Joe Feddersen Vital Signs Joe Feddersen Vital Signs
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Underrepresented Communities Historic Resource Survey Report
City of Madison, Wisconsin Underrepresented Communities Historic Resource Survey Report By Jennifer L. Lehrke, AIA, NCARB, Rowan Davidson, Associate AIA and Robert Short, Associate AIA Legacy Architecture, Inc. 605 Erie Avenue, Suite 101 Sheboygan, Wisconsin 53081 and Jason Tish Archetype Historic Property Consultants 2714 Lafollette Avenue Madison, Wisconsin 53704 Project Sponsoring Agency City of Madison Department of Planning and Community and Economic Development 215 Martin Luther King, Jr. Boulevard Madison, Wisconsin 53703 2017-2020 Acknowledgments The activity that is the subject of this survey report has been financed with local funds from the City of Madison Department of Planning and Community and Economic Development. The contents and opinions contained in this report do not necessarily reflect the views or policies of the city, nor does the mention of trade names or commercial products constitute endorsement or recommendation by the City of Madison. The authors would like to thank the following persons or organizations for their assistance in completing this project: City of Madison Richard B. Arnesen Satya Rhodes-Conway, Mayor Patrick W. Heck, Alder Heather Stouder, Planning Division Director Joy W. Huntington Bill Fruhling, AICP, Principal Planner Jason N. Ilstrup Heather Bailey, Preservation Planner Eli B. Judge Amy L. Scanlon, Former Preservation Planner Arvina Martin, Alder Oscar Mireles Marsha A. Rummel, Alder (former member) City of Madison Muriel Simms Landmarks Commission Christina Slattery Anna Andrzejewski, Chair May Choua Thao Richard B. Arnesen Sheri Carter, Alder (former member) Elizabeth Banks Sergio Gonzalez (former member) Katie Kaliszewski Ledell Zellers, Alder (former member) Arvina Martin, Alder David W.J. McLean Maurice D. Taylor Others Lon Hill (former member) Tanika Apaloo Stuart Levitan (former member) Andrea Arenas Marsha A. -
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. -
Truman Lowe, Publication History
Truman Lowe, Selected Publication History Allen, Hayward. Truman Lowe: Streams. La Crosse, WI: University of Wisconsin-La Crosse, 1991. Brody, J.J., Richard Glazer-Danay and Emily Kass. 8 Native American Artists. Fort Fort Wayne , IN: Wayne Museum of Art, 1987. Complo-McNutt, Jennifer. Haga (Third Son): An Exhibition of Sculpture, Drawing and Painting by Winnebago Artist Truman Lowe. Indianapolis, IN: Eiteljorg Museum of American Indians and Western Art, 1993. Devon, Marjorie. Migrations: New Directions in Native American Art. Albuquerque, NM: University of New Mexico Art Museum, 2006. Eiteljorg Museum of American Indians and Western Art. “Truman Lowe.” In Contemporary Masters: The Eiteljorg Fellowship for Native American Fine Art, edited byEiteljorg Museum, 38-43. Indianapolis, IN: Eiteljorg Museum of American Indians and Western Art, 1999. Fleischman, Stephen. Truman Lowe, Remembrance. Madison, WI: Madison Museum of Contemporary Art, 2001. Fleishman, Stephen and Jane Simon. Between the Lakes: Artists Respond to Madison. Madison, WI: Madison Museum of Contemporary Art, 2006. Lowe, Truman and Jo Ortel. “Introduction: The Emergence of Native Modernism.” In Native Modernism: The Art of George Morrison and Allan Houser, edited by Truman Lowe, 10-37. Washington, DC and