Barbara Earl Thomas
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Volume 25 November • December 2016 Number 6
TM Volume 25 November • December 2016 Number 6 www.ArtAccess.com 2 ArtAccess.com © November • December 2016 ArtAccess.com © November • December 2016 3 All This I’ve learned to be wary of women who walk up to me with a frown that is not mean, necessarily, but it’s not generous either. And while the downward curve of her mouth would seem perfectly normal had I just addressed, say, terrorism, my talk was about how we can better accept and support each other. Here she comes, I think, arms locked, question loaded. I’ve triggered something. She wants to take me down a notch, there is contempt in her eyes. Write of Way Write “That was cute,” she said. I just stared at her. And if my mind could have abandoned my feelings, it would have. I could feel a slow hiss seeping out of my pride, like when my bicycle tire rolls over a thorn. I’d just given a talk at the State Capitol for a group of visiting writers. Cute was not what I was going for. I thank God my skin has grown thick. “So, where do you see yourself going with all this?” she said. “All this?” I said. “Where do you see yourself in five years?” I have a limited tolerance for this generic question. I never know if it’s a need to instruct or to compete, but the two always seem joined in people like this. They can’t seem to fathom that life can be less conventional and more entrepreneurial than they know it to be. -
Washington Funding Report: FY 2011 – 2016
Washington Institute of Museum and Library Services Funding Report: FY 2011 - 2016 The Institute of Museum and Library Services (IMLS) helps ensure that all Americans have access to museum, library, and information services. IMLS is an independent grantmaking agency and the primary source of federal support for the nation’s approximately 123,000 libraries and 35,000 museums. The agency supports innovation, lifelong learning, and entrepreneurship, enabling museums and libraries to deliver services that make it possible for communities and individuals to thrive. IMLS Investments IMLS Investments: FY 2011-2016 # Projects Federal % of Non-Federal Total $ or Awards Funding Federal $ Contribution $ Grants to States, Libraries 431 * $19,618,687 59% $12,830,000 * $32,448,687 Competitive Awards to Museums & Libraries 146 $13,378,884 41% $10,161,216 $23,540,100 Total 577 $32,997,571 100% $22,991,216 $55,988,787 * FY 2016 data for the Grants to States, Libraries count of projects and non-federal contribution are not yet available. Figures shown here only include FY 2011-2015. Grants to State Library Administrative Agencies The Library Grants to States Program, supported by the Library Grants to States Awards (LSTA): Services and Technology Act (LSTA), is IMLS's largest program and FY 2011-2016 provides grants to every state using a population-based formula. State Library Administrative Agencies (SLAAs) provide IMLS with a five-year FY 2016 $3.26 M plan and use subawards and statewide projects to improve library services. FY 2015 $3.30 M In FY 2014, IMLS’s $3.28 million grant to the SLAA leveraged FY 2014 $3.28 M approximately $2.27 million in support from the state that year for library services through the SLAA. -
Seafood, Shellfish Or Eggs May Pose a Health Risk
1 VENUES 2 We are proud of our partnerships at the most unique venues in the area. Our entire team, from sales to operations and kitchen staff are accustomed to working primarily in museums or historic venues. We take special care and consideration on all events in planning around limitations on timing and set up, care and respect to patrons and physical spaces while executing an event, and special attention to artifacts and exhibits before, during and after the event. Exclusive Caterer Museum of Flight ♦ South Seattle/Boeing Field One of the Preferred Caterers Seattle Pacific Science Center ♦ Seattle Seattle Center ♦ Seattle Wing Luke Asian Museum ♦ Seattle The Big Picture ♦ Seattle