|
|
 |
Ford Gilbreath: Margaret Makes Art and Moon Root
Opening November 5th, Reception 6-9pm, Anchor art space
is pleased to welcome artist Ford Gilbreath from Seattle. Ongoing screening in the
Moving Image Room of Margaret Makes Art,
2009, a close-up view of a miniature landscape made by Margaret Lewis Gilbreath, circa 1985 and Moon Root, 2002,
a long, slow look at the moon through a telescope, and roots underground through a cystoscope. Through December 31.
July
2 - October 30
video work by Julia Oldham
juliaoldham.com
 image: "Dragger", video still, 1:11, 2006 Anchor Art Space is pleased to present video works by Julia Oldham in the Moving Image Room.
Julia
Oldham is a video artist whose performative works explore science and nature. She uses her body as a tool to understand the
life cycles and behaviors of insects, to examine the fundamental constants of the universe, and to measure electrical emanations
from plant forms. Her work often combines scientific inquiry with elements of experimental movement and dance.
A physicist, an avid gardener and a pack of dogs raised Oldham in
rural Western Maryland, and her childhood was filled with adventures in the woods, bee stings, drawings, and science experiments.
Oldham studied art history at St. Mary's College of Maryland and then received her MFA from the University of Chicago. She
lives in Brooklyn, and she also travels around the country to participate in residencies.
Oldham's work
has been screened/exhibited at Art in General in New York, NY; MoMA PS1 in Long Island City, NY; The Museum of Contemporary
Art in Chicago, IL; Espaco3 in Lisbon, Portugal; the Dia Foundation at the Hispanic Society in New York, NY; the Smithsonian
Hirshhorn Museum in Washington, DC; and FACT in Liverpool, UK. Her work has been supported by Artadia, the Fund for Art and
Dialogue, New York, NY; Art in General, New York, NY; Bernheim Arboretum and Research Forest, Clermont, KY; and the City of
Chicago Departent of Cultural Affairs, Chicago, IL.
October 7th - November 19th
The Ways Things Are
New work by John Feodorov
New paintings, prints and sculptural installation by
Seattle artist John Feodorov
Through November 19th.
|
| My God, acrylic on paper, collage, 48" x 36", $1800 |
|
| The Way Things Are, acrylic on unstretched canvas, 72"x72", $5000 |
|
| Genies, motor oil, ceramic heads, jars, light $1800 |
John Feodorov – Artist Statement My work meanders around meaning and identity as well as the
ways we seek to locate them within our lives. Sometimes this search can seem like an act of desperation—a longing for
a Something, an Other, that may or may not exist. I think that my paintings and drawings are a reflection of how I try to
balance this subconscious longing within my own life. Intentionally ambiguous and dreamlike, they imply a meaningful narrative
that often does not exist outside the mind of the viewer. Ultimately, my hope is that they act as catalysts for critical thinking
and meditation, like Buddhist koans. The installations, assemblages and video works on the other hand can be interpreted as
failed attempts to resolve the contradictions between a desire for a sense of “authentic” connection and growing
global capitalism that promotes and feeds off of social and spiritual alienation. Several
years ago, I visited the Anasazi ruins at Chaco Canyon, near my family’s land in New Mexico. This was during the much-hyped
Harmonic Convergence when people were gathering at numerous traditional sacred sites around the world. Along the inside perimeter
of one of the large kivas, a throng of tie-dyed spiritual seekers formed a circle while sitting in lotus position. At the
axis, they had erected a plastic totem pole, an object possessing no significance to the native peoples of the Southwest.
For me, their act, while well-intentioned (and one that would be considered insulting by most Native people) seemed more like
an act of spiritual desperation than of connection. That their desire for connection culminated in yet another example of
ongoing spiritual colonialism and appropriation is exactly why issues of spiritual alienation are so important for artists
to address—and not just those of Indigenous descent. It is the reasons behind this type of sincere yet misguided event
that interests me as an artist.
j o h n f e o d o r o v Bio
Born in Los Angeles of mixed Native and European American heritage, John Feodorov spent summers
at his grandparent’s homestead in the “White Horse” region of New Mexico. This time spent between
the Navajo reservation and the California suburbs of Whittier continues to have an important influence on his work. Feodorov
often utilizes pop culture detritus, as well as sound and video, to create what he considers contemporary “sacred”
spaces in order to question ideas of spirituality, identity and place. In addition, his paintings and drawings are experiments
in creating hybrid mythical iconographies. Feodorov was featured in the first season of the PBS television series, “Art21: Art for the 21st Century” as well as in the companion book published by Harry N. Abrams. He has served as an Arts Commissioner
for the City of Seattle and currently teaches as an Assistant Professor of Art at Fairhaven College of Interdisciplinary Studies at Western Washington University in Bellingham Washington. In addition, he is also a musician and songwriter.
|
| Emergence #4, acrylic on unstretched canvas, 72"x67", $5000 |
|
| Emergence#3, acrylic on unstretched canvas, 72" x 72", $5000 |
Emergence
– John Feodorov “In
1979, the largest accidental release of radioactive material in USA history happened in Church Rock in the state of New Mexico.
A tailing dam burst, sending eleven hundred tons of radioactive mill wastes and ninety million gallons of contaminated
liquid pouring toward Arizona into the Rio Puerco River. Today, the Navajo communities still cannot use
the water.” * According to a Sept. 23, 2010 article in Indian Country Today, “The
New Mexico Environmental Law Center filed an appeal to the U.S. Supreme Court this month to reverse the 10th Circuit Court
of Appeals decision to allow in situ leach (ISL) uranium mining in the Four Corners region of New Mexico. […] The Nuclear
Regulatory Commission has granted Hydro Resources, Inc. a license to mine uranium in Crownpoint and Church Rock.” According
to the Associated Press, 11/17/2010: “Supreme Court justices Monday decided not to review a decision that allows
Hydro Resources Inc. to leach-mine uranium at the aquifer used by 15,000 Navajos in the Church Rock and Crownpoint areas.”
The three large paintings
in this show are part of an ongoing series exploring the transformation of environmental tragedy into possible new mythologies.
