, pp 1, 4 Art Old and New, Tricia Jones, The Colombian, 29 July, pp F14, F21 Another View of the New, DK Row, The Oregonian, A&E, 30 July, p70 The Spirit of '99, Karen E. Steen and Caryn B. Brooks, Willamette Week, Portland, 28 June, E3 Curator Nips Biennial List: Only 25 of 700 Artists Chosen, Randy Gragg, The Oregonian, 20 June, E3 1999 Oregon Biennial Artists Chosen, Kate Bonasinga, Willamette Week, Portland, p66 In Second Year, Biennial Curator Urges New Forms, Randy Gragg, The Oregonian, 14 February, pF12 Newport Biennial, Kristy Edmunds and Nancy Jane Reid, Newport Visual Arts Center, Oregon Coast Council for the Arts (exhibition catalog) Images More Than What They Seem in Newport Biennial, News Times, Newport, Oregon, 28 May 1998 Tales of Darkness, DK Row, The Oregonian, A&E, p62 Dance of the Seven Choreographers, Just Out, Portland, OR, 19 June, p 66 Byron Beck, The Oregonian, A&E, 12 June 1997 Women in Photography, Lois Allen, Artweek, December, Vol. 28, #12, pp24-26 Works on Paper Originally in B&W by Seattle/Portland Artists, Curated by Barbara Shaiman & Charles Froelick, ZYZZYVA, San Francisco, CA, Fall, No. 50,p44 (exhibition catalog) Observation and Invention: A Marylhurst Exhibit Shows the Varied Works of 14 Women Photographers, Bob Hicks, The Oregonian, A&E, 26 September, pp60-61 Observation and Invention: Oregon Women Photographers, Terri Hopkins, The Art Gym, Marylhurst University, OR (exhibition brochure) Susan Seubert: Police Reports (Standard Forms, Objects), Northwest Review, Eugene, OR, Summer, Vol 35, No. 2, pp 59-75 UO Puts Chosen Few On Display, Randy Gragg, The Oregonian, A&E, 12 January, E3 Susan Seubert: Panphobia, Center, Houston Center for Photography, Houston, TX, January/February, p1 1996 6/27-8/24 1996: Pushing Image Paradigms- Susan Seubert, Portland Institute for Contemporary Art, Portland, OR, pp 32-35 (exhibition catalog) 1993 The Next Wave, Randy Gragg, The Oregonian, A&E, 7 February, pp K1,4 Photo's Eye: A Woman's View of Danger, Randy Gragg, The Oregonian, A&E, 13 February, p C8 1992 The Photo Review, Fall Rick Araluce

My recent work falls into two categories: miniature constructions and full scale installation work. For this opportunity I am submitting images of my latest miniature work. An important facet of what I do is to create virtually all the components used. In the small works I fashion everything seen. The windows, doors, floorboards, the lot. I have devised over many years special methods to create a tiny chair, light bulb, telephone handset, architectural moulding and more. In several of my latest, I have even included tiny working clocks. In future I plan to create other minute working elements for such pieces. In my large work, I strive to build or create as much as I can. As in the miniatures, I build the doors, windows, bricks--even a faux linoleum floor and bird's nest and eggs for my most recent installation. It is a point of pride. At the moment I am fabricating an old-fashioned Bakelite telephone handset from scratch that will be 64"" long and have sound. But there must be more than craftsmanship and detail. There must be tone, texture, mystery and poetry. There must be a story. There must be feeling. My works are places where something has happened, perhaps dramatic, perhaps subtle.

I have an organic approach to making work, always have had. I am essentially self-taught, and have always held a fascination for ideas, associations, and metaphor. I tend to ignore trends and art fashion, preferring to take my own path. Resume

Born: 1960, Encino, California Resides: Seattle, Washington Education: 1979-81 Orange Coast Junior College, Costa Mesa, CA, no degree sought

Special Projects: 2008 ""Fragments of a Life"" a series of miniature site-specific installations in various locales downtown Seattle, WA 2006 Artist collaborator, ""The Hope Series"" with Robert Kantor, CoCA, Seattle, WA 2005 Artist collaborator with Sarah Sze, ""An Equal and Opposite Reaction"" Marion Oliver Mc Caw Hall, Seattle, WA 1995 Guest lecturer, Otis Parsons, Los Angeles, CA

Solo Exhibitions: 2009 Sloan Fine Art, New York, NY 2009 William Traver Gallery, Seattle, WA 2009 Off Ramp Gallery, Pasadena, CA 2008 OK Harris, New York, NY 2007 William Traver Gallery, Seattle, WA 2006 OK Harris, New York, NY 2006 Marion Oliver Mc Caw Hall, Seattle, WA 2005 William Traver Gallery, Seattle, WA 2004 OK Harris, New York, NY 2003 William Traver Gallery, Seattle, WA 2002 William Traver Gallery, Seattle, WA 2000 William Traver Gallery, Seattle, WA 1998 La Luz de Jesus, Los Angeles, CA 1996 William Traver Gallery, Seattle, WA 1995 Horwitch/Newman Gallery, Scottsdale, AZ 1994 Louis Newman Gallery, Los Angeles, CA 1994 Orange County Center for Contemporary Art (OCCCA) Santa Ana, CA 1993 La Luz de Jesus, Los Angeles, CA 1993 Rachelle Lozzi Gallery, Los Angeles, CA 1992 La Luz de Jesus, Los Angeles, CA 1991 La Luz de Jesus, Los Angeles, CA 1988 The Onyx Sequel, Los Angeles, CA

Group Exhibitions: 2007 ""Actor! Actor!"" Palo Alto Art Center, Palo Alto, CA 2006 The Production Network, Seattle, WA 2006 ""Scenic Dope"" Ballard Works, Seattle, WA 2006 ""Building Allegory"" William Traver Gallery, Tacoma, WA 2002 ""The Box Show"" The Mark Woolley Gallery, Portland, OR 2002 ""25th Anniversary Show"" William Traver Gallery, Seattle, WA 2002 ""Northwest Documenta I"" Salem Art Association, Salem, OR 2000 ""Assemblages"" William Traver Gallery, Seattle, WA 1997 William Traver Gallery, Seattle, WA 1996 Jerry Solomon Gallery, Los Angeles, CA 1994 Horwitch/Newman Gallery, Scottsdale, AZ 1993 Rachelle Lozzi Gallery, Los Angeles, CA 1993 ""Twisted Tales"" John Thomas Gallery, Santa Monica, CA 1993 ""Dark Suburban Fantasies"" The Art Institute of Southern California, Laguna Beach, CA 1992 ""Eclectic Images"" Barakat Gallery, Los Angeles, CA ""Boxes"" Space, Los Angeles, CA 1991 ""California Perspectives"" The Modern Museum of Art (MMOA) Santa Ana, CA 1991 Barnsdall Art Park Gallery, Los Angeles, CA 1990 ""China: June 4 1989"" Los Angeles Contemporary Exhibitions (LACE), Los Angeles, CA 1988 La Impression, Los Angeles, CA 1987 ""The Men's Show"" Michael Ivy Gallery, Los Angeles, CA

Bibliography: Catalogues/Magazines: Preview: The Gallery Guide, ""The Stolen Hours"" by Allyn Cantor, 2007, p. 90 Actor! Actor! curated by Signe Mayfield, 2007, p. 6 Encore Magazine, October 2006, p. 9 Dark Suburban Fantasies, curated by Jim Reed, 1993, p.2-3 LA Art, curated by Jeff Phillips and Mickey Kaplan, 1993, p. 30 Barakat Gallery, curated by Jeff Phillips, 1992, p. 6

Bibliography: Newspapers: The Seattle Times, ""The Stolen Hours"" by Shelia Farr, July 29 , 2007, p. K-1 San Jose Metro, ""Floater"" by Michael S. Gant, March 7-13, 2007 The Stranger, ""Paranoid Dollhouse"" by Tom Mc Taggart, September 19, 1996 p. 65

Awards/Grants: 2008 Artist Trust GAP Award 2006 Seattle City Artist Projects Grant Debora Moore

Nature has not only been an inspiration and wonder, but a constant source of reference for my work. I study color and form in nature and interpret it in my own designs. Within each work I combine an exploration of new techniques and my ongoing passion for orchids and other botanical studies. The delicacy and inherent properties of glass have helped me cultivate an organic approach to sculpture. The materials ability to transmit and reflect light as well as its variations from transparency to opacity lends itself perfectly to create a surreal state, one pausing between real and ficiton. Resume

Born: 1960, St. Louis, Missouri

Professional Experience 1994-present Fiori, Glass Studio Owner, Seattle, WA 2001 Pilchuck Glass School, Instructor, Stanwood, WA 1995-1997 Hilltop Artist-in-Residence Program, Instructor, Tacoma, WA 1992-1994 Glass Eye Studio, Glassblower Seattle, WA 1992-1993 Pratt Fine Arts Center, Instructor, Seattle, WA 1992 Chihuly, Inc., Glassblower/Assistant, Seattle, WA

Awards /Collections 2007 Rakow Commission, The Corning Museum of Glass, Permanent Collection, NY 35th International Invitational, Critics Award, Royal Oak, MI 2005 Museum of Glass, - Artist in Residence, Tacoma WA Abate Zanetti - Artist in Residence, Murano Venezia Italy 2004 Muskegon Museum of Art - Permanent collection, Muskegon, MI Harbourfront Centre, Flora - the ubiquity of nature, Visiting Artist, Toronto Canada 2002 PhilanderSmith College, Donald W. Reynolds Library & Technology Center, Permanent Collection, Little Rock, Arkansas 2001 Jon and Mary Shirley Collection, Seattle, WA 1990, '92, '95 Scholarship, Pilchuck Glass School, Stanwood, WA 1998 African American Design Archive, Cooper Hewitt National Design Museum, NY

Selected Solo Exhibitions 2008 Habatat Galleries, Boca Raton, FL 2006 Nancy Hoffman Gallery, New York, NY 2005 Museum of Glass, Reflections on Nature, Tacoma, WA 2004 Muskegon Museum of Art, Glass By, Muskegon, MI 2003 Habatat Galleries, Solo Showing, Boca Raton, FL 2002 Foster White Gallery, Seattle, WA Butters Gallery Ltd., Portland, OR 2000 Foster White Gallery, Kirkland, WA 1999 Pismo Gallery, Denver, CO Gump's, San Francisco, CA

Selected Group Exhibitions 2008 Four Seasons, traveling to SOFA, Habatat Galleries, Royal Oak, MI 2007 35th International Glass Invitational, Habatat Galleries, Royal Oak, MI 2006 Davis & Cline Gallery, Ashland, OR Museum of Glass, Fresh! Contemporary takes on Nature, Tacoma, WA Art Chicago, Nancy Hoffman Gallery, Chicago, IL Art Miami, R.Duane Reed Gallery, Miami, FL 2005 SOFA Chicago, Habatat Galleries, Boca Raton, FL Palm Beach3, Nancy Hoffman Gallery, Palm Beach, Florida 33rd International Glass Invitational, Habatat Galleries, Royal Oak, MI 2004 SOFA Chicago, Habatat Galleries, Boca Raton, FL World Glass Exhibition, William Traver Gallery, Tacoma, WA Glass Art Society, GAS Conference 2004, New Orleans, LA Tobin Hewitt Gallery, Garden of Glass, Louisville, KY Muskegon Museum of Art, Muskegon, MI National Liberty Museum, Philadelphia, PA Fragile Nature, Habatat Galleries, Royal Oak, MI 32nd International Glass Invitational, Habatat Galleries, Royal Oak, MI 2003 SOFA, Chicago, Habatat Galleries, Boca Raton, FL Glorious Glass: Color & Form, Seattle Tacoma Airport, Seattle, WA Art Palm Beach 2003, Nancy Hoffman Gallery, West Palm Beach, FL 31ST International Glass Invitational, Habatat Gallery, Royal Oak, MI 2002 SOFA, Chicago, Habatat Galleries, Boca Raton, FL 30th International Glass Invitational, Habatat Galleries, Royal Oak, MI 2001 Butler Institute of American Art, Winter Orchidarium, Youngstown, OH SOFA, Chicago, Habatat Galleries, Boca Raton, FL Habatat Galleries, 19th Annual International Glass Invitational, Boca Raton, FL Nancy Hoffman Gallery, Winter Orchidarium, New York, NY 2000 Nancy Hoffman Gallery, Glass: A Celebration, New York, NY LewAllen Contemporary, Santa Fe, NM Smithsonian Institution, Artistry of Orchids, Washington DC

Publications Neues Glass, Winter 2005, article by Judy Wagonfield, pgs.38-42 New Glass Review 29, 2008, cover image and article by Tina Oldknow, curator of Modern Glass, Corning Museum Susan Robb

I transform common objects into ideological hybrids of flesh, nature, and technology by drawing on empirical observation, reflection, and imagination about my immediate surroundings and contemporary social issues. These cross- disciplinary, open-ended investigations into landscape and environment address the intelligence of the natural world and dynamic systems. Resume

Representation Lawrimore Project, Seattle, WA

Education University of Washington, Seattle, WA, Master of Fine Arts Syracuse University, Syracuse, NY, Bachelor of Fine Arts -Photography Syracuse University, Syracuse, NY, Bachelor of Arts -Art History

Employment Present - 2003 Adjunct Professor, University of Washington, Seattle, WA 2006 - Teaching Artist Frye Art Museum, Seattle, WA 2005 - 2007 - Teaching Artist, Gage Academy of Fine Arts, Seattle, WA

Solo Exhibitions 2008 Giant Black Toobs #8, Hui No'eau Visual Arts Center, Makawao, Maui, HI Giant Black Toobs #7, Montclaire Museum, Montclair, NJ Giant Black Toobs #5, Marty Walker Gallery, Dallas, TX The Challenge Nature Provides, Lawrimore Project, Seattle, WA 2007 Warmth, Giant Black Toobs nos. 2 - 4, Volunteer Park, Seattle, WA 2005 Recording Field Level Five, Platform Gallery, Seattle, WA 2004 Black Hole Sound (audio for permanent installation of Steven Pippin's Black Hole), Wissenshafts Forum, Berlin 2003 Airlifted to Safety, Consolidated Works, Seattle, WA 2002 Seedling, Henry Art Gallery, Faye G Allen Center for the Visual Arts, Seattle, WA

Group Exhibitions 2007 Lawrimore Project, Aqua Winwood, Miami FL Help me I'm Hurt, Kirkland Art Center, Kirkland, WA Invisible Other, New American Art Union, Portland, OR Human Nature, School of fine Arts Gallery, Indiana University, Bloomington, IN 2006 Lawrimore Project, Aqua Art Fair, Miami, FL Sudo Island, Aqua Art Fair, Miami, FL Wired Forest, Kirkland Art Center, Kirland, WA Pixel dolls, Meatspace, and Everything All at Once: New Work in Second Life, www.secondlife.com at Sudo Project and Bumbershoot Festval, Seattle, WA Sonic Channels Emerging Media Publics, 15 Nassau St. Swing Space, New York, NY Ulterior Modish, Blindside Gallery, Melbourne, Australia 2005 IM5 International Art Market, Parker's Box, New York, NY Today in Paradise- Genetics and Art, Mobileart 05, Roda Sten, Gothenburg, Sweden 2004 Gene(sis): Contemporary Art Explores Human Genomics, The Mary & Leigh Block Museum of Art, Evanston, IL Gene(sis): Contemporary Art explores Human Genomics, Frederick Weisman Museum of Art, Minneapolis, MN 2003 Dazzle Camouflage, Consolidate Works, Seattle, WA Gene(sis): Contemporary Art explores Human Genomics, Berkeley Art Museum, CA Wrapture, Consolidated Works, Seattle, WA Contemporary Northwest Women Photographers, Frye Art Museum, Seattle WA

Awards and Honors 2008 Artist Trust GAP Grant CityArtist Project Award 4Culture Site Specific grant 2007 King County Performance Network Grant 2005 Pollock-Krasner Fellowship 4 Culture Special Projects Grant 2004 City of Seattle CityArtist Project Grant King County Works on Paper Collection Award 2003 The Stranger Genius Award 2002 Artist Trust Fellowship Black Rock City Arts Grant 1998 Artist Trust GAP Grant

Residencies 2008 Hui Press/Hui No'eau Visual Arts Center Residency 2004 Vain's Freethinkers Residency PONCHO Artist Residency at Pratt Fine Arts Center 2003 Atlantic Center for the Arts residency (fully funded) 2001 911 Media Arts Center, New Works Laboratory Residency Selected Bibliography

Reviews Pence, Elizabeth, Challenge Nature Provides at Lawrimore Project. ArtUS, Issue 23 Brian J Barr, "Robb's Big Idea", Seattle Weekly, 20 Feb. 2008 Matthew Richter, "The Surreal Environmentalist Environments of Susan Robb", Arcade; Architecture and Design, Vol 26.01 Fall 2007 Leah Balthus,Artist portfolio with limited addition Power Plants, Hyper-accumulator seed package, Rivet, R19, July 2007 Betsy Stirratt, Human Nature, (catalog),SoFA Indiana University Bloomington, 2007 The Sense of Another Dimension, artist book with CD, edition of 100, 2006 Beyond Words: A Visual Reader, Ruszkiewicz, Anderson, and Friend, 2005 Data Made Flesh, Embodying Information, edited by Rober Mitchell and Phillup Thurtle, Routledge, NY and London, 2004 Fashion is Art, (catalog), Fahey, Anna, Thread, 2003 Lava 2002 (catalog), Fahey, Anna, Thread, 2002 Art et Biotechnologies, Presses de l'Universite du Quebec, Louise Poissant et Ernestine Daubner, 2005 Aesthetics and Visualization in Chemistry, HYLE, International Journal for the Philosophy of Chemistry, Vol. 9, No. 2, Oct. 2003, Spector, Tami & Schummur, Joachim & Spalding, David The Golden Tower Project; The Art of Burning Man, Leonardo, Journal of the International Society for the Arts, Sciences, and Technology", Vol. 36, Number 5, 2003 Reviews The Stranger, July 11, 2007, Graves, Jen, " One Tenth of a Toob" Artweek, Dec, 2006, Pence, Elizabeth, "This is Gallery at Lawrimore Project" Artweek, Vol. 36, Issue 9, Nov. 2005,Pence, Elizabeth, "Susan Robb at Platform Gallery" Seattle Post Intelligencer, Sept. 9, 2005, Wagonfeld, Judy, "Robb's Alluring Images" The Stranger Oct. 8, 2003 Hall, Emily, "Genius, Visual Art, Susan Robb" Artweek, Oct. 2002,Spalding, David, "The Missing Link: Art, Biotechnology, and the Disappearance of Difference" The New York Times, May 26, 2002, Madoff, Steve Henry, "The Wonders of Genetics Breed an New Art Stephanie Robison

My work as a whole examines the relationship between culture, nature and the built environment. I make sculpture that reflects my surroundings, pulling from things that exist in our world, things that are familiar: clouds, bricks, towers, barricades, smoke, signs, scaffolding, pillows, umbrellas, flags, a staircase, a boat, the body.

I am inspired by the construction I see everyday on the way to work. I find the elaborate temporary structures that are created to be visually exciting. They have a carefree, homemade aesthetic that appeals to me. I am interested in the way we domesticate landscape. I have also drawn inspiration from multiple trips to Arizona where I've encountered ghost towns and cliff dwellings. These encounters have caused me to take a closer look at the obscured and contrived presentation of monuments and landmarks.

The early years my grandmother and I spent together making forts out of dining room chairs, blankets, and the old hide-a-bed have had an influence on the way I think about and respond to the world today. In that way, the work is autobiographical but the intent is to communicate beyond my personal experience.

Through play, my Grandmother inadvertently showed me that objects could function in more than one way - exist as something other than what was intended. I use fabric, wood and stone to create objects that reference more than one thing - forms that are indescribable but remain familiar. It is this edge between the comfortable, everyday aspects of both the forms and material, and their uncomfortable, awkward nature that interests me. Resume

Education: 2004 Master of Fine Arts in Sculpture from University of Oregon, Eugene, Oregon. 2000 Bachelor of Fine Arts in sculpture from Marylhurst University, Marylhurst, Oregon.

Exhibitions: 2008 Volume, Worksound, Portland, Oregon. (curated by Jeff Jahn)

Sightlines, The Art Gym, Marylhurst University, Marylhurst, Oregon. (two person exhibtion curated by Terri Hopkins)

Roadside Attraction, Autzen Gallery, Portland State University, Portland, Oregon. (two person exhibition)

Faculty Biennial, Archer Gallery, Clark College, Vancouver, Washington.

2007 The Hook Up, New American Art Union, Portland, Oregon. (curated by Jesse Hayward)

Stone: recent sculpture from the oldest material, Karin Clarke, Eugene, Oregon. (curated by Tom Urban)

Water Landing, Tilt Gallery and Project Space, Portland, Oregon. (solo)

Designated Landmarks Form/Space Atelier, Seattle, Washington. (invitational)

2006 The 2006 CoCA Annual, The Center on Contemporary Art, Seattle, Washington. (juried by Jennifer Gately)

Safety Dance, Porch Gallery, Portland, Oregon. (curated by Joe Macca)

Blue Frontier, Portland Modern Window Project, Portland, Oregon. (solo)

Overlapping Lines, University of Ulsan, Ulsan, South Korea "catalogue". (invitational)

Paper Fences, Tilt Gallery and Project Space, Portland, Oregon. (solo)

Sculpture and Drawing, Mayer Gallery, Marylhurst University, Marylhurst, Oregon. (solo)

2005 drawing(s) 40+ Artists/200 works, 25th Anniversary Exhibition, The Art Gym, Marylhurst University, Marylhurst, Oregon. (invitational)

Something Red, Gallery 205, Reed Opera House, Salem, Oregon. (juried)

2004 Recent Sculpture, Nine Gallery, Blue Sky Gallery, Portland, Oregon. (solo) MFA Thesis Exhibition, Pacific Northwest College of Art, Portland, Oregon.

2003 Mayor's Art Show, Jacobs Gallery, Hult Center, Eugene, Oregon. (juried)

Palpable Pleasures, Gumwood Room, University of Oregon, Eugene, Oregon. (invitational)

2002 Inter:sections, 12 Installations, Heron Building, Eugene, Oregon.

2001 Works On Paper, Robert Cannaga Gallery, Eugene, Oregon.

New MFA Exhibition, Laverne Krause Gallery, University of Oregon, Eugene, Oregon.

2000 Graduate Exhibition, Blackfish Gallery, Portland, Oregon. (invitational)

Bachelor of Fine Arts Thesis Exhibition, The Art Gym, Marylhurst University, Marylhurst, Oregon.

Bibliography: D.K. Row, "Exuberantly Interactive," The Oregonian, Portland, Oregon, April 18, 2008. Richard Speer, "Installation Situation," Willamette Week, Portland, Oregon, April 16, 2008. John Motley, "Roadside Attraction," The Portland Mercury, Portland, Oregon, March 6, 2008. Richard Speer, "First Thursday in review: Art-chitecture?", Willamette Week, Portland, Oregon, June 16, 2007. Arcy Douglass, "Off the Plane and into Space: THE HOOK UP," PORT, www.portlandart.net, Portland, Oregon, June 15, 2007. John Motley, "The Hook UP", The Portland Mercury, Portland, Oregon, June 7, 2007. Jen Graves, "The Stranger Suggests", The Stranger, Seattle, Washington, February 15, 2007. Jen Graves, "In Art News: The Not-Miami", The Stranger, Seattle, Washington, December 5, 2006. Jessica Bromer, PORT, www.portlandart.net, exhibition announcement with photograph, Portland, Oregon, January 31, 2007. Vanessa Harless, "Water Landing," PDX Magazine, Portland, Oregon, February, 2007, 49. Jeff Jahn, "ESL and café's 1, would be institutions 0," PORT, www.portlandart.net, Portland, Oregon, February 13, 2006. John Motley, "Stephanie Robison," The Portland Mercury, Portland, Oregon, February 9, 2006.

Awards: 2008 Adjunct Faculty Development, Clark College 2007 RAP, Clark College Adjunct Faculty Development, Clark College 2005 Jury Merit Award 2004 Jan Zach Memorial Award 2003 David Mcosh Scholarship

Exhibitions Juried: 2005 Touchable, Pacific Northwest College of Art, Portland, Oregon.

Visiting Artist: 2008 Portland Community College, Art Beat, Portland, Oregon. 2007 University of Oregon Stone Carving Symposium, Eugene, Oregon. 2006 Stone Sculpture Symposium, Silver Falls, Oregon. University of Oregon Stone Carving Symposium, Eugene, Oregon. 2005 University of Oregon Stone Carving Symposium, Eugene, Oregon.