Seattle Public Library ♦ Seattle Sky View Observatory ♦ Seattle South Side Seattle Design Center ♦ South Seattle Living Computer Museum ♦ SODO Boeing Customer Experience Center ♦ Renton LeMay-America’s Car Museum ♦ Tacoma Union Station ♦ Tacoma LeMay Family Collection at Marymount ♦ Tacoma North Side Future of Flight ♦ Mukilteo/Paine Field East Side Bellevue Arts Museum ♦ Bellevue DeLille Cellars ♦ Woodinville The Woodhouse Wine Estates ♦ Woodinville Puget Sound Energy Conference Center ♦Bellevue LeMay/ACM and Pacific Science Center Menus 3/1/19 TABLE OF CONTENTS Catering Policies 4 Beverages 5 Wine List 6 Breakfast Buffets 7 Seated Breakfasts & A La Carte Items 8 Casual Lunch Buffets & Snacks 9 Lunch Buffets 10 Seated Luncheons 11 Dinner Buffets 12 Seated Dinners 13-14 Light Hors d’oeuvre Buffets 15 Heavy Hors d’oeuvre Buffets 16 A La Carte Hors d’oeuvre 17 Buffet Enhancements 18 Stations 19 Desserts 20 Specialty Cakes 21 CATERING POLICIES 4 FOOD MINIMUMS Food minimum purchases range from $1,000.00—$2,000.00 based upon day of the week. -
Ryan Molenkamp
RYAN MOLENKAMP Selected solo exhibitions 2018 The Last Frontier, Kirkland Arts Center/Kirkland Public Library, Kirkland, WA 2017 Vancouver! Vancouver! This is It!, Linda Hodges Gallery, Seattle, WA 2016 Still Afraid, Linda Hodges Gallery, Seattle, WA 2016 New Paintings, Duplex Gallery, Portland, OR 2014 Fear of Volcanoes, Linda Hodges Gallery, Seattle, WA 2011 The Watcher, Bryan Ohno Gallery, Seattle, WA 2010 Flood, Gallery4Culture, Seattle, WA Sound Plans, Handforth Gallery @ Tacoma Public Library, Tacoma, WA 2008 View Lots, SOIL Gallery, Seattle, WA 2003 Automatic Style, Brick and Mortar Gallery, Tacoma, WA Selected group exhibitions 2018 Collectors Choice, SAM Gallery, Seattle, WA 2018 Outside Influences, SAM Gallery, Seattle, WA 2017 Point of View, LAUNCH LA/KP Projects, Los Angeles, CA 2017 Seeing Northwest Nature, SAM Gallery, Seattle, WA 2016 Urban Artist Showcase, Chehalem Cultural Center, Newberg, OR 2015 Bellingham National 2015, Whatcom Museum, Bellingham, WA 2014 Made in the Northwest, SAM Gallery, Seattle, WA 2013 Suburbia: Dream or Nightmare?, Linda Hodges Gallery, Seattle, WA Connections, Cuchifritos Gallery, New York, NY Cascadia, Collar Works Galley, Troy, NY 2012 Conditions of Possibility, Umpqua Valley Arts Center, Roseburg, OR 2011 Earth Matters, SAM Gallery, Seattle, WA Home Away From Home, Jacob Lawrence Gallery, Seattle, WA Mad Homes, public art exhibition presented by MadArt, Seattle, WA Forecast: Communicating Weather and Climate, WA State Convention Center Bloom + Collapse, SOIL, Seattle, WA 2010 KAC Links Invitational, -
Seattle Art Museum Presents Barbara Earl Thomas: the Geography of Innocence
PRESS Press Contact Rachel Eggers Associate Director of Public Relations [email protected] RELEASE 206.654.3151 FEBRUARY 4, 2021 SEATTLE ART MUSEUM PRESENTS BARBARA EARL THOMAS: THE GEOGRAPHY OF INNOCENCE Seattle artist’s first solo exhibition at SAM features new cut-paper and sandblasted portraits in an immersive, light-filled installation SEATTLE, WA – The Seattle Art Museum (SAM) presents Barbara Earl Thomas: The Geography of Innocence (November 20, 2020–November 14, 2021), the first solo exhibition at SAM for the celebrated Seattle-based artist. Featuring nearly all new work, the exhibition reflects Thomas’s longtime explorations: light and shadow, perception and knowledge, Black lives and experiences, and the limits and possibilities of empathy. In this exhibition, Thomas asks: “How do you read a face, and what are your expectations when you enter its terrain?” The Geography of Innocence is installed in the museum’s Gwendolyn Knight & Jacob Lawrence Gallery and the adjacent hallway gallery. The visitor first enters an immersive, light-filled installation. The gallery’s three walls are sheathed in backlit, intricately cut Tyvek panels, creating a lantern-like glow. In the center of each wall is an “altar,” with a backlit portrait in sandblasted glass and a corresponding hand-blown glass candelabra. In the center of the gallery is the only previously exhibited work, premiering for the first time in Seattle: Falling: Bodies in the Matrix (2017), a 12-foot luminaria formed of hand-cut Tyvek panels with highly detailed imagery. After the immersive installation, the visitor enters a hallway flanked by a series of 10 cut-paper portraits, rendered in black paper against bright, hand-colored paper backgrounds. -