This is the basis of the Navajo creation myth--one world’s destruction is another’s creation. With the acknowledgement
by most scientists that our global climate is heating up, and with last year’s oil disaster in the Gulf of Mexico, many
people admitted to a sense of helplessness and even resignation. To be honest, I sometimes find myself among them and this
ambivalence is reflected within this recent body of work. While watching the continuous live video feed of the BP oil well
freely spewing into the Gulf, I couldn’t help but think of the Navajo creation story where animals, insects and gods
climbed a magic reed, like the fabled Jack and the Beanstalk, from the Third World into our current Fourth World in order
to escape certain annihilation. I kept thinking of that leaking pipe as another “reed” in which spirits embedded
deep within the Earth were now emerging into our world, like medieval demons charging through the mouth of Hell, or like red
ants marching towards unsuspecting picnickers. With the oil well now capped, it is easy for us to fall back into our daily routines—and
I am as guilty as anyone. Since we don’t seem to learn from the past, it might be a good idea for us to start looking
around for another magic reed. * (Excerpted from “Pollution of the Navajo Nation Lands” a paper by Kimberly Smith of the Black Mesa Water Coalition, presented August 2007 at the United Nations
International Expert Group Meeting On Indigenous Peoples And Protection Of The Environment, which took place in Khabarovsk,
Russian Federation. This meeting was hosted by the Government of Khabarovsk, the Association of Indigenous Peoples of the
Russian North, Siberia and the Far East (RAIPON) in the Russian Federation.)
|
| Vanitas #1-4, lithographs, 30" x 22.5", $800 each, set of 4 $2800 |
|
| Four Faces of God, monotypes, 14" x 11", $2000 as a set |
j o h n f e o d o r o v - CV
Born
1960, Los Angeles, California. Education: BFA Drawing and Painting - California State University at Long Beach, Long Beach CA.
MFA
Visual Art - Vermont College, Montpelier VT. Solo Exhibitions:
| 2011 | “Emergence” - Vision Project Gallery, Museum of Contemporary Native Arts, Santa Fe NM. | | 2009 | "Ambiguities" - South Seattle Community College, Seattle WA. | | 2008 | "Ruminations and Pontifications" - Sheehan Gallery, Whitman College, Walla Walla WA. | | 2007 | “Dead Houses” - John Erickson Museum of Art (JEMA), mobile exhibit. | | | “Temple” - 911 Media Arts Center, Seattle WA.
| | 2005 |
“Four Sacred Spaces”
- 911 Media Arts Center, Seattle WA. |
| | “Enough Beauty” - With Gail Tremblay. Bellevue Community College. Bellevue WA. | | 2004 | “Ambiguities” - Helen S. Curtis Gallery, Green River Community College, Auburn WA. | | 2002 | “Myths and Prophesies” - Howard House, Seattle WA.
| | | “Octet” - COCA, Seattle, WA.
| | 2001 |
“Office Shamans and Other Mythologies” - Sacred Circle Gallery, Seattle WA.
| | 1997 |
“What Makes the Red Man Red? and other observations” - with James Luna’s “The Dream Hat Ritual.” Sacred Circle Gallery, Seattle
WA. | |
1995 | “What Makes The Red Man Red?” - King County Art Commission Gallery, Seattle WA. | | | “Forest at Night” - Sacred Circle Gallery, Seattle WA. | Selected Group Exhibitions:
| 2010 | “A Torrent of Words: Contemporary Art and Language” - Kohler Arts Center, Sheboygan, WI. | | | “A Long Drawn Out Process” - Anchor Art Space, Anacortes WA. | | 2009 | “Copyright Humain " - Museum of Civilization, Quebec City, Canada.
| |
| “Contemporary Voices in Visual Narrative" - University of Utah, Logan, UT.
| | 2008-9 |
“Trespassing" -
Whatcom Museum, Bellingham WA.. |
| 2008 | "Packed: Portable Views of Varied Terrain" - Duncan Gallery of Art, Stetson University, Deland FL. | | 2007 | “Guest Curator" - Schalter Gallery, Berlin, Germany.
| |
| “Syndicalism: the art of tend and befriend” – Northwest Cartel, Washington State Convention & Trade Center, Seattle, WA. | | 2005 | “New Tradition” - Group Invitational. Archer Gallery, Clark College. Vancouver WA. | | | “Art 21: The Artists” - Group Invitational. Bentley Projects, Phoenix AZ. | | 2003 | “The Last Judgment” - Group invitational. Curated by Stefano Catalani, Seattle Center, Bumbershoot Arts Festival, Seattle,
WA. (Catalog) | | | “Whiteness,
A Wayward Construction” - Group
invitational curated by Tyler Stallings. Laguna Art Museum, Laguna CA. (Catalog) | | 1998-9
| “The View From Here.”
- Group invitational curated by Peggy Weiss. Seafirst Gallery, Seattle WA. and others. (Catalog) | | 1997 | “Human References: Marks of the Artist.” - Group invitational curated by Beth Sellers. Seattle Center Pavilion, Seattle
WA. (Catalog) | | 1996 | “EE WDOOWATA’W AG’E - Did They Rob You?”
- Group invitational and traveling
exhibition. University of Alaska Museum, Fairbanks AK, Sacred Circle Gallery, Seattle WA, Institute of American Indian Art,
Santa Fe NM., and others. | | 1995 | “The Land” – Curated by Jaune Quick-to-see Smith, Tacoma Art Museum, Tacoma WA. | | | “Expression of Spirit: Contemporary American
Indian Art” - Group invitational
curated by Diane Armitage. Wheelwright Museum, Santa Fe NM.
| | 1992 |
“Virgin Territories” - Group invitational curated by Noriko Gamblin. Long Beach Museum of Art, Long Beach CA. | | | “After Columbus Landed - Native American Art” - San Francisco State University, Student Union Gallery,
San Francisco CA. | | 1991-2 | “Adeest ii/ Signs of Contradiction” - Group invitational curated by Diane Armitage. COCA Santa
Fe N.M. | Selected Awards: Artist Project Grant - 4Culture of King County, Seattle WA 2008 GAP Grant - Artist Trust, Seattle WA., 2008. Artist Residency - 911 Media Arts Center,
Seattle WA. 2004. The Neddy - Nominee, Behnke Foundation, Seattle WA., 2002. Artist Assistance Award - Jack Straw
Foundation, Seattle WA., 2002. Artist Residency - Daybreak Star Arts Center, Seattle WA., 2001. GAP Grant - Artist Trust, Seattle
WA., 2000. The Sheldon Bergh Award - Basil H Alkazzi Foundation, New York NY., 1995. Seattle Arts Commission - Portable
Works Collection, Seattle WA., 1994. Filmography: Art 21: Art for the 21st Century - Featured artist in the PBS television series and companion book.Produced by Susan Sollins for Art 21
Inc., 2001. Bringing It All Back Home - Composed incidental music for documentary film chronicling the artist James
Luna. Directed by Chris Eyre. 1998. Misc. Related
Activities: Assistant Professor of
Art - Fairhaven College of Interdisciplinary Studies, Western
WA University, Bellingham WA., 2004 - present. Visiting Lecturer - Various universities, colleges and museums around the country, ongoing. Speaker and panelist – College Art Association conference, 2004 Seattle WA.