Current Employment: Symposium Director, NWSSA 14th Annual Silver falls Stone Carving Symposium 2008, Oregon.

Adjunct Professor of Art, Marylhurst University, Clark College, and Portland State University. sarah hood

I've come to see jewelry making as a way to explore my somewhat disparate interests in a very direct and inclusive way. My enthusiasm for gardening, botany, literature, children's toys, eastern philosophy, and travel all somehow make their way into my jewelry. Often these subjects inspire tangents in my work that I find totally compelling, and I find the small scale of jewelry perfect for exploring a concept to the point of exhaustion. Collecting, organizing, studying, venerating, and obsessing all come together for me in these small sculptures.

My work consists of several collections of unique jewelry pieces ranging from very wearable limited edition jewelry to one-of-a-kind sculptural art jewelry. My pieces are a constant exploration of the natural world, both its forms and its materials. I'm drawn to archetypes, those images floating beneath our collective consciousness--a perfect circle, an elongated leaf, a bare tree. Shapes are uncomplicated, metals clean and straightforward. Form is often evidenced by simple lines, like gestural drawings on paper. I love striking profiles, elegant design, and unexpected combinations of materials.

For years I've been working within the intersection of archetypal form and the natural world, creating one-of-a-kind jewelry pieces from organic materials. In Landscape, my latest series of pieces, I've taken a break from the real natural materials - leaves, pods, seeds-- which have compelled my work for many years to create miniature, artificial worlds within the context of jewelry. Working with model railroad landscape materials lets me create tiny snapshots of the natural world, scenes that can trick the eyes into believing they are seeing something much larger. In several pieces, this deceit is challenged by the combination of these small constructed natural forms with full scale, cast sterling branches which, in material, are equally unreal and illusionary.

My newest collection, Arbor, highlights the stark silhouette of nearly bare sterling silver and 24k gold trees. Each piece is ultimately wearable, but still covetable and collectible, the perfect combination. These pieces speak to my love of the natural but somehow grow beyond that, entering a new realm of almost fairytale-like beauty. The collection is accessible but still somewhat mysterious at the same time.

Years ago, I stumbled into a metalsmithing course at a small college in California, and was hooked. I went on to formalize my studies at Parsons School of Design in New York City while simultaneously earning a writing degree from the New School. After earning my BA, I finished my BFA in metalsmithing at the University of Washington in Seattle, Washington, the city in which I spent much of my childhood. I currently live and work in Seattle and have been an active member of the lively arts community there for many years.

My work has been shown nationally and has been featured in many publications, including Metalsmith Magazine, Seattle Magazine, Elle Magazine, Glamour Magazine, The Rings Book, by Jinks McGrath, several of the 500 Books, edited by Marthe LeVan, and many international magazines. My jewelry is included in several permanent collections, both private and public, including the Tacoma Art Museum. Resume

Sarah Hood www.sarahhoodjewelry.com

6212 Woodlawn N., Seattle WA 98103 ______

Selected Exhibitions Putting the Band Back Together, Savannah Coll. of Art and Design, Savannah GA, 3/5-3/8, 2008 Valentine's Show, The Gallery at the Museum of Contemporary Craft, Portland OR, 2/5-2/29, 2008 New West Coast Design:Jewelry & Metalwork, Velvet DaVinci, San Francisco CA, 1/18-2/17, 2008 The Finer Things:The Gifts That Lovers Give, LUX Center for the Arts, Lincoln NE, 1/11-3/1, 2008 Fuller Craft Members Exhibition, Fuller Craft Museum, Brockton MA, 11/17/07- 3/3/08 250 Earrings, Facèré Jewelry Art Gallery, Seattle WA, 10/8-10/24, 2007 2007 Craft Biennial, Hoffman Gallery, OCAC, Portland OR, 8/2-9/27. 2007 All Media Landscape, Foundry Art Centre, St. Charles MO, 7/27-9/7, 2007 9th Annual Landscape Internat'l Online Exhibit, www.UpstreamPeopleGallery.com, 7/1/07-6/30/08 Material Alchemy, Gallery M.I.M., Baltimore MD, 6/23-7/28, 2007 The Naturals, OXOXO Gallery, Stone Harbor NJ, 5/24-6/30, 2007 Seatttle Metals Guild Biennial 2007, SeaTac Airport, Seattle WA, 9/29/06-9/2007 Parameters of Preciousness, Gahlberg Gallery, Glen Ellyn IL, 5/18-5/28, 2006 Holiday Fine Crafts Show, Elise Mankes Studio, Marblehead MA, 11/25-12/24, 2005 Collections, Elise Mankes Studio, Marblehead MA, 9/15-10/13, 2005 Generating Connections, The Society of Arts and Crafts, Boston MA, 4/4-6/28, 2002 The Magpie's Stash, VAIN, Seattle WA, 11/4-12/4, 2001 Once and Again, OXOXO Gallery, Baltimore MD, 9/22-10/26, 2001 Transmutations, The Glass Gallery, University of Texas at El Paso, El Paso TX, 9/20-10/31, 2001 Garden of Dreams, The Sybaris Gallery, Royal Oak MI, 5/24-6/30,2001 Color on Metal, OXOXO Gallery, Stone Harbor NJ, 5/17-7/9, 2001 Color on Metal, OXOXO Gallery, Baltimore MD, 4/14-5/17, 2001 Jewelry as an Object of Installation, Susan Cummins Gallery, Mill Valley CA, 4/3-4/28, 2001 Vanity of Vanities, NML Gallery, Cardinal Stritch University, Milwaukee WI, 3/30-5/11, 2001 Botanica, OXOXO Gallery, Baltimore MD, 3/10-4/12, 2001 The Ring, Mobilia Gallery, Cambridge MA, 1/27-3/3, 2001 SOFA Chicago 2000-Metalsmith Exhibition in Print Exhibit, Navy Pier,Chicago IL, 11/3-11/5, 2000 Glass/Metal Connection, Facèré Jewelry Art Gallery, Seattle WA, 10/11-11/2, 2000 Under the Influence: Contemporary Jewelry & Ethnography, TAM, Tacoma WA, 9/19/00-1/1/01 The Missing Link, Mobilia Gallery, Cambridge MA, 6/2-7/22, 2000 NICHE 2000 Art and Print Expo, Pennsylvania Convention Center, Philadelphia PA, 2/17-2/21, 2000 New Kids on the Block, Facèré Jewelry Art Gallery, Seattle WA, 2/1-2/22, 2000 New Metal: Emerging Views, Contemporary Crafts Gallery, Portland OR, 1/18-2/27, 2000 Regional Jewelry/Metals Exhibition, Pratt Fine Arts Center, Seattle WA, 4/9- 4/30, 1999

Awards & Honors Artist Trust 2008 GAP recipient, 6/2008 Juror's Mention, 9th Annual Landscape Exhibition, Upstream People Gallery, 7/2007 NICHE 2000 Awards Finalist 11/1999 Milnora Roberts Scholarship, University of Washington School of Art 9/1998

Professional Activities Artist Trust Seattle WA 2008 Artist Trust Auction Committee Member 2007, 2008 Artist Trust Seattle WA 2005 Artist Trust Auction Coordinator 2005 Pratt Fine Arts Center Seattle WA Jewelry/Metals Studio Technician 2000-2001 Pratt Fine Arts Center Seattle WA Jewelry/Metals Studio Coordinator 1998-2000 Seattle Metals Guild Board member 1999-2001 Society of North American Goldsmiths member ongoing

Publications Russian Jeweler Magazine, May 2008, page 6 D Casa Magazine, May 2008, page 31-32 Trunkt Amazing Artists, Jewelry Edition, 2008, Trunkt, page 8-9 500 Pendants & Lockets, Marthe Le Van, ed., Lark Books, 2008, pg. 127 & 290 Glamour Italia Magazine February 2008, pg. 246 Modern Jewelry from Modular Parts, Marthe LeVan, Lark Books, pgs. 15, 36, 38, 118 Elle (Italian version) December 2007, pg. 98 Grazia Magazine 11/13, 2007, pg. 218, 220 Seattle Magazine November 2007, pg. 10, 42 FHM Germany October 2007, pg. 21 Idex Magazine September 2007, pg. 112 500 Earrings Marthe Le Van, ed., Lark Books, 2007, pg. 236 500 Necklaces Marthe Le Van, ed., Lark Books, 2006, pg.195, 322, 378, back flap Contemporary Enamelling: Art & Techniques Lilyan Bachrach,Schiffer Publishing, 2005, pg. 152 The Rings Book Jinks McGrath, Krause Publications, 2002, pg.120, 121 American Style Spring 2002, no.28, pg. 16 Metalsmith Magazine: Review of "Under the Influence," by Susan Myers, Summer 2001, pg. 52 Color on Metal Tim McCreight and Nicole Bsullak, Guild Publishing, 2001, pg. 60- 61 SOFA 2000 Catalog, pg. 40 Metalsmith Magazine: Observations Fall 2000, pg. 46-47 Metalsmith Magazine Exhibition in Print Fall 2000, pg. 33 Tacoma Entertainment Quarterly Fall 2000, front page Art Jewelry Forum News Fall 2000, front page Society of North American Goldsmiths News August 2000, pg. 3 NICHE Magazine, Winter 2000, pg. 175

Collections Tacoma Art Museum permanent collection - Big Sur, Malden Avenue East Education University of Washington Seattle WA B.F.A. Metal Design 5/1999 New School New York NY B.A. Poetry Writing 12/1996 Parsons School of Design New York NY Industrial Design/Metal Design 9/1995- 1/1997

Gallery Representation Facere Jewelry Art Gallery, Seattle WA OXOXO Gallery, Stone Harbor NJ Lux Center for the Arts, Lincoln NE Positive Images, Austin TX Margie Livingston

At first glance, my paintings may look like non-objective abstraction. But for several years they've been based on constructions I've assembled in my studio. These hybrid structures--with both natural and built forms-- are set up as still-life objects and lit with warm and cool lights.

In working from these structures, my goal is straightforward: to build an equivalent sense of light and space with minimal means (images 1-3). The grid helps me find points in space and plot the perspective of each mark--especially when I'm locating a bit of air in the middle of the room.

For my latest works, I've left out the branches, and constructed a white cube with a grid of string (image 4). The sag of the string gives the grid an organic, atrophied quality. This set up allows me to concentrate on the modulation of local and reflected color as it moves through space.

I'm working on a series of 10-12 paintings from this model. Each painting has it's own point of view and relationship to the space. For the first painting in the series (image 5), the set up uses daylight and theater spots with red and yellow gels. The second (image 6), contrasts a warm incandescent bulb with cool daylight. Several other paintings are almost done, but not quite ready for presentation.

This summer I was invited to a residency in China at the Shenzhen Fine Art Institute, where I'm currently preparing work for an exhibition that will be presented both at Shenzhen Fine Art Institute and the University of Washington's Jacob Lawrence Gallery. I'm working with a grid of bamboo inspired by the traditional bamboo scaffolding. I'm presenting two drawings from the series (images 7-8), but the paintings aren't far enough along to show.

It's possible that being in China will disqualify me from consideration for the Biennial. I don't mean to be presumptuous, but if I were lucky enough to be asked for a studio visit, my flight from Hong Kong is August 31st, so September 2nd is the earliest I would be able to meet with you. If this is the case, thank you for taking the time to look at my work and I hope that my schedule works better next time.

This is a very exciting time in my studio. Getting rid of the branches in my set up, experimenting with new lighting, and working in China is pushing my work in unexpected ways.

Thank you for supporting Northwest artists. Resume

M A R G I E L I V I N G S T O N

One-Person Exhibitions 2007 Hybrid, Greg Kucera Gallery, Seattle Betty Bowen Memorial Award Exhibition, Seattle Art Museum Nexus, Richard Levy Gallery, Albuquerque, NM 2006 The Archer Gallery, Clark College, Vancouver, WA 2005 The Structure Paintings, Greg Kucera Gallery, Seattle 2004 An Introduction, Greg Kucera Gallery, Seattle 2003 Art Center Gallery, Seattle Pacific University 2002 The Berlin Work, Bellevue Community College, Bellevue, WA 2001 Personal Nature, SOIL, Seattle 1997 Greenwood Art Walk, juried by Francine Seders, Seattle

Selected Group Exhibitions 2008 Fresh Impressionism, Seattle Art Museum 2006 All in the Painted View, Museum of Northwest Art, La Conner, WA Exploded View, SOIL, Seattle New Works Laboratory, 911 Media Arts Center, Seattle Particular Places, Creative Arts Workshop, New Haven, CT 2005 University of Washington School of Art First Annual Alumni Award, Jacob Lawrence Gallery, Seattle SOIL 1995-2005: A Retrospective, SOIL, Seattle 2004 Masquerade, curated by Bret Marion, SOIL, Seattle Northwest Biennial: Buildingwise, Tacoma Art Museum, Tacoma, WA Soft Emergencies, VU Gallery, Western Washington University, Bellingham, WA 2003 Collections and Creations, curated by Randy Wood, Bumbershoot, Seattle COCA Northwest Annual, juried by Esther Luttikhuizen Flashpoint, SOIL, Seattle Introductions, Seattle Art Museum Rental/Sales Gallery The Last Judgment Project, curated by Stefano Catalani, Bumbershoot, Seattle Paying Attention, Creative Arts Workshop, New Haven, CT Specimen, SOIL, Seattle Young Seattle Artists, Howard House, Seattle 2002 Intersection, Amerika Haus, Berlin, Germany Invitational, Marlac Building, Seattle 2001 Five Painters, SOIL, Seattle 2000 Homeland, Shoreline Community College, Seattle 1999 MFA Thesis Exhibition, Henry Art Gallery, University of Washington, Seattle Pacific Northwest Annual, Bellevue Art Museum, Bellevue, WA 1998 Works on Paper, Phinney Ridge Community Center, Seattle Works in Progress, Jacob Lawrence Gallery, University of Washington, Seattle 1997 Celebrity: Figures of Worship, Fame, Fortune, Heroism, and Infamy, curated by Greg Kucera Gallery, Bumbershoot, Seattle Pacific Northwest Annual, Bellevue Art Museum, Bellevue, WA 1997 Works of Faith, juried by Laura Ross Paul, First Presbyterian Church, Portland, OR Seattle Women's Caucus for Art, ArtSpace, Seattle 1996 Alder Gallery, Eugene, OR Baas Gallery, Seattle 1995 Le Petit III, Alder Gallery, Eugene, OR

In Preparation 2008 Seattle City Light Elevator Lobbies Project Commission Shenzhen Fine Art Institute, Shenzhen, China 2009 Jacob Lawrence Gallery, University of Washington, Seattle, WA

Education 1999 University of Washington, Master of Fine Arts, Painting

Awards 2008 Artist in Residence, Shenzhen Fine Art Institute, Shenzhen, China Grants for Artist Projects (GAP), Artist Trust, Seattle 2007 Contemporary Northwest Art Award Semi-Finalist, Portland Art Museum 2006 Betty Bowen Annual Memorial Award, Seattle Art Museum City Artist Projects, Seattle Individual Artists Program, 4Culture, Seattle 2005 University of Washington School of Art First Annual Alumni Award 2004 Artist Trust/Washington State Arts Commission Fellowship GAP Grant, Artist Trust, Seattle 2001 Fulbright Scholarship to Germany, 2001-02 1998 Lockitch Scholarship, University of Washington 1997 Juror's award, Works of Faith, Portland, juried by Laura Ross Paul, First Presbyterian Church, OR 1996 Vermont Studio Center Artist's Grant

Collections 4Culture, King County Public Art Collection, Seattle City of Seattle, Portable Works Seattle Art Museum Swedish Medical Center Tacoma Art Museum University of Washington

Gallery Representation Greg Kuceara Gallery, Seattle Richard Levy Gallery, Albuquerque, New Mexico Selected Publications Mathew Kangus. 2007. Margie Livingston at Greg Kucera. Art in America, December, p. 170.

D.K. Row. 2007. Museum selects regional talent. The Oregonian, July 28, p. B1.

Gayle Clemens. 2007. Vivid paintings spring up all over. The Seattle Times, April 13, p. 47H.

Jen Graves. 2007. Roots & Branches. The Stranger Podcast, March 21.

One Shot 2006. Visual Codec.

Sheila Farr. 2006. New Works Lab experiments mix old and new. The Seattle Times, September 22.

Brian Libby. 2006. Mesmerizing patterns of form and shape. The Oregonian, October 20, p. 36.

2005. New American Painting. volume 61.

Andrew Engelson. 2005. Margie Livingston & Ruben Lorch-Miller. Seattle Weekly, April 6-12, p. 33.

Gary Faigin. 2005. The Beat. KUOW, April 20.

Regina Hackett. 2005. In the Galleries. Seattle Post-Intelligencer, April 7, p C1.

Thom Heileson. 2004. YSA! The Organ, March/April, p. 5.

Allison Faye-Moody. 2004. Meet Margie Livingston, a Seattle Artist. European Weekly's Pazifische Rundshau, June 2004, p. 16.

Regina Hackett. 2003. Howard House hits hot note with its young artists show. Seattle. Post-Intelligencer, December 19.

Regina Hackett. 2003. Nature becomes artificial in the hands of artists at SOIL. Seattle Post-Intelligencer, November 14, p. 18.

Drake Deknatel. 2002. It's a Mad, Mad World. Art Access, April, p. 12.

Artifacts, 2001. Alumni SPOTLIGHT: Who are you? Margie Livingston. Autumn, p. 3.

The Columbian. 2001. Artist receives Fulbright, July 2.

Professional Activities Seattle Art Museum, Contemporary Art Council Treasurer, 2005-2008

Artist in Residence, Museum of Glass: International Center for Contemporary Art, Tacoma, WA, 2004

SOIL Artist Cooperative, Seattle, WA, member, 2000-present

Association of Student Painters, University of Washington, member, 1998-1999 MFA Thesis Committee, Fund-Raising Chair, University of Washington, 1998-1999

University of Washington Public Art Commission, 1998-1999

Teaching Bellevue Art Museum School, Bellevue, WA, 2003 Gage Academy, Seattle, 2001-2007 University of Washington School of Art, Seattle, 1998-2007 Doug Keyes

Becoming Language

As an artist with a background in graphic design, Doug Keyes is hyperaware of the ways in which information and images are conveyed to the public. He is equally aware of the way knowledge stacks upon itself over time, leaving an impression or collective memory. Keyes' luminous color photographs reveal (or conceal) an entire experience in a single image. These multiple exposure photographs document travel along a route, a specific area or a particular place in an attempt to record what the eye doesn't see but the mind retains. The resulting images contain subliminal markers of public information, from the ubiquitous buildings of corporate chains, to monuments of long forgotten war heroes. Each image is part of a larger Collective Memory project that attempts to answer the questions: How do we know what we know? How does this everyday experience change who we are?

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Doug Keyes

Selected Solo Exhibitions 2008 'Becoming Language', G. Gibson Gallery, Seattle, WA 2007 'Collective Memory', Foley Gallery, New York, NY 2006 'Becoming Language', G. Gibson Gallery, Seattle, WA 'Collective Memory', Gallery Unpublished, Seattle, WA 2003 'Collective Memory', Gallery Sink, Denver, CO 'Collective Memory', PhotoEye Gallery, Santa Fe, NM 2001 'New Work', G. Gibson Gallery, Seattle, WA 'Review Americas Photographer of the Year', Nine Gallery, Portland, OR 'Photographs', Rudolph Projects, Houston, TX 1999 'Collective Memory', Rudolph Poissant Gallery, Houston, TX

Selected Group Exhibitions 2006 'Measure of Time', Berkeley Art Museum, Berkeley, CA¬ 2005 'A Decade of Excellence: Celebrating the Neddy Artist Fellowship', Tacoma Art Museum, Tacoma, WA 'The Material Image: Surface and Substance in Photography', Samuel Dorsky Museum of Art, SUNY New Paltz, NY 2004 'Light Bound - Photographers' Regard the Book', Minneapolis Institute of Arts, Minneapolis, MN 'Beyond Words, Artists and the Book', Museum of Fine Arts-Santa Fe, Santa Fe, NM 'The 14th NW Annual', Juror-Ken Lum, Center on Contemporary Art, Seattle, WA 2003 PhotoEye Gallery, Santa Fe, NM 2002 'New Acquisitions/ New Work/ New Directions 3: Contemporary Selections', Curator-Robert Sobieszek, Los Angeles County Museum of Art, Los Angeles, CA 'Multiplex', Bumbershoot Arts Festival, Seattle, WA 'Small Wonder', G. Gibson Gallery, Seattle, WA 'Lexicon: A Photographic Complication', The Writers Place, Kansas City, MO 'LAVA 2002', Noodleworks, Seattle, WA 2001 'TEXTures', Seattle Art Museum, Rental/Sales Gallery, Seattle, WA 2000 'Pacific Northwest Annual', Bellevue Art Museum, Bellevue, WA 'Neddy Artist Fellowship Exhibit', Bank of America Gallery, Seattle, WA Rudolph Poissant Gallery, Houston, TX 'Northwest Annual', Juror-Mike Bidlo, Center on Contemporary Art, Seattle, WA 'Seattle Collects 2000', Key Tower Gallery, Seattle, WA 1999 'Peripheral Visionaries', G. Gibson Gallery, Seattle, WA 'The End', Juror-Fred Wilson, Tacoma Art Museum, Tacoma, WA 'Pacific Northwest Annual', Juror-Jon Tupper, Bellevue Art Museum, Bellevue, WA 'Neddy Artist Fellowship Exhibit', Seafirst Gallery, Seattle, WA 'Northwest Annual', Juror-Kerry James Marshall, Center on Contemporary Art, Seattle, WA 1998 'Pacific Northwest Annual', Bellevue Art Museum, Bellevue, WA Rudolph Poissant Gallery, Houston, TX 1995 'Northwest Noir', Vox Populi Gallery, Seattle, WA 1994 'Pacific Northwest Annual', Bellevue Art Museum, Bellevue, WA 'Northwest Annual', Juror-Joel-Peter Witkin, Center on Contemporary Art, Seattle, WA 'Kirkland Arts Center Annual', Kirkland Arts Center, Kirkland, WA 1989 'Northwest Annual', Jurors-Leon Golub/Nancy Spero Center on Contemporary Art, Seattle, WA

Recognition 2007 Jurors' Choice Award, Project Competition, CENTER - Santa Fe, Juror-Deborah Klochko Aperture West Book Prize, nominee, Aperture 2001 Review Americas Photographer of the Year, Photo Americas 2000 Finalist, Betty Bowen Award, Seattle Art Museum Bellevue Art Museum Residency, Bellevue Art Museum Seattle Collects Purchase Award, Seattle Arts Commission 1999 Ned Behnke Artist Fellowship Recipient, Behnke Foundation Jurors' Award, The End, Tacoma Art Museum, Juror-Fred Wilson King County Arts Commission Portable Art Collection Purchase 1998 Jurors' Award, Annual Holiday Exhibit, Photographic Center- Seattle, Jurors- Sheryl Conkelton/ Michael Van Horn 1996 Jurors' Award, Berkeley Art Center Annual, Berkeley Art Center, Juror-Geno Rodriguez 1995 Finalist, Seattle Artists Visual Arts Program, Seattle Arts Commission

Selected Collections Los Angeles County Museum of Art Museum of Fine Arts-Houston Minneapolis Institute of Arts Berkeley Art Museum Samuel Dorsky Museum of Art Akron Art Museum University of Washington-Seattle Seattle Arts Commission-Seattle City Light King County Arts Commission/4 Culture Safeco

Bibliography 2008 Keyes, Doug, Conkelton, Sheryl, 'Collective Memory' (Monograph), Decode Books 2005 Hushka, Rock, 'A Decade of Excellence: Celebrating the Neddy Artist Fellowship' (Catalogue), Tacoma Art Museum 2004 Anderson, Simon & Peterson, Christian, 'Light Bound, A Love Affair Between Books and Light', Sara Ranchouse Peterson, Christian, 'Lights! Camera! Books!', Arts Kangas, Matthew, 'Still Annual But, Alas, Barely Northwest', Seattle Times, Oct. 29 2002 Howard, Rhonda, Fahey, Anna, Webb, Dan, 'Lava 2002' (Catalogue), Noodleworks, May Leitch, Christopher, 'The Pattern at The Writers Place', Review, Mar. Fefer, Mark D., 'Magma Carta', Seattle Weekly, May 16 Powers, Kathleen, 'Booked - Photo Americas 2001', Afterimage, Jan.-Feb. 2001 Hall, Emily, 'Bio: Art: Doug Keyes', The Stranger, Apr. 19 2000 Ellison, Victoria, 'Reality Bites', Seattle Weekly, Jan. 27 Fredericksen, Eric, 'Look Away', The Stranger, Jan. 6 Seiko, Uyeda, 'Quest for Lost Image', Seven Seas, May Updike, Robin & Weiss, Peggy, '2000 Neddy Artist Fellowship Exhibition' (Catalogue), Bank of America Gallery, June 1999 Bell, Greg & Wilson, Fred, '"The End", Northwest Biennial Competition' (Catalogue), Tacoma Art Museum, Aug. Bryant, Elizabeth, 'COCA Northwest Annual', Art Access, Feb. Hackett, Regina, '1999 Northwest Annual: A Very Good Year at Bellevue Art Museum', Seattle Post Intelligencer, July Hackett, Regina, '"The End" Winds Up Century on a Light Note', Seattle Post Intelligencer, Sept. Hackett, Regina, 'Out-of-Focus Photography Comes Into its Own', Seattle Post Intelligencer, Dec. Updike, Robin, 'Almost Out of Sight', Seattle Times, Dec. 16 Weiss, Peggy, '1999 Neddy Artist Fellowship Exhibition' (Catalogue), Bank of America Gallery, May 1998 Kangas, Matthew, 'Bold in Bellevue', Seattle¬ Times, July Hackett, Regina, 'Northwest Annual at BAM is a Nice Surprise', Seattle Post Intelligencer, July 3 Victor Maldonado

With my current body of work I'm interested in deploying the rich language of art against the complexity and bounty of the American dream. My paintings are ethnic osculations between the indigenous and the urban, landscapes built by consumer symbols and conventions of ritual, multicultural readings of history, visual montage and alliterative slips. The paintings are my attempt at conceptually engaging the metaphysical origin of my voice and to physically place painting in contemporary art's fracturing context. The scale and treatment of the works are intended to call attention to the silhouettes created by modernist abstraction and to retell the stories of my Mexican migrant experience in an unexpected context.

