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.
Preview: Wednesday September 1, 5-7pm.
First Thursday opening reception: September 2, 6-8pm.
Through October 2
John Grade. Circuit. Glazed ceramic bonded with gypsum polymer to corn-based resin embedded with marine netting, 2010. 9 x 24 x 24 feet
Davidson Galleries presents Circuit, Seattle artist John Grade’s newest multi-venue sculpture. This initial version is the first of three iterations. Here Grade’s work overtly engages its surrounding architectural environment. Later, when presented outdoors in its second form, during a year’s stay on the side of a mountain; weather patterns will affect the work, and the exposed surfaces will evolve, disintegrate and morph into something new. The final site has yet to be determined.
Creation of Circuit’s ceramic surface membrane was underwritten by grants which allowed Grade to work closely with Wally Bevins and the the studio potters at Pottery Northwest. Multiple wooden skeletons were covered with plates forming the ceramic skin of a series of larger than life, curvilinear vessels. Alternating exterior and interior views of each vessel module, encourages viewers to experience the whole work from the exterior first, and then from within the sculpture’s interior. The artist selected the glazed ceramic skin (more than two tons of clay, fired tile by tile, backed with gypsum polymer laminated to corn based resin and marine netting) for its organic properties and textural capacities. All of the materials are intended to decompose without negatively affecting the environment.
In Grade’s words, “This project continues my investigation into how sculpture can reflect perceptions about landscape and expand these ideas through change and displacement. Because Circuit will be spread over three sites, a complex portrait of this landscape will be captured and a mixture of subtlety and dramatic change should result. The project will be a success when there is evidence of a compelling balance between what I have anticipated and chance events that affect the work in unexpected ways.”
This major installation will be accompanied by three or four smaller individual sculptures that were conceived almost as three dimensional drawings conceptually connected to future large scale projects.
Artist Talk: Saturday September 18 at Noon
Ian Boyden. Feather Shed from a Meteorite Bird. Meteorite dust, freshwater pearl, gold leaf and carbon on paper, 2008. 31 x 22 inches.
The paintings in this exhibition, Feathers Shed from a Meteor, present Northwest artist, Ian Boyden’s exploration of the world of meteorites. Boyden delights in using eccentric pigments—from whale ear bones to fossilized shark teeth. In this new body of work, he introduces paints and inks made with hand ground pigments derived from meteorites. Boyden states, “I am fond of microcosms, and, look for ways of translating the voice or spirit of something very large or distant. Our solar system originally coalesced from a giant cloud of dust. I find a distinct pleasure in grinding these meteorites back into dust in preparation for making a painting. In a sense each painting becomes a small reenactment of that original coalescence.” Looking at the works as a whole there appears to be a cosmic dance. In these abstract works, we see the artist contemplating elemental origins, the calligraphic drift of asteroids, the gravity of molecular clouds, the residue of a great fireball, the mysteries opened by stones that have fallen from the sky.
Adrienne Sherman. The Hounds of Euphistos. Oil on wood panel, 2008. 10 x 10 inches.
California artist Adrienne Sherman’s new work continues to explore the relationship of man to beast. Often there is a contrast between the innocent curiosity of the animal, set against the sophisticated creations of an earlier human civilization. Many of the works derive their inspiration from an historical figure or the character from a book. Most of the works are oil on panel or canvas, meticulously rendered and modest in scale.
The Antique Print Department recently added a number of new original prints to our website, including a group of important works by Francisco Goya, Georges Rouault, G. B. Piranesi, Aristide Maillol, and Leonard Baskin. View all of the recent arrivals to the Antique Print Department here.
Francisco Goya, "The Little Prisoner."
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