Artist
Project - Coordinating Native American Art Collection for
the University of Washington’s Law Library, Seattle, WA., 2002 - present. Seattle Arts Commissioner for the City of Seattle - Seattle, WA., 2000 - 2003. Instructor - Arts Corps, a non-profit arts education program, Seattle WA., 2001 - 2003. Speaker and panelist - Seattle Art Museum, “Artists of resistance,” 2002. Selected Bibliography:
Sheila
Farr, Review - Seattle Times, Ticket March 2, 2007. cIndyCenter.com, Artist Interview podcast, Jan. 2006. Sheila Farr, “Ideas
At Work In Unsettling New Show,” Seattle Times, Ticket
June 10-16, 2005 Amrieka Takhar, Review - Whiteness, A Wayward
Construction, Stretcher.com, January 2004. David Roediger, “I came for the Art: Exposing Whiteness and Imagining Nonwhite Spaces,”
Art Papers, May – June 2003. Frances DeVuono, Review, Artweek,
February 2003. Marcie Sillman, Artist Interview, KUOW Radio 94.9 FM, Seattle, 2002. Victoria Josslin, “John Feodorov’s Prophetic Voice Falls on No Ears”, Seattle Post-Intelligencer, Dec 13, 2002. Emily Hall, “Objects in Reality”, The Stranger, Seattle WA. Dec. 12, 2002. Gail Tremblay, Review,
Art Papers, June / July, 2002. Daniel Kunitz, “The Art of the Familiar: Literalism and relevance in contemporary art.”
Harper’s Magazine, August 2002. Lynn M. Herbert, Katy Siegel, Thelma Golden and Robert Storr, Art for the 21st Century, Companion book for the PBS series. New York: Harry N. Abrams Inc., 2001. Regina Hackett, “Brilliant ambiguities spring from artist’s childhood,”
Seattle Post-Intelligencer, Dec. 6, 2001. Regina Hackett, “Bottom line: Office Shaman a brilliant corporate satire,” Seattle Post-Intelligencer, Nov. 2, 2001. Patricia C. Johnson, “PBS series about art draws on Houston links,” Houston Chronicle, Oct. 30, 2001. Sheila Farr, “Art injects fun and spirituality into the malaise of office life,” The Seattle Times, Oct. 11, 2001. Kay Larson, “Turn on, tune in: Art21 tries to bring artists to the people,” New York Times, Sept. 9, 2001 and International Herald Tribune, Sept. 15-16, 2001. Sheila Farr, “Documentary series is an examination of art from the inside,”
Seattle Times, Sept. 21, 2001. Jack Fischer, “PBS has 21 answers for cynics,” Mercury News, San Jose CA. Sept. 7, 2001.
Regina
Hackett, “100 Views of the Mountain,” Seattle
Post-Intelligencer, Nov. 28, 1998. Seattle Collects Seattle,
exhibition catalogue. Exhibit curated by Beth Sellers, Seattle
Arts Commission, 1997. Regina Hackett, “Luna and Feodorov’s
art attacks slew of American Indian stereotypes,” Seattle
Post-Intelligencer, August 8, 1997. Sheila Farr, “Invasion
Art”, Seattle Weekly, July 2, 1997.
  Kathryn Glowen: 8 Golden Birds
2011 Gilded vintage Chinese carved wooden window shutter,
stitched silk and acrylic fabrics from men’s ties and vintage garments, acrylic on canvas $12,000.00
Eden Blue
2010 Stitched silk and acrylic fabrics from men’s ties and vintage garments, acrylic on framed canvas,
36” x 36” x 2.5”, $3600.00
Autumn Garden, Kathryn Glowen
2011 Stitched silk and acrylic fabrics from men’s ties and vintage garments, acrylic
on canvas, 30” x 30” x 2.5”, $3200.
Things that
Go Bump in the Knot, Kathryn Glowen Installation
of partially disassembled men’s silk and acrylic neckties Approx.
42” x 48” x 48”
A year in the garden, Kathryn
Glowen
2011 Stitched silk and acrylic fabrics from men’s ties and vintage garments, acrylic
on canvas, 30” x 30” x 2.5” each panel. $3200 each
Installation by Ron Glowen
Como Orchards/Montana
2011 Acrylic latex wall mural 252”
x 144”, framed vintage postcards 7” x 9” each JULIE LINDELL: New Work August 5-27
Image: Flexible Flyer, assemblage,
7'x4'x2'.
Julie Lindell brings exciting new work to Anchor art space for her solo exhibition
opening Friday, August 5th. Lindell's beautifully formed ceramic work has been represented with Anchor
for several years, the current exhibition will feature newly constructed assemblages and include selected
ceramic sculpture. Exhibition runs August 5th through August 27th. Born in Seattle, Julie Lindell was educated
at Cornish College of The Arts in Seattle. She spent some years traveling and living in Tokyo where she was
represented by the Natsuka Gallery. She has recently finished a two year residency at Pottery Northwest in
Seattle, and more recently the James Washington Foundation awarded her a studio residency for the 2009/2010
season. Her work has exhibited at Wells Fargo Center for the Arts, CA, Tryon Creek State Park in Portland, Port
Angeles Fine Arts Center and the Seattle Public Utilities Portable Works Collection. More recently Lindell
was included in COCA's Heaven and Earth II outdoor installation at Carkeek Park and she was also
included in Transformation, a group exhibition of reclaimed/recycled art at the Seattle Art Museum
Gallery. In her free time (which she appears to have less of these days) Lindell is a turtle and tortoise enthusiast.