Resume

Born 1976 Changuitiro, Michoacán, Mexico

Education 2005 M.F.A. Painting and Drawing, School of the Art Institute of Chicago, Chicago, IL 2000 B.F.A. Painting and Drawing, California College of Arts and Crafts, Oakland, CA 1998 Study Abroad Program, Ecole des Beaux Artes, Rennes, France

Professionand Experience 2006-present ExhIbitions Coordinator, Froelick Gallery, Porltand, OR Freelance Art Reporter, PDX Magazine, Portland, OR 2005-2006 Preparator, Museum of Contemporary Art, Chicago, IL Preparator, Mary & Leigh Block Museum of Art, Evanston, IL 2004-2005 Preparator, Walsh Gallery, Chicago, IL 2003-2005 Preparator, Aron Packer Gallery, IL 2001-2003 Gallery Assistant and Preparator, Augen Gallery, Portland, OR

Solo Exhibitions 2008 Social Studies, Froelick Gallery, Portland, OR Politics as Usual, Helzer Art Gallery, Portland Community College, Rock Creek, Portland, OR 2007 Graph: Maps and Soda, Froelick Gallery, Porltand, OR 2005 Myth of Myself, Froelick Gallery, Portland, OR 2003 Critical Masses, Froelick Gallery, Portland, OR 2001 Introducing Victor Maldonado: Changing Stages, Froelick Gallery, Portland, OR 2000 Thesis Exhibition, California College of Arts and Crafts - North Gallery, Oakland, CA 1999 California College of Arts and Crafts - Martinez Print Gallery, Oakland, CA 1998 Ecole des Beaux Artes - Galerie des Etudiant, Rennes, France

Group Exhibitions 2007 Un/Common, Pacific Northwest College of Art, Portland, OR, Curator: Kristan Kennedy 2006 Fall Back: Five Gallery Painters, Froelick Gallery, Portland, OR Building Tradition: Contemporary Art from Tacoma Art Museum, Whatcom Museum, Bellingham, WA Contemprary Barouqe, Gallery X, School of the Art Institue of Chicago, Chicago, IL Art Chicago at the Mart, Aron Packer Gallery, Merchandise Mart, Chicago, IL 2005 M.F.A. Exhibition, G2, School of the Art Institute of Chicago, Chicago, IL Versions05, Invincible Desire, Heaven Gallery, Chicago, IL Love Screening, Heaven Gallery, Chicago, IL Snow Installation, Heaven Gallery, Chicago, IL 2004 Graphics Communication Archer Gallery, Clark Community College, Vancouver, WA 2003 Building Tradition: Gifts in Honor of the Northwest Art Collection, Tacoma Art Museum, Tacoma, WA (catalogue) 2002 Animals, Animals, Animals, Corvallis Arts Center, Corvallis, OR Human Form 2002, Runyan Gallery, Newport Visual Arts Center, Newport, OR 32nd Willamette Valley Juried Exhibition, Corvallis Arts Center, OR, Jurors: Tom Creelan and Roger Hull 2001 31st Willamette Valley Juried Exhibition, Corvallis Arts Center, OR, Juror: Bruce Guenther East Meets West, Froelick Gallery, Portland, OR Mountain High XII - Prints, Timberline Lodge, Mt. Hood, OR 2000 2 x 3, 40th Street Warehouse, Oakland, CA

Public Art Commissions 2005 Scottsdale-Across Generations, Granit Reef Senior Center Mosaics, Scottsdale Public Arts, Scottsdale, AZ 2004 Scottsdale-Across Generations, Self Portraiture Workshops, Civic Center Library, Scottsdale Public Arts, Scottsdale, AZ 2003 Interstate Boulevard Lightrail Project, Station artwork, Portland, OR 2000 International Boulevard Trash Can Art Project, Spanish Speaking Unity Council, Art Spark - Team Oakland, CA Mural Conservation Checklist And Lecture, Metro Murals, Portland, OR 2000 International Boulevard Trash Can Art Project, Spanish Speaking Unity Council, Art Spark - Team Oakland, CA 1999 East Bay Market Mural, 85th/International, Art Spark - Team Oakland, Oakland, CA Oakland Chinatown Banner Project, Art Spark - Team Oakland, Oakland, CA 1998 Book as Self-Portrait, class at Cole Elementary School, Oakland, CA, Sponsors: NEA and CCAC MacArthur Bart Mural, Art Spark - Team Oakland, CA Art Spark - Mask and Costume Design, Team Oakland, Oakland, CA 1995 No Blood/No Foul - Assistant Stage Manager, California College of Arts and Crafts, Oakland, CA, for Suzanne Lacey

Corporate and Public Collections Perkins Coie LLP, Portland, OR Tacoma Art Museum, Tacoma, WA

Teaching Experience / Workshops 2008 Instructor, Pacific Northwest College of Art, Portland, OR 2007 Instructor, Pacific Northwest College of Art, Portland, OR Instructor, Painting Seminar, Radius Studio, Portland, OR 2000 International Boulevard Trash Can Art Project, Spanish Speaking Unity Council, Art Spark - Team Oakland, CA 1999 East Bay Market Mural, 85th/International, Art Spark - Team Oakland, Oakland, CA Oakland Chinatown Banner Project, Art Spark - Team Oakland, Oakland, CA 1998 Book as Self-Portrait, class at Cole Elementary School, Oakland, CA, Sponsors: NEA and CCAC MacArthur Bart Mural, Art Spark - Team Oakland, CA Art Spark - Mask and Costume Design, Team Oakland, Oakland, CA 1998 Self-Portraiture Workshop, California College of Arts and Crafts - Summer Program, Oakland,CA Code 33 - Artistic Facilitator, California College of Arts and Crafts, Oakland, CA, for Suzanne Lacey: East Bay Urban Arts 1996 Multiculturalism Workshop, California College of Arts and Crafts - Summer Program, Oakland

Awards 2001 Winning Pacific Coast Competitor - New American Paintings, Open Studios Press, Wellesley, MA, Juror: Lisa Dennison, Chief Curator, Solomon R Guggenheim Museum, New York, NY 1994 California Arts Scholar, State of California, Merced County, CA

Grants and Scholarships 2005 Bare Walls Grant, School of the Art Institute of Chicago, Chicago, IL 2004 Bare Walls Grant, School of the Art Institute of Chicago, Chicago, IL 2003 Bare Walls Grant, School of the Art Institute of Chicago, Chicago, IL 2000 Diversity Scholarship, California College of Arts and Crafts, Oakland, CA 1999 Diversity Scholarship, California College of Arts and Crafts, Oakland, CA 1998 French Scholarship, California College of Arts and Crafts, Oakland, CA Diversity Scholarship, California College of Arts and Crafts, Oakland, CA 1996 Diversity Scholarship, California College of Arts and Crafts, Oakland, CA 1995 Bloss Merit Scholarship, California College of Arts and Crafts, Oakland, CA Diversity Scholarship, California College of Arts and Crafts, Oakland, CA 1994 Creative Achievement Award, California College of Arts and Crafts, Oakland, CA Grants and Scholarships continued 1994 Diversity Scholarship, California College of Arts and Crafts, Oakland, CA Bloss Merit Scholarship, California College of Arts and Crafts, Oakland, CA

Books 2002 A&P, John Updike, 20th Century American Short Story, Publisher: Perfection Learning, Des Moines, IA

Catalogues 2004 Interstate Max Public Art Guide, Tri-Met, Mary Priester, Portland, Oregon, 2003 Building Tradition: Gifts in Honor of the Northwest Art Collection, Tacoma Art Museum, Tacoma, WA

Periodicals 2003 Art on Paper, Nov/Dec. 2003, vol. 8, no. 2, Portland Galleries, Claire Sykes 2002 Oregon: Kris Hargis and Victor Maldonado, Isaac Peterson, Artweek, San Jose, CA Preview: Art, Karrin Ellertson, The Mercury, Portland, OR, p 20, 3 January Visual Art - Kris Hargis and Victor Maldonado, Portland Tribune, Portland, OR, 4 January, Cue section, p 3 Bear Deluxe Magazine, Portland, OR, back cover (August) 32nd Willamette Valley Juried Exhibition, Hester Coucke, Artspirit, Corvallis Arts Center - Linn- Benton Arts Council, Corvallis, OR, October, p 1 Bear Deluxe Magazine, Portland, OR (illustration) First Thursday Gallery Tour, Portland Tribune, 1 January, B6 (illustration) 2001 New American Paintings, Open Studios Press, Wellesley, MA, volume 37, Winter, Essay: Lisa Dennison Busy Weeks! - Wednesday January 2nd: Art, Karrin Ellertson, The Mercury, Portland, OR, 20 December, p 15 World Report: Portland - Crossing Boundaries: East West Symposium in Print Art, Hidekki Kimura, Hanga Geijutsu, Tokyo, Japan, #114, Winter, pp 132-133 Art Saves Lives! (Sort Of): On PICA's Visual Arts Flank, Steffen Silvas, Willamette Week, Portland, OR, 26 December, p 26 Ongoing Events: Pacific Rim Print Exhibit, Jody Lim, The Asian Reporter, Portland, OR, 2 October, p 12

Articles and Videography 2005 Myths and Strange Weather, Harvest Henderson, The Oregonian, Portland, OR, 22 April, A&E, p 26 2002 Film Embodies Artists' Hopes Amid Tragedy, D.K. Row, The Oregonian, Portland, OR, 10 March Artists Respond to 9/11, Dana Plautz & David Decker, Mercury Productions Inc, Portland, OR, 27 minutes 2001 Visual Arts: Kris Hargis and Victor Maldonado at Froelick Gallery, Bob Hicks, The Oregonian, Portland, OR, 28 December, p 57 2001 The Buzz That Was: October 13, The Oregonian, Portland, OR, 28 December, A&E, pp 6-10 The Frame Game: ""East Meets West"" at Froelick Gallery, Stan Hall, The Oregonian, Portland, OR, 14 October, F10 Print City: Froelick Gallery, Bob Hicks, The Oregonian, Portland, Oregon, 9 October, E1 ArtBeat - Artists Respond to 9/11, Dana Plautz & David Decker, Oregon Public Broadcasting, Portland, OR, September 2000 Art is Where You Paint It, San Francisco Chronicle - Bay Area, CA, 5 August (illustration) Trash Transformation, The Oakland Tribune - Cityside, CA, 4 August (illustration) Michael Brophy

MICHAEL BROPHY

Born and educated in Oregon, Brophy has been described as the quintessential regional artist because of his subject matter and painting style. As a landscape painter, Brophy continually asks, ""Why does the landscape look the way it does?"" His answers are not simple and point to the complex relationship between industry, history, and environmental preservation. His art reminds the viewer that the need for natural resources must be balanced with solutions that provide long-term sustainability.

Brophy explores the intersection of history, forest ecology, and the rich tradition of landscape painting. Through large-scale works that depict the savage beauty of the Northwest's altered rivers, forests, and mountains, Brophy engages the social and political forces reshaping and defining environmental preservation and sustainability.

General Artistic Concerns In the most general sense, I've been concerned with the intersection of human history and the natural history. I paint the landscape as if it is a character. These are portraits of landscapes. I find these places in the midst of that most American of pursuits - driving. I paint only places that I've been to. It's important that I know the forces that have shaped a place; I want to know what it feels like. I like the American West, the big empty places. I like to look at things that most people wouldn't bother with. I'm into uncool things, like the sublime, and the generosity of space, even though the view is beat-up. Sometimes I feel as if I'm an essayist in paint. I'm influenced by the printed word, museums and nature… mix well with linseed oil. My paintings are addressed, individually, to each person who looks at them. My aim is to slow and silence the solitary viewer and perhaps create an awareness of being meaningfully present on this planet.

Evolution Painting to me is a process, a practice, a discipline, and the reason I get up in the morning. I've been doing it every day for over 20 years, and the work continues to grow and evolve. I've worked my way through crude beginnings to increasing levels of fluidity. If anything, the work has gotten more minimal and direct. Right now, I'm focusing on a new way of looking at my own work. A fire destroyed my home and studio last fall. At that time, I had a chance to see some of my earliest canvases laid out to dry on a warehouse floor. They looked like I painted them with a hammer -direct and straightforward. I think my newest work has come around to some of that feeling again. Perhaps they contain less of a history and more of a novel in their painted language. Resume

MICHAEL BROPHY Born: 1960, Portland, OR

EDUCATION B.F.A., Pacific Northwest College of Art, Portland, OR 1985 Studio Arts Centers International, Florence, Italy 1983-84 University of Oregon, Eugene, OR 1978-82 AWARDS Fellowship for Individual Artist, Regional Arts & Culture Council, Portland, OR 2003 Juror's Award, Oregon Biennial, Portland Art Museum (Kathryn Kanjo, curator) 1997 Pollock/Krasner Foundation Grant 1995 Juror's Award, Oregon Biennial, Portland Art Museum (John Weber, Kristi Edmunds, curators) 1991 Western States Arts Federation, NEA Fellowship 1990 Weiner Travel Scholarship, Pacific N.W. College of Art 1985

ONE PERSON EXHIBITIONS "Here - There" G. Gibson Gallery, Seattle WA 2008 "Here There Nowhere," The Laura Russo Gallery, Portland, OR 2007 "Scenes from an Imaginary Western," The Laura Russo Gallery, Portland, OR 2007 "The Wilderness Act," G. Gibson Gallery, Seattle, WA 2006 ""The Romantic Vision of Michael Brophy,"" Tacoma Art Museum, WA, & Hallie Ford Museum of Art, Salem, OR, traveling exhibition 2005-2006 ""Michael Brophy: New Sumi Inks,"" Lux, Portland, OR 2005 The Laura Russo Gallery, Portland, OR 1991, 1992, 1993, 1995, 1998, 1999, 2000, 2001, 2003, 2005 Linda Hodges Gallery, Seattle, WA 1996, 1997, 1998, 2000, 2003 Fields Art Center, Lewis & Clark College, Portland, OR 2000 Kitteridge Gallery, University of Puget Sound, Tacoma, WA 1998 University of Puget Sound, Tacoma, WA 1998 Giustina Gallery, Oregon State University, Corvallis, OR 1997 Quartersaw Gallery, Portland, OR 1987, 1988, 1989

GROUP EXHIBITIONS "great out doors", G. Gibson Gallery, Seattle WA 2007 "Building Tradition: Contemporary Northwest Art from the Tacoma Art Museum," traveling exhibition, presented at the Whatcom Museum of History and Art, Bellingham, WA 2006-2007 "15 + ½ Anniversary Exhibition," G. Gibson Gallery, Seattle, WA 2006 "20th Anniversary Group Show," The Laura Russo Gallery, Portland, OR 2006 "Oregon Biennial: 2006," Portland Art Museum, Portland, OR 2006 "Referencing Nature," Seattle Art Museum Rental Sales Gallery, Seattle, WA 2006 "Drawing(s): A 25th Anniversary Exhibition," The Art Gym, Marylhurst University, Marylhurst, OR 2005 "Artists Drawing," The Laura Russo Gallery, Portland, OR 2005 The Laura Russo Gallery, Portland, OR Annually 1990 through present "Lewis and Clark Territory: Contemporary Artists on Race, Place, and Memory," Tacoma Art Museum, Tacoma, WA (invitational exhibition) 2004 "The Grand View: Bierstadt to Brophy," Museum of Northwest Art, La Conner, WA 2004 ""Baja to Vancouver: The West Coast and Contemporary Art,"" Seattle Art Museum, Seattle, WA;traveling to San Diego, CA, Vancouver, BC, and San Francisco, CA 2003-2004 "Painting Portland," The Art Gym, Marylhurst University, Marylhurst, OR 2003 ""West by Northwest,"" Paris Gibson Square Museum of Art, Great Falls, MT 2003 "The Hunt," Core Sample Exhibition, Belmont Factory, Portland, OR 2003 "After," Pacific Northwest College of Art, Portland, OR (invitational) 2002 "PNCA Faculty Show," Pacific Northwest College of Art, Portland, OR 2002 "Northwest Narrative: Portland," Portland Institute for Contemporary Art, Portland, OR 2001-2002 "The Visual Chronicle of Portland (A Timeline Tour)," North View Gallery, Portland Community College, Portland, OR 2001 "Northwest Views, Selections from the SAFECO Collection," Frye Art Museum, Seattle, WA 2001 "Natural Causes," Gallery One, Ellensburg, WA (invitational) 2001 "15 Anniversary Group Show," The Laura Russo Gallery, Portland, OR 2001 "Northwest Visions: Recent Acquisitions," Seattle Arts Commission, Seattle, WA 2001 "From PDX to Quartersaw: Celebrating 16 Years," Quartersaw Gallery, Portland, OR 2000 Jenkins Johnson Gallery, San Francisco, CA 2000 "Outward Bound: American Art at the Brink of the 21st Century," Meridian International Center, Washington D.C.; Museum of Fine Arts, Hanoi, Vietnam; The Painting Institute, Shanghai, China; The Working People's Cultural Palace, Beijing, China; Jakarta Arts Center, Jakarta, Indonesia;The Metropolitan Museum, Manila, Philippines; The Singapore Art Museum, Singapore 1999 "Works on Paper," The Laura Russo Gallery, Portland, OR 1999

Mt. Rainier Central Exhibition, University of Puget Sound, Tacoma, WA 1999 "The Lake Oswego Visual Chronicle, Lake Oswego OR 1999 Oregon Biennial, University of Oregon Museum of Art, Eugene, OR 1998 Linda Hodges Gallery, two person exhibition, Seattle, WA 1998 "Here and Now," Tidbit Gallery, Portland, OR (invitational) 1998 "Prints and Drawings", The Laura Russo Gallery, Portland, OR 1998 "Springs Eternal," Seafirst Gallery, Columbia Seafirst Center, Seattle, WA 1998 "Bio-Adversity," Cornish College of the Arts, Seattle, WA 1997 "Holiday Group Show: Small Works", The Laura Russo Gallery, Portland, OR 1997 Oregon Biennial, Portland Art Museum, Portland, OR 1997 "The Garden Show," Portland Institute for Contemporary Art, Portland, OR 1997 "From Object to Image," Portland Art Museum, Portland, OR 1997 "Utopian Visions," The Port Angeles Fine Arts Center, Port Angeles, WA 1996 "The Tool Show," Portland Institute for Contemporary Art, Portland, OR 1996 "One Year Later: Work by Washington Park Fences Project Artists," Froelick Gallery, Portland, OR 1996 Anne Reed Gallery, Ketchum. ID 1996 Coos Art Museum, Coos Bay, OR 1995 Art Slate '95, Condon, OR(invitational) 1995 "Fallen Timber," Tacoma Art Museum, WA (invitational) 1994-1995 Linda Hodges Gallery, Seattle, WA 1993, 1995 "Artquake," Portland, OR (invitational 1994) 1988, 1990, 1994 "Crosscut," Portland Art Museum, Portland, OR 1993 "Northwest Tales: Contemporary Narrative Painting," Anchorage Museum of History and Art, Anchorage, AK 1992 Oregon Biennial, Portland Art Museum, Portland, OR 1991 "Environmental Alarm," Blackfish Gallery, Portland, OR 1991 "Ambitious New Work," Marylhurst College, OR 1990 "Close to Home," Heathman Hotel, Portland, OR 1990 Quartersaw Gallery, Portland, OR 1987 "Studio Visits: Seven Emerging Artists," The Art Gym, Marylhurst College, OR 1986 PDXS Gallery, Portland, OR 1985 Studio Art Centers International, Fiesole, Italy 1984

COMMISSIONS Washington State Art Commission, Mount Rainier High School, Des Moines, WA Awarded 2008 Commission, City Hall Council Chamber, Portland, OR 1998 Commission, Columbia Gorge Discovery Center, Wasco County Historical Society 1997 Washington Park Fences Project, Tri-Met Westside MAX and The Regional Arts & Culture Council, Portland, OR (catalogue) 1995-1996

COLLECTIONS 4Culture, King County Art Collection, Harborview Medical Center, Seattle, WA Allen Creek Elementary, Marysville, WA (Washington State Arts Commission) ArtColl Trust, Bellevue, WA Beaverton Arts Commission, Beaverton City Hall, Beaverton, OR Beaverton Lodge, Portland, OR Centennial Elementary, Graham, WA (Washington State Arts Commission) City Center Parking, Oregon Trail Building, Portland, OR City Center Parking, Postal Building, Portland, OR City of Portland, City Hall Collection, Portland, OR City of Tacoma, Greater Tacoma Convention and Trade Center, Tacoma, WA Copeland Landye Bennett & Wolf, Portland, OR Federal Reserve Bank, Portland, OR Hallie Ford Museum of Art, Willamette University, Salem, OR King County Justice Center, Seattle, WA Lakeridge Elementary, Renton, WA (Washington State Arts Commission) Mazama Capital Management, Inc., Portland, OR Mentor Graphics, Hillsboro, OR Metropolitan Arts Commission, Portland, OR Microsoft, Seattle, WA Morse & Bratt, Vancouver, WA Multnomah County Library Collection, Portland, OR Northwest Visions Collection, Seattle Arts Commission, Seattle, WA Oregon State University Library, Corvallis, OR Portland Art Museum, Portland, OR Portland Community College, Portland, OR Regional Arts and Culture Council, Portland, OR Safeco, Seattle, WA Seattle Art Museum, WA Seattle Community College, District Offices, Seattle, WA Seattle Office of Arts and Cultural Affairs, Seattle, WA Tacoma Art Museum, Tacoma, WA Tin House, Portland, OR Tonkon, Torp, Galen, Marmaduke & Booth, Portland, OR TriMet, Portland, OR USHIO, Newberg, OR Washington State Arts Commission

RELATED EXPERIENCE Lecture and Panel, "How Do We See the West? Reverberations of Landscape Tradition," Tacoma Art Museum, Tacoma, WA 2005 Slide Lecture, Yale Valley Arts Festival, Anderson Lodge, Cougar, WA 2003 Instructor, Pacific Northwest College of Art, Portland, OR 1988-2002 Slide Lecture, Symposium on Environmental Affairs, Lewis & Clark College, Portland, OR 2000 Slide Lecture, University of Oregon, Eugene, OR 1998 Panelist, What is the Role of Marginal Art in Oregon's Growing Urban Community, Public Symposium, Reed College, Portland, OR 1998 Adjunct Assistant Professor, Portland State University, OR 1994-1996 Slide Lecture, Speaking of Art Series, Portland Art Museum, Portland, OR 1992 Instructor, Marylhurst College, Marylhurst, OR 1990 Exchange Program, University of London, Humanities 1980