Oral History Interview with Edward B. Thomas, 1983 April 28-May 10
Oral history interview with Edward B. Thomas, 1983 April 28-May 10 Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with Edward B. Thomas on April 28 & May 10, 1983. The interview took place in Seattle, Washington, and was conducted by John Olbrantz for the Archives of American Art, Smithsonian Institution. Interview DATE: APRIL 28, 1983 [Tape 1] JOHN OLBRANTZ: Ed, can you tell me a little bit about your background, where you were born, your early childhood experiences, your parents, who your father was, who your mother was, how they came to live in this part of the country? EDWARD THOMAS: Well, I was born in Cosmopolis, Washington, and many times when I've come through customs, when I was much younger and especially at the Mexican border, they would say, "Where were you born?" and I'd say, "Cosmopolis, Washington," they'd say, "Look, bud! Don't get funny with us." (laughter) But there actually is such a place as Cosmopolis, Washington. Nobody had any particular influence upon me, I would say, in my younger years as far as becoming interested in art, and particularly teaching art. I had a very severe illness when I was four and five years old and was confined to bed a lot, and so people brought me tablets and color crayons and pencils and stuff like that. -
French Impressionism and the Northwest
Contact: Hillary Ryan, 253.272.4258 ext 3051 [email protected] Tacoma Art Museum presents New Exhibition Monet, Renoir, Degas, and Their Circle: French Impressionism and the Northwest IMAGES AVAILABLE August 2, 2019 (Tacoma, WA)— Opening on September 28, Tacoma Art Museum will present Monet, Renoir, Degas, and Their Circle: French Impressionism and the Northwest, a new exhibition that examines how the work of French Impressionists and their immediate precursors made their way into Northwest public and private collections. It also will include selected paintings by American and Northwest artists to illustrate the spread of Impressionism across the country. “The purpose of this exhibition is deeply connected to the same passion that drove the French Impressionists, to transform the way we see,” said David F. Setford, TAM’s Executive Director and curator of this exhibition. “It does this in two ways. First, it puts rarely seen works from TAM’s European art collection into context and allows for an expanded visitor learning opportunity. In addition, it is also the first time that these Impressionist works from museums and private collections in the Northwest have been seen together. It will provide a lasting resource about French Impressionism and its historical impact for curators and collectors in our region and beyond.” Monet, Renoir, Degas, and Their Circle: French Impressionism and the Northwest was organized and curated by the Tacoma Art Museum, and includes approximately fifty (50) works of art. The exhibition is accompanied by a small publication including essays by Setford and TAM curator Margaret Bullock, as well as an online listing of French Impressionist works currently in Northwest public collections. -
Running Procurement List