She lives in Seattle with her husband, two dogs, two cats, and 18 assorted turtles and tortoises. http://www.julielindell.org/    tinker, tailor, mender, maker drawings by Gail Grinnell
While working in the studio I often find myself repeating gestures and movements
that my mother made while sizing me for a dress. She would stand me up on a chair in the dining room and smooth pieces of
pattern paper across my body, pulling out all the moments - the two-inch too short torso, the extra wide hips –
that made my body different from an average sized person. Standing still on the chair was hard but what was harder was
finding out just how many inches separated me from other people. What made that experience memorable though and worthwhile
was the extra attention she gave me. With her touching and her measuring I came to understand that the oddities of my
body were something special and sought after, something worth caring for and accommodating. Often times when I’m in the studio I feel my mothers hands tracing unabashedly across my back and
through my hands and it reinforces everything I learned from her about myself, and about working. She taught me quiet
things about bedding - about all the places we sleep and make love, give birth and die. She showed me how to make and mend
the pieces of fabric that have enfolded my body during every significant moment of my life. All of her lessons came full
circle, in a way, when she was on her deathbed. When my mother lay dying, her body failing from old age, I noticed a hole
in the blanket that covered her. I sat and mended it because somehow that was the only way to show her that it was ok
to die. Just as her measurements taught me that the uniqueness of my body was something to take pride in, mending that blanket
and smoothing it over her shape seemed somehow to reinforce an old notion that death isn’t the end of life but its
completion. These days, increased wealth has brought me into contact with the idea
that things are purchased instead of fixed. As it stands, I generally just buy new things when old ones break and I’ve
found that my platform for making and fixing things is now in the studio. Of late, the focus of my drawings and installations
has become more and more directed towards finding the oddities and holes in my relationship to the world around me and
measuring, fitting, dressing and mending them in anyway I can. Artist Statement, Gail Grinnell
   All work included
in past exhibitions is currently for sale. For information
on this work or to purchase, please contact us info@anchorartspace.org March 4th - 26th Jasmine Valandani
traces: installation and works on paper
March 4th - 26th Steve Peters Chamber Music 9: Northern Light (for Julius) Site-specific sound installation by Seattle composer/sound
artist Steve Peters
Chamber
Music is a series of site-specific listening environments derived from recordings made in the empty spaces in
which they are presented. The process is fairly simple: an hour of room tone is recorded, then heavily filtered to extract
an array of subtle resonant frequency drones, which are then mixed in various ways. No other sound sources or instruments
are used. While the basic process remains consistent for each version, the results vary based on the architectural and acoustic
features of the space and how the raw material is treated. As this work has developed over the past few years, I’'ve come to understand sound as part of the
vast and barely fathomable spectrum of invisible vibration that constantly surrounds us and permeates everything that is.
My intention is to give form to a sonic object of contemplation that aspires to the elusive qualities of light –-
particles and waves pulled from thin air, the intangible artifacts of emptiness hovering on the edge of awareness,
shadows and reflections shifting in tone and intensity with the passing of time.This
version is inspired by the mysterious “auroral sound” associated with the Northern (and Southern) Lights. There
have been many earwitness reports of very quiet, unusual sounds being heard during particularly intense displays of the
aurora. Yet, as far as I know, scientists have not been able to definitively document this phenomenon, and doubts of its
existence persist within the scientific community in spite of the plentiful anecdotal evidence. Having never seen or heard
the aurora myself, I have not made any attempt here to recreate it. Rather, I was inspired by the poetic idea of sounds
so closely linked with light, that may or may not actually be "“there."” I especially appreciate the
fact that the aurora occurs in the ionosphere, the same part of Earth'’s atmosphere in which radio waves are propagated. Nothern Light is dedicated to the memory of Rolf Julius, the wonderful German sound
artist and maker of "“small music"” who stepped into the aether on January 21 of this year.Steve Peters — March, 2011 Steve Peters makes music and sound for a wide range of contexts and occasions. His work is often site-specific,
attentive to the nuances of place and perception. CDs have been released on Cold Blue, Palace of Lights, Sirr, and Dragon's
Eye. He performs occasionally as a member of the Seattle Phonographers Union, and most recently produced the soundtrack
release for the award-winning film Winter's Bone. Since 1989 he has been the Director of Nonsequitur, a non-profit
organization presenting experimental music and sound art, currently sponsoring the Wayward Music Series in the Chapel Performance
Space at the Good Shepherd Center in Seattle. For more info, please visit http://steve-peters.blogspot.com.
February 4th -26th, 2011
Lanny Bergner : Bending Space
Specifically sited to Anchor art space, Lanny Bergner presents a three-part exhibition including a version of "Constellation
Maker" as one of three wall installations. Another wall presentation, “Bending Space”
incorporates many 3-D angular grid parts varying in size and shape, all made from stainless steel mesh, silicone, wire and
colored paper. A
third part of Bergner’s installation, "A Gaggle of Baskets” is an interrelated wall grouping comprised of
15-20 organic basketry shapes made from pattern-burned stainless steel mesh. By using hands-on processes of coiling, fraying,
twisting, wrapping, gluing and knotting, Bergner transforms industrial screening, wire, silicone and monofilament into organic
constructions. His desire is to create works that appear to have grown into being.
A
Gaggle of Baskets stainless steel mesh,
wire $750 each
Constellation Maker
3 Glass frit, string, wire price on request
Bending Space stainless steel mesh, paper, silicone, wire, string,
map pins small forms $210 each/ large forms $850 each          Inventory currently exhibited
at Anchor art space Bending Space stainless
steel mesh, paper, silicone, wire, string, map pins small forms $210 ea large
forms $850 ea Spiral Cone aluminum mesh, wire, paint, recycled ground plastic, glass frit $3,000 Coniform
stainless steel mesh, wire, recycled ground
plastic, glass frit $2,800
Beneath the Waves 1 stainless steel mesh, wire, recycled ground plastic, glass frit
$1,500 Beneath the Waves 2 stainless steel mesh, wire, recycled ground plastic, glass frit $1,500 Beneath the Waves 3 stainless steel mesh, wire $1,500
Beneath the Waves 4 stainless steel mesh, wire $1,500 Beneath the Waves 5 stainless steel mesh, wire $1,500
Air Filtration Cube stainless steel mesh $600 Constellation
Maker 3 Glass frit,
string, wire POR
A Gaggle of Baskets stainless steel mesh, wire $750 ea Flora Grid bronze
mesh, recycled ground plastic, glass frit, paper, silicone NFS
Blue Grid
stainless steel mesh, paper, silicone, glass
frit $3,500
LANNY BERGNER RESUME W O R K S H O P S G I V E N Two Day Basketry Workshop
Los Angeles Basketry Guild
Camp Stevens,
Julien, CA, 2010 Three Day Basketry Workshop
National Basketry Organization Conference
Portland, OR, 2009 One Day Basketry Workshop
Northwest Basketry Guild
Seattle, WA,
2009 Two Day Metal Mesh Workshop
College of Arts and Craft
Portland,
OR, 2008 Two Day Sculptural Basketry Workshop
Craft Alliance
St. Louis, MO, 2007 One
Day Workshop/Lecture
Ewa University and the
Korean Craft Guild
Seoul, Korea, 2007 E D U C A T I O N Tyler School of Art, Philadelphia, PA
M.F.A. in sculpture, 1983 University of Washington, Seattle, WA
B.F.A. in sculpture, 1981 A W A R D S & G
R A N T S
| 2009 | Artist Trust GAP Grant
Artist Trust, Seattle, WA
Vermont Studio Center residency support |
| 2008 | Best of Show, Beyond Basketry, Dairy Barn Art Center
Athens, OH |
| 2005 | Gold Prize, 4th Annual Cheongju International Craft Biennale
Cheongju-city, Korea
| | 2000 | Artist Trust GAP Grant
Segourda Familia, The Gourd Project
Artist Trust, Seattle, WA
| | 1999 | Jurors’ Award, Annual Northwest International Art Comp.