PUBLICATIONS Farr, Sheila. ""Portland painter Michael Brophy eyes the big picture"" Seattle Times, Seattle, WA, Friday, June 13, 2008. ""Here There Nowhere"", Paintings by Michael Brophy, Essays by Jonathan Raban and William Lang, Nobius Projects, Oregon State University Press, 2008 Clemans, Gayle, "Beauty and tension in the natural world," The Seattle Times, Friday, November 3, 2006 Duford, Daniel, "2006 Oregon Biennial at Portland Art Museum, " Artweek, October 2006, Volume 37, Issue 8, pp.18-19 Portland Art Museum, "Oregon Biennial: July 29-October 8, 2006," PAM Magazine, Spring/Summer 2006, p.9 Seago, David, "Public art success story," The News Tribune, Tacoma, WA, Sunday, April 30, 2006, Insight pp. 1, 4 Row, D.K. "Biennial choices paint multifaceted show," The Oregonian, March 20, 2006, pp. C1, C4 March, Ray A., "Tourism - Part I, A Overview," Modoc Independent News, January 2006, Vol3, Issue 1, p. 1 Butler, Connie, Curator, New American Paintings, Juried Exhibition-in-Print: Pacific Coast, No. 61, January 2006, p. 18-21 Clemens, Gayle, "Iconic urban landscapes, and disharmony in nature," The Seattle Times, Dec. 9, 2005, p. 48 Faigin, Gary, "Review of The Romantic Vision of Michael Brophy at the Tacoma Art Museum," Broadcast transcript, KUOW-FM, December 2005 Blake, Victoria, "A Quarter Century of Quality," The Oregonian, A&E, December 2, 2005 Motley, John, Visual Art Review, Portland Mercury, November 24, 2005, p. 39 Clayton, Alec, "Nature lover," Fort Lewis Ranger, Lakewood, WA, October 27, 2005 Graves, Jen, "Symbols fill grand landscapes," The News Tribune, Tacoma, WA, October 11, 2005, pp. E1, E6 "The Romantic Vision of Michael Brophy," Tacoma Art Museum Notes, Fall 2005, pp. 3-4 illus. Hushka, Rock, The Romantic Vision of Michael Brophy, Exhibition Catalogue, 79 pages Northwest Perspectives Series, Tacoma Art Museum, 2005 Raymond, Jonathan, ""Michael Brophy,"" Artforum, October 2005, pg. 280 High Desert Journal, Fall 2005, Issue No. 2, pp. 17 and 32 Keefer, Bob, "Man's Mark on the Land," The Register-Guard, July 17, 2005, p. G3- G4 Row, D.K. ""The Romantic Vision of Michael Brophy,"" The Oregonian, June 17, 2005, A&E p. 46 illus. Row, D.K. ""A Clear-Cut View,"" The Oregonian, June 12, 2005, pp. D1-D2, illus. ""'The Woods' Sleater-Kinney,"" New York Times, June 12, 2005, painting reproduced for cover of CD recording Cantor, Allyn, ""The Romantic Vision of Michael Brophy,"" Preview: the Gallery Guide, Vancouver, BC, June/July/August 2005, p. 72 illus. ""Michael Brophy '85"" Re:view; Pacific Northwest College of Art Newsletter, Spring 2005, p. 6 Row, D.K. ""Show of Note,"" The Oregonian, March 25, 2005, A&E p. 25 Gragg, Randy, ""Great Expectations,"" The Oregonian, February 25, 2005, pp. E1, E3 Gragg, Randy, and Matthew Stadler, ed. Core Sample: Portland Art Now, Clear Cut Press, Astoria, OR, 2004 Sanders, Angela, "The Paul Bunyans," Portland, The University of Portland Magazine, Summer 2004, pp. 22-27 illus. Row, D.K. "D.K.'s Hot Sheet," The Oregonian, July 9, 2004, A&E p. 25 Hushka, Rock. Lewis & Clark Territory: Contemporary Artists Revisit Place, Race, and Memory, Tacoma Art Museum, Tacoma, WA, 2004, p. 36 (exhibition catalog) Richardson, Charlotte, ""An Evergreen Scene,"" American Style Magazine, August 2004, p. 36-39 Kangas, Matthew, ""Northwest Landscapes as Inspiration and Lamentation,"" The Seattle Times, March 5, 2004,p. 46H, illustrated Fiege, Gale, "Art of the Land," Skagit Valley Herald Applause, January 8, 2004, p. D1-D2 Duchene, Paul, "Grant Masters," Portland Tribune, January 6, 2004, p. B1-B2 Allan, Lois, "Core Sample Throughout Portland," Artweek, December 2003/January 2004, p. 25 DeVuono, Frances, "Baja to Vancouver," Artweek, December 2003/January 2004, pp. 13, 28 Stone, Jana, Ed. Building Tradition, Tacoma Art Museum, Tacoma, WA, 2003, p. 30 Bauer, Mary, ed. "Michael Brophy and Judy Cooke Awarded the RACC Visual Arts Fellowships," Art Notes, Newsletter from the Regional Arts & Culture Council, Portland, OR, November/December 2003, p. 1 Allan, Lois, "Painting Portland at The Art Gym, Marylhurst University," Artweek, November 2003, pp. 25-26 Row, D.K. "Best of the West," The Oregonian, November 11, 2003, p. E1, E4 Row, D.K. "Unearthing a Scene," The Oregonian, October 19, 2003, pp. E1-E2 Hall, Emily, "Naturally: 33 Artists Digest the West Coast," The Stranger, October 16, 2003. p. 36 Bancud, Michaela, "A Sample Plan," Portland Tribune, October 10, 2003, pp. 10-11 CUE Henderson, Harvest, "Mirror, Mirror…" The Oregonian, October 3, 2003, pp. 52- 53 Corrin, Lisa, "Baja to Vancouver," Program Guide & Members News, Seattle Art Museum, Fall 2003, pp. 2-4 "Old Growth," painting reproduced in The Bear Deluxe #20: the Art Issue, published by ORLO, Portland, OR,Fall 2003, p. 28 DeVuono, Frances, "Michael Brophy at Linda Hodges Gallery," Artweek, July/August 2003, pp. 22-23 D'Ambrosio, Charles, Michael Brophy Paintings, Clear Cut Press, Astoria, OR, 2003 (monograph) Farr, Sheila, "Uncommon Landscape Artist Sees the Big Picture," The Seattle Times, May 9, 2003, p.47H D.K. Row, ""Tacoma's Winning Combination,"" The Oregonian, May 4, 2003, pp. F1, F10 Hansen, Mark, ""Interview With Michael Brophy,"" The Organ Review of Arts, May/June 2003, p. 7 Row, D.K., "A Painter of Terrible Beauty," The Oregonian, April 3, 2003, pp. F1, F4 Row, D.K., "First Thursday: Laura Russo Gallery," The Oregonian, March 28, 2003, p. 56 Open Spaces, Views from the Northwest, Vol. 5, Issue 3, 2003; "On the Cover," page 1 "PNCA Faculty Show," PNCA Newsletter, Fall 2002, p. 1 Gragg, Randy, Reviving Regionalism: Art in a Small Corner," The Oregonian, Nov. 25, 2001, pp. E1, E4 Gragg, Randy, "An Outsider's Guide to the NW," The Oregonian, November 9, 2001, pp. 54-55 Carman, Sean, "Building a Bridge," www.artaccess.com, September 2001 Klein, Harriet, "Michael Brophy and Jef Gunn," America On Line digitalcity.com, September 2001 "Gallery Tour First Thursday," Portland Tribune, September 4, 2001, p. C2 illus. Ellertson, Karrin, "Michael Brophy and Jef Gunn at Laura Russo," The Oregonian, Aug. 31, 2001, p. 55 Zevitas, Steven T., New American Painting, The Open Studio Press, Wellesley, MA, 2001 Harmon, Kitty, The Pacific Northwest Landscape, A Painted History, Sasquatch Books, Seattle, WA, 2001 Gragg, Randy, "Reviving Regionalism: Art in a Small Corner," The Oregonian, November 25, 2001,pp. E1, E4 Rabin, Jonathan, "Battleground of the Eye,"The Atlantic Monthly, March 2001 Row, D.K., "And the Winners Are…" The Oregonian, December 22, 2000, p. 57 "New Works by Michael Brophy," The Oregonian, A&E, September 29, 2000, p. 34 Duford, Daniel, "Wings of Desire," Willamette Week, September 6, 2000, p. 73 Gibson, Eric, Outward Bound: American Art at the Brink of the Twenty-First Century, Stinehour Press, Lunenburg, VT, 1999 Row, D.K., "Brophy on Brophy," The Oregonian, August 21, 1999, p. E1 Row, D.K., "What Summer Doldrums?" The Oregonian, August 5, 1999, p. E1 Lake, Eva, "Michael Brophy's Vision," Ourtown, August 2, 1999, p. 10 Raymond, Jonathan, Plazm Magazine, 1999 Gragg, Randy, "Pure Thrill of Collecting Drives New University Museum," The Oregonian, September 27, 1998, p. E4 Row, D.K., "Art and the City," The Oregonian, April 17, 1998, pp. 62, 65 Row, D.K., "Designing Consciousness: Midcareer Virtuosos," The Oregonian, April 10, 1998 Clayton, Alec, "Clearly Cut," Tacoma City Paper, April 9, 1998, p. 11 Row, D.K., "Strokes of Ingenious Paintings" The Oregonian, April 2, 1998, pp. C1, C4 "Art of the Pacific Northwest," ArtNews, March 1998 Updike, Robin, "The Wonders of Water," The Seattle Times, January 8, 1998 Gragg, Randy, "Out on a Limb," The Oregonian, August 22, 1997, pp. 62-63 Raymond, Jonathan, "Forest Flaneur," Anodyne, August 1997, p. 34 Row, D.K., "Can-Do Kanjo," Willamette Week, August 27, 1997 Cowan, Ron, "What a Difference Two Years Makes," The Statesman Journal, Salem, OR, August 1997 Gragg, Randy, "Art for Biennial: A Fresh Look," The Oregonian, July 27, 1997, p. F10 Row, D.K., "And the Winnners Are. . ." Willamette Week, July 23, 1997, p. 26 Kangas, Matthew, "Seattle: Michael Brophy at Linda Hodges," Art in America, February 1997 Failing, Patricia, "Necessity Is the Mother of Reinvention," ARTnews, December 1997, pp. 62-63 Cashdan, Rochelle, "Public Magic," Oregon Quarterly, Winter 1996, p. 50 Demetre, Jim, "Reviews," AORTA, August/September 1996, pp. 22-23 DeVuno, Frances, "Michael Brophy at Linda Hodges," Artweek, July 1996, p. 28 "Utopian Visions," On Center, Port Angeles Fine Arts Center Newsletter, Summer 1996, pp. 1-3 Gragg, Randy, "Range of Work Adds to Museum's Permanent Collection," The Oregonian, January 31, 1996 Ferranto, Matt, "Michael Brophy at Laura Russo," Reflex, October/November 1995 Gragg, Randy, "Transcending Politics, Embracing Paradox," The Oregonian, September 18, 1995, p. D5 Bennett, Laura Lee, "The Essence of Northwest Art," The Oregonian, October 14, 1995 Allen, Lois, Contemporary Art in the Northwest, Craftsman House, University of Toronto Press, Buffalo, NY 1995 Edmunds, Kristy, "Fences," Wyatt Group, 1995 Fiedler, Nadine, "Michael Brophy: Men Baffled by Their Surroundings," Reflex, January/February 1994, p. 20 Gragg, Randy, "Drawings at Laura Russo," The Oregonian, January 15, 1993 Gragg, Randy, "Critic's Choice: Michael Brophy," The Oregonian, November 26, 1993, p. 25 Gragg, Randy, "Laura Russo Gallery," The Oregonian, November 3, 1993 Francis, Kevin, "Fresh Weekly: Laura Russo," Willamette Week, November 18-24, 1993, p. 56 Glowen, Ron, ""Northwest Tales: Contemporary Narrative Painting,"" Anchorage Museum of History and Art, Anchorage, AK, traveling exhibition brochure, 1992 Gragg, Randy, "3 Shows Look at Current Events," The Oregonian, June 3, 1992 Stirling, Kassandra Kelly, "Artist at Work," Portland Downtowner, May 18, 1992, p. 16 Gragg, Randy, "Tree Toppler," The Oregonian, June 21, 1992, pp. P1, P3 Gragg, Randy, "In the Beginning," Reflex, January/February 1992, pp. 12, 15, drawing Harrison, Thomas B. "Exhibit of Narrative Paintings boasts Impressive Lineup," Anchorage Daily News, Anchorage, Alaska, February 9, 1992, pp. H1-H2 Maves, Norm Jr., "Art Up Close," The Oregonian, November 2, 1991, p. C1 Gragg, Randy, "Michael Brophy," The Oregonian, March 1, 1991, p. E24 Gragg, Randy, "Oregon Biennial: Art of the State," The Oregonian, September 20, 1991, pp. 4-5 Portland Art Museum, Portland, OR, "Oregon Biennial," exhibition catalog, 1991 "The Unknown Artist," Portland Downtowner, March 4, 1991 "Wry Guy," The Oregonian, February 1, 1991 "WESTAF Regional Fellowships in Painting," OAC News, Oregon Arts Commission, Salem, OR, Fall 1990 Western States Arts Federation, Santa Fe, NM, 20 Artists in Painting: WESTAF/NEA Regional Fellowships for Visual Artists, 1990, catalog, 1990 Gragg, Randy, "At Artquake, Main Course Still Is, Yes, Art," The Oregonian, August 31, 1990 Johnson, Barry, "Last Chance for a Look at Painters," The Oregonian, late 1980s

REPRESENTATION G. Gibson Gallery, Seattle, WA Laura Russo Gallery, Portland, OR" tannaz farsi

Questioning the nature of space in relation to the body is the core focus of my work. My installations combine the internal and external, the analytical and the emotive, the viewer and the work. I am interested in the invisible function of infrastructures in our society, the model becoming that which the body subliminally interacts with. Concrete sidewalks, fire escapes, the touch sensitive screen of the money dispensing machines, the shadow cast at a particular time of the day in a particular direction, and in essence the body itself. The specious unity of the body as a whole stands opposed to the notion of my ownership to it. I look down and see hands, feet, belly tucked in, chin held up and pensive. I look around and see other bodies (other units) whole, without fault lines demarcating experience and memory. My gaze conflicts with how I perceive and what I desire is the experience of body that is full with a sense of history in association to space.

Dislocation hovers in the context of our transnational society. It has seeped into the newsrooms and printing services, it is echoed on the airways and cellular lines. It describes war-torn regions as well as natural disasters and descriptively defies specificity in the context of mind, body and space. Dislocated from my country of origin, I am driven to examine the fluid nature of identity and its dependence on any particular environment. My family, those living abroad as well as in Iran, share a construct of home as a virtual space that does not physically exist any longer due to the disruption of the familial unit as a whole entity. Through globalization and technology, human culture operates similarly to the diasporic identity juxtaposed by the assumption of nostalgia and memory.

Contextually, my work seeks to make apparent functional structures that have become invisible. Currently this transparency takes form in the use of air as a delineation of space and video as witness to the physicality of the body. The quest to make invisible function repetitive, robotic yet aware of its boundaries speaks not only to the objects and videos in the installations but the gaze that is directed towards them by the viewer. A successful depiction of space becoming one in which the viewer operates between analytical as well as visceral signification to propel physical awareness in association to space. Resume

EDUCATION

2007 MFA, Ohio University, Athens, OH

2002 Jingdezhen School of Ceramic Art, Jingdezhen, China

2004 BFA, West Virginia University, Morgantown, WV- Summa Cum Laude

SOLO EXHIBITIONS

2009 (Upcoming) The Baron and Ellin Gordon Galleries, Old Dominion University, Norfolk,VA 2008 The Formal Absences of Precious Things, Sculpture Center, Cleveland, OH

2007 Self-Haunted and Synthetic, Siegfried Gallery, Athens, OH

2006 Proxy/Substitute, Roy G Biv Gallery, Columbus, OH

2004 Topography, Zen Clay Gallery, Morgantown, WV

GROUP EXHIBITIONS

2009 (Upcoming) Architecture of Fragments, The New Art Center Gallery, Newtonville , MA - 3- person show

2008 (Upcoming) Tacoma Contemporary, Tacoma, WA

Surreal Systems, Gallery Homeland, PDX Film Festival, Portland, OR

Beginnings and Ends, Gallery 621, Tallahassee, FL - 3-person show

2007 1990 Until Now*, The Winery, Louisville, Kentucky

2006 Fall, Mid-America Print Council Conference, The Ridges, Athens, OH

Majestic Invitational, Majestic Galleries, Nelsonville, OH

Cross Section, Ohio University Art Gallery, Athens, OH Gallery, Athens, OH

2005 Training Wheels, Trisolini Gallery, Athens, OH

OU Ceramics, Esther Allen Greer Museum, Rio Grande, OH

New Genre, Siegfried Gallery, Athens, OH

Fire, Washington County Arts Center, Hagerstown, MD

2004 Elephant Market, Walnut Street Gallery, Morgantown, WV

Level, Laura Mesaros Gallery, Morgantown, WV

American Craft Council, Baltimore Convention Center, Baltimore, MD

2003 WV Juried Exhibition, State Capital Complex, Charleston, WV

Revolution & Representation, Southern Graphics Council, Boston, MA 2002 Recent works, Zen Clay, Morgantown, WV

Eastern Influences, Washington County Arts Center, Hagerstown, MD

AWARDS

2008 Bemis Center for Contemporary Art Residency, Omaha, Nebraska

2006 Travel Grant, Ohio University, Athens, Ohio

2005 Aesthetic Technologies Lab Grant, Ohio University, Athens, Ohio

2004-2007 Full Fellowship, Ohio University, Athens, OH

2002 GEO Grant, WVU, Morgantown, WV, China

2001-2004 College of Creative Arts Performance Scholarship, WVU, Morgantown, West Virginia

2001 West Virginia Arts Council Materials Grant, Charleston, WV

1998 Nagoya University Travel Grant, Nagoya, Japan

PROFESSIONAL EXPERIENCE

2008- present Assistant Professor, Sculpture, University of Oregon, Eugene, OR

2007-2008 Visiting Assistant Professor, Sculpture, University of Oregon, Eugene, OR

2007 Lab Associate, Aesthetic Technologies Lab, Ohio University, Athens, OH

Visiting Artist Lecture, Bowling Green State University, Bowling Green, OH

2006 Conference Demonstrator, Clay and Print, Mid-America Print Council, Athens, OH

2005 Co-Curator and Organizer, Ceramics Symposium/Show, Exchange, Athens, OH

2001-2004 Studio Assistant, Ceramics Department, WVU, Morgantown, WV

1998-2004 Studio Artist, Belington, WV BIBLIOGRAPHY

Douglass Max Utter, Trapping The Sky, Cleveland Free Times, Volume 15, Issue 49,

Theresa Bembnister, Capsule Reviews: Tannaz Farsi, Scene Arts & Entertainment, May 21, 2008

Dan Tranberg, Fine Art/ Art Matters, The Plain Dealer, Cleveland, OH, Friday, April 4, 2008 Michael Kenna

I have been photographing for thirty five years, and like to think of myself as being thoroughly modern, if also a bit ancient. I still work with traditional, non digital cameras and materials, and make all my own prints in the darkroom. I see the world as being both beautiful and very mysterious, a complicated mixture of light and dark, good and evil. My photographs concentrate primarily on the interaction between the ephemeral atmospheric conditions of the natural landscape, and human-made structures and sculptural mass. I am very proud to live in the North West even though my subject matter comes from wherever I happen to be in the world. Thank you for your consideration

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Born in 1953, raised and educated in England. Moved to USA 1979.

Over 500 One Person and Group exhibitions in galleries and museums world-wide

Work in permanent collections include: The Bibliotheque Nationale, Paris; The Metropolitan Museum of Photography, Tokyo; The National Gallery, Washington, D.C.; The Shanghai Art Museum, Shanghai; and The Victoria and Albert Museum, London.Â

Thirty five books and catalogues have been published, including: Michael Kenna - A Twenty Year Retrospective (Treville, 1994 and Nazraeli Press, 2000), Le Notre's Gardens (Ram, 1997), Impossible to Forget (Marval and Nazraeli Press, 2001), Japan (Nazraeli Press and Treville Editions, 2003), Retrospective Two (Nazraeli Press and Treville Editions, 2004), Hokkaido (Nazraeli Press and Shuppan Kyodosha, 2006), and Mont St. Michel (Nazraeli Press, 2007).

2001, Chevalier in the Order of Arts and Letters, Ministry of Culture, France.

Represented by G. Gibson Gallery, Seattle. (wwwgibsongallery.com)

For a more extensive resume, please see www.michaelkenna.com" Jack Daws

JACK DAWS / STATEMENT

Most artists, including myself, strive to make work that is personal and formally compelling. Where my work differs from most I see is that it also addresses a range of socio-political issues, sometimes in rather overt ways, and sometimes not.

All this work is concept driven. By using everyday objects and materials I'm able to utilize the symbolic loads they carry. I want the pieces to seem familiar, yet be slightly, or in some cases, wildly askew.

These pieces are meditations. They are not intended to be read as conclusions. The intention is for the pieces to act as starting points for a line of questioning.

I spend a great deal of time thinking about a piece, sometimes a year or more, before I actually make it, or have it made. A piece makes the cut if it can hold my attention. It must resonate, for me.

I prefer to not share my personal feelings about the work. It seems that to do so would interfere with the viewers' experience, be it positive, negative, or indifferent. If someone finds a piece of mine offensive, someone else will find it hilarious. If someone thinks I'm a genius, someone else will think I'm a hack. This has always been true, in varying degrees, for all artists.

All one really needs to know about my work is this, and I want this to be clear: I make this art because I love the world, even if I'm not always happy with the way things are unfolding here.

Seattle July 2008 Resume

JACK DAWS Born 1970, Kentucky. Lives and works in Seattle.

AWARDS/GRANTS 2006 Pollock-Krasner Foundation Grant

SOLO EXHIBITIONS 2007 Nothing to Lose, Greg Kucera Gallery, Seattle WA 2003 Kentucky Windage, Greg Kucera Gallery, Seattle 2002 A Nice, Swift Kick in the Head, King County Art Gallery, Seattle Bicycle Thief, Video Installation, Commencement Art Gallery, Tacoma WA

SELECTED GROUP EXHIBITIONS 2008 Multiplex, Western Bridge, Seattle Speaking Volumes: Transforming Hate, Holter Art Museum, Helena MT World Upside Down, Agnes Etherington Art Centre, Queen's Universtiy, Kingston, Ontario 2007 Thermostat: Video and the Pacific Northwest, Art Basel Miami Beach FL Sparkle Then Fade, Tacoma Art Museum Campfire, Motel 1, Bridge Motel, Seattle Loyal Opposition: Art as a Vehicle for Protest and Dissent, Texas State University, San Marcos TX 2006 Building Tradition: Contemporary Northwest Art from Tacoma Art Museum, Whatcom Museum, Bellingham WA World Upside Down, Walter Phillips Gallery, the Banff Centre, Alberta Scope Hamptons, with Jack the Pelican Presents, New York 2005 Affair @ the Jupiter Hotel, Portland OR, with Greg Kucera Gallery Fresh Trouble, 4246 SE Belmont, Portland Ergonomicon, Consolidated Works, Seattle 2004 NW Biennial: Buildingwise, Tacoma Art Museum 101 Ways to Remove A President From Power, CoCA, Seattle Vexed, Kittredge Gallery, University of Puget Sound, Tacoma Art and Social Commentary, Evergreen State College, Olympia WA 2003 The Best Coast, Portland OR International Abstraction, Seattle Art Museum, Seattle 2002 Collaborators, SOIL, Seattle States of the Union: Before and After, Greg Kucera Gallery, Seattle Gun Show, SOIL, Seattle Mustang Summer, SOIL, Seattle NW Annual, CoCA, Seattle LAVA 2002, Noodleworks Invitational, Seattle First War of the New Millennium, SOIL, Seattle 2001 Pacific NW Annual, Bellevue Art Museum, Bellevue WA NW Annual, CoCA, Seattle

SELECTED COLLECTIONS Henry Art Gallery, Seattle Tacoma Art Museum Western Bridge, Seattle

SELECTED PUBLICATIONS DeVuono, Frances. "Jack Daws: Nothing to Lose," Artweek, November 2007

Graves, Jen. "Who's Afraid of Jack Daws?" The Stranger, October 11, 2007

Hackett, Regina. "Artist Jack Daws is an all-American troublemaker," Seattle Post-Intelligencer, September 13, 2007

Scott, Carrie E.A. "Checkout Time," Seattle Weekly, September 12, 2007

Hackett, Regina. "The pennies of Jack Daws," http://blog.seattlepi.nwsource.com/art/archives/115470.asp?source=rss May 16,2007

Hackett, Regina. "Daws is too edgy for the Stranger?" Seattle Post- Intelligencer, November 12, 2005

DeVuono, Frances. "101 Ways to Remove a President From Power at the Center on Contemporary Art," Artweek, October, 2004

Hackett, Regina. "Anti-Bush Artists Trumpet Their Political Views in a Trio of Shows," Seattle Post-Intelligencer, August 6, 2004 de la Paz, Diane. "Provocative Ideas Inspire Young Artist," Tacoma News Tribune, April 17, 2004 Hackett, Regina. "Life's Flaws Inspire Jack Daws' Wicked Sense of Play," Seattle Post-Intelligencer, August 15, 2003

DeVuono, Frances. "Jack Daws: A Nice, Swift Kick in the Head," Artweek, February 2003

Jahn, Jeff. (www.thebestcoast.com)

"Rewind with Bill Radke," Interview with Luke Burbank, National Public Radio, November 15, 2002

Esquivel, Karla. "Jack Daws' Delinquent Art," The Tablet, 11/14 - 11/27, 2002

Brown, Elizabeth and Corrin, Lisa. "View from Seattle...The Mountain Is Out," Modern Painters, Autumn, 2002

Fahey, Anna. "First War of the New Millinneum," Art Papers, Sept/Oct, 2002

Webb, Dan. "Jack Daws: Whatever Means Necessary," LAVA 2002 catalog with essays and reproductions, published by THREAD, 2002 " Robert Jones

ARTIST'S STATEMENT

Since 1950 some artists and critics have declared various "isms", movements (Abstract Expressionism, Op, Pop), and in fact whole forms of art dead. "Painting is dead!" I do not believe this; nor do I think after centuries of visual art that abstract art or modern painting is exhausted after a mere one hundred years on the scene. So, I make oil paintings - that are more or less abstract - and hopefully are modern in the best sense of that word.

