French Impressionism and the Northwest
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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, -
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. -
Northwest Modernism & Western Fine Art Thursday June 20Th @ 5:00PM
Northwest Modernism & Western Fine Art Thursday June 20th @ 5:00PM 20% Buyers Premium In-House 25% Buyers Premium Online/Phone (425) 235-6345 SILENT AUCTIONS custom made Northwest Designer Craftsmen tansu chest with four drawers and door with Featuring a Large Silent Auction of metal pulls. Burned in mark on interior of Northwest Art & Native Books! drawer. Some scattered light surface wear. 5 Eames for Herman Miller Rosewood Lounge Lots 1,000’s End @ 8:00PM Chair & Ottoman. A vintage 670 & 671 set with black leather cushions. One of a pair Lot Description being offered. Chair 32''x33.5''x32'' and ottoman 17''x26''x22''. Original labels on 1 George Nakashima Studio Lounge Chair bottom dated Nov. 1 1978. Scattered wear to Rocker with Free Arm 32.5"x31"x34". A leather from use and one leather button is custom walnut rocking lounge chair with missing on chair seat. Overall excellent right free edge arm. Hickory wood spindles. condition. Charles and Ray Eames. Burned in mark on bottom with family name 6 Eames for Herman Miller "Time-Life" Stool on tape. Break to one spindle with scattered 15"x13". A vintage walnut stool or bench. light surface wear. Some light surface wear to top. Overall 2 Nakashima Style Free Edge Walnut Coffee excellent condition. Unmarked. Charles and Table 17.5"x79.5"x35". A long free edge Ray Eames. coffee table with trestle base. Unsigned. 7 Eames for Herman Miller Rosewood Lounge Some scattered light surface wear. From the Chair & Ottoman. A vintage 670 & 671 set same collection as the George Nakashima with black leather cushions. -
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. -
Venue Experiences
VENUE EXPERIENCES Wow your guests by hosting an art-filled experience at one of SAM’s three unique locations—the Seattle Art Museum in downtown Seattle, the Seattle Asian Art Museum in Volunteer Park, or the Olympic Sculpture Park on the waterfront. SAM’s spaces feature exquisite art, stunning views, and beautiful interiors to make your next occasion a masterpiece. Contact Information VENUE Please contact SAM’s Director of Group Admissions and Venue Experiences for information on SAM venues and to check date availability. 206.654.3140 [email protected] CATERING TASTE is the exclusive provider for all occasions held at SAM locations. TASTE’s artful creativity and passion for fine locally-grown food makes it possible to fully customize made-from-scratch menus, featuring the best seasonal ingredients. 206.654.1392 [email protected] VENUE EXPERIENCES | CONTACT INFORMATION 2 4 Table of Contents SEATTLE ART MUSEUM IN DOWNTOWN SEATTLE 4 9 ASIAN ART MUSEUM IN VOLUNTEER PARK 9 OLYMPIC SCULPTURE PARK ON THE WATERFRONT 13 13 DECORATIONS MUSEUM POLICIES 17 CATERING BY TASTE 18 17 ACKNOWLEDGMENTS 20 18 VENUE EXPERIENCES | TABLE OF CONTENTS 3 SEATTLE ART MUSEUM IN DOWNTOWN SEATTLE Offer your guests the city at their feet and the experience of roaming the galleries of the Pacific Northwest's leading visual arts organization. The Seattle Art Museum is steps from the world-famous Pike Place Market, the Seattle waterfront, and most major hotels. TASTE offers full- service private dining and our grand, light-filled spaces accommodate large -
Forgotten Stories Northwest Public Art of the 1930S
Contact: Hillary Ryan, 253.272.4258 ext 3051 [email protected] Tacoma Art Museum presents New Exhibition Forgotten Stories: Northwest Public Art of the 1930s IMAGES AVAILABLE November 15, 2019 (Tacoma, WA)— Opening on February 22, 2020, Tacoma Art Museum will present Forgotten Stories: Northwest Public Art of the 1930s. During the economic hard times of the 1930s, U.S. government art projects under the WPA and other agencies created a wealth of public art and supported art communities across the country. In the Northwest hundreds of artists were employed and thousands of artworks created but their stories are almost unknown. The exhibition