Whatcom Museum, Bellingham, WA | | 1999 | Mary McIntyre-Gorrell Award, Northwest International
Art Comp.
Whatcom Museum, Bellingham,
WA | |
1997
| Artist
Trust Crafts Fellowship
Artists Trust,
Seattle, WA | | 1997
| Jurors’
Prize, Annual Northwest International Art Comp.
Whatcom Museum, Bellingham, WA | | 1995 | Seventeenth Annual Betty Bowen Memorial Award
Seattle Art Museum, Seattle, WA
| | 1995 | Artist Prize, Annual Northwest International Art Comp.
Whatcom Museum, Bellingham, WA | | 1991 | Visual Arts Fellowship
Pennsylvania Council on the Arts
| | 1990 | Sculpture Prize, Contemporary Philadelphia Artists: A Juried
Exhibition
Philadelphia Museum of Art,
Philadelphia, PA | | 1989
| Best
of Show, Biennial ‘89
Delaware Art
Museum, Wilmington, DE | | 1989
| Mildred
Bougher Prize, Works on Paper
Beaver
College Art Gallery, Glenside, PA | | 1987 | Visual Arts Fellowship
Pennsylvania
Council on the Arts | | 1985
| Charles
Gohn Sculpture Award
Doshi Center for
Contemporary Art, Harrisburg, PA | | 1983 | Alumni Award, most outstanding graduate student in painting, drawing and sculpture
Tyler School of Art, Philadelphia, PA
| | 1981 | Best of Show, Bellevue Arts and Craft Exhibition
Bellevue Art Museum, Bellevue, WA | | 1981 | Second Place in Sculpture, Northwest Annual
Tacoma Art Museum, Tacoma, WA | | 1981 | Ford Fellowship
University of Washington, Seattle, WA |
S O L O E X H I B I T I O N S | 2009 | George Caleb Bingham Gallery, University of
Missouri, Columbia, MO | | 2009
| "Luminosity",
Prichard Gallery, University of Idaho, Moscow, ID |
| 2009 | "Cosmology", Skagit Valley College, Mount Vernon, WA | | 2007 | “Matrix”, Jane Sauer Gallery, Santa
Fe, NM | |
2007
| Snyderman/Works
Galleries, Philadelphia, PA | | 2006 | “Entering Ether”, Museum of Northwest Art, La Conner, WA
| | 2006 | “Ether Space and Screen Works”, Shoreline Community
College, Shoreline, WA | | 2003-04
| "From
the Garden", Bellevue Community College, Bellevue, WA |
| 2002 | "Strange Fruit", Mobilia Gallery, Cambridge, MA | | 2002 | "Dream Botanica", Bush Barn Art Center,
Salem, OR | |
2002
| "Phantasmagoria",
South Bend Regional Museum of Art, South Bend, IN |
| 2002 | Port Angeles Fine Art Center, Port Angeles, WA
| | 2001 | Elliott Brown Gallery
| | 1999-00 |
Whatcom Museum, Un/Natural World, Bellingham WA | | 1996,
1993,
1991
| Gallery
K, Washington, DC | | 1996
| Commencement
Art Gallery
Tacoma Arts Commission,
Tacoma, WA | | 1996
| Allied
Arts of Whatcom County, Bellingham, WA | | 1996 | Foundation Gallery, Skagit Valley College, Mount Vernon, WA | | 1993,
1991,
1988
| Locks
Gallery, Philadelphia, PA | | 1988 | Swarthmore College, Swarthmore, PA |
| 1984 | Samuel S. Fleisher Art Memorial, Challenge #1, Philadelphia, PA |
P U B L I C C O L L E C T I O N S Central Museum of Textiles, Lodz, Poland Museum
of Art and Design, New York, NY
Museum of Northwest Art, La Conner, WA Cheongju International Craft Biennale, Cheongju-City,
Korea Swedish Hospital, Seattle, WA Landmark Bank, Columbia, MO Skagit Valley College, Mount Vernon, WA Island
Hospital, Anacortes, WA Multnomah County, Regional Arts and Culture Council, Portland, OR Fleisher
Art Memorial, Philadelphia, PA First National Bank, Columbia, MO Woodmere Art Museum, Philadelphia, PA Whatcom
Museum, Bellingham, WA Seattle Art Museum, Seattle WA Water Department Portable Works Collection, Seattle,
WA Delaware Art Museum, Wilmington, DE Philadelphia Museum of Art, Philadelphia, PA Walker
Hill Art Center, Seoul, Korea Philadelphia International Airport, Philadelphia, PA P U B L I C C O M M I S S
I O N S
| 2010 | "Dream of the Infinite"
Bremerton High School
Bremerton, WA
Washington State
Arts Commission | | 2005
| "Amulet
for Creative Learning"
Giaudrone
Middle School
Tacoma, WA
Washington State Arts Commission
| | 2003 | "Forest Sky"
Anacortes Public Library
Anacortes, WA | | 1994 | "Earth Bound"
City of Philadelphia,
Percent for Art
Philadelphia International
Airport | S E L E C T G R O U P E X H I B I T I O N S | 2010 | 13th International Triennial of Tapestry
Central Museum of Textiles, Lodz, Poland | | 2010 | Intertwined: Contemporary Baskets from the
Sara and David Lieberman Collection
Museum
of Arts and Design
New York, NY |
| 2010 | Connecting with Contemporary Sculpture
Museum of Art and Archaeology
Columbia, MO | | 2010 | WOVEN
Pacini Lubel Gallery
Seattle, WA | | 2009 | The Cabinet of Natural Curiosities
Dunedin Fine Art Center
Dunedin, FL
| |
2009
| Fragile
Existence
Bellevue Community College
Bellevue, WA
| |
2009
| Web
and Flow
Textile Center
Minneapolis, MN
| |
2008
| Patterns
Rythms
Los Angeles Municipal Art Gallery
Los Angeles, CA (catalog) | | 2008 | Bellevue Sculpture Exhibition
Bellevue
City Hall
Bellevue, WA |
| 2008 | Featured Object
Bellevue Arts Museum
Bellevue, WA
|
| 2008 | Beyond Basketry
Dairy Barn Art Center
Athens, OH
(catalog) |
| 2008 | Beyond Boundaries
Arther Ross Gallery, University of Pennsylvania
Philadelphia, PA | | 2008 | Interlaced
Hoffman Gallery, College of Arts and Craft
Portland, OR | | 2007 | Cheers, A MAD Collection of