After years of working from something (the still life, the landscape, the figure) I now paint to something. Some thing or suggestion emerges out of the chaos of visual accident and invention. As it does I try to maintain a balance between the act of painting and whatever it is that is recognizable, if in fact nameable as the subject - between the architecture (structure) of that subject and the architecture of the painting, space and form, color, and defining line. Drawing is easier; when it works it is almost instantaneous. I try to keep that sense of immediacy in the painting, but over time and a process of trial and error, making and looking, scraping and keeping or repainting, it is a collection of moments. Hopefully those moments fuse into a whole which engages a viewer and creates a sense of order and beauty.

Robert C. Jones

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R O B E R T C. J O N E S

BORN: 1930, West Hartford, CT

EDUCATION: 1957 59, M.S. Rhode Island School of Design 1952, Hans Hofmann, Summer School 1950 53, B.F.A. Rhode Island School of Design 1948 50, Kenyon College, Gambier, OH

HONORS:

2003/2004 Flintridge Foundation Award for Visual Artists, Pasadena, CA 1990 Western States Arts Federation/National Endowment for the Arts Fellowship

SOLO EXHIBITIONS:

2008 Paintings, Drawings, and Prints, Francine Seders Gallery, Seattle, WA 2005 Recent Paintings, Francine Seders Gallery, Seattle, WA 2003/2004 Robert Jones: Abstractions, Hallie Ford Museum of Art, Willamette University, Salem, OR 2002 Recent Work, Francine Seders Gallery, Seattle, WA 1999 New Paintings, Francine Seders Gallery, Seattle, WA Drawings, Museum of Northwest Art, La Conner, WA Robert C. Jones Drawings & Paintings, Pierce College, Tacoma, WA 1998 Recent Drawings, The Upstairs Gallery, Francine Seders Gallery, Seattle, WA 1997 Selected and Unselected Drawings, Francine Seders Gallery, Seattle, WA 1996 Selected Work 1994-1996, Francine Seders Gallery, Seattle, WA 1993 Francine Seders Gallery, Seattle, WA (Also 1991, 1988, 1985, 1982, 1980, 1979, 1975, 1972, 1970) 1990 Whatcom Museum of History and Art, Bellingham, WA 1987 Documents Northwest, Seattle Art Museum, Seattle, WA 1984 Art Center Gallery, Seattle Pacific University, Seattle, WA 1982 Tacoma Art Museum, Tacoma, WA Oregon State University, Corvallis, OR 1967 Earl Ballard's Island Gallery, Mercer Island, WA 1965 University of Montana, Missoula, MT Scott Galleries, Seattle, WA

SELECTED GROUP EXHIBITIONS:

2008 Seattle Public Utilities Northwest Masters Portable Works, Mayor's Office of Arts & Cultural Affairs, Seattle Municipal Tower Gallery, Seattle, WA 2007 Ten Painters, Francine Seders Gallery, Seattle, WA 2006 Works ( ) Paper, Festival International de Arte Contemporáneo, Leon, GTO, Mexico Fay and Robert Jones, Museo Gene Byron, Marfil, GTO, Mexico 2005 pARTners, Kirkland Arts Center, Kirkland, WA NuArt 05: Juror's Choice, Anacortes Arts Festival, Anacortes, WA 2004 Big and Small, Francine Seders Gallery, Seattle, WA Seattle Perspective-Selections from the City of Seattle % for Art Portable Works Collection, Washington State Convention & Trade Center, Seattle, WA 2003 2003 Neddy Exhibition, Washington State Convention Center, Seattle, WA Northwest Abstraction, Portland Center for the Advancement of Culture, Portland, OR Variations of Abstraction, Selections from the City of Seattle's Portable Collection, City Space, Seattle, WA 2002 Northwest Masters, Selections from the City of Seattle One Percent for Art Portable Works Collection, City Space, Seattle's Art Gallery, Seattle, WA Francis Celentano, Robert C. Jones, Michael Spafford, Three Eminent Northwest Artists, The Laura Russo Gallery, Portland, OR 2002-2004 Les Fables de La Fontaine, Centre pour L'Art et la Culture, Aix-en- Provence, FRANCE; Temple University, Rome, Italy; The Jacob Lawrence Gallery, University of Washington, Seattle, WA; The Meyerhoff Gallery, The Maryland Institute College of Art, Baltimore, MD 2001 Landscape and Life, Cancer Lifeline, Seattle, WA Husbands and Wives, Kittredge Gallery, The University of Puget Sound, Tacoma, WA 2000 A Gift of Light and Time, Bank of America Gallery, Seattle, WA 1999 Drawing Space, Suyama Space, Seattle, WA Bygone Modern - Paintings by Northwest Artists from the Last Quarter of the 20th Century Selected from the City of Seattle Collection, Washington State Convention & Trade Center, Seattle, WA Black & White & Color, Francine Seders Gallery, Seattle, WA 1998 Painting and Sculpture, Francine Seders Gallery, Seattle, WA 1997 Black/White, Rental Sales Gallery, Seattle Art Museum, Seattle, WA Square Painting/Plane Painting, curated by Lauri Chambers, CoCA, Seattle, WA 1995 Northwest Art: Shaped by the Spirit, Shaped by the Hand, Museum of Northwest Art, La Conner, WA Washington: 100 Years, 100 Paintings, Bellevue Art Museum, Bellevue, WA Art Works for Aids, Seattle Center Pavilion, Seattle, WA (also 1993, 1990) 1994 Tacoma Art Museum: Selections from the Northwest Collection, Seafirst Gallery, Seattle, WA Large Works by Four Artists: Philip Govedare, Robert C. Jones, Robert McNown, Paul Swenson, Francine Seders Gallery, Seattle, WA Drawings, Kirkland Arts Center, Kirkland, WA 1993 Tribute, In Remembrance of Dr. William Sawyer 1920-1993, William Sawyer Gallery, San Francisco, CA 1992 Works on Paper, Francine Seders Gallery, Seattle, WA 1991 1991 National Governors' Association Annual Meeting Exhibition, Washington State Convention and Trade Center, Seattle, WA Paintings by Four WESTAF Fellowship Recipients, The Nevada Museum of Art, Reno, NV 25th Anniversary Exhibitions: The Early Years 1966-1972, Francine Seders Gallery, Seattle, WA Academy-Institute Invitational Exhibition of Painting and Sculpture, American Academy of Arts and Letters, New York, NY 1990 Directions in Abstraction, North Seattle Community College, Seattle, WA Drawing Power, Western Gallery, Western Washington University, Bellingham, WA New Work, Francine Seders Gallery, Seattle, WA 1989 100 Years of Washington Art, Tacoma Art Museum, Tacoma, WA Decade of Abstraction 1979-1989, A Bumbershoot Visual Arts Exhibition, curated by Matthew Kangas, Seattle Center, Seattle, WA 1988 Paper Works, North Seattle Community College Art Gallery Seattle, WA School of Art 1975-1988, Safeco Corporation, Seattle, WA School of Art 1960-1975, Safeco Corporation, Seattle, WA Drawings, Francine Seders Gallery, Seattle, WA 1987 Focus: Seattle, San Jose Museum of Art, San Jose, CA 1986 Northwest Impressions: Works on Paper, Henry Art Gallery, University of Washington, Seattle, WA 10/40 Anniversary Exhibition, Bellevue Art Museum, Bellevue, WA 1985 Seattle Painting 1925 1985, Bumberbiennale, Seattle Center, Seattle, WA 1984 SIZE, Bumberbiennale, Seattle Center, Seattle, WA 1983 Contemporary Seattle Art of the 1980's, Bellevue Art Museum, Bellevue, WA Drawings By 3, LRC Gallery, College of the Siskiyous, Weed, CA Bumberbiennale, Northwest Rooms, Seattle Center, Seattle, WA 1982 Three From Seattle, William Sawyer Gallery, San Francisco, CA 1981 Seattle Drawings: An Invitational Exhibition, Seattle Pacific University, Seattle, WA The Mind's Eye: Expressionism, Henry Art Gallery, University of Washington, Seattle, WA 1980 Salon des Refuses, Soames Dunn Building, Seattle, WA 1978 Seattle Selects Part II, Seattle Arts Commission 1% for Art Program, Arctic Building, Seattle, WA (Also Part I, 1976) 1977 Northwest '77, Seattle Art Museum, Seattle, WA Robert C. Jones, Fay Jones, Adlai Stevenson Library, University of California, Santa Cruz, CA 1973 Francine Seders Gallery, Seattle, WA (also 1970) 1971 Drawings U.S.A., St. Paul Museum, St. Paul, MN 1970 Governor's Annual Invitational, State Capital Museum, Olympia, WA 1967 The West 80 Contemporaries, University of Arizona, Tucson, AZ 1965 Far West Regional Exhibition of Art Across America, San Francisco Museum of Art, San Francisco, CA 1963 82nd Annual Exhibition, San Francisco Museum of Art, CA Younger Washington Artists, Henry Gallery, Seattle, WA 1962 175th Annual Exhibition of American Painting and Sculpture, Pennsylvania Academy of the Fine Arts, Philadelphia, PA

PUBLIC AND CORPORATE COLLECTIONS:

City of Seattle Portable Works Collection, Seattle, WA Hallie Ford Museum of Art, Willamette University, Salem, OR The Lakes Club, Bellevue, WA Microsoft Corporation, Redmond, WA Municipal Collection, Seattle, WA Safeco Corporation, Seattle, WA SeaFirst Bank, Seattle, WA Seattle City Light, Seattle, WA Seattle Public Utilities Portable Works Collection, Seattle, WA Stoel, Rives, Boley, Jones and Grey, Seattle, WA University of Washington, Seattle, WA Weyerhaeuser Company, Auburn, WA

SELECTED BIBLIOGRAPHY - ROBERT C. JONES

Chronological List of Books and Catalogues

2004 Awards for Visual Artists, Flintridge Foundation 2003-04. Pasadena, CA: Flintridge Foundation

2003 2003 Neddy Exhibition. Seattle, WA: The Behnke Foundation.

1999 Boylan, John. Robert C. Jones, Seattle, WA: Francine Seders Gallery and University of Washington Press.

1990 20 Artists in Painting. Santa Fe, New Mexico: Western States Arts Federation.

1990 Art Works for Aids. Seattle, WA: Seattle Center Pavilion.

1989 Kangas, Matthew and Laura Brunsman. Decade of Abstraction 1979-1989, Notes on Selected Artists. Seattle, WA: Bumbershoot Visual Arts Exhibition.

1982 The Washington Year: A Contemporary View, 1980-81. Seattle, WA: Henry Art Gallery, University of Washington.

1972 Robert C. Jones, Drawings and Paintings. Seattle, WA: Francine Seders Gallery.

1966 Faculty Exhibition. Seattle, WA: School of Art, University of Washington, Henry Gallery.

1963 Younger Washington Artists. Seattle, WA: Henry Gallery, University of Washington.

Chronological List of Periodicals 2008 Hackett, Regina. "Painters at Different Stages of Their Careers Show Strong in Three Exhibits." Seattle Post-Intelligencer, February 8.

2008 Demetre, Jim. "Jones, Gherard at Francine Seders." Artdish, January 24.

2008 Clemans, Gayle. "Paradoxes and Puzzles: Two top painters engage the eye, mind." The Seattle Times, January 18.

2007 Graves, Jen. "Ten Painters'." The Stranger, March 29.

2007 Bryant, Elizabeth. "Northwest Forum on Visual Art." Artdish, March 4.

2005 Engelson, Andrew. "Robert C. Jones." Seattle Weekly, September 28 - October 4.

2005 Farr, Sheila. "50 Years Pursuing Spontaneity, Freshness." The Seattle Times, September 25.

2005 Demetre, Jim. "Robert C. Jones at Francine Seders Through October 2nd." Artdish, September 4.

2005 Koplos, Janet. "Report from Seattle, Plugged In and Caffeinated." Art in America, September.

2005 Clayton, Alec. "Collection of Moments." Art Access, September.

2004 Farr, Sheila. "The Pleasures of Paint on Canvas." The Seattle Times, August 20.

2004 Demetre, Jim. "Big and Small at Francine Seders." Artdish, August 11.

2004 Demetre, Jim. "Flintridge Foundation Awards for Visual Art Presented at Museum of Northwest Art, LaConner." Artdish, August 11.

2004 Hackett, Regina. "'Big and Small' Paints a Wide Swath of Expressive Abstraction." Seattle Post-Intelligencer, August 6.

2004 Hackett, Regina. "Flintridge Lauds Artists for Strength of Vision." Seattle Post-Intelligencer, August 4, 2004.

2003 Cowan, Ron. "The Happy Accidents of Robert Jones." Statesman Journal, Salem, OR, November 29.

2002 Row, D.K. "Vision Quest." The Oregonian, February 23.

2000 Updike, Robin. ""From Portugal with Love."" The Seattle Times, January 20.

1999 Kangas, Matthew. "Abstract Essence." The Seattle Times, December 9.

1999 Farr, Sheila. "Drawing the Lines." The Seattle Times, November 11.

1999 Hackett, Regina. "Works Reveal Peaks, Pitfalls of Painting." Seattle Post- Intelligencer, January 19.

1998 Farr, Sheila. "Keeping Up With the Joneses." Seattle Magazine, November. 1998 Hackett, Regina. "Seattle's Art World: Looking Pretty Good." Seattle Post- Intelligencer, May 26.

1997 Hackett, Regina. "'Square Painting/Plane Painting': COCA's Latest Angle is a Good One." Seattle Post-Intelligencer, January 24.

1997 Kangas, Matthew. "A Look at CoCA in the Abstract." The Seattle Times, January 23.

1996 Farr, Sheila. "Three Painters." Seattle Weekly, June 16.

1996 Lynch, KC. "Show of Progress." The Daily of the University of Washington, June 17.

1996 Hackett, Regina. "Robert Jones' Abstract Paintings at Seders are Brash and Elegant." Seattle Post-Intelligencer, June 7.

1995 Hackett, Regina. ""A Brush with History."" Seattle Post-Intelligencer, May 2.

1995 Hackett, Regina. ""Putting their Art Where their Hearts Are."" What's Happening, Seattle Post-Intelligencer, April 21.

1991 Hackett, Regina. ""Seders' 25th Anniversary Show Starts off with a Sterling Exhibit."" Seattle Post-Intelligencer, May 16.

1991 Carlsson, Jae. ""Robert Jones at Francine Seders Gallery."" Reflex, March/April.

1991 Hackett, Regina. ""Jones Mixes Tenderness with Grit."" Seattle Post- Intelligencer, January 16.

1988 Kangas, Matthew. ""Nature Becomes Electrifying."" Seattle Weekly, March 30.

1988 Hackett, Regina. ""The Power of Painting."" Seattle Post-Intelligencer, March 12.

1987 Hackett, Regina. ""Painter's Painter Uses Black."" Seattle Post- Intelligencer, August 14.

1986 Berkson, Bill. ""Report from Seattle, In the Studios."" Art in America, September.

1985 Hackett, Regina. ""Jones' Paintings Have Their Own Internal 'Weather'."" Seattle Post-Intelligencer, October 15.

1985 Kangas, Matthew. ""Integrating the Blacks."" Westart, December 20.

1984 Kangas, Matthew. ""Robert C. Jones at Seattle Pacific University."" Art in America, September.

1982 Kangas, Matthew. ""Robert C. Jones."" Vanguard, October/November.

1982 Hackett, Regina. ""Robert Jones' Airy Works are Largely Ignored."" Seattle Post-Intelligencer, May 24. 1981 Kingsbury, Martha. ""Drawing in the Northwest."" Drawing, November/December.

1979 Glowen, Ron. ""Established Artists Break New Ground."" Argus, March 16.

1964 Robbins, Tom. ""The Professor and the Muse - a Futile Relationship?"" Seattle Times, February 9. Denzil Hurley

- For me, working reductively engages rather than denies references, precedents, feeling, cultural influences, practice-based developments, and discourse. It further sets parameters which can extend connections rather than segment or ignore cross fertilization of ideas. - Form, color, and structuring are important emphases in my work. Layering and particular attention to surfaces combine to engage the various elements and configurations. The elements involve stacking, clustering, and serial combinations which operate spatially against rigid emphasis or grided divisions. Modular elements further establish this aspect as they carry references to structuring which involve a certain physical presence and size. Variation of the elements is an ongoing concern within the range of my work, this allows me further emphasis concerning individual pieces. It extends the surfaces allowing for compression and expandable space in direct relationship to placement of individual elements, their clustering, their configuration, and their structuring. - Looking is an essential part of my working process, it is necessary for me to see, to engage and realize certain configurations and relationships which might only be relevant to a given work. Time and presence of a piece are intended to involve the present as a point in which the work is being made and when it is encountered through viewing. Drawn elements, redaction, reconfiguration, layering, and adjustments to color involve my responses and decision making. - Working on different sizes, allows me to see how scale and color feel. I don't clearly understand all aspects of my work, but I embrace the preoccupation and the consciousness it seems to demand and foster. Certainly, the nuances, the openness, and the rigor of the work are all related. It feels more like life and not just process. The surprises that painting brings, constantly challenges me to stay open while being decidedly engaged in addressing the complexity of the work towards a whole that is fresh.

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D E N Z I L H. H U R L E Y

BORN: 1949, Barbados, West Indies

EDUCATION: 1977-79, M.F.A. Yale School of Art, New Haven, CT 1971-75, B.F.A. Portland Museum Art School, Portland, OR

AWARDS AND FELLOWSHIPS: 2008 Neddy Artist Nominee, Behnke Foundation, Seattle, WA 2003 Old Dominion Fellow of the Humanities Council and the Visual Arts Program, Princeton University, Princeton, NJ 1993 National Endowment for the Arts, Painting 1989 Pollock-Krasner Fellowship, Painting 1989 National Endowment for the Arts, Painting 1988, 89 Massachusetts Artists Foundation, Award in Painting 1985 Western States Print Invitational, Portland Art Museum, Purchase Prize 1980 Guggenheim Fellowship, Painting/Printmaking 1978-79 Ford Foundation, Special Projects Grants, Yale School of Art

SOLO/TWO-PERSON EXHIBITIONS:

2007 Denzil Hurley: Falk Visiting Artist, Weatherspoon Art Museum, The University of North Carolina at Greensboro, Greensboro, NC 2006 Variant/Glyphic/Negation/Redact, Francine Seders Gallery, Seattle, WA 2004 Denzil Hurley New Abstract Paintings, Kemper Museum of Contemporary Art, Kansas City, MO 2000 James Harris Gallery, Seattle, WA 1998 Time and Abstraction: Paintings by Denzil Hurley and Julie Shapiro, Pollock Gallery, Southern Methodist University, Dallas, TX 1993 Denzil Hurley and Franz West, Burnett Miller Gallery, Los Angeles, CA 1988 Burnett Miller Gallery, Los Angeles, CA (also 1986) 1985 Mona Berman Gallery, New Haven, CT Jack Tilton Gallery, New York, NY 1984 Andrew Forge & Denzil Hurley, Mona Berman Gallery, New Haven, CT 1980 Louis B. Comfort Gallery, Haverford College, PA 1977 Marylhurst College, Portland, OR 1976 The Purple Daggers Gallery, Portland, OR

GROUP EXHIBITIONS:

2008 2008 Neddy Artist Fellowship, Tacoma Art Museum, Tacoma, WA Traces and Accumulations, Wright Exhibition Space, Seattle, WA 2006 8th Northwest Biennial, Tacoma Art Museum, Tacoma, WA (Juror's Award) 2004 23+ on 9th, Elizabeth Leach Gallery, Portland, OR 2004 Big and Small, Francine Seders Gallery, Seattle, WA 2003-04 International Abstraction, Seattle Art Museum, Seattle, WA 2002 Peterdi in Context, Silvermine Guild Galleries, New Canaan, CT No Greater Love, Abstraction, Jack Tilton/Anna Kustera Gallery, New York, NY American Academy Invitational Exhibition of Painting and Sculpture, The American Academy of Arts and Letters, New York, NY (also 1997) 2001 Alumni Choice, Yale School of Art, New Haven, CT Short Stories, Henry Art Gallery, Rotating Exhibition, Seattle, WA 2000 Abstraction/Construction, Soil Gallery, Seattle, WA Trio: Denzil Hurley, Paul Moran, Julie Shapiro, Francine Seders Gallery, Seattle, WA Elizabeth Leach Gallery, Portland, OR 1999 Neddy Artist Fellowship Award Exhibition, Seafirst Gallery, Seattle, WA 1998 Faculty Exhibition, Jacob Lawrence Gallery, University of Washington, Seattle, WA (also 1997, 1995, 1994) The Edward R. Broida Collection, Orlando Museum of Art, Orlando, FL 1997 Square Painting/Plane Painting, Center on Contemporary Art, Seattle, WA 1996 Minimalism: Aftermath and Affinities, Seattle Art Museum, Seattle, WA 1993 Burnett Miller Gallery, Los Angeles, CA (also 1988, 1986) 1991 Abstract Painting, Jack Tilton Gallery, New York, NY 1990 Faculty Exhibition, Yale Norfolk Program, Norfolk, CT (also 1989, 1988, 1987) 1989 New Geometry, Delaware Center for the Contemporary Arts, Wilmington, DE 1988 Faculty Exhibition, Hampshire College, Amherst, MA 1987 Drawing Invitational, Paul Creative Arts Center, University of New Hampshire 1986 Drawing Invitational, Guilford College, Greensboro, NC 1985 Western States Print Invitational, Portland Art Museum, Portland, OR Yale Drawing, Mona Berman Gallery, New Haven, CT 1982 General Electric Headquarters, Fairfield, CT 1981-82 22nd National Print Exhibition, Brooklyn Museum, Brooklyn, NY (also 1978) Twenty Artists, Los Angeles Printmaking Society, UCLA Gallery, Los Angeles, CA 1980 Painting Invitational, Gallery, Studio School, New York, NY 1977 Oregon Annual, Portland Art Museum, Portland, OR 1976 New Talent, The Fountain Gallery, Portland, OR

PUBLIC COLLECTIONS:

Boston Printmakers The Brooklyn Museum, Brooklyn, NY Edward Broida Trust General Electric Headquarters, Fairfield, CT Henry Art Gallery, University of Washington, Seattle, WA Library of Congress, Washington, DC Metropolitan Museum of Art, New York, NY PepsiCo City of Portland, Portland, OR Portland Art Museum, Portland, OR Portland Development Commission, Portland, OR Yale University, New Haven, CT

BIBLIOGRAPHY - DENZIL H. HURLEY

Chronological List of Books and Catalogues

2008 2008 Neddy Artist Fellowship. Tacoma, WA: Tacoma Art Museum.

