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Volume 27 July • August 2018 Number 4 W W W . a R T TM Volume 27 July • August 2018 Number 4 www.ArtAccess.com 2 ArtAccess.com © July • August 2018 ArtAccess.com © July • August 2018 3 (L-R) Sabrina Knowles and Jenny artist Ruthie V. with her painting (L-R) Anne McCracken, Philip McCracken, Pohlman installing their show CoCA • Seattle, WA Barber (Peregrine’s Mom) Peregrine O’ Bainbridge Island Museum of Art Smith & Vallee Gallery • Edison, Carmi Weingrod with her artwork artist Krista Lutz with her ceramic sculptures Shift Gallery • Seattle, WA Core Gallery • Seattle, WA artist Juan Alonso with his artwork artist Robin Weiss with his art artist Žanetka K. Gawronski Juan Alonso Studio • Seattle, WA Michael Birawer Gallery • Seattle, WA Core Gallery • Seattle, artist Dorothy Anderson Wasserman with her art (L-R) Seattle Film Festival programmers artist Lori H. Barrett Gallery 110 • Seattle, WA Megan Leonard and Maryna Ajaja Front Street Gallery artist Linda Jo Nazarenus with her painting artist Susan Cohen Thompson artist LaDonna Kruger with her art Harris/Harvey Gallery • Seattle, WA with her book cover artwork Scott Milo Gallery • Anacortes, WA 4 ArtAccess.comThompson © July Art Studio • August 2018 Camano Island, WA Harriette artist Pieter VanZanden artist Jennifer Wood with her mask Ed McCarthy with his sculpture Gormley with his sculptures Stonington Gallery • Seattle, WA Shift Gallery • Seattle, WA WA Smith & Vallee Gallery • Edison, WA artist Krista Lutz with her ceramic sculptures artist Zac Culler with his painting Randi Purser with her Eagle Hat Core Gallery • Seattle, WA Linda Hodges Gallery • Seattle, WA Stonington Gallery • Seattle, WA with her art (L-R) artist Jean Bradbury (L-R) artists Kris Ekstrand and Tony Angell WA with her commissioned portraits Smith & Vallee Gallery • Edison, WA Juan Alonso Studio • Seattle, WA with her artworks Judy Nimtz with her painting artist Adrianne Smits with her painting • Poulsbo, WA Prographica / KDR • Seattle, WA CoCA • Seattle, WA (L-R) artist Mary Quintrall and artist Cathy Woo artist Carrie Goller (L-R) Andrew Vallee, artist gallery owner Katherine Khile with his artworks with her painting Philip McCracken, Scott Milo GalleryArtAccess.comMichael Birawer Gallery © JulyBainbridge • August Island 2018 and Wesley Smith 5 Anacortes, WA Seattle, WA Museum of Art Smith & Vallee Gallery Seattle, WA Seattle Art Museum Seattle Edward S. Curtis • “Naida” Will Wilson • “Talking Tintype, Andy 1914, platinum print, 7.38 × 5.5 inches Everson, Artist, Citizen of the Flury & Co • Seattle, WA K’ómoks First Nation,” 50 x 40 inches Seattle Art Museum • Seattle, WA Double Exposure: Edward S. Curtis, Marianne Nicolson, Tracy Rector, Will Wilson Seattle Art Museum • Seattle, WA We all think we know the photographs installation by Marianne Nicholson. of Edward Curtis from a handful of Two back to back glass panels, etched frequently reproduced images that offer us with native imagery, and a light inserted romanticized, nostalgic views of Native between them, cast shadows on the floor. Americans from the turn of the twentieth Ḱanḱagawi (The Seam of Heaven), century, a time when Native peoples were metaphorically presents the Columbia thought to be vanishing. Curtis set out River, in its beauty and disruptions. The to preserve their traditional way of life, name means “sewn together.” The two when it was already almost destroyed by pieces of glass suggest the breaks caused assimilation efforts by the US government. by dams and borders, while the light and shadows offer possible healing as the This summer, on the 150th anniversary of treaty between Canada and US comes up Curtis’s birthday, the Seattle Art Museum for renegotiation. along with many nearby museums and cultural centers, is reexamining his “Double Exposure” features 150 work, his legacy, and his relationship to historical images by Curtis, a selection contemporary native culture and art. from various chapters of The North American Indian, created between 1907 At the entrance of “Double Exposure” and 1930. The book is available online at at the Seattle Art Museum, a voice in http://curtis.library.northwestern.edu Lutshootseed and English welcomes and well worth reading even a short us, as we are immersed in the stunning excerpt from the detailed information that originally accompanied the photographs. Curtis created 40,000 photographs of more than 80 tribes, but they were meant to be seen in the context of tribal history, customs and much more. His accomplishment is staggering. His assistants also made 10,000 wax cylinder audio recordings of music, a few of which we can hear in the exhibition. We also can watch his pioneering film from 1914(!) “In the Land of the Headhunters” starring Naida as the bride. Her descendant holds the Curtis photograph in Will Wilson’s tintype. The stunning photogravure images, created on copper plates, glow on the wall. We revel in Curtis’s eye for composition, and his technical Marianne Nicolson, • “Ǩanǩagawi (The Seam of Heaven)” site-specific installation facility with a complex photographic Seattle Art Museum • Seattle, WA process. Curator