Goblets
Museum of Art and Design
New York, NY
| |
2007
| Finding
Lost Values
5th Annual Cheongju International
Craft Biennale
Cheongju-City, Korea (catalog)
|
| 2007 | Baskets as Architecture
Mobilia Gallery
Cambridge,
MA |
| 2007 | Mysteries Contained
Craft Alliance
St. Louis, MO
(catalog) |
| 2006 | Nature’s Matrix
Philadelphia International Airport
Philadelphia,
PA |
| 2006 | 5TH International Fiber Biennial
Snyderman/Works Galleries
Philadelphia, PA | | 2006 | Basket R/Evolution
Fuller Craft Museum
Brockton, MA | | 2005 | Intertwined: Contemporary Baskets
from the Lieberman Collection
Arizona
State University Art Museum
Tempe, AZ (catalog)
(traveling) | | 2005 | A New World View
National Craft Gallery
Kilkenny, Ireland | | 2005 | Hide and Reveal
4th Annual Cheongju International Craft Biennale
Cheongju-City, Korea | | 2005 | Material Content: Basketry Sculpture in the 21st Century
Craft Alliance
St
Louis, MO (March 18 - May 15) | | 2004 | Looking Forward, Glancing Back: NWDC at Fifty
Whatcom Museum
Bellingham, WA |
| 2004
| SOFA
Chicago
represented by Snyderman-Works
Galleries
Philadelphia, PA |
| 2003 | Cheongju International Craft Biennale "Use"
Cheongju-city,Korea
| |
2003
| Craft
Houston 2003: National
Houston Center
for Contemporary Art
Houston, TX |
| 2002 | Jellies: Living Art
Monterey Bay Aquarium
Monterey,
CA |
| 2002 | NWDC,
Centro
Cultural Costarricense-Norteamericano San Jose, Costa Rica |
| 2001
| Evidence
of the Body, NWDC
Seattle Convention
Center, Seattle, WA | | 2000 | Future Vision/Art Outside
Port Angeles Fine Art Center, Port Angeles, WA
| |
2000
| Fiber
In/Form: Materials, Process and Meaning
Pritchard
Art Gallery, U. of Idaho
Moscow, ID |
| 1999 | "NWDC Y2K"
Governor’s Gallery
Olympia,
WA |
| 1999 | Featured Artist
Anacortes Arts Festival
Anacortes,
WA |
| 1999 | 19th Annual Northwest International Art Competition
Whatcom Museum
Bellingham, WA | | 1998 | Twenty Philadelphia Artists:
Celebrating Fleisher Challenge @ Twenty
Philadelphia
Museum of Art
Philadelphia, PA |
| 1998 | 20X12: A Generation of Challenge Artists
Fleisher Art Memorial
Philadelphia, PA | | 1998 | 20th Anniversary of the Betty
Bowen Award
WA State Convention and Trade
Center
Seattle, WA | | 1998 | 17th Annual NW International Art Comp.
Whatcom Museum
Bellingham, WA
|
| 1996 | Recent Northwest Acquisitions
Seattle Art Museum
Seattle,
WA |
| 1995 | Fiber ‘95, Textile Arts Centre
Juror Janet Koplos
Chicago, IL | | 1995 | 15th Annual Northwest International Art Comp.
Whatcom Museum
Bellingham, WA |
| 1994
| Fire
and Ice
Clymer Art Museum and Gallery
Ellensburg, WA
| |
1994
| Sculpture
‘94
Sharadin Art Gallery, Kutztown
University
Kutztown, PA | | 1994 | Rutgers National, ‘94 Works on Paper
Stedman Art Gallery
Camden, NJ |
| 1993 | Sculpture, Morris Gallery
Pennsylvania Academy of the Fine Arts
Philadelphia, PA | | 1993 | Forever Emerging
Chester Springs Studio
Chester Springs, PA
| |
1992
| Process
to Presence: Issues in Sculpture 1960-90
Locks
Gallery
Philadelphia, PA |
| 1992 | Hard Choices/Just Reward II
Southern Alleghenies Museum of Art
Lorretto, PA | | 1991 | Philadelphia Art Now, Institute of Contemporary Art
Penn State University
Philadelphia, PA
| |
1990
| Contemporary
Philadelphia Artists
Philadelphia Museum
of Art
Philadelphia, PA | | 1990 | Rutgers National, ‘90, Works on Paper
Stedman Art Gallery
Camden, NJ |
| 1989 | Contemporary Fibers
Moreau Galleries, Saint Mary’s College
Notre Dame, IN | | 1989 | Biennial ‘89
Delaware Art Museum
Wilmington, DE | | 1989 | Works on Paper
Juror Ned Rifkin
Beaver College Art Gallery
Glenside, PA | | 1988 | En Masse/Fiber
Saint Louis Gallery of Contemporary Art
Saint Louis, MO
| |
1988
| Altered
Sites
Arboretum at the Horticultural
Center
Philadelphia, PA | | 1987 | Four Contemporary Artists
Allentown
Art Museum
Allentown, PA | | 1986 | Fiber R/Evolution
University
Art Museum, University of Wisconsin
Milwaukee,
WI | 
December 3 - 31, 2010
THIS IS US: Tom
Lindsey / Patty Klamser /
Sue Roberts / Allen
Moe 
Sue Roberts with "The Nice Guy Next Door" painted clay, wax, $3000
Artist's Statement From a young age I have been inspired by the human figure, so sculpting the figure
just seemed to come naturally to me. I especially enjoy the challenge of capturing in clay the range of our inner psyches,
manifesting through the figure's gesture, posture and expression. Humor and social commentary play a large
part in my work, especially that of family and relationships. Culturally, we generalize the concept of family and relationships,
turning them into more of an ideal than reality. Having fun with those generalizations, underscores the importance of taking
ourselves more lightly or the limitations of becoming stuck within our own thoughts and perceptions. For me, there is a powerful
inner strength that arises in being playful and open to new and different ideas and experiences. As an artist, that strength
inspires and excites me to keep thinking differently about the human world and at the same time, push myself creatively.