New York: Smithsonian National Museum of the American Indian, 2004. Lowe, Truman and Jo Ortel. “Mythological Origins of Craft Traditions.” In Head + Heart + Hands: Native American Craft Traditions in a Contemporary World, edited by Kentucky Art & Craft Foundation, 4-9. Louisville, KY: Kentucky Art & Craft Foundation, 1998. Lowe, Truman. Truman Lowe: Neo-xahnee. Sheboygan, WI: John Michael Kohler Arts Center, 1999. Ortel, Jo. Woodland Reflections: The Art of Truman Lowe. Madison, WI: University of Wisconsin Press, 2004 Rushing, W. -
Oregonquarterly
OregonSUMMER 2015 QUARTERLY THE MAGAZINE OF THE UNIVERSITY OF OREGON Cheer in Style. i s striking “O” is hand made at Skeie’s Jewelers in Eugene Oregon, the home of the Ducks! Please call for price and availability. 10 Oakway Center Eugene, OR 97401 541-345-0354 www.skeies.com 13-1201_Skeies Ad qrtr pg.indd 1 1/27/14 1:10 PM EDITOR’S NOTE dialogue THE MAGAZINE OF THE UNIVERSITY OF OREGON SPRING 2015 • VOLUME 94 NUMBER 3 EDITOR AND PUBLISHER Ann Wiens [email protected] | 541-346-5048 MANAGING EDITOR Jonathan Graham [email protected] | 541-346-5047 SENIOR WRITER AND EDITOR Rosemary Camozzi [email protected] | 541-346-3606 ART DIRECTOR JoDee Stringham [email protected] | 541-346-1593 ADVERTISING DIRECTOR Susan Thelen [email protected] | 541-346-5046 PUBLISHING ADMINISTRATOR Shelly Cooper [email protected] | 541-346-5045 CONTRIBUTING EDITOR Mindy Moreland PROOFREADERS Sharleen Nelson, Scott Skelton INTERN Chloe Huckins EDITORIAL ADVISORY BOARD Mark Blaine, Betsy Boyd, Kathi O’Neil Dordevic, Kathleen Holt, Alexandra Lyons, Kenneth O’Connell, Holly Simons, Mike Thoele WEBSITE OregonQuarterly.com MAILING ADDRESS 5228 University of Oregon Eugene, Oregon 97403-5228 Phone 541-346-5045 EDITORIAL 541-346-5047 ADVERTISING SALES Heather Back, SagaCity Media [email protected] | 971-200-7024 E-MAIL [email protected] OREGON QUARTERLY is published by the UO in February, May, August, and November and distributed free to alumni. Printed in the USA on recycled paper. © 2015 University of Oregon. All rights reserved. Views expressed do -
Annual Report Fiscal Year 2010 July 1, 2009–June 30, 2010
Annual Report Fiscal Year 2010 July 1, 2009–June 30, 2010 For the 2009–2010 fiscal year, Tacoma Art Museum presented a series of exhibitions focusing on its mission of “emphasizing the art and artists of the Northwest” alongside nationally and internationally acclaimed artists across all media. The summer of 2009 began with the dynamic pairing of jewelry exhibitions, Ornament as Art: Avant-Garde Jewelry from the Helen Williams Drutt Collection, the only West Coast venue of the major exhibi- tion organized by the Museum of Fine Arts, Houston, and Loud Bones: The Jewelry of Nancy Worden, which was curated by Ta- coma Art Museum. The autumn exhibitions included A Concise History of Northwest Art, featuring highlights of the museum’s Northwest art collection and exploring the development of the region’s art from the 1890s to the present. Joe Feddersen: Vital Signs, organized by Hallie Ford Museum of Art at Willamette University, presented a retrospective look at Native American art- ist Joe Feddersen, a nationally acclaimed printmaker, basket maker, and glass artist. One of the museum’s most treasured col- lections was featured in The Movement of Impressionism: Europe, America, and the Northwest, a survey of how a painting style spread from late 19th-century Paris to the Northwest. The museum’s works by Edgar Degas, Camille Pissarro, and Pierre-Au- guste Renoir along with works by Everett Shinn, Maurice Prendergast, and others were supplemented by important loans of Northwest impressionists. The winter season featured The Secret Language of Animals, a two-gallery exhibition exploring the changing ways artists used animals as symbols for human relationships across three centuries of American and European art. -