Item Donor Status Solicitor MoPop MoPop asked APL staff Morsell Morsell asked APL staff The Essential Bakery Cafe The Essential Bakery Cafe asked APL staff Salty's Salty's asked APL staff Cafe Ladro Cafe Ladro asked APL staff Fairmont Olympic Hotel Fairmont Olympic Hotel asked James G Ladywell's Vitality Spa and Sauna donated by Christine Craig in 2020 asked James G Hoodsport Winery Hoodsport Winery asked James G KayKupp Designs Sean Perillo in 2020 asked James G Schwartz Brothers Restaurants Schwartz Bro's Restaurants asked James G Swanson's Swanson's Nurserty asked James G Eye Associates Northwest Ted Zollman (APL parent) asked James G Portal Virtual Arcade donated by Christine Craig in 2020 asked James G Celaeno Winery donated by Christine Craig in 2020 asked James G Ethan Stowell donated by Katie Thurik in 2020 asked James G Puyallup Fair Tickets Puyallup Fair asked Marni Leonard Hockey tickets Friends of Marni Leonard asked Marni Leonard 2 Night Get A Way to Leavenworth asked Mike H Diva Espresso Diva Espresso asked Mike H University Village Gift Card University Village asked Mike H Pro Club Eileen Acheson solicitaed for 2020 asked Mike H asked Mike H Dinner and a Show Kye Hong & Eric Vigessa donated similar askedlast year Mike H 17 lbs. Wild Pacific Cod Filets , 17 lbs. Wild Pacific Cod Filets copy, 17 lbs. Wild Pacific Andrea & Phillip Elderkin donated 2020 asked Mike H Costco Wholesale Costco asked Mike H Seattle Aquarium Seattle Aquarium asked Sienna L Heritage Distilling Co. Heritage Distilling Co. asked Sienna L Bainbridge Museum -
Curriculum Vitae
STEWART WONG – www.purplemoondesign.com Education 1986-91 BFA, Cornish College of the Arts, Seattle, WA 2002-15 Seward Park Clay Studio, Seattle, WA 2003 Emerging Public Artist Development Program, Seattle Office of Arts & Cultural Affairs 1993-06 Various Workshops: Photoshop, paper sculpting, Auto Cad, Paper Making 1994-04 Pratt, Seattle, WA (Welding, Mold making, Repoussé, Cardboard Constructions, Cement Sculpting) 1984 University of Washington, Seattle, WA (Life Drawing and Conceptual Design) 1982 Artisan School of Design, Honolulu, HI (Interior Design Certificate Program) Commissions 2020 Bernalillo County, Albuquerque NM (Asian American Civil Rights Monument) 2017 Ronald T.W. Ho Studio, Seattle WA (Necklace stand: ceramic, glaze) 2008 Wing Luke Asian Museum, Seattle WA (Community Hall Installation) 2006 Sound Transit, Seattle WA (Sammamish Park and Ride Installation) 2001 Wing Luke Asian Museum, Seattle WA (Building Façade Installation /Collaboration w/ Ron Ho) 1998 Forte Design Systems, Redmond WA (Gong stand; peeled alder and rope) 1989 Victoria Toy-Gibbs, Seattle, WA (3D mixed media assemblage) Solo & Group Exhibits 2014-17 Seward Park Clay Studio Annual (Group) 2013-14 Facets of Life: Ethnic Heritage Gallery, Municipal Tower, Seattle WA (Group) 2004 Transitions and Transformations: Seattle WA (Group) 2000 Seattle Art Museum Pacific Northwest Arts Council, Seattle WA (Open Studio) 1999 Diversity: The True Colors of Art: Center on Contemporary Art, Seattle WA (Group) 1995-96 Cornish College Alumni Show: Cornish College, Seattle -
Annual Report for the Year 2003–2004
2003–2004 ANNUAL REPORT SAM Students with Sanislo Feast SAM CONNECTS ART TO LIFE CONTEMPORARY CHINESE ARTIST LI JIN’S A FEAST made a permanent impression on the fourth- and fifth-grade students at Sanislo Elementary School. Inspired by the fifty-nine- foot-long painting depicting food from a traditional Chinese dinner on a background of recipes written in Chinese calligraphy, the students set out to re-create their own version. Art teachers Ruth Winter and Carolyn Autenrieth designed the project to celebrate the diversity of cultures at their school. Students painted their favorite ethnic foods, and staff helped transcribe the recipes into the students’ original languages. On display at the Seattle Asian Art Museum last spring, the students’ work, Sanislo Feast, a fifty-foot-long art scroll portraying food and languages from seventeen different nations and cultures, reflected the heritage of Sanislo students and staff. Students, families and teachers commemorated the unveiling of their “masterpiece” with a special celebration at SAAM. cover: Li Jin, China, born 1958, A Feast, 2001, ink on Xuan paper, 39 3/8 x 708 5/8 in., Courtesy of the artist and CourtYard Gallery, Beijing right: Wolfgang Groschedel and Kunz Lochner, Equestrian armor for Philip II, ca. 1554, etched steel and gold, Patrimonio Nacional, Real Armería, Madrid SEATTLE ART MUSEUM TABLE OF CONTENTS 1 Director’s Letter 17 Betty Bowen Award 2 Board of Trustees 18 Reaching Out to Youth & Families 3 Broadening, Deepening, Diversifying 19 Teaching and Learning 4–5 One Museum, Three -