Sue Roberts
"Yer Lil Darlin'", Sue Roberts, painted clay, $2800 SOLD
"Listeners", Sue Roberts, painted clay, $2800
"Needy" by Sue Roberts, painted clay, $2800
"Within Reach", Sue Roberts, painted clay, $2800
"Watchful", Sue Roberts, painted clay,resin, $2850
|
|
| Reception Dec 3rd: THIS IS US, great turn out! |
Patty Klamser with her new large
oil painting "The Playground". oil on canvas, $800
Patty Klamser Six Figures Oil
on canvas $500 for Complete Series
Patty
Klamser Evening Shadows oil on canvas $700 Patty Klamser On the Rise oil on canvas
$425 
Patty Klamser The Playground oil
on canvas $800
Tom Lindsey with his new wall works
Artist Statement Opus Mixtum Series (Mixed work): The term is derived from an ancient Roman masonry construction
technique of mixing a variety of linear patterns of stone or brick in walls or as pavers. These bas-relief sculptures have
evolved from a series of diazo prints where I would established an underlying matrix grid. By utilizing a technique called
‘pin registry’ I could build multiple images through serial development and random generation. While working on
that series I always envisioned the resulting prints as being more robust and dimensional which lead me into this body of
work.
While Allen Moe is capturing the elegant and very sensuous pattern forms that
water carves through sand I am engaging the patterns of cultural overlay; patterns that initially emerged as agrarian peoples
impressed the organization of early civilization onto the landscape in the form of the grid, first as partitioned fields,
stone fences, as pathways evolving into villages, towns into urban centers and temple complexes; then of course eventually
resulting in our 21st century sprawl as the grid matrix envelopes the planet.
All of my
work as a sculptor tends toward structure and/or constructivism. I am a builder of things and a manipulator of forms and have
never been attracted to carving stone or wood or forming clay. Then there is my architectural influence which tends to lead
my thinking toward scale so that I often look at these small pieces as though they were in a larger more monumental format
and often visualize them as landscape studies.
Thomas Lindsey 2010
Tom Lindsey
Opus
Mixtum Series foil, wood, metal $875 each
Tom Lindsey
Opus
Mixtum Series #6 foil, wood, metal $875 
Tom Lindsey The Poet’s Box Mixed media $950 
Opus Mixtum
1
foil, wood, metal
$375
Opus Mixtum 2 foil, wood, metal $375 
Allen Moe with his new castings
from the Skagit River
Artist Statement These are patterns
of drift, the way water participates in the distribution of matter. I like thinking about sand as the remains
of a long-ago mountain range, finally yielding. The castings are like photographs in that I go out into nature and come
back with negatives (plaster or silicone molds) from which I then cast a positive. Unlike a photograph they are not a record
of a particular moment of light but of physical presence. As the day passes, they change.
I made these castings at the mouth of the Skagit River during low tide when the sandbars were revealed
for a few hours and then obliterated by the incoming tide. I was impressed by how perfect, how precise the sand patterns were,
just emerged and untouched by the degradation of time, and I was struck by how quickly they were gone. Allen Moe
2010
New
cast work in Allen Moe's studio
October 28, 2010 3:45 pm Skagit Bay Modified cement & graphite $850
October 13, 2010 4:40 pm 1
Skagit Bay Modified cement & graphite
$850
October 13, 2010
4:40 pm 2 Skagit Bay
Modified cement & graphite $850
November
12, 2010 4:45 pm Beaver Slough
Modified cement & graphite $450
October 29, 2010 5 pmSkagit Bay Modified cement & graphite $450
November 8, 2010 noon Skagit Bay Modified cement & graphite
$450 October
1- November 27, 2010 Four
Friends: New Work
image: "Those Who Know
History Are Doomed to Repeat It" , Russell Prather, acrylic on layered Plexiglas, 36" x 46".
"Four Friends: New Work", a group exhibition
by Russell Prather, Carol Phillips, John Harmon and Jean Behnke brings together diverse work by four friends living at a distance
from each other, presenting work in
a broad range of technique, connected by the layering of visual information and meaning in their processes.Included is work by Russell Prather, complex layered works in acrylic medium on Plexiglas made in exacting detail
and driven both by philosophical curiosity and intuition. Russell holds a PhD in English from the UW
and is an Associate Professor in the English Dept. at NMU in Marquette, Michigan.
Jean Behnke, combines materials in a non-traditional way by reordering common
and domestic objects and materials for her own intentions. Her work on paper produces experimental prints and drawings that
overlay figurative and environmental translations. Her sculpture re-presents gathered and modified
objects making invented forms in response to both the sobering and the delightful
dichotomies she perceives in the world around her. She is a
graduate of Cornish College and holds an MFA in Ceramics from UTSA. She has exhibited nationally for over 35 years
and her work has been reviewed in Artweek and Art in America. Jean is currently the Founder/Curator of Anchor art space,
an exhibition space with a broad focus including installation and video.
Carol Phillips paints the world of self and the world of fantasy as one picture in her elegant
images. Using layers of saturated color in oil on board, figure and ground share continuous line and shape with overlaid references
to human, plant and animal forms defining an imagined reality. These beautifully fluid works in oil on wood and paper contain
organic forms and swirling figures and make reference to magic realism. The culmination of her exploration in saturated color
reveals a sense of what interconnectededness might look like in a fortuitous dream. Carol holds a BFA in Art from the UW and
is Curator for the Marquette Arts and Cultural Center and Director of the Liberty Children's Art Project in Big Bay,
Michigan. John Harmon is curious about how our
world (both natural and artificial) is put together, organized, and taken apart. Everything he makes has its source or start
in observations of the world. Whatever he makes or constructs, responds to what he sees or how he perceives what he sees.
In Harmon’s
own words, “To make an object, a sculpture - this is strongly connected to the idea of change - reconstructing
and redefining an idea, changing the memory, changing the shape, changing the rationale. There are also innate qualities
pertaining to a physical “thingness” which are important to me.” John holds an MFA
in Ceramics from UTSA. Director of Ceramics at the Riverside Arts Center in Chicago, he has also taught at Concordia University
and at Midland College in Texas and has lectured and held workshops in Ohio, Texas, and Idaho. John is currently teaching
at the college level in near his home in Chicago.
|
| Russell Prather |
Russell Prather
My
art is motivated in part by curiosity as to what remains when habitual ways of making sense of images and objects are frustrated.
A strategy my paintings use in this pursuit is to pose various not-easily-reconciled perceptual and conceptual dilemmas
on the hope, paradoxical though it may seem, that the less availing our ways of understanding the things we see, the better
able we will be to apprehend their singularity and complexity.