2008 Hushka, Rock. Traces and Accumulations. Seattle, WA: Wright Exhibition Space.

2007 Hushka, Rock. The 8th Northwest Biennial. Tacoma, Washington: Tacoma Art Museum.

2006 Denzil Hurley. Greensboro, NC: Weatherspoon Art Museum, The University of North Carolina at Greensboro.

2006 Denzil Hurley Paintings, 2002-2005. Seattle, WA: Francine Seders Gallery.

2004 Van Keuren, Philip. Denzil Hurley: New Abstract Paintings. Kansas City, MO: Kemper Museum of Contemporary Art. 2000 Abstraction/Construction. Seattle, WA: Soil Gallery

1999 1999 Neddy Artist Fellowship Exhibition. Seattle, WA: Seafirst Gallery.

1998 Van Keuren, Philip. Time and Abstraction: Paintings by Denzil Hurley and Julie Shapiro. Dallas, TX: Southern Methodist University.

1998 The Edward R. Broida Collection. Orlando, FL: Orlando Museum of Art.

1997 Square Painting/Plane Painting. Seattle, WA: Center on Contemporary Art.

1981-82 22nd National Print Exhibition. Brooklyn, NY: Brooklyn Museum.

1978 21st National Print Exhibition. Brooklyn, NY: Brooklyn Museum.

Chronological List of Periodicals

2007 Hushka, Rock. "Where the Action Is." City Arts Magazine, Tacoma, March/April.

2007 Hackett, Regina. "The Artist Lineup for Tacoma Art Museum's Northwest Biennial is Irresistible." Seattle Post-Intelligencer, March 16.

2006 Failing, Patricia. "Denzil Hurley Francine Seders Seattle." ARTnews, May.

2006 Hackett, Regina. "Serial in Seattle." Visualcodec.com, March 1.

2006 Kangas, Matthew. "Creating, and Enjoying, Art for the Sake of Art." The Seattle Times, February 17.

2006 Hackett, Regina. "Painter Denzil Hurley's Layers of Labor are a Pleasure for the Viewer." Seattle Post-Intelligencer, February 10.

2004 Farr, Sheila. "The Pleasures of Paint on Canvas." The Seattle Times, August 20.

2004 Demetre, Jim. "Big and Small at Francine Seders." Artdish, August 11.

2004 Hackett, Regina. "'Big and Small' Paints a Wide Swath of Expressive Abstraction." Seattle Post-Intelligencer, August 6.

2004 "Zelmore, Merlin." www.sabartes.com..

2004 Johnson, McLain. "The Art of Reduction: Denzil Hurley." Netfirms.com, January 26.

2004 Thorson, Alice. The Kansas City Star, January 18.

2004 Stephens, Liz. "Hurley Exhibit More Than Meets the Eye." The University News, University of Missouri, January 17.

2004 McTavish, Brian. The Kansas City Star, January 14.

2000 Kangas, Matthew. The Seattle Times, October 13. 2000 Row, D.K. The Oregonian, June 30.

2000 Simblist, Noah. ""Denzil Hurley: Present Absence."" RedHeaded StepChild, volume 2, issue 5, May.

2000 Hackett, Regina. Seattle Post-Intelligencer, April 21.

1997 Josslin, Victoria. Aorta, Contemporary Art and Culture, April/May.

1997 McTaggart, Tom. The Stranger, February 13.

1997 Hackett, Regina. Seattle Post-Intelligencer, January 24.

1997 Kangas, Matthew. The Seattle Times, January 23.

1986 Gardner, Colin. Los Angeles Times, July 25.

1982 Contributing Author. "About Making." Perspecta 19, M.I.T. Press, September. Zhi Lin

From 1992 to 2007, I completed a series of five large-scale paintings (12 x 7 ft), Five Capital Punishments in China; the fifth painting in the series, Drawing and Quartering, was finished in 2007. The contemporary events in China and the common usage of the death penalty in the U.S. have persuaded me to mix Chinese history and culture with modes of Western painting as an inquiry on human propensity for cruelty. I believe Five Capital Punishments confronts us with the legacy of the death penalty and challenges our awareness of the cultures in which we live. Each of the five paintings depicts a different form of capital punishment in front of a crowd of more than 150 people. During the research phase for each of the five paintings, I also produced at least four to five hundred drawings, diagrams and sketches. For communicating my message to the audience effectively, I used many layers, styles, and metaphors in the Punishments series because I want my work to penetrate time and cultures, and give new meaning to our present and our past. I attempt to visually compress the chapters of history by overlaying human trauma in the format of early Renaissance paintings combined with the style of Socialist Realism of the twentieth century and presented like Tibetan Buddhist paintings.

Since 2007, I began to embark on the project, Invisible and Unwelcomed People: Chinese Railway Workers, which is focused on the bitter history of Chinese workers in the construction of the American transcontinental railroads in the 19th century. To date, I have produced three groups of work. The small onsite water medium sketches (Chinese ink on paper, 12 x 8 inches) are produced during my trips - tracing the journeys taken by the Chinese workers. The large-scale paintings (4 x 9 ft) are based on my onsite sketches. Both of them are painted in the style of the English watercolor tradition, and reflect the aesthetic taste of the 19th century, regarded by many people as "the golden days." In my opinion, under this graceful and civilized veil was a society that openly practiced injustice and carried out brutalities, even genocide. The large-scale painting/video projection/installation piece, Names of the Unremembered: Transcontinental (12 x 7 ft), depicts the reenactment of the Golden Spike Celebration, and is a collaborative work with Dan Boord and Luis Valdovino. The canvas below the video image of a present day's reenactment is painted in a subtle monochromatic tone, as though recalling faint memories. On the stone ballasts of the railroad, the entire list of Chinese workers' groups, recovered from existing payroll records, is inscribed in light red, like calligraphically carved and painted stones on mountainsides in China. The projection lights up the bottom painted image, and reveals the red writings. In the construction of the railroad, several thousand Chinese workers were badly injured, and at least 1,200 lost their lives. White is the funeral color in China; the whiteness of the light cast on the canvas memorializes the nameless workers who perished, while the faint sounds of the train's whistle and bells echoes on the summit.

Resume

Education 1989-1992 Master of Fine Arts. University of Delaware. Newark, DE. U.S.A. 1987-1989 Higher Diploma in Fine Art (M.F.A.). Slade School of Fine Art, University of London. London, U.K.

1985-1987 Postgraduate in Fine Arts. China National Academy of Fine Arts. Hangzhou, China.

1978-1982 B.F.A. China National Academy of Fine Arts. Hangzhou, China.

Academic Positions (selected) 2001-present Associate Professor, School of Art; Affiliate faculty, China Studies Program; University of Washington. Seattle.

1992-2001 Assistant and Associate Professor (tenured). Missouri State University. Springfield, MO.

Grants, Fellowship, Awards (selected) 2007 Fritz Faculty Research Grant. Henry Jackson School of International Studies, University of Washington. Seattle, WA

Milliman Endowment Grant. School of Art, University of Washington. Seattle, WA

2006 Fellow in the Humanities Council and the Tang Center for East Asian Art, Princeton University. Princeton, NJ

Institute for Ethnic Studies in the United States Research Grant, University of Washington. Seattle, WA

2003 Artist Trust GAP Grant. Seattle.

Royalty Research Fund Scholar. University of Washington. Seattle.

2002 Washington State Arts Commission/Artist Trust Fellowship. Seattle.

University of Delaware Presidential Citation for Outstanding Achievement

2000 Creative Capital Foundation Grant in Visual Arts (Painting). New York, NY.

1997 Lila Wallace - Reader's Digest Artists at Giverny Program (France). New York, NY.

Missouri State University Foundation Awards in Research. Springfield.

1996 Art Matters Foundation Fellowship Award. New York, NY.

1995 National Endowment for the Arts Visual Artists Fellowship Grant (Painting). Washington, DC. 1994 NEA Midwest Regional Artists' Project Grant. Chicago.

Missouri Arts Council 1995-96 Visual Artists' Biennial Grant. St. Louis, MO.

1992 Delaware State Arts Council Individual Artist Fellowship as an Emerging Professional Artist. Wilmington, DE.

Solo Exhibitions (selected) 2008 Zhi Lin's Onsite Sketches: Invisible and Unwelcomed People. North Park University, Chicago, IL; University of Puget Sound, Tacoma, WA; Seattle Pacific University, Seattle, WA.

2007 Zhi Lin: Unheard Voices and Invisible People, Howard House Contemporary Art, Seattle, WA

2003-04 Zhi Lin: Crossing Cultures/Crossing History, Frye Art Museum, Seattle, WA; Indiana State University, Terre Haute, IN; Koplin Del Rio Gallery. Los Angeles, CA; Spartanburg County Museum of Art. Spartanburg, SC

2001 Zhi Lin's Recent Work. Missouri State University Gallery. Springfield, MO

1998-2000 Five Capital Executions in China. University of Toledo. OH; University of Northern Iowa. IA; Tennessee Technological University. TN; College of the Ozarks. MO

1992, 1989 Sue Williams Gallery. London, U.K.

Group Exhibitions (selected) 2008 Chinaman's Chance - Views of Chinese American Experience. Pacific Asia Museum, Los Angeles, CA

In the Land of Retinal Delights. Laguna Art Museum, Laguna Beach, CA

China/China- Reflections and Perception. University of London Art Collection. London, UK

The Power of the Academy: Documentary Exhibition of China National Academy of Art . China National Academy of Art Museum. Hangzhou, China.

An Educated Eye: the Collections of the Princeton University Art Museum. Princeton University Art Museum. Princeton, NJ

2007 Banquet: A Feast for the Senses. Pacific Asia Museum, Los Angeles, CA

2006 Re-Presenting Representation VII. Arnot Art Museum. Elmira, NY 2005 Ancient Arts in a Modern World: Contemporary Chinese Art Exhibition. Tang Center for East Asian Art, Princeton University. Montgomery Center for the Arts, Princeton, NJ

2002 The Perception of Appearance, a Decade of Contemporary American Figure drawing. Frye Art Museum. Seattle, WA

2000 Tempus Fugit: Time Flies. Nelson-Atkins Museum of Art. Kansas City, MO

ARTstravaganza, 13th Annual National Juried Art Exhibition. Hunter Museum of American Art. Chattanooga, TN

1999 Why Modernism Wasn't A Public Affair. Missouri State University Gallery. Springfield, MO

International Contemporary Painting Competition. Erector Square Gallery. New Haven, CT

12th Northern National Art Competition. Northern Arts Council. Rhinelander, WI

Contemporary Visions '99. University of Bridgeport. Bridgeport, CT

14th Greater Midwest International Exhibition. Central Missouri State University. Warrensburg, MO

1995-96 Missouri Arts Council Visual Artists' Biennial. Missouri Museum of Art and Archaeology. University of Missouri, Columbia, MO; Albrecht-Kemper Museum of Art. St. Joseph, MO; Springfield Museum of Art. Springfield, MO; Margaret Harwell Art Museum. Poplar Bluff, MO.

1992 MOAK 4 States Regional Exhibition. Springfield Art Museum. Springfield, MO

1989 4th International Biennial Print Exhibit: 1989 ROC. Taipei Fine Art Museum. Taiwan

Chinese Prints. Contemporary Arts Institute. London, U.K.

British Open 89: Royal Society of Painting-Etchers & Engravers. Bankside Gallery. London, U.K.

Chinese Woodcuts. Flaxman Gallery, University of London. London, U.K.

1988 Slade Prints. British Council Gallery, British Council. Islamabad, Pakistan.

Contemporary Chinese Paintings & Print. Royal Festival Hall, South Bank Centre. London, U.K. Contemporary Chinese Art. Churchill College, Cambridge University. Cambridge, U.K.

1987 Chinese Paintings and Prints. Artist Club. London, U.K.

1980-1987 Participated in over twenty major provincial, regional, national juried and invitational exhibitions in Hangzhou, Wuhan, Shanghai, Guangzhou, and Beijing in China

Collections (selected) Princeton University Art Museum, New Jersey; Pacific Asia Museum, Pasadena, CA; Frye Art Museum, Swedish Hospital Collection, and Washington State Art Commission, Washington; China National Fine Art Museum, China National Academy of Fine Arts, China; Britain Great Britain-China Centre, Slade School of Fine Art, Rothermere Foundation, Michael Marks Foundation, Sue Williams Gallery, Caroline Oriental Company, England.

Gallery representations

Koplin Del Rio Gallery, Los Angeles, CA Howard House Gallery, Seattle, WA

Bibliography (selected)

Books Dr. Donald D. Landon, Daring to Excel - The First 100 Years of Missouri State University. Walsworth Publishing Co. Marcline, MO. 2004. p. 283, 285, 390.

Bill Ivey, Jennifer Dowley, Nancy Princenthal, A Creative Legacy - A History of the National Endowment for the Arts Visual Artists' Fellowship. Harry N. Abrams. New York, NY. 2001. p. 226

Dana Friis-Hansen, Other Times/Other Histories. Book Tempus Fugit: Time Flies. Edited by Dr. Jan Schall. Nelson-Atkins Museum of Art. Kansas City, MO. October 2000. p.187-188, plate 187.

Dr. Judith W. Simpson, Art Education and the Creation of Meaning. Prentice Hall. Englewood Cliffs, NJ. 1998. p.128. plates 4-1, 4-2, 4-3.

Exhibition Catalogues Dr. Kresser, Land marks: Metaphor and Trace on the Path of the Transcontinental Railroad. Exhibition catalog entitled, Zhi Lin's Onsite Sketches: Invisible and Unwelcomed People. University of Washington, University of Puget Sound. November 2007. 40 pages.

Robert K. Cassetti, Representing Representation VII. Arnot Art Museum. Elmira, NY. September, 2005. p. 76, plate 30.

Thomas Blackman, Art Chicago 2005. Thomas Blackman Associates, Chicago, IL. April, 2005. p 132, 133, 270

Dr. Jan Schall, Meditations on Cruelty and Compassion. Exhibition catalogue Zhi Lin: Crossing History/Crossing Cultures. Edited by Dr. Debra Byrne. Frye Art Museum, Koplin Del Rio Gallery, Seattle and Los Angles, October 2003. p. 7-10, plate 1-19.

Norman Lundin, The Perception of Appearance, a Decade of Contemporary American Figure drawing. Frye Art Museum. University of Washington Press, Seattle and London, June 2002. p. 133, plate 43.

Dr. Dianne Strickland, Why Modernism wasn't a public affair. SMSU, Springfield. March, 2000. p. 19, 20, 23, plate 14 -17.

14th Greater Midwest International Exhibition. Warrensburg, MO. 1999.

Susan Krane, 95-96 Missouri Arts Council Visual Artists' Biennial. Missouri Arts Council. St. Louis, MO. April, 1995.

MOAK 4 State Regional Exhibition. Springfield Art Museum. December, 1992.

4th International Biennial Print Exhibit 1989. Taipei Fine Arts Museum. Taipei, Taiwan. March 18, 1990. plate 219.

Exhibition of Contemporary Chinese Paintings & Prints. The South Bank Centre and Royal Festival Hall. London, U.K. 1988

Articles Dave R. Davison, Eye of the storm - Kittredge exhibits examine human frailty. Tacoma Weekly. Tacoma, WA. April 10, 2008.

Jenine Baines, A 'Celestial" view from 'Golden Mountain.' Pasadena Weekly. Pasadena, CA. March 13, 2008.

Emanuel Parker, China focus of Pacific Asia Museum exhibit. SGVTribune.com. Pasadena, CA. March 8, 2008.

The Chinese-American Experience. Pasadena Now. Pasadena, CA. February 22, 2008.

Yun Ma, Art Exhibition of Chinese-American Experience. World Journal. New York, NY. February 16, 2008. Los Angeles Edition - p. 1. http://www.worldjournal.com:82/gate/gb/www.worldjournal.com/wj-la- news.php?nt_seq_id=1671411

Dr. Kresser, Zhi Lin: A New Old Master. Image. Seattle Pacific University, Seattle, WA. January 2008. Issue 56. pl. 8-12, p. 71-81

Jen Graves, In Art News - The Six Degrees OF CC. The Stranger. Seattle, WA. August 17, 2007.

Frances DeVuono, Zhi Lin: Unheard Voices and Invisible People. Artweek. Palo Alto, CA. 6, 2007, Vol. 38, Issue 5. p. 22 (reproductions)

Sheila Farr, UW professor's art gives voice to society's "unheard." The Seattle Times. Seattle, WA. March 30, 2007. p. 38H (reproductions)

Scarlet Cheng, Asian style and taste - Artists explore the many facets of food in "Banquet." Los Angeles Times. January 11, 2007.

Larry Reid, The Cultural Evolution of Zhi Lin. Juxtapoz Magazine. San Francisco, CA. January, 2007. p. 80 - 85 (reproductions) Dan Sanchez, Banquet Art Exhibition at Pacific Asia Museum. The Epoch Times. New York, NY. December 10, 2006.

Miriam N. Kotzin, Zhi Lin: Five Capital Executions in China. Per Contra. Summer 2006.

Zhang Guanghui, Art in US West. Hubei Institute of Fine Arts Journal. Wuhan, Hubei, China. April, 2006. p 26-27 (reproductions)

Janet Koplos, Plugged In and Caffeinated. Art in America. New York, NY. September 2005. p. 69-71 (reproductions)

David Pagel, The human form in staid settings. Los Angeles Times. Los Angeles, CA. August 27, 2004. p. E27

Holly Myers, Reviews: National - Zhi Lin at Koplin Del Rio in Los Angeles. ARTnews. New York, NY. June 2004. p. 120

Collectte Chattopadhyay, Zhi Lin at Koplin Del Rio Gallery. Artweek. Palo Alto, CA. May 2004, Vol. 35, Issue 4. p. 20

Sheilla Farr, Artist Zhi Lin offers a brutal look at 'Five Capital Executions.' The Seattle Times. Seattle, WA. Jan. 2, 2004. p. 39H

Regina Hackett, Bo Barlett and Zhi Lin bring life to oddities and horrors. Seattle Post-Intelligencer, Seattle, WA. Jan. 2, 2004.

Victoria Josslin, Intimate Encounters: Contemporary Figure Drawing. American Arts Quarterly. NY. Summer, 2002. p19.

Camille Howell, Horror story of human cruelty fills gallery. News-leader. Springfield, MO. May 7, 2001. p. 5B

Rebecca Golden, A cruel and unusual subject. Toledo City Paper. Toledo, OH. Dec. 14, 2000. p. 14.

Alice Thorson, Quality 'Time' at the Nelson. The Kansas City Star. Kansas City, MO. Sunday, Oct. 29, 2000. Arts, p. 1, 3.

Deborah Dickson Campbell, Considering the Moments and Moment of Time. Review. Kansas City, MO. November 2000, p. 36-37.

Stephen Goode, Avant-Garde Art Has New Bankers. Insight on the News. Washington, DC. July 17, 2000. p.20-21. plate 21.

Creative Capital Gives First Grants. Art in America. New York, NY. March, 2000. p.160.

Matthew Mirapaul, More Grants for Digital Artists. The New York Times. New York, NY. December 30, 1999. Thursdays, arts@large

Carol Ferring Shepley, Missouri Arts Council Visual Artists' Biennial. St. Louis Post-Dispatch. St. Louis, MO. May 30, 1996. GET OUT

Ron Jennings, Art of Conflict. Sedalia Democrat. Sedalia, MO. March 14, 1996. p. 6. NEA Fellowship for Artists, 1995. Art in America. New York, NY. November, 1995. p.138.

Tamlya Beasley, Images of Brutality. News-Leader. Oct. 26, 1995. p. 5B.

Todd Foltz, Ominous Beauty. News-Press. St. Joseph, Missouri. July 14, 1995. p. D1.

Guy Burn, Prints. Art Review. London, U.K. May 5, 1989. p.328-329. Isaac Layman

These selected works are from my July exhibition Photographs from Inside a Whale at Lawrimore Project. The works, hyperreal in their clarity and represented larger than life, capture the mundane spaces and objects within my Seattle home. I photograph with a high-resolution digital 4 x 5 camera, incorporating multiple exposures and perspectives in a single image. "Stereo," for example, is comprised of 45 individual photographs. In it, I use three distinct perspectives: one from in front of each speaker and one directly in front of the center vacuum tubes. Additionally, I photographed the same viewpoint many times, focusing the camera at different depths, bringing multiple areas that couldn't normally be in focus in a single photograph into hyper-focus in order to simultaneously heighten, collapse and ultimately confuse the sense of space inside the stereo cabinet. All of this is done in an effort to change the viewer's habits looking -- to slow them down and make them question the truth of what they are seeing. In support of this new sense of space, many of the images have a "frame" or "container" built into the image - like the rim of the sink or casework of the medicine cabinet - that frames the objects depicted. This framing is an effort to acknowledge and build awareness to the effect one's point of view has on knowing something. While the high resolution and accurate focus adds to a sense of space and realism, the photographs ultimately fail (as photography always does) at being the "real" thing. This work records the places and things (sink, stove, medicine cabinet, stereo) that I visit many times a day. They are ultimately unremarkable scenes, but I feel an affinity to them nonetheless as they are beautifully representative of all I have. Resume

ISAAC LAYMAN 2135 N 52nd St Seattle, WA 98103 [email protected] 206.235.8097 Isaac Layman received his BFA at the University of Washington and is represented by Lawrimore Project in Seattle.

SOLO EXHIBITIONS 2008 Photographs from Inside a Whale, Lawrimore Project, Seattle WA 2007 Early Works, Lawrimore Project, Seattle WA 2005 Storyboards, Hugo House, Seattle WA Portraits, Crawl Space Gallery, Seattle WA 2003 Photograms, Trofeo Gallery, Seattle WA Photographs, Hiroki, Seattle WA Object Participation, Hiroki, Seattle WA 1999 Powerlines, Rosebud, Seattle WA 1997 African Streets, Bayview Gallery, Bayview WA

SELECTED GROUP EXHIBITIONS 2008 The Terrible Twos: A Lawrimore Project Biennial, Lawrimore Project, Seattle WA 2007 Aqua Art Wynwood, Lawrimore Project, Miami FL 2007 Still Life, Pulliam Deffenbaugh, Portland OR 2006 Aqua Art Miami, Miami Beach, Miami, FL Façade, SOIL Art Gallery, Seattle WA SOIL New Member Exhibition, SOIL Art Gallery, Seattle WA 2005 AquaArt Miami, Miami Beach, Miami, FL 2004 2004 National Photography Competition, SoHo Photo Gallery, New York NY. Juror: Lyle Rexer, author and critic for the New York Times, Art in America, and other periodicals. 2003 UW School of Art Open, The Jacob Lawrence Gallery, Seattle WA Juror: Esther Claypool, Esther Claypool Gallery (Juror's Award) 16x20, The Photographic Center Northwest, Seattle, WA; New Zealand, Tasmania. Juror: Elizabeth Brown, Chief Curator, Henry Art Gallery (3rd Place) B.F.A Thesis Exhibition, The Jacob Lawrence Gallery, Seattle WA Inaugural Show, Trofeo Gallery, Seattle WA Finding Patterns in Chaos, Mohala Arts Gallery, Seattle WA 2002 S.A.P.R.IX Fall Exhibition, Palazzo Pio, Rome Italy Installations, University of Washington Medical Center, Seattle WA Light Box, University of Washington, Seattle WA 2001 UW School of Art Open, The Jacob Lawrence Gallery, Seattle WA Juror: Greg Kucera, Greg Kucera Gallery ArtDrill, Sandpoint Naval Base, Seattle WA 2000 Spring Show, Whidbey Island Center for the Arts, Langley, WA 1998 Choochokam Open, Bayview Gallery, Bayview WA (Best in Show)

SELECTED BIBLIOGRAPHY 2008 Duncan, Michael. Art in America. (forthcoming review) Allen, Kenneth. "Isaac Layman and Photography," Photographs from Inside a Whale: exhibit catalogue, Seattle: Lawrimore Project Publications, July. Graves, Jen. "The Men Who Kew Too Much," The Stranger, 7/15. 2007 Graves, Jen. "Seattle in Miami 2007," The Stranger Slog, 12/13. Graves, Jen. "Eye of the Storm," The Stranger, 11/13. Hackett, Regina. "Lawrimore Project knows a good thing when it sees it," Seattle P-I, 3/8. Langley, Matthew. "A few questions: Isaac Layman," Matthew Langley ArtBlog, 3/8. Bryant, Elizabeth. "This Month in Seattle: Some Notes," ArtDish, 3/4. Graves, Jen. "The Continuation of Isaac Layman's World Domination Tour," The Stranger Slog, 1/24. 2006 Gordon, Margery. "Art Basel Miami: Offbeat Highlights from the Fair Trail," ARTINFO, 12/16. Graves, Jen. "Miami Shout-Outs, part 1," The Stranger Slog, 12/12. Graves, Jen. "Seduced: The lying, cheating heart of photography," The Stranger, 10/17. Hackett, Regina. "Hidden Talent Sees the Light of Day at Crawl Space," Seattle P-I, 7/1. Engman, Chris. Soil: Artist-Run Gallery, 1995-2005, Seattle: SOIL PUBLICATIONS, 2005 Chang-Ae Song

Mass Landscape

In my recent MASS drawing series, I am exploring human nature and the human condition in relation to our current cultural, social, ethical, and political situations, using multiple images of human figures to form landscapes.