Acknowledgements
Acknowledgements This teaching kit was developed by the Division of Education of the Mimi Kirk, intern for the African Art, African Voices exhibition at the Philadelphia Museum of Art to complement the exhibition African Art, Philadelphia Museum of Art, was an extraordinary and exemplary collabo- African Voices: Long Steps Never Broke a Back (on view October 2, 2004– rator in the research, writing, and editing phases of this project, and her January 2, 2005) and to serve as an ongoing curriculum resource. The kit contributions are substantial. Marla Shoemaker, Senior Curator of includes image cards of ten objects from the exhibition, with information Education, lent her outstanding editing skills, and John Zarobell, Assistant on the reverse; slides and postcards of the ten objects; additional informa- Curator of European Art before 1900, provided enthusiastic and informed tion and teaching strategies contained in this book; and a CD of related counsel. Tammy Salvadore, Director of the Delphi Project Foundation, was African music. The Delphi Project Foundation, The Christian R. and Mary F. an active and appreciated presence at the teacher advisory meetings. I am Lindback Foundation, and The Jesse Ball duPont Fund provided generous grateful to my colleagues in the Division of Education who offered infor- support for the development of these materials. mation, support, and suggestions on an ongoing basis: Mindy Nguyen- Balli and Rebecca Hoenig. The original exhibition was organized by the Seattle Art Museum and was on view there in spring 2002. Andrew Frankel’s unique and extensive knowledge of African music and musicians made possible the informed selections of African music for the An advisory group of teachers and professionals guided the selection of CD, and he skillfully arranged for the permissions. -
Audubon/RYAN!
Contact: Hillary Ryan, 253.272.4258 ext 3051 [email protected] Tacoma Art Museum presents New Exhibition The Naturalist & The Trickster: Audubon/RYAN! IMAGES AVAILABLE January 7, 2020 (Tacoma, WA)— On February 1, 2020, Tacoma Art Museum will open The Naturalist & The Trickster: Audubon/RYAN!. Although centuries apart, artists John James Audubon and RYAN! Feddersen draw inspiration from animals and the natural world to create compelling work that urges us to better understand the human impact on the environment. As 2020 marks the 50th anniversary of Earth Day, TAM presents this exhibition which explores themes of animals, environmentalism, and conservation. “Juxtaposing these two artists will present a very immersive and thought-provoking experience regarding perceptions of the natural world and relationships between humans and the environment,” said Faith Brower, TAM’s Haub Curator of Western American Art. “During Audubon’s life his prints were one of the ways that scientific information from the American West could be shared and studied. His respect and concern for the natural world clearly marks him as one of the forefathers of the modern conservation and environmental movements,” noted John James Audubon (1785–1851) Brower. Prairie Wolf (Canis latrans) Plate LXXI, The Viviparous Quadrupeds of North America hand colored lithograph, Printed by J.T. Bowen, Philadelphia, 1845 35 x 41 inches framed Collection of Huntsville Museum of Art Tacoma-based, RYAN! Feddersen, an enrolled member of the Confederated Tribes of the Colville Reservation and a contemporary mixed media artist, explores the character of Coyote, the trickster, as a lens to examine current events. Feddersen’s 75-foot mural encourages collaborative drawing with crayons cast in the shape of coyote bones which further links the community to Coyote’s story.