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. -
FROELICK GALLERY Joe Feddersen Born 1953 Omak, WA
FROELICK GALLERY Joe Feddersen Born 1953 Omak, WA Tribal Affiliation The Confederated Tribes of The Colville Reservation (Okanagan and Lakes) Education 1989 Master of Fine Arts, University of Wisconsin, Madison, WA 1983 BFA Printmaking, University of Washington, Seattle, WA 1979 A.A. Applied Arts, Wenatchee Valley College, Wenatchee, WA Solo Exhibitions 2021 Inhabited Landscapes, Froelick Gallery, Portland, OR 2020 Two Generations: Joe Feddersen and Wendy Red Star, Schneider Museum of Art, Southern Oregon University, Ashland, OR 2019 Echo, Froelick Gallery, Portland, OR Echo, Pacific Northwest College of Art, Portland, OR 2018 Cultural Abstractions, curated by Todd Clark, Umpqua Valley Arts Association, Roseburg, OR Joe Feddersen, Graves Gallery, Wenatchee Valley College, Wenatchee, WA 2017 Flotilla, Froelick Gallery, Portland, OR 2015 Canoe Journeys, Froelick Gallery, Portland, OR 2014 Matrix, Spokane Falls Community College, Spokane ,WA 2013 Charmed, Froelick Gallery, Portland, OR 2012 Role Call, Froelick Gallery, Portland, OR Terrain, Larson Gallery, Yakima Valley Community College, Yakima, WA (catalogue) Transitions, MAC Gallery, Wenatchee Valley College, Wenatchee, WA 2010 Codex, Froelick Gallery, Portland, OR Codex, Evergreen Gallery, TESC, Olympia WA, (catalogue) Vital Signs, Hallie Ford Museum, Willamette University, Salem, OR 2009 Vital Signs, Tacoma Art Museum, Tacoma, WA, organized by Hallie Ford Museum of Art Codex, Evergreen Gallery, Evergreen State College, Olympia, WA 2008 Vital Signs, Missoula Art Museum, Missoula, MT, -
Rick Bartow, Selected Exhibition History
Rick Bartow, Selected Exhibition History Solo Exhibitions Snake Dance Froelick Gallery, Portland, OR 2009 Drawn In Enso, Half Moon Bay, CA 2009 Davis & Cline Gallery, Ashland, OR 2009 Classic Fall Naü-Haus, Houston, TX 2008 Perseverance Clatsop Community College, Astoria, OR 2008 Monotypes from Tokyo LMContemporary, Jackson, WY 2008 From the Shinpukuji Portfolio Froelick Gallery, Portland, OR 2007 Drawings Azabu Kasumicho, Tokyo, Japan & Oguni-Geijutsumura-Kaikan, Yamanota, Niigata-Ken, Japan 2007 Tears and Rain: One Artist’s View from Sea Level Oregon Historical Society, Portland, OR 2006 Standing with the Humblers Froelick Gallery, Portland, OR Davis and Cline Gallery, Ashland, OR 2006 Page 1 of 25 Rick Bartow & Royal Nebeker The Art Center Gallery; Clatsop Community College, Astoria, OR 2006 Printworks: A collaborative exhibition with Master Printmaker Seiichi Hiroshima Bush Barn Art Center, Salem, OR 2006 El Hoja de la Machete Instituto de Artes Gráphicas de Oaxaca, Oaxaca, Mexico Manuel García Arte Contemporáneo, Oaxaca, Mexico 2005 Bear’s Journey The High Desert Museum, Bend, OR 2004 Chopping Wood,Carrying Water Froelick Gallery, Portland, OR 2004 My Eye Northwest Museum of Arts and Culture, Spokane, WA Davis & Cline Gallery, Ashland, OR 2004 Work from Moondog Studio West South Beach, OR Yanagisawa Gallery, Saitama City, Japan 2004 Etchings and Monotypes Froelick Gallery, Portland, OR 2004 Drawings and Sculpture Umpuqua Community College Gallery, Roseburg, OR 2004 Continuum—12 Artists: Rick Bartow Smithsonian Institution: National -