Barbara Brotherton 6 ArtAccess.com © July • August 2018 offers detailed and nuanced labels. In contemporary resistance to industries, some cases these images are posed such as the Lummi defeat of a coal works that followed Curtis’s romantic terminal on Cherry Point. Concluding the perspective, in others they document exhibition is a video with Brian Cladoosby historical practices that had mainly president of the National Congress of been passed on through oral traditions. American Indians and Chairman of the Swinomish Indian Tribal Community, For more immersion into Curtis’s speaking about their pioneering plans technical prowess, Flury & Co, our to resist the effects of climate change. local Curtis specialists offers “Edward Curtis Photographs in Copper” (On view For a complete list of the exhibits and through September 30) featuring 30 events affiliated with “Beyond the Frame: copper plates, never before displayed, Being Native” as well as information on from the original North American Indian contemporary native life see the website. publication. Flury & Co is a like a small https://www.beyondtheframe.org. Look museum in itself. The family have rights out in particular for the exhibition of to the sale of Curtis prints and plates, 20 contemporary native artists, curated memorabilia and manuscripts, acquired by RYAN! Feddersen with Chloe Dye directly from the artists descendants Sherpe, “In Red Ink,” at the Museum living in Seattle. of Northwest Art in La Connor that opens on July 7. Also don’t miss RYAN! In “Double Exposure,” we also can Feddersen’s amusing installation at the experience native commentary on Curtis. end of “Double Exposure” in which we First, there is a new way to insert videos take on the role of “post-human” types into an exhibition, the app “Layar.” As we such as “Humans of the Glass Offices” scan a Curtis photograph of a canoe race, and “Vanishing Human Types: People a video appears with an interview with of the Outdoors,” echoing Curtis view a 16 year old youth who participates in of natives as the “vanishing race.” It’s contemporary canoe journeys. He speaks online at http://posthumanarchive.site. vividly of the endurance required to paddle seattleartmuseum.org. a canoe as a team for 10 hours straight. This dramatically layering of the Curtis photograph with contemporary interviews by native speakers makes a dynamic intersection of past and present. Will Wilson’s large tintypes come alive as we scan them and hear from the contemporary person photographed, a poet, a state politician, an artist, a filmmaker, a drummer, a dancer. Tracy Rector’s experimental Tracy Rector • “Clearwater: People of the Salish Sea,” video films record contemporary natives Seattle Art Museum • Seattle, WA speaking of the threat of environmental We are fortunate here in the Northwest contamination as well as the preservation to have a vibrant contemporary native of rituals and traditional practices. art and cultural flowering that is gaining The exhibition at the Seattle Art Museum increasing visibility throughout our is one part of “Beyond the Frame: region thanks to the collaboration of Being Native” a collaboration of 20 traditional institutions with committed native groups and cultural institutions and articulate tribal groups in reexamining Curtis in a contemporary Washington, Oregon, and Canada. context. Just up the street from the Seattle Susan Noyes Platt Art Museum, the Seattle Public Library Susan Noyes Platt writes a blog www. w offers “Protecting the x̌ əlč: Indigenous artandpoliticsnow.com and for local, Stewardship of the Salish Sea” (On national, and international publications. view through August 15). It has two parts; the first room emphasizes Curtis’s Seattle Art Museum photographs of traditional practices such 1300 First Avenue, Seattle, Washington as fishing and harvesting (including Flury & Co historical artifacts); the second room 322 First Avenue S., Seattle, Washington presents contemporary life as in the flourishing canoe journeys, the success of Museum of Northwest Art the dam removal on the Elwha River, and 121 N 1st Street, La Conner, Washington ArtAccess.com © July • August 2018 7 8 ArtAccess.com © July • August 2018 ArtAccess.com © July • August 2018 9 THE MONTHLY GUIDE TO THE ARTS ART ACCESS CONTENTS Volume 27 Number 3 FEATURES “Art is an epiphany in a coffee cup.” Double Exposure: Seattle Art Museum ~ Elizabeth Murray American Painter (1940 –2007) …Susan Noyes Platt 6 Features Editoon: Bellevue Art Museum …Edie Everette 8 VISUAL ART Anacortes, WA 11 Bainbridge Island, WA 11 Bellevue, WA 14 Bellingham, WA 14 Camano Island, WA 15 Listings Edison, WA 16 Edmonds, WA 17 Ellensburg, WA 17 Everett, WA 18 Marceil DeLacy • “Global Warmth,” Fauna series Friday Harbor, WA 18 Port Orford cedar, 9.5 x 12 inches diameter courtesy of the artist Issaquah, WA 19 Bainbridge Island Museum of Art • Bainbridge Island, WA Kingston, WA 19 Kirkland, WA 19 Front Cover: Mercer Island, WA 20 Jenny Pohlman & Sabrina Knowles “The Wheel of Remembering and Forgetting” Port Angeles, WA 20 2010, blown, sculpted, and sandblasted glass, steel Private Collection.
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