will offer an extensive overview of the bounty and variety of work created in our region and bring forgotten treasures back to view. “The extent of the federal art projects in the Northwest is surprising,” said Margaret Bullock, TAM’s interim Chief Curator and Curator of Collections and Special Exhibitions. “We’ve long thought that the impact of the work was limited but, research has now shown that the projects in the Northwest were widespread and highly productive employing over 600 artists resulting in thousands of artworks and offering art making opportunities to hundreds of thousands of Northwesterners.” Virginia Darcé (born Portland, Oregon, 1910; died Los Angeles, TAM’s exhibition brings together a California, 1985) The Market, 1938 wide variety of the artworks Tempera on board created in Idaho, Montana, 22 ½ x 30 ½ inches Portland Art Museum, Portland, Oregon, Courtesy of the Fine Arts Oregon, and Washington. It Collection, US General Services Administration, New Deal Art reintroduces a number of talented Project, L45.3.2 figures whose names are now unknown, and also includes early work by prominent figures (like Morris Graves and photographer Minor White). -
Show of Hands
Show of Hands Northwest Women Artists 1880–2010 Maria Frank Abrams Ruth Kelsey Kathleen Gemberling Adkison Alison Keogh Eliza Barchus Maude Kerns Harriet Foster Beecher Sheila Klein Ross Palmer Beecher Gwendolyn Knight Susan Bennerstrom Margot Quan Knight Marsha Burns Margie Livingston Margaret Camfferman Helen Loggie Emily M. Carr Blanche Morgan Losey Lauri Chambers Sherry Markovitz Doris Chase Agnes Martin Diem Chau Ella McBride Elizabeth Colborne Lucinda Parker Show of Hands Northwest Women Artists 1880–2010 Claire Cowie Viola Patterson Louise Crow Mary Ann Peters Imogen Cunningham Susan Point Barbara Matilsky Marita Dingus Mary Randlett Caryn Friedlander Ebba Rapp Anna Gellenbeck Susan Robb Virna Haffer Elizabeth Sandvig Sally Haley Norie Sato Victoria Haven Barbara Sternberger Zama Vanessa Helder Maki Tamura Karin Helmich Barbara Earl Thomas Mary Henry Margaret Tomkins Abby Williams Hill Gail Tremblay Anne Hirondelle Patti Warashina Yvonne Twining Humber Marie Watt Elizabeth Jameson Myra Albert Wiggins Fay Jones Ellen Ziegler Helmi Dagmar Juvonen whatcom museum, bellingham, wa contents This book is published in conjunction with the 6 Foreword exhibition Show of Hands: Northwest Women Artists 1880–2010, organized by the Whatcom Patricia Leach Museum and on view from April 24–August 8, 2010. Funding for the exhibition and the 8 Acknowledgments accompanying catalogue was supported in part with funds provided by the Western 10 A Gathering of Women States Arts Federation (WESTAF) and the Barbara Matilsky National Endowment for the Arts (NEA). The City of Bellingham also generously funded the 52 Checklist of the Exhibition catalogue. Additional support was provided by the Washington Art Consortium (WAC). Published in the United States by 55 Bibliography Whatcom Museum 56 Photographic Credits © 2010 by the Whatcom Museum 121 Prospect Street Bellingham, WA 98225 The copyright of works of art reproduced in www.whatcommuseum.org 56 Lenders to the Exhibition this catalogue is retained by the artists, their heirs, successors, and assignees. -
View Brochure (PDF)
A NORTHWEST SUMMER MAY 4–OCTOBER 15, 2006 6 EXHIBITIONS * 1 CELEBRATION A NORTHWEST SUMMER Public Opening Celebration Saturday, May 6, 10 a.m.–5 p.m. The Northwest offers a great way of life and remarkable history that deserves to be appreciated in a big way. Our special exhibit, A Northwest Summer, will do just that. To kick off the tribute, we’re hosting a fusion of art activities and entertainment that contribute to making this region special. Come join the celebration—enjoy an art activity, watch an Asian art demonstration, listen to live music and shop the eclectic, uniquely Northwest crafts of “I Heart Rummage.” For more information, check out seattleartmuseum.org. Director’s Welcome As we look forward—to the opening of above: Trimpin, U.S.A., born Germany 1951, drawing for Picnics, Rhythms and Vacations installation, 2006; cover: Trimpin, The Orange Piano, Lake