James Lavadour
! JAMES LAVADOUR BORN Pendleton, Oregon (1951) SELECTED SOLO EXHIBITIONS 2018 All that I can see from here, PDX CONTEMPORARY ART, Portland, OR 2017 Recent Findings, Cumberland Gallery, Nashville, TN 2016 Ledger of Days, PDX CONTEMPORARY ART, Portland, OR 2015 James Lavadour: Land of Origin, MAC Gallery, Wenatchee Valley College, Wenatchee, WA 2014 Fingering Instabilities, PDX CONTEMPORARY ART, Portland, OR 2012 The Interior, PDX CONTEMPORARY ART, Portland, OR 2011 Paintings, Grover/Thurston Gallery, Seattle, WA 2010 Geographies of the Same Stone: for TT, PDX CONTEMPORARY ART, Portland, OR 2009 Grover/Thurston Gallery, Seattle, WA 2008 The Properties of Paint, Hallie Ford Museum, Willamette University, Salem, OR; (traveled): Schneider Museum of Art, Southern Washington University, Ashland, OR; Tamastslikt Cultural Institute, Pendleton, OR Close to the Ground, PDX CONTEMPORARY ART, Portland, OR 2006 Sun Spots, PDX CONTEMPORARY ART, Portland, OR Rain, Cumberland Gallery, Nashville, TN Magic Valley, Gail Severn Gallery, Ketchum, ID 2005 Eiteljorg Museum of American Indians and Western Art, Indianapolis, IN Grover/Thurston Gallery, Seattle,WA Walk, PDX CONTEMPORARY ART, Portland, OR (shown at 219 NW 12th) 2004 Cumberland Gallery, Nashville, TN 2003 Romantic Landscape, PDX CONTEMPORARY ART, Portland, OR New Camp, Grover Thurston, Seattle, WA Gail Severn Gallery, Ketchum, ID 2002 Intersections II, PDX CONTEMPORARY ART, Portland, OR Intersections, Maryhill Museum of Art, Goldendale, WA 2001 Retrospective, Northwest Museum of Arts & Culture, Spokane, -
Jim Denomie B
2123 w 21st Street | Minneapolis mn 55405 | 612 377 4669 | www.bockleygallery.com Jim Denomie b. 1955 Education 1995 BFA, University of Minnesota, Minneapolis Grants and Awards and Residencies 2019 McKnight Distinguished Artist Award, Minneapolis 2018 McKnight Artist Fellowship, Minneapolis National Artist Fellowship, Native Arts & Cultures Foundation, Vancouver WA Artist Initiative Grant, MN State Arts Board 2017 Joan Mitchell Center Residency, New Orleans LA 2015 Joan Mitchell Foundation Painters and Sculptors Grant NYC 2012 McKnight Artist Fellowship, Minneapolis 2011 Crow’s Shadow Institute of the Arts Print-making Residency, Pendleton OR 2009 Native American Fine Art Fellowship, Eiteljorg Museum, Indianapolis IN 2008 Bush Artist Fellowship, Bush Foundation, St. Paul 2002 55th Arrowhead Biennial, First Place, Duluth Art Institute 2001 The Return to the Swing, a gathering of indigenous artist participants, hosted by The Evergreen State College, Olympia WA 1999 Jerome Study and Travel Grant, Jerome Foundation, St. Paul Solo Exhibitions 2019 Jim Denomie: Standing Rock Paintings, Bockley Gallery, Minneapolis (Feb 22–Apr 6) Jim Denomie: Fearless, Minnesota State University, Mankato (Jan 14–Feb 4) 2017 Oz, the Emergence, Bockley Gallery (May 5–June 10) 2016 Jim Denomie, Nemeth Art Center, Park Rapids, MN (July 21–Sept 30) 2015 Jim Denomie: Paintings, Projek Traum, Friedrichshafen Germany (Sept 29–Oct 25) 2014 Jim Denomie: Dialogues, Bockley Gallery (Nov 1–Dec 13) 2013-14 Slightly Disturbed, Miller Family Building Center for Visual Research, -