I employ strategies of dual perspectives and scale. For example, the viewer encounters a panoramic view of a graceful landscape. This panorama might seem at first cliché, reminiscent of romantic landscapes in both Eastern and Western art. Upon closer observation, though, unexpected human images challenge the viewer, contrasting their first impression of what the work was going to be about. Details of fragmented human bodies - entangling, wrestling, climbing, mixing - seem sexual, grotesque, even sinister. Up close, the image appears far more complex and ambiguous. The contradiction of these dual perspectives, the macro and micro, shifts the meaning and experience of the work. The gestalt actively engages the viewer, both physically and psychologically, and allows the work to bridge imagination and real space.

The original source of the figure drawings I incorporate into landscapes comes from online newspaper photos of the Abu Ghraib detainees. One photograph in particular shocked me; it depicted naked figures climbing on top of one another in a pyramid. It was the most appalling and humiliating photo I've ever seen. I use this appropriated image as a basic element, multiplying and manipulating it through photocopying. I conceive of this essential mechanical process as like a mutation in science: a single cell multiplies endlessly by division with modification. This mechanical process also alludes to both constructive and destructive aspects of war and its endless cycle of human atrocities.

The meaning of the figures morphs and expands through photocopying. The symbolic importance of Abu Ghraib becomes less singular. It takes on multiple and timeless meanings, with historical references to genocide, sexuality, landscape, etc. In my MASS series, I hope to present a visual language that enables such a connection between East and West to address our collective human condition related to contemporary events. The ambiguous interrelationship between humans and nature is the core question of my work: Are these figures elements that activate our inanimate land, or are they trash to be swept away? Resume

Chang-Ae Song 541-954-9582 / [email protected]

Education

2008 M.F.A in Painting, Graduate School of University of Oregon 1997 M.F.A in Korean Painting, Graduate School of Sookmyung Women's University (Seoul, Korea) 1995 B.F.A in Painting, College of Fine Arts, Sookmyung Women's University

Solo Exhibitions 2005 "City Scapes" (White Lotus Gallery, Eugene, OR, USA) 2002 "Impression of the Metropolitan Seoul, Korea" (White Lotus Gallery, Eugene, OR, USA) 2001 "Manif: Seoul International Art Fair" (Seoul Art Center, Seoul, Korea) 2001 "Life - Confluence" (Pegasus Gallery, Corvallis, OR, USA) 2000 "Soul of Seoul" (Fairbanks Gallery of Art, Oregon State University, OR, USA) 1998 "Life - Wall" (Kongpyung Art Center, Seoul, Korea) 1996 "Life - Coexistence" (Seokyung Gallery, Seoul, Korea)

Selected Group Exhibitions

2008 Pacific Currents (Archer Gallery, Clark College, WA) OSU Faculty Exhibit (Fairbanks Gallery of Art, Oregon State University, OR) Installation Exhibit (LaVern Krause Gallery, U Of O, Eugene, OR) Recent Graduate Exhibit (Blackfish Gallery, Portland, OR) "Eying" - Installation (Eric Washburn Gallery, UO, Eugene) Open/End MFA Thesis Show (Jordan Schnitzer Museum of Art, UO, OR) "Habitat" (LaVern Krause Gallery, Univ. Of Oregon, Eugene, OR) Drawing Exhibit (LaVern Krause Gallery, Univ. Of Oregon, Eugene, OR) Cultural Connections Exhibit (Pegasus Gallery, Corvallis, OR) 2006 The Exchange Exhibit between OSU and Kaye Academic College of Israel (Beer-Sheva, Israel & Concourse Gallery, OSU, OR, USA) Sangmyung Univ. Art Works Special Exhibition (Sangmyung Univ. Seoul) Jackie Woodward & Chang-Ae Song (North Santiam Hall Gallery, Albany, OR) MFA painting (LaVern Krause Gallery, Univ. of Oregon, Eugene, OR) 2005 "Confluence", Three-person shows by Chang-Ae Song, Rex Silvernail, & Sidney Rowe (Pegasus Gallery, Corvallis, OR, USA) "The 3rd Around Oregon Annual" juried exhibition (Corvallis Art Center, Corvallis, OR, USA) "Imagining Ourselves Virtual Exhibit" (International Museum of Woman, San Francisco, CA, USA) Fall Festival Fine Art Showcase (Corvallis Benton County Library, OR, USA) 2004 "Dwellings" (NORTHWIND Arts Center, Port Townsend, WA, USA) 2003 "Beyond Borders", Trends in Asian Contemporary Art (Azuma Gallery, Seattle, WA, USA) "Artisans - 2003 National juried Exhibition", juried by Marian Parmenter, Executive Director & Founder, SFMOFA Artiest Gallery, San Francisco (Artisans Gallery, CA, USA) "Opening Windows", An Introspective Journey of Woman (Pearl Gallery, OR, USA) "Images & Poetry", Two-person show by Chang-Ae Song & W.E. Shumway (Pegasus Gallery, Corvallis, OR, USA) 2001 The 95th Anniversary, Sookmyung University Art Exhibition (Insa Art Center, Seoul, Korea) 1999 "The 21st Century Korea Elite Artist Invitation" (Seoul Municipal Museum of Art, Seoul, Korea) "Ah! Korea- Arising again" (Sang Gallery, Seoul, Korea) 1998 "Stroke- Expression of Freedom" (Kongpyung Art Center, Seoul, Korea) "Korean painting of Transition Period- Reflection and Awareness" (Kongpyung Art Center, Seoul, Korea) Artist DATA Conference Exhibition (Hanjon Plaza, Seoul, Korea) 1997 "Viewpoint and Expression" (Kongpyung Art Center, Seoul, Korea) "Spaces of Three Hundreds Exhibition" (Dahm Gallery & Seonam Museum, Seoul, Korea) "Representation under Transition-Change of Cognition Exhibition" (Ehoo Gallery, Seoul, Korea)

Awards

2007 Jury's Choice: The 5th Around Oregon Annual" juried exhibition (Corvallis Art Center, Corvallis, OR, USA) 2005 Honorable Mentions: "Art on Paper", juried by Pamela Wilson, Executive Director, Maryland Federation of Art (Gallery International, Baltimore, MD, USA) 2003 The 3rd place: The 19th Annual National Juried Contemporary Fine Art Exbibition: New Directions 03, juried by Temero Mosaka, curator of Contemporary Art in Brooklyn Museum of Art (Barrett Art Center, NY) 1998 The 1st Prize in Korean painting: The 17th Grand Art Exhibition of Korea (National Museum of Contemporary Art, Kwachon, Korea) Accepted: The 15th Dong-A Art Exhibition (National Museum of Contemporary Art, Kwachon, Korea) Accepted: The 20th Joong-Ang Grand Art Exhibition (Hoam Art Gallery, Seoul, Korea) 1997 Accepted: The 16th Grand Art Exhibition of Korea (National Museum of Contemporary Art, Kwachon, Korea) 1996 Accepted: The 15th Grand Art Exhibition of Korea (National Museum of Contemporary Art, Kwachon, Korea) Specially selected: The monthly magazine ""Art World"" (Seoul Metropolitan Museum of Art, Seoul, Korea) 1995 Superiority prize: New Frontier Exhibition (Kyungin Art Gallery, Seoul, Korea) 1994 Specially selected: The New Grand Art Exhibition (Design Center, Seoul, Korea) Bronze Prize: Art College Festival of Entire Nation (Hongik University, Seoul, Korea)

Sumi-Ink Workshops

2004~7 Drawing Concepts, Oregon State Univ., Corvallis, OR 2005 Jumpstart, Oregon State Univ., Corvallis, OR (June)

Scholarships

2008 A&AA Dean's Graduate Fellowships 2006 Phillip Halley Johnson Fellowship Baker Family Scholarship

Teaching and Public Experiences

2008 ~9 Drawing 233 Adjunct Assistant Professor (Winter, Spring/University of Oregon) 2008 Drawing Concept & Advanced Painting Adjunct Professor (Fall/Oregon State University) 2007~8 Drawing 233 - Instructor (GTF) (Fall07, Winter07, Spring08) 2008 Guest Speaker and Panel for Art and the Environment Discussion (White Stag building, Portland, OR) 2008 Juror for Pacific Northwest Annual Art Exhibit (UO, Eugene)

Public Collection

Sangmyung Art Museum (Seoul, Korea) scott trimble

The spatial relationships between, industry, architecture, nature, figure, and machine, have long been sources of my imagery. I tend to take on new materials and processes every few years, usually resulting in an exploration and methodology that tends to be obsessive and repetitive. Major themes in my work address issues ranging from the tension between humanity and the natural world and how we interact, perceive and participate in it. I strive to make art that serves as a catalyst of possibility of exploration, is inclusive and integral to the surrounding architecture, and challenges the traditional contexts of how and where art is experienced. Resume

EDUCATION: 2003 University of Washington, Seattle, WA, Masters of Fine Arts Degree, Sculpture 1999 San Jose State University, San Jose, CA, Bachelor of Fine Arts, Spatial Art

PUBLIC ART COMMISSIONS 2008 New Settlement Public School, Bronx, NY Opening Fall 2011, Percent for Art NYC

AWARDS/RESIDENCIES 2008 4-Culture, Seattle, WA, Individual Projects Grant Anderson Ranch, Near Aspen, Co, Two-month residency, Oct. 15- Dec. 20 Bemis Center for Contemporary Art, Omaha, NE, Three-month residency, Feb. 1 -Apr. 30 2007 Sculpture Space, Utica, NY, Two-month residency program, Jan-Feb 2005 Artist Trust, Seattle, WA, GAP Grant, Emerging & Cross-Disciplinary Arts Moses Lake Art Museum, WA Sculpture Without Walls, Best of Show-Cash Award 2002 University of Washington, Seattle, WA, Gonzalez Scholarship, Sculpture 2001 University of Washington, Seattle, WA, Recruitment Scholarship, Sculpture 2000 California Works, California State fair Fine Arts Competition, Award of Merit- Cash Award 1998 California Works, California State fair Fine Arts Competition, Award of Merit- Cash Award 1997 Sebastopol Center for the Arts, Sebastopol, CA, Best of Show- Cash Award

SELECTED SOLO EXHIBITIONS & INSTALLATION: 2006 Greg Kucera Gallery, Seattle, WA, About a Boardwalk: A Journey of a Different Scale Crawl Space Gallery, Seattle, WA, Divergent Paths 2004 Bumbershoot Arts Festival, Seattle Center, Seattle, WA, Selected Vending Sculptures 2002 Ceramic Metal Arts (CMA) Gallery, UW, Seattle, WA, Come See the Conveyorscape 1999 Herbert Sanders Gallery, SJSU, San Jose, CA, Bachelor of Fine Arts Exhibition 1997 Santa Cruz County Health Services Agency, Santa Cruz, CA, Various Works Santa Cruz County Government Building, Santa Cruz, CA, Various Works

SELECTED GROUP EXHIBITIONS: 2008 Drop City Gallery, Seattle, WA, Reclaim: Installation by John Flemming and W. Scott Trimble 2006 Lake Oswego Foundation for the Arts, Lake Oswego, OR, Outdoor Sculpture Exhibit 2005 SEATAC-Concourse A, The Biology, Chemistry, Physics Invitational 2005-2006 Bumbershoot Arts Festival, Seattle Center, Seattle, WA, Outside: In Curated by Kate Seekings Moses Lake Art Museum, Moses Lake WA, Sculpture Without Walls, Outdoor Exhibit COCA, Seattle, WA, People Doing Strange Things with Electricity II 2004 Monarch Sculpture Park, Tenino, WA, Annual Sculpture Exhibit Crawl Space, Seattle, WA, Coupling II: Love Fests & Fist Fights 2003 COCA, Seattle, WA, People Doing Strange Things with Electricity University House, Issaqua, WA, MFA thesis Traveling Exhibition Henry Art Gallery, Seattle, WA, Master of Fine Arts Exhibition Bemis Building, Seattle, WA, Germinate: Experience Art, Juror: Doug Jeck 2002 Downtown Park, Bellevue, WA, Bellevue Sculpture Exhibition 2002 Nation Gallery, Seattle, WA, Boys Against Girls, Girls Against Boys Jacob Lawrence Gallery, UW, Seattle, WA, Works in Progress-1st Year MFA Show 2001 New Leaf Gallery, Berkeley, CA, Web Site Premier Opening -Web Launch 2000 California State Fair, Sacramento, CA, California Works, Fine Art Competition, sculpture 1999 Santa Cruz Art Center Gallery, Santa Cruz, CA, Works: W. Scott Trimble & Adon Valenziano 1998 Fine Arts Institute of the San Bernardino Museum, San Bernardino, CA 33rd Annual Open International Exhibition-Christopher Schink, Juror Sculpture Group, Danville, CA, Annual Juried Exhibition California State Fair, Sacramento, CA, California Works, Fine Art Competition, sculpture Santa Cruz Art Center Gallery, Santa Cruz, CA, BC' 98 1997 Chico Art Center, Chico, CA, 1st National Juried Exhibition-Juror, Clayton G. Bailey Sebastopol Center for the Arts, Sebastopol, CA, Into the New Abstract Art

SELECTED PRIVATE AND PUBLIC COLLECTIONS: -Microsoft Art Collection, Redmond, WA, Sine Wave -Joe Delaney, Foster/Pepper, Seattle, WA, Tale of Two Cities Commission -Sharon & Martin Lott, Mercer Is., WA, Water Theme Commission -Zymogenetics Art Collection, Seattle, WA, Burning Bridges -Suzanne Beal, Seattle, WA, Shit or Get Off the Pot -Deborah Paine, Seattle, WA, Fire Pole -Francine Sedars Gallery, On Loan Outdoor Sculpture 2004-5, Seattle, WA, Linkage IV -School of Public Health, University of California at Berkeley, West Entrance- Departure II -Nancy Current, Seattle, WA, Viceware IV -Dan and Marilyn Wyman, Los Gatos, CA, Expansion I -Holt and Margaret Murray, Coralitos, CA, Linkage I -Dr. Jon Foster, Capitola, CA, Viceware V -Ellen Zeigler, Seattle, WA, Burning Bridges II -Patricia Strange, Bainbridge, WA, Warp & Weft -Bemis Center, Omaha, NE, Untitled Boardwalk Forms

MEDIA: 2007 Verve, Seattle Channel, Episode 2. 1 of 3 featured artists, http://www.seattlechannel.org/Verve/ Scott Trimble, Sculptor 2006 The Beat, KUOW, 12-21-06, 1 of 3featured artists, www.kuow.org About a Boardwalk by Scott Trimble at Greg Kucera Gallery

SELECTED BIBLIOGRAPHY: Wyman, Marilyn. Looking and Writing: A Guide for Art History Students. Upper Saddle River, NJ; Prentice-Hall, Inc., 2003

TEACHING: 2002 Instructor, 3D Design (Art 124) Fall Quarter University of Washington, Seattle, WA 2002 Instructor, 3D Design (Art 124) Spring Quarter University of Washington, Seattle, WA Instructor, Wood Sculpture (Art 273) Winter Quarter University of Washington, Seattle, WA Eric Elliott

I am searching for a visual language that shows the idea that all things are interconnected and one, that everything is part of a larger whole. At the same time, I want to make visible the fact that although things are connected they still differ. Ultimately, I wish to depict the paradox of interconnected individuality. I use the objects that surround me as a point of departure to depict the concept of interconnectedness. A plant, chair, or teapot are signifiers or metaphors for anything and everything. Clusters of objects become metaphors for other clusters, like a molecule is a cluster of atoms or a human being a cluster of cells. The objects in the still life come together to make a larger form. I am interested in this shape as a whole but still want to allow some individuality to the objects within. At times I take away the name of a specific object and in some instances completely cancel out an object's identity. In this way, the objects start to become more a part of a whole than individual things. Parts or all of the composition start to defuse into each other, compressing space while at the same time creating atmosphere. To create a stronger sense of unity I have limited my palette to four pigments (red, blue, yellow and white), and all colors start from a neutral gray mixed with the primary colors. I use this neutral gray as a unifying base (in my drawings the white of the page acts as this base or unifier) and then lean that gray towards warm/cool, dull/saturated and light/dark. I try to keep everything close to the neutral base and depending on how much I push the color, the objects emerge from or dissolve into the ground. There is a heavy build up of paint that becomes almost relief, as I search for the balance between focus and letting the composition fuse into one. The thick paint acts as a screen, and adds another level to the painting which brings the viewer's attention back the two-dimensional aspect of the canvas, and the fact that everything they are looking at is on one plane. I am interested in this flux between two and three dimensions that painting allows and how it can work as a metaphor for the apparent paradoxes of reality. Resume

ERIC ELLIOTT 343 N 79th St. - Seattle, WA 98103 - 206-919-9848 [email protected]

Education:

2007 Masters of Fine Arts, Painting and Drawing, University of Washington, Seattle 2003 Bachelor of Arts, Art Practice, University of California, Berkeley

Exhibitions:

2008 Transitions, James Harris Gallery, WA Deep Space Punctuated by Planets, Soil Gallery, WA Message in a Bottle, James Harris Gallery, Seattle, WA Black & White Show, Catherine Person Gallery, Seattle, WA Seven Propositions, Ouch My Eye, Seattle, WA Bifocal, Ouch My Eye, Seattle, WA 2007 MFA Thesis Show, Henry Art Gallery, Seattle, WA 2006 Works on Paper, Jacob Lawrence Gallery, Seattle, WA SP1, Sand Point First Year MFA Painting Exhibition, Seattle WA 2005 Works in Progress, 1st Year Master of Fine Arts, Jacob Lawrence Gallery, Seattle, WA 2004 Faculty Show, Morrison Library, Berkeley, CA 2003 Fall Honor Studio Show, Worth Ryder Gallery, Berkeley, CA New Works, Worth Ryder Gallery, Berkeley, CA Spring Honor Studio Show, Worth Ryder Gallery, Berkeley, CA 2002 Ghosts of Kroebis, Fall Arts Festival, Berkeley Art Museum, Berkeley, CA The Dirt Show, Worth Ryder Gallery, Berkeley, CA 2000 Art One Gallery, Scottsdale, AZ

Awards

Artist Trust GAP (Grants for Artist Projects) Recipient James Phalen Art Scholarship Recipient Maybelle Toombs Art Scholarship Recipient

Articles and Reviews:

2008 The Men Who Knew Too Much by Jen Graves, July 15, 2008, The Stranger- Seattle, Washington http://www.thestranger.com/seattle/Content?oid=621778

Paintings by Carlos Vega and Eric Elliott Are a Must-See at Harris Gallery by Regina Hackett, July 10, 2007, Seattle Post Intelligencer http://seattlepi.nwsource.com/visualart/370285_visual11.html

La Especial Norte, #1 by Jen Graves, April 22, 2008, The Stranger- Seattle, Washington http://slog.thestranger.com/2008/04/la_especial_norte_1

La Especial Norte by Mathew Offenbach, April 2008

Hold Still by Jen Graves, February 19, 2008, The Stranger- Seattle, Washington http://www.thestranger.com/seattle/Content?oid=515437

2007 Henry and the Masters by Regina Hackett, May 25, 2007, Seattle Post Intelligencer http://blog.seattlepi.nwsource.com/art/archives.115867.asp

Professional Experience: Teaching: Art Instructor, Gage Academy of Art, Seattle 2007- Present Art Instructor, North Seattle Community College, Cont. Education, 2007- Present Adjunct Instructor, University of Washington, Seattle, Fall 2007 and Spring 2007 & 2006

Teaching Assistant: Beginning Figure Drawing, Assoc. Professor Zhi Lin, Fall Quarter 2006, University of Washington, Seattle Beginning Drawing, Assoc. Professor David Brody, Winter Quarter 2006, University of Washington, Seattle Figure Drawing, Prof. Richard Shaw, Fall Semester 2002, Univ. of California, Berkeley

Studio Assistant: Norman Lundin, November 2005 - Present Adelie Landis-Bischoff, April 2004 - May 2005 Ross Sawyers

The class of structures I reference in my photographs - apartments and houses - are structures that we all experience in various and intimate ways. This level of familiarity is important to me, allowing the environments I create to resonate with the viewer, allowing them to create parallels between my visual interpretations and that which they have directly experienced in their own reality.

I have been influenced by a variety of themes relative to these common spaces: the romantic, nostalgic memories of a rural childhood; the urban decay found in neglected and abandoned structures within the core of a Midwestern city; and most recently, the combination of living in increasingly smaller spaces and in closer proximity to others that is found in increasingly dense neighborhoods and housing developments of a city like Seattle. I construct the situations I photograph as a way to challenge my understanding of the buildings and neighborhoods I am referencing. Building and photographing models allows me to exaggerate and over-state what I observe taking place in my surroundings, rather than simply replicating it. The environments depicted in my photographs are close to the actual, but not completely accurate copies of reality.

In my experience, the more realistic the space presented in the photograph appears to be, the more important the model becomes to the viewer. The photograph becomes more about how the model was made, and it's relative accuracy of replication, and less about what the subject matter is proposing. Recently, the situations presented in the photographs have become more contrary to reason and common sense and because of this, the idea of the model as a more or less accurate replication seems to be less important to the viewer.

It is important to consider the function of the constructed model and its relationship to what the depicted subject matter is proposing. The finished image should be able to suggest that the space presented could actually exist in reality. The constructed model cannot accomplish this in lieu of the photograph; what makes the model function is how the camera transforms the constructed space contained within the model. The model itself does not discriminate in the details presented to the viewer, scale is fixed and obvious and the details of construction become evident. The camera on the other hand, makes scale ambiguous and exposes only what I choose to include within the frame making the space within the borders of the photograph a more dynamic and believable environment.

Recently my intentions have begun to shift from representing specific ideas such as the decay of buildings or the increasing density of new neighborhoods towards broadening my understanding of the space itself and why I am so attracted to these types of environments. As the spaces I create get further away from the reality I am referencing, it has become increasingly important to continue to incorporate details familiar to living spaces in order to ground the images in reality while at the same proposing situations outside of what is normally expected of these spaces. Resume

Ross A. Sawyers www.rossawyers.com [email protected] 5502 29th Ave. NE Apt. 2 Seattle, Washington 98105 (206) 330-1110

Education

Master of Fine Arts, Photography University of Washington, Seattle Washington

Bachelor of Fine Arts, Photography & New Media Kansas City Art Institute, Kansas City Missouri

Representation Platform Gallery, Seattle WA SAM Gallery, Seattle WA

Selected Exhibitions and Commissions

Upcoming Solo Exhibition and Residency Whitworth University, Spokane Washington 2008 35th Anniversary Exhibition Seattle Art Museum Gallery (Group) Clear Blue, Sky Gallery 4Culture, Seattle, Washington (Solo) 2007 Fall Showcase, 2007 Jen Bekman Gallery, New York City, New York (Group) Ross Sawyers, Platform Gallery, Seattle, Washington, (Solo) Home Sweet Home Soil Gallery, Seattle Washington, (Group) M.F.A. Thesis Exhibition (Group)Henry Art Gallery, Seattle Washington New & Old School Photography (Group)Rake Gallery, Portland Oregon 2006 CoCA Annual 2006 (Group)Center on Contemporary Art, Seattle Washington Juror; Jennifer Gately Curator of Northwest Art, Portland Art Museum Works on Paper (Group), Jacob Lawrence Gallery at The University of Washington, Seattle WashingtonJuror, Scott Lawrimore, Jurors Award ArtWall Commission Art In The Loop Foundation, Kansas City Missouri Facade (Group)Soil Art Gallery, Seattle Washington Coupling IV, Secret Handshake (Group) Center On Contemporary Art, Seattle Washington 2005 Living Rooms, Basements and Thresholds (Solo), Tchoupitoulas Gallery, Kansas City, Missouri 2004 Current Work by Ross Sawyers (Solo), Society for Contemporary Photography, Kansas City, Missouri Kansas City Flatfile (Group), H&R Block Art Space at the Kansas City Art Institute, Kansas City Missouri 2002 Current Work by Ross Sawyers (Solo), Michael Cross Gallery, Kansas City Missouri 2001 Current Works 2001 Annual International Competition (Group), Society for Contemporary Photography, Kansas City Missouri, Juror; Steven Yates, Jasper Stands Amazed Wondering What Happened to his Youth (Solo), Michael Cross Gallery, Kansas City, Missouri

Public & Private Collections

The John And Maxine Belger Family Foundation Collection Kansas City, Missouri Fidelity Investments Corporate Collection Boston, Massachusetts King County Public Art Collection, Portable Works King County, Washington The Joseph & Elaine Monsen Photography Collection Seattle, Washington

Bibliography Seattle Art Museum Gallery: Marking a Milestone by Tracking Artists' Journeys, Theresa Goffredo, Everett Herald, Friday May 16, 2008 "Ross Sawyers at Platform", Frances Devuono, Artweek Magazine, October 2007, Vol. 38, Issue 6 Art + Auction Magazine, July 2007 Ill. p. 62 Looking Out, 2007, Rivet Magazine, Vol. 18, March 2007 Ill. Cover Second Floor, 2004 "Great Wall of Art", Alice Thorson The Kansas City Star, November 5, 2006 Ill. Approximation 5, 2006 "Art Review, Ross Sawyers", Gala Bent, Asthamtickitty.com/sidebar, November 11, 2006 Ill. Approximation 6, 2006, Living Room, 2004

Special Accomplishments and Awards

Crystal Apple Award, Society for Photographic Education, 2007 Chase Graduating With Excellence Award, University of Washington, 2007 Research and Recognition Award, University of Washington, 2007 Top Recruitment Scholarship, Photography, University of Washington, 2005 Mentorship Award, Kansas City Art Institute, 2002

Lectures and Presentations

Visiting Artist Lecture and Workshop Whitworth University, Spokane WA, (Upcoming October, 2008) Approximations, Graduate Track Presentation Society for Photographic Education National Conference, March 2007, Miami Florida Visiting Artist Lecture Kansas City Art Institute, Kansas City Missouri, November 2006 Linda Hutchins

Dipping a pen in ink and drawing line after line across an expanse of paper creates a record of the present moment and the unfolding of time.

