Barbara Robertson. Light Gray 4, 2010. Pigment print, acrylic. 18 x 23-1/2 inches.
Barbara Robertson’s work will be featured in “Cunningham in the Northwest”, a tribute to the life and influence of choreographer Merce Cunningham, at the Cornish College of the Arts Gallery.
Opening Reception: September 7th, 5-8 pm with a special performance by Stuart Demster
Show runs through October 22nd
Ben Moreau. No One Ever Sees What Is Coming, 2010. Etching, aquatint. Edition of 10. 15 x 19 inches.
Contemporary printmaker Ben Moreau was recently awarded Seattle Print Arts’ Larry Sommers Art Fellowship, “established in memory of Larry Sommers with generous donations from colleagues, family and friends inspired by his passion for art and union activism,” which the artist will use to develop and expand his current body of self-portraits as etchings, mezzotints and drawings.
Fellowship Reception: Thursday, September 2nd at the Tashiro Kaplan Vandenbrink Community Room 115 Prefontaine Place S., Seattle.
Additionally, Moreau has a print included in the 2010 Southern Printmaking Biennial National Print Exhibition at North Georgia College & State University. The exhibition runs through October 1st.
Visit the artist’s works page, including eight recent additions.
Jul 29th, 2010 by Sara Edwards
(via Blog4Culture)
King County’s clean-water utility is hosting an open house at South Plant in Renton (1200 Monster Road SW) on Saturday, August 7th from 10am-1pm.
This free, family-friendly environmental event will feature treatment facility tours, tours of nearby Waterworks Gardens, and opportunities to visit a demonstration garden nourished with composted biosolids.
Visitors are also invited to view Water Plant, a new public artwork by Fall City artist Donald Fels created through an active collaboration with employees of the Plant, 4Culture, and metal fabricator Benson Vess. The kinetic sculpture is animated by water, balance and gravity. A recycled stainless steel impellor at its core, it brings playful attention to the way water “works” using the same straight-forward, universal mechanics employed to clean water at the treatment plant. Fels will talk about the piece and his creative process at 11:15am.
Carol Wax. Type Face, 2002. Mezzotint. Edition of 75. 9-1/4 x 9-1/4 inches.
ARTIFICIAL SOULS: Mezzotint Engravings by Carol Wax opens Thursday July 29 at Locust Grove, The Samuel Morse Historic Site, Poughkeepsie, NY.
Wax’s visual interpretations of old typewriters, sewing machines, electric fans, telephones, vintage fabrics and other commonplace objects reflect her experience of the ordinary as extraordinary. Working in a realistic style, she portrays these objects as icons. Inspired by 17th Century Dutch still-life imagery that symbolized the impermanence of beauty, her icons represent the transient nature of industrial ingenuity. Through her art, Wax contemplates how our perceptions of technology evolve from state-of-the-art to artifact to art.
Download the invitation PDF for more information. Exhibition runs through August 23, 2010.
• View available work by Carol Wax
Wuon Gean Ho. Devour II, 2009. Intaglio and linocut. Edition of 20. 4 x 6 inches.
Devour, Wuon Gean Ho’s 2009 artist book, is included in Royal Academy of Arts Summer show. There are 19 books on display, many of which you can preview on their site.
• View available work by Wuon Gean Ho
Tallmadge Doyle. Kepler’s Cosmic Geometry II, 2003. Intaglio. Edition of 10. 17-3/4 x 13-3/4 inches.
Tallmadge Doyle exhibits several prints in the exhibit Inspired by Science at Southern Oregon University in Ashland. The show is curated by Michael Crane, director of the Schneider Museum of Art, and is presented in concert with the annual American Association for the Advancement of Science conference. The work can be viewed Tuesday – Saturday 10am-5pm at both the Center for Visual Arts Gallery and the Hannon Library Gallery on the SOU campus. Exhibition is open now and runs through September 10th.
• View available work by Tallmadge Doyle
Jonelle Johnson installation for Outside Art
Jonelle Johnson received a Seattle Print Arts’ Outside Art Grant.
As part of its special 10th anniversary program, Seattle Print Arts is announcing a new initiative, “Outside Art.” These grants will provide support to a small number of artists or artist teams to create temporary works of large scale in a public space. The competition is open to Seattle Print Arts members, and encourages the production and presentation of work taking print art into a new direction.
with live music by Tyler Potts, light refreshments and a walk-through discussion with the artist
Gray Shift: Works on Paper, Projection & Animation
Continues through June 26
Northwest artist Barbara Robertsonʼs new body of work challenges the boundaries between still
and time based media, expanding her imagery into dynamic combinations of still and moving images.
Commissioned through Oregon’s Percent for Art in Public Places Program, To Scale the Scales of Justice references figurative classics of art history, while presenting the artist’s contemporary interpretation of the symbols of protection and balance practiced within the walls of this Justice Building.
To scale the scale of Justice:
Seek balance & dialogue,
Hold fast patience & perseverance,
Work for truth & fairness,
Honor safety & community.
Anderson says, “As much as stone is a material that is ‘real,’ I see my sculpture as a presentation of ideas -rather than a physical object of something that resembles a figure. Ideas are living things and deeply personal. Ideas change and evolve. Ideas can be shared and can become stronger than stone. I hope to create work where the ideas of others come into play. Only then will my work have longevity and meaning.”
View available works by Anderson
Goode, 'Paintings I Wrote on in 2009 #18,' 2010, painting mixed media on panel, 30 x 30''
In “Paintings I wrote on in 2009,” Dorothy Goode introduces a new element to her visual vocabulary: graphite scrawls that spell out formal messages both cryptic and self-revelatory. The texts, for the most part, are obscured behind layers of impasto, lending the works an electric tension between expression and concealment. As she has in previous bodies of work, Goode favors a palette of bold reds, blues, oranges, and greens, which pop against the panels’ white grounds. Her curvilinear gestures, vaguely biomorphic, cluster in the center of each composition, as if tugged by centripetal force. Continue reading at visualartsource.com…
Her exhibition at at Butters Gallery in Portland continues through May 29, 2010.
Cleo Wilkinson and Eunice Kim are included in Footprint: the 2nd Biennial International Print Competition and Exhibition, showing at the Center for Contemporary Printmaking, through September 5, 2010. Wilkinson’s piece, Abeyance (above), was awarded second place in the competition.