Christian Marclay
US $25 The Global Journal of Prints and Ideas November – December 2016 Volume 6, Number 4 Panoramic Wallpaper in New England • Christian Marclay • Fantastic Architecture • Ania Jaworska • Barbara Kasten Degas Monotypes at MoMA • American Prints at the National Gallery • Matisse at the Morgan • Prix de Print • News PHILIP TAAFFE The Philip Taaffe E/AB Fair Benefit Prints are available at eabfair.org Philip Taaffe, Fossil Leaves, screenprint, 25x38” variable edition of 30 Philip Taaffe, St. Steven’s Lizards, screenprint, 25x34.5” variable edition of 30 Thanks to all the exhibitors and guests for a great fair! November – December 2016 In This Issue Volume 6, Number 4 Editor-in-Chief Susan Tallman 2 Susan Tallman On the Wall Associate Publisher Catherine Bindman 3 Julie Bernatz A French Panoramic Wallpaper in the Home of a New England Lawyer Managing Editor James Siena and Katia Santibañez 8 Isabella Kendrick Zuber in Otis Associate Editor Susan Tallman 10 Julie Warchol To The Last Syllable of Recorded Time: Christian Marclay Manuscript Editor Prudence Crowther Prix de Print, No. 20 16 Colin Lyons Editor-at-Large Time Machine for Catherine Bindman Abandoned Futures Juried by Chang Yuchen Design Director Skip Langer Exhibition Reviews Julie Warchol 18 Webmaster Ania Jaworska at MCA Chicago Dana Johnson Vincent Katz 21 Matisse Bound and Unbound Joseph Goldyne 25 New Light on Degas’ Dark Dramas Vincent Katz 29 Degas at MoMA Ivy Cooper 33 Prints in the Gateway City Lauren R. Fulton 35 On Paper, on Chairs: Barbara Kasten Book Reviews Paige K. Johnston 38 Higgins’ and Vostell’s Fantastic Architecture Catherine Bindman 40 (Printed) Art in America News of the Print World 43 On the Cover: Christian Marclay, detail of Actions: Splish, Plop, Plash, Plash (No. -
PROSPECTUS Entry Guidelines & Form Artwork Entry Date: Saturday, May 12Th, 2018
Wenatchee Valley Museum & Cultural Center Presents North Central Washington Juried Art Show June 1st, 2018 to September 8th, 2018 ARTIST PROSPECTUS Entry Guidelines & Form Artwork Entry Date: Saturday, May 12th, 2018 The 3rd NCW Juried Art Show presented by the Wenatchee Valley Museum & Cultural Center and the Wenatchee Arts, Recreation and Parks Commission showcases quality work by regional artists in a museum gallery. The art show opens during the First Friday Artwalk of June on Friday, June 1st from 5 – 8 p.m. This year’s event highlights area artists of both two-dimensional and three-dimensional original works of art that will be on display and for sale. The reception will take place at Wenatchee Valley Museum & Cultural Center, 127 South Mission Street, Wenatchee. The opening reception is free and open to the public. The Juried Fine Art Exhibit will be open to the public regularly beginning Friday June 1st from 10 a.m. – 8 p.m. and continue on display through the first Friday of September. A closing reception with announcement of the People's Choice Award winner (at 6 p.m.) will take place that evening, Friday, September 7th during the Artwalk from 5 – 8 p.m. Admission is free and open to the public. Art will be returned to the artists no earlier than 10 a.m. on Saturday, September 8th at the Wenatchee Valley Museum, 127 S Mission Street, Wenatchee. Artists or their designated representative must be available to pick up their artwork between 10 a.m. and 2 p.m. on September 8th to be eligible to enter the show.