Drawing on the wall with my grandmother's silver spoon deposits a vestige of the past as well as the present. As I walk the spoon from one end of the wall to the other, a trace of actual silver links the physical line with the metaphorical lineage of ancestry. A repetition of lines mirrors the repetition of generations.

For the past few years I have created work through processes that are not only labor intensive and time consuming, but also highly repetitive. I execute these processes by hand, at the limits of my capacity for endurance, discipline and perfection. As I walk or draw, an image grows. Variations in the pressure or pace of my movement register as moments in time. Accidents are welcome. I guide them by balancing between too much and too little control. The resulting nuances follow an internal logic, building on each other to create a pattern of making.

To repeat anything over and over - as a meditation or a discipline - is to grasp at the infinite. Resume

GALLERY REPRESENTATION Pulliam Deffenbaugh Gallery, Portland, Oregon

EDUCATION 1988 BFA, Drawing, Pacific Northwest College of Art (PNCA), Portland, Oregon 1978 BSE, Computer Engineering, summa cum laude, University of Michigan, Ann Arbor, Michigan

SELECTED SOLO AND TWO-PERSON EXHIBITIONS 2007 Linda Hutchins: Lineal Silver, Gallery One, Washtenaw Community College, Ann Arbor, Michigan 2006 Linda Hutchins: Line Drawing, Pulliam Deffenbaugh Gallery, Portland, Oregon 2005 Introductions: Linda Hutchins and Jen Pack, Pulliam Deffenbaugh Gallery, Portland, Oregon 2004 Linda Hutchins: Reiterations, The Art Gym Gallery 2, Marylhurst University, Marylhurst, Oregon Waiting for Rumplestiltskin, PDX Window Project, Portland, Oregon 2003 CROWD CONTROL: Linda Hutchins + Mark R. Smith, Northview Gallery, Portland Community College Sylvania Campus, Portland, Oregon 2000 Bread, L&B Viewing Room, Portland, Oregon

SELECTED GROUP EXHIBITIONS 2007 Over, Under, Around, and Through, Southwest School of Art and Craft, San Antonio, Texas 2006 Marking Boundaries, Braunstein/Quay Gallery, San Francisco, California 2005 drawing(s): A 25th Anniversary Exhibition, The Art Gym, Marylhurst University, Marylhurst, Oregon 2004 Northwest Biennial: Buildingwise, Tacoma Art Museum, Tacoma, Washington Collecting Words On and Off the Page, Gallery 114, Portland, Oregon 2003 18 Women, Art Center Gallery, Clatsop Community College, Astoria, Oregon 2002 Looming Large: Contemporary Weavers of the Vanguard, Bedford Gallery, Dean Lesher Regional Center for the Arts, Walnut Creek, California 2001 Beyond Thread: (a)mending social thought, Braunstein/Quay Gallery, San Francisco Drawings, Art Center Gallery, Clatsop Community College, Astoria, Oregon 1999 The Notebook: The Art of the Idea, L&B Viewing Room, Portland, Oregon 1996 Seeking Security: The Human Spirit and the Compulsion to Control, WORKS/San Jose, California Passages: Tapestries of the Northwest, Oregon History Center, Portland, Oregon 1994 National Tapestry Invitational Exhibition, Art Space/Lima Gallery, Lima, Ohio Tapestry Visions, Minneapolis College of Art and Design, Minneapolis, Minnesota 1993 Northwest Tapestry 1993, Nordic Heritage Museum, Seattle, Washington, Contemporary Crafts Gallery, Portland, Oregon, and Richmond Art Gallery, Richmond, British Columbia 1991 The Art of Tapestry, Bush Barn Art Center, Salem, Oregon Western Weavers: On the Edge, Joanne Rapp Gallery/The Hand and The Spirit, Scottsdale, Arizona 1990 Risk Factors, Littman Gallery, Portland State University, Portland, Oregon Women's Strength: To Be, To See, To Act, Blackfish Gallery, Portland, Oregon 1989 Fiberart '89 International, Pittsburgh Center for the Arts, Pittsburgh, Pennsylvania 9th Annual NW International Art Competition, Whatcom Museum of History and Art, Bellingham, Washington 1988 Pacific Northwest College of Art Thesis Exhibition, Portland Art Museum, Portland, Oregon

SELECTED AWARDS, GRANTS AND RESIDENCIES 2008, 02 Individual Artist Fellowship, Oregon Arts Commission 2004, 03 Project Grants, Regional Arts and Culture Council, Portland, Oregon 2003, 02 Artist Residencies, Caldera, Sisters, Oregon 1985-87 Scholastic Awards, PNCA (Merit Scholarships 1985-87, Drawing, Sculpture and Photography Prizes 1985-87)

COLLECTIONS AND PUBLIC ART King County [Washington] Public Art Collection, Portable Works Multnomah County [Oregon] Library, John Wilson Room, Special Collections Multnomah County [Oregon] Public Art Collection, Portable Works Museum of Contemporary Craft, Portland, Oregon Portland Community College, Sylvania Campus Library, temporary installation (2003 - present) Portland International Airport, wallWORKS:PDX temporary installation (2001-2002)

SELECTED BIBLIOGRAPHY 2008 Gupta, Anjali, ed., Unpacking the Collection: Selections from the Museum of Contemporary Craft, Portland, Oregon, pp. 106-7 2007 Colchester, Chloë, Textiles Today: A Global Survey of Trends and Traditions, Thames and Hudson, New York, NY, pp. 148-9 One Shot: A Visual Codec Project, Visual Codec, Seattle, Washington Russell, Carol K., Tapestry Handbook: The Next Generation, Schiffer Publishing, Atglen, PA, pp. 11 and 160 2006 Jahn, Jeff, "May Gallery Roundup," PORT (www.portlandart.net), May 24, 2006 Row, D.K., "Shows of Note," The Oregonian, May 12, 2006 2005 Hemmings, Jessica, "Words are Not Enough: The textile work of Linda Hutchins, Sara Haskell and Brigitte Amarger," Embroidery, January/February 2005, pp. 26-29 Lake, Eva, "A Zone All Its Own," PSU Vanguard, January 26, 2005, p.8 2004 Taylor, Sue, "Linda Hutchins at the Art Gym at Marylhurst University," Art in America, September 2004, p. 140 Scheinman, Pamela, "Linda Hutchins: Reiterations," American Craft, August/September 2004, cover & pp. 36-39 Wagonfeld, Judy, "Innovative pieces rise above the rigid foundation of 'Buildingwise'", Seattle Post-Intelligencer, April 30, 2004 Boas, Pat, "Hidden in Plain Sight," Linda Hutchins: Reiterations, Marylhurst [Oregon] University Bernard, Julie, "Art Focus" interview, KBOO Radio, Portland, Oregon, January 8, 2004 2003 Bowie, Chas, "Crowd Control," Portland Mercury, March 20, 2003, p. 27 Goetze, Janet, "Viewers' Challenge," The Oregonian, Friday, February 28, 2003, p. B2 2002 Russell, Carol K., "Linda Hutchins: New Realities," FIBERARTS, September/October 2002, p. 23 Hemmings, Jessica, "in review: Beyond Thread," Surface Design Journal, Spring 2002, pp. 44-45 "Restricted Area at Portland Airport," Artweek, February 2002, p. 32 Ellertson, Karrin, "Arts and Entertainment Picks for the Week," Portland Mercury, Jan. 3, 2002, p. 11 2001 Lambert, Lisa, "News and Hangings," Willamette Week, December 26, 2001, p. 51 2000 Koumis, Matthew, ed., Art Textiles of the World: USA, Telos Art Publishing, Winchester, UK, pp. 78-85 Bernard, Julie, "Art Focus" interview, KBOO Radio, June 1, 2000 1995 Russell, Carol K., "Tapestry Comes to Ohio," FIBERARTS, Summer 1995, pp. 9- 10 1994 Hutchins, Linda, "DO NOT CROSS THIS LINE," ITNET Journal, Fall 1994, pp. 44-45 Abbe, Mary, "Tapestry's Threads of Today," The Minneapolis Star Tribune, July 7, 1994, pp. 1-2E 1991 Orban, Nancy, ed., FIBERARTS Design Book Four, Lark Books, 1991, p. 9 1990 Scarborough, Jessica, "A Fine Line: Opening New Doors," FIBERARTS, September/October '90, p. 59 Scally, Alan, "Risk Factors: Tapestry Forum 1990," Portland State Univ. Vanguard, April 3, 1990, p. 7 1989 Farr, Sheila, "Arts Competition Turns to Crafts," The Bellingham Herald, June 8, 1989, p. C1 1988 "New Works: Linda Hutchins," FIBERARTS, Nov/Dec '88, p. 20

COMMUNITY SERVICE 2004-07 Board of Trustees, Portland Institute for Contemporary Art, Portland, Oregon 2006 Visual Arts Fellowship Review Panel, Regional Arts and Culture Council, Portland, Oregon" Micki Lippe

My studio is my safe place. I make the rules, there are no stop signs, no speed limits. It is the place I go to when life is good and when life is bad. Making jewelry offers me the pleasure of working with my hands building things. I have the opportunity to work directly with the material, most always metal. To quote Ramon Puig Cuyas "" The handwork turns itself into a way of thinking, where intuition is confronted with reflection. "" Resume

MICKI LIPPE www.looselyhinged.com ______

EDUCATION B.F.A. - Washington University, St. Louis, MO - 1965 Workshops (selected): Ron Peters Robert Ebendorf Charon Kransen Lisa Gralnick Iris Bodemer Sandra Enterline

PUBLICATIONS - selected Ornament Magazine - Spring 2008 Art Jewelry Today - 2nd Edition (due out in 2008) 500 Earrings - Lark Books - 2007 Three Plus Three - Exhibition at Souvenir Gallery 2006 Art Jewelry Today, Donna Meilach Metalsmith Magazine Winter 2002 - Review Book of Boxes and Lockets, Tim McCreight Metalsmith Magazine Winter 1999 - Review Ornament Magazine Winter 1997, "Micki Lippe - Intimate Minimalism" Jewelry - Fundamentals of Metalsmithing, Tim McCreight Seattle Times 1996 "Northwest Art - Beyond Fashion: The Evocative Art of Jewelry" Lapidary Journal - November 1996 "Breaking In" Annie Osborn One of A Kind - Contemporary American Art Jewelry Today, Susan Lewin Seattle Post-Intelligencer 1992 ""Of Power, Magic and Memory"" Ornament Magazine Fall 1992, "Of Power, Magic and Memory"

TEACHING EXPERIENCE 2007 Soldering BIG and Small - Danaca Designs, Seattle, WA Make it and Wear it - Pratt Fine Art Center. Seattle, WA 2006 Soldering BIG and Small - Pratt Fine Arts Center, Seattle, WA Explore and Expand - Penland School of Crafts, Penland, NC Niello - The Ancient Technique - 92nd. Street Y, New York, NY 2005 Expand and Explore - Pratt Fine Arts Center, Seattle, WA Niello - The Ancient Technique - Spokane Art Center, Spokane, WA 2004 Niello - The Ancient Technique - Pratt Fine Arts Center, Seattle, WA Niello - The Ancient Technique - Tucson, AZ 2003 From Idea to Reality - Pratt Fine Arts Center, Seattle, WA 2000 Design, Production and Marketing - Pratt Fine Arts Center 1972 - 1998 Available upon request ADMINISTRATIVE EXPERIENCE 2005 - 2007 - Chair, Seattle Metals Guild High School Exhibition Com., Seattle, WA 2003 - 2004 - Advisory Board - EDGE Program, Artists Trust, Seattle, WA 2000 - 2003 - Board Member - Society of North American Goldsmiths 1992 - 2000 - Board member - Pratt Fine Arts Center 1996 - 1998 - co-chair - Society of North American Goldsmiths National Conference 1994 - 1999 - Organizational Board-Jewelry /Metals Symposium 1989 - 1996 - Board member - Seattle Metals Guild 1989 - 1992 - President, Seattle Metals Guild 1989 - founder Seattle Metals Guild 1983 - 1985 - President Oklahoma Metals Guild

ONE PERSON SHOWS 2006 - From Here to There, a Retrospective Exhibition - Pratt Fine Art Center, Seattle, WA Artisans on Taylor - Port Townsend, WA 2002 - Facere Gallery, Seattle, WA 2000 - Denovo Gallery, Palo Alto, CA 1999 - Linda Richman Jewelry, Milwaukee, WI 1998 - Sybaris Gallery, Royal Oak, MI 1986 - 1996 - Available upon request

GROUP EXHIBITIONS 2007 - Midsummer's Night Dream - Obsidian Gallery, Tucson, AZ CERF Raffle - Bud and Bloom - SOFA Chicago New West Coast Design - Velvet da Vinci - San Francisco, CA 100 Earrings - Velvet da Vinci, San Francisco, CA Anti-War Medals - Gallery I/O, New Orleans, LA Reaching for the Light - Blue Horse Gallery, Bellingham, WA Widney Moore Presents - Widney Moore Gallery, Portland, OR 2006 - Three Jewelers - Souvenir, Seattle, WA Words - Sam Shaw Gallery, Harbor, ME Alumni Show - McGuffy Art Center, Charlottesville, VA Reaching for the Light - Blue Horse Gallery, Bellingham, WA Artisans on Taylor - Port Townsend, WA 2005 - Holiday Exhibition - Taboo Gallery, San Diego, CA Artist's Choice - Aaron Faber Gallery, New York SOFA, New York, NY Airport Exhibition - Seattle Metals Guild, Seattle, WA 2004 - Feature Exhibition - Obsidian Gallery, Tucson, AZ You Wear What You Eat: the Sociology, Politics and Joy of Food - Seattle Metals Guild Here I Am - Obsidian Gallery, Tucson, AZ Seattle Metals Guild Bi-Annual, Seattle, WA 2003 - Christmas Exhibition - Taboo Studio, San Diego, CA Art at the Armory - Milwaukee, WI Planting, Potting and Pruning - Racine Art Museum, Racine, WI Glass Dimensions - beyond the bead; Washington State Convention Center, Seattle, WA 2002 - Christmas Exhibition - Taboo Studio, San Diego, CA Seattle Metals Guild Bi-Annual, Seattle, WA Nature and Time - Deutsches Goldschmiedehaus, Hanau, Germany Contemporary Metalwork and Jewelry of Six Countries - Japan and Korea CERF Raffle - Boats - SOFA Chicago, Chicago, IL The Art of Change for UNICEF, Bainbridge Arts and Crafts, Bainbridge Island, WA 1972-2001 available upon request

MUSEUM EXHIBITIONS 2003 - Nature and Gardening - Racine Art Museum, Racine, WI 1998 - Adornment - Charles A. Whustum Museum, Racine, WI 1990 - 1997 available upon request

PRESENTATIONS 2007 - Micki Lippe - A History - Northwest Bead Society - Seattle, WA Micki Lippe - A History - Tacoma Art Museum - Tacoma, WA 2006 - Discussion of Work in One Person Show - Pratt Fine Arts Center, Seattle, WA 2005 - Micki Lippe - A History - Seattle Metals Guild - Seattle, WA 2003 - Discussion of Work in One Person Show - Facere Jewelry Gallery, Seattle, WA 2001 - Seattle Plus Two - Burg Gebeninstien School of Jewelry, Halle, Germany 1994-1999 available upon request

MUSEUM COLLECTIONS Tacoma Art Museum, Tacoma, WI Racine Art Museum, Racine, WI

LIVE ABROAD 2000 - 2001 Studio in Halle, Germany Gala Bent

As I observe the way that many small things move in concert with one another in the natural world, I am amazed at the sheer mass that can be created by the accumulation of tiny elements. There is power in numbers, but also in the invisible forces that cause them to move in synchronicity. I am also fascinated by the ways in which these patterned flocks, drifts and scatters meet one another and react. All parts and pieces are in conversation with one another.

Some of my favorite books are popular scientific texts that bring geological cataclysms, mammoth sea creatures and microscopic fauna into our living rooms. For millennia, artists, philosophers and scientists, even if known by other names, have been reaching for ways to describe and measure the elusive elements of nature and the human spirit, wanting to find what structures and forces are at work behind the scenes. I'm fascinated by the notations and shorthand versions of things as shifty as wind, or as invisible as romantic attraction. I find them to be beautiful, heart breaking and hopeful.

My own drawings and paintings are a tribute to this desire to understand and document the world around us in an effort to make the unknown known. I use graphite and gouache in the spirit of so many field studies that have been done on site by people trying to document flora and fauna. Pencil lines are also part of the figuring of many thinkers who work out ideas in visual form. In my case, mixtures of book images, memory and observation feed into the works themselves, allowing an intuitive ordering of elements. Resume

GALA BENT

EDUCATION Master of Fine Arts, Interdisciplinary Visual Arts State University of New York at Buffalo (SUNY) Buffalo, New York, 1999 Bachelor of Fine Arts, Painting, Art History minor Ball State University Muncie, Indiana, 1997 Summa cum laude

SELECTED EXHIBITIONS 2009 4Culture solo exhibition, Seattle, WA, April (upcoming)

2008 On, of and about Paper Orange County Center for Contemporary Art, CA Draw In 00130 Gallery, Helsinki Finland Unusual Animals 930 Gallery, Louisville, KY Studio Intensive Residency (with Zack Bent), Crawl Space Gallery, Seattle, WA Solo show at Seattle Pacific Art Center, Seattle, WA (upcoming)

2007 Allegoric Chicago Country Club, Chicago, IL Allegoric Bridge Art Fair, London, England Embellished Drawings Caffe Fiore, Seattle, WA (Solo) Mostly Loves Clouds Harrison Center for the Arts, Indianapolis, IN Rivet Art Auction, Crawlspace, Seattle, WA, USA Events in the Sky Caffe Fiore, Seattle, WA (Solo) Lark Books Asheville, NC (Solo)

2006 Naturelle Harrison Center for the Arts, Indianapolis, IN (3 person) Metcalf Visual Arts Center permanent stained glass installation, commissioned by Taylor University Upland, IN (fabricators: Architectural Glass Art, Louisville, KY)

2005 Embracing the Gift Azusa Pacific University, Los Angeles, CA Landscape and Space College of Architecture and Planning, Muncie, IN Taylor University Metcalf Gallery, Upland, IN Open Space: Art about the Land Muncie IN, Anderson Fine Arts Center, Anderson IN, Art Association of Henry County, New Castle, IN Glory Be: Taylor University Faculty Exhibition Taylor University Metcalf Gallery, Upland, IN, Honeywell Center, Wabash, IN

2004 Grapes of the Terroir Indianapolis Museum of Art Auction, Indianapolis, IN Open Space: Art about the Land Minnetrista Cultural Center, Muncie IN, Anderson Fine Arts Center, Anderson IN, Art Association of Henry County, New Castle, IN Painting award and two purchase awards Underpinning Harrison Center for the Arts, Indianapolis, IN (2 person) Species of Light Book Release Exhibition, Mitchell Place Gallery, Muncie IN

2003 Up and About Harrison Center for the Arts, Indianapolis, IN Artrageous Cornerstone Festival, Bushnell, IL, Best of Show

2002 Fruition: New Work by Gala Bent (Solo) Taylor University in Upland, IN Gordy Fine Art in Muncie, IN

2001 Open Space: Art About the Land Minnetrista Cultural Center, Muncie IN, Anderson Fine Arts Center, Anderson IN Art Association of Henry County, New Castle, IN

2000 Dynamic Stabilization Exercises (3 person) Mitchell Place Gallery, Muncie, IN

1999 MFA Thesis Exhibition Center for Research + Culture, SUNY Buffalo, NY

1998 Albright Knox Museum's 47th Annual Western New York Show Anderson Gallery, Buffalo, New York Collaboration with Zack Bent Object D'art National traveling exhibition; a project of Sandbox/Simparch National touring exhibition UB Painters Student Gallery, SUNY Buffalo, NY First year graduate exhibition Center for Research + Culture, SUNY Buffalo, NY

PUBLISHED WORKS Rivet Magazine R19 The Power Issue July 2007 Ill. "Redcloud" p.26 Asthmatic Kitty Records "Waves and Waterstains" Castanets/Shapes&Sizes EP Cover 2007 "25 Emerging Artists" CIVASeen Vol. IV 2004: pp.7-8 "A Psalm" & "Untitled" Country Feedback Literary Magazine Issue 2, 2002 ed. Sara Billups: pp.19, 88

PROFESSIONAL EXPERIENCE Adjunct Teaching Faculty March 2007-present Seattle Pacific University, Seattle, WA Columnist - Art Reviews October 2006-present Asthmatic Kitty Records Website (www.asthmatickitty.com) Teaching Faculty (Assistant Professor) September 2001- May 2006 Taylor University, Upland, Indiana Independent Press Founder 2003-2006 Bellywater Press, Muncie, Indiana Adjunct Teaching Faculty August 1999-May 2001 Ball State University, Muncie, Indiana Museum Registration Intern May 1999- August 2000 Ball State University Museum of Art, Muncie, Indiana Calligrapher, Bookbinder and Letterpress Publisher June 1998-present (Self-employed) Teaching Assistant August 1997- May 1999 SUNY Buffalo, Buffalo, New York Fundraiser for Artist-run Arts Organization June 1998-August 1998 Hallwalls Contemporary Art Center, Buffalo, New York Contract Videographer for Independent Film & Video Organization July 1998-Aug 1998 Squeaky Wheel, Buffalo, New York

GUEST LECTURES & WORKSHOPS Underpinning Artist's Talk, 2004 Harrison Center for the Arts, Indianapolis, IN Calvin Festival of Faith and Writing: Presenter and exhibitor, 2004 Calvin College, Grand Rapids, MI Taylor University Alumni gathering, Indianapolis Chapter: Panelist, 2004 Harrison Center for the Arts, Indianapolis, IN Art Spectrum: Speaker and workshop leader, 2004 Minnetrista Cultural Center, Muncie, IN The 4th Frances White Ewbank C.S. Lewis and Friends Colloquium: Speaker, 2004 Taylor University, Upland, IN Fruition Artist's Lecture, 2002 Taylor University, Upland, IN Photographic Memory: A Short History of Photography Gallery Talk, 2000 Ball State Museum of Art, Muncie, IN Pencils, Pens and Paper: The Materials and Techniques of Drawing "Friday with Friends" lecture, 1999 Ball State Museum of Art, Muncie, IN Doodles, Sketches and Plans: The Drawing as Preparatory Study Gallery Talk, 1999 Ball State Museum of Art, Muncie, IN "