Union, the Olympic Sculpture Park this fall and Seattle, 2003. Photo: Theo Bernardi. In this work, a hydrophone records underwater sound pollution, creating an audio signal, which becomes information played automatically by the piano. to the re-opening of the expanded downtown museum next spring—we have naturally looked back, reflecting on the amazing seventy-five years of growth that Trimpin: Picnics, Rhythms and Vacations the Seattle Art Museum has experienced. August 8–October 15, 2006 Milestones of that history are noted in the timeline, putting the past in context for Picnics, Rhythms and Vacations, 2006, a new installation by musician, sculptor and composer Trimpin, the celebrations in Volunteer Park this will be presented at the Seattle Asian Art Museum. -
Annual Report 2011-2012
ANNUAL REPORT 201 1 -2012 MAY 1, 201 1 - APRIL 30, 2012 view online at www.boiseartmuseum.org 670 Julia Davis Drive | Boise, Idaho 83702 | 208.345.8330 | www.boiseartmuseum.org LETTER FROM THE EXECUTIVE DIRECTOR What an engaging year at BAM! From start to finish, FY 2012 embodied the sense of wonder, invention and pure fun that began with The Perfect Fit: Shoes Tell Stories, an exhibition about objects everyone can relate to—shoes! More than 100 artists delighted viewers with stunning shoe-inspired artworks that asked us to consider what shoes say about our values and culture. Hundreds of visitors responded by writing their own shoe stories in a gallery comment book, and BAM partnered with Dillard’s and local social organizations to collect new shoes for families. The excitement continued withComics at the Crossroads, an exhibition that featured artwork by 40 Northwest artists. BAM engaged aspiring comics artists through Comics Art Mob, a day of workshops and demonstrations. Audiences also were awestruck by the vast installation by artist Mike Rathbun, a soaring wood sculpture that ascended 20 feet in the air and appeared to pierce the outer walls of the Museum’s Sculpture Court. A captivating time-lapse film showing the installation in progress provided insight into the complex process of designing and building the sculpture. In January 2012, BAM launched a year-long celebration of the Museum’s 75th anniversary with Open to Interpretation, an exhibition that invited viewers to participate in a game of discovery through the unique display of artworks from BAM’s Permanent Collection. -
Program Booklet Here
ALHFAM Western Region 2018 ANNUAL CONFERENCE NOVEMBER 1-4 / TACOMA, WA BREAKING THE MOLD: New Interpretation for New Audiences ALHFAM IS BREAKING THE MOLD Remaining relevant in a fast-paced, technology-driven society can be a challenge for heritage organizations. To address this hurdle, ALHFAM members have found creative ways to draw new audiences to their sites, programs, and other educational venues. At this conference you will have the opportunity to take tours, join discussions, and learn from experienced panelists about best practices for attracting audiences and building programs to serve our new, ever-changing public. CONTENTS 3 | About Tacoma 4 | Plan Your Visit 5 | Conference Schedule 15 | Registration Form About Tacoma, Washington Tacoma, the “City of Destiny,” welcomes you to the 2018 ALHFAM conference! Tacoma’s roots run deep. Situated in the shadow of Mount Rainier on the waters of the southern Puget Sound, the Tacoma area has been home to the Lushootseed-speaking Southern Coast Salish peoples for thousands of years. The city owes its name to the famous mountain – “Tacoma” is an anglicized version of Mount Rainier’s original Lushootseed name. In 1833, the Hudson’s Bay Company established Fort Nisqually, Puget Sound’s first globally connected settlement, in nearby present-day Dupont. Quaker pioneer Job Carr staked the first claim in what is now considered the "Old Town" neighborhood of Tacoma in 1865. Tacoma quickly boomed after it won the spot as the western terminus for the Northern Pacific Railroad in 1873. Attracting immigrants from all corners of the globe, Tacoma established itself as an important port city and was for a long time in contention with Seattle to be western Washington’s “biggest city”.