Most of my paintings are made from acrylic films and inks applied to layers of Plexiglas,
assembled into think palimpsest-like objects that hang on the wall; you don’t so much look at them as into
them. My layering technique is itself mildly confounding in that the images formed by these stacks of
flat surfaces seem more than two- but not quite three- dimensional. They layering also leaves each painting
in an unresolved state; the self-portrait Dreaming, for example, made of nine discrete layers, appears to be coming
together and coming apart at the same time. Such instability can be compounded when these layered objects
are arranged in modular diptychs, triptychs and tetraptychs; the play of similarity and difference among the juxtaposed
components of Plastic Orgiastic II, for example, or Regeneration Diptych, leave it difficult to identify
any particular element as an original or reiteration. A comparable quandary concerning originality in my
work lurks in pieces like Those Who Know History Are Doomed To Repeat It, and in the panels comprising Frontier
Tetraptych, for these unique images consist entirely of appropriated ones. Works on paper like
Bermuda Triangle Carnival Cruise or Canadian Moose Takes Flight, on the other hand, were designed spontaneously
but in a way that blurs distinctions between figurative and “abstract” imagery. Narrative elements
in my work- including collaborations with Carol Phillips: In Memoriam Yellowbelly Marmot and Fruit Boat-
also reflect a drive toward the undecidable in the ambiguous encounters they depict. The third element,
Water, in Frontier Tetraptych, for instance, contains a cowboy in a boat and an “Indian” bobbing
at the surface of the water. But in this scenario, it is not clear whether the cowboy’s lasso is
there to capture or save the Indian, nor whether the Indian’s glowing torch is a rescue beacon or a lure… The idea of the frontier- the middle space dividing and uniting
territory and wilderness, the known and the unknown- helps to locate my work, and to account for my uncertain status as an
insider or outsider artist. For though I have happily sought much formal education, in philosophy, creative
writing and English literature, I have at the same time avoided formal training in the visual arts, acting
on the scruple that it is better to figure some things out for yourself.
|
| Carol Phillips |
I began
my work as an artist in the area of ceramics with wheel thrown and hand built forms, both functional and nonfunctional.
These organic forms with continuous line have found their way into my paintings and despite an occasional effort to
expel them, are stubbornly dominate. Concerning color, the saturated colors that dominate my paintings
are influenced by folk and outsider art. On the other hand, I do recall from a young age being very disappointed
when my paint-by-number sets had only one brilliant color to be applied to a tiny area amidst masses of brown and gray, so
perhaps it’s just a natural preference. As for content – the images that show up in my work
seem to escape explanation for the most part. I suppose I am always creating a kind of self-portrait and
that all are a fantasy of something I would like to experience on some level. Carol Phillips Jean Behnke
I work combining materials in a non-traditional
way and produce experimental prints and drawings. Jean is a graduate of Cornish College and holds an MFA
in Ceramics from UTSA. She has exhibited nationally for over 35 years. Her work has
been reviewed in Artweek and Art in America. Jean served for many years on the Cornish
Alumni Board and as exhibition coordinator for the Lopez Island Library. Among other activities, Jean exhibited
at the Hunt Gallery at Webster University in St. Louis, curated an exhibition for the Island Museum of Art in Friday Harbor
and served on the 911 Media Arts Center Board in Seattle. Jean is currently the Founder/Curator of Anchor
art space, an exhibition space with a broad focus including installation and video. Anchor art space is
located in Anacortes, WA exhibiting the work of artists from the Northwest and beyond.
John Harmon
To make an object, a sculpture - this is strongly connected
to the idea of change - reconstructing and redefining an idea, changing the memory, changing the shape, changing the rationale.
There are also innate qualities pertaining to a physical “thingness” which are important
to me. Lately, these qualities have a heightened significance - a response possibly to the digital engagement
of my day-to-day life. I am curious about how our world (both natural and artificial) is put together, organized,
and taken apart.
Everything I make has its source or start in observations of the world.
What I make or construct, responds to what I see – or how I perceive what I see. John
Harmon
Todd Horton: new paintings
toddjhorton.com
|
|
| "Morning Mist Along the Samish" SOLD |
Ann Reid: Traps cut paper series
twoartsisters.com
|
| Tide Trap, 2010 |
|
| Tree Trap |
|
| Cloud Trap |
|
| Fern Trap |
Michael
Johnson: sculptural selections
michaeljohnsonsculpture.com
|
| "BENDER" |
|
| "HOPPER"- SOLD |
|
| "PLUG"- SOLD |
|
| "INSTRUMENT" |
|
| "FILTER" |
|
| "SMALL FILTER"- SOLD |
July 2 - 31 Geneviève
Castrée:
"Ceux Qui Ne Sont Plus"(The Dead) drawings, paintings and objects Performance: July 18th, 8:30pM
Anchor Art Space is pleased to present recent drawings, paintings and objects by Genevieve Castree.
Quebec native
Genevieve Castree produces highly crafted work on an intimate scale. Her fearless sensibility brings us close to a universal
existence of loss and suffering. This contrast with the work's scale makes viewing them a penetrating and beautifully sorrowful
experience.
Also an interdisciplinary artist, Castree occasionally adds music and performance
to her work, and records and plays concerts under the name "O PAON." She has shown work in Canada, the United States,
Europe, Australia and Japan. image: "Yukio" and "Marie",
2010.
|
|
March 5 - April 24, 2010 Stephen Kafer: Selected wall works... some thoughts
|
|
May 7th - June 26th, 2010 Long Drawn Out Process: an exhibition of drawing and installation John Feodorov, Carolyn Law, Margaret Davidson,
Kathryn Glowen, Ron Glowen, Jean Behnke, Natalie Niblack, David Ryan, Ann
Reid, Gail Grinnell, Jane Frances Lloyd,Genevieve Castree, Phil Elverum, Joe Behnke, Jaimie
Terada, Kate Clark, Melissa Madsen, Larry
Calkins 
NATALIE NIBLACK
RON GLOWEN
MARGARET DAVIDSON
ANN REID
JANE FRANCES LLOYD
LARRY
CALKINS
GENEVIEVE CASTREE
JOE BEHNKE
Anchor artist Profile David Ryan  I was once asked in an interview if there was any particular method I used to approach such a variety of projects.
I replied...
...for me it is important for the designer to ignore style and instead search for
the soul of an object. To search for its true nature, its 'suchness'. I believe that every potential object has its own
unique character which should not be imposed by the designer, but rather discovered through a rigorous design process. In
order to find the 'soul' of an object one must venture to its source, discarding all superfluous and superficial aspects.
This design process is well illustrated by the story about a famed Indian carver of elephants. When asked how such beautiful
elephants were carved, he simply replied - "Oh! it’s really quite simple. I get a piece of wood and remove everything
that is not elephant!"
This is the most important and satisfying aspect of design for me,
the search for the true object, to discover the familiar in the unfamiliar.
I hope there is some
evidence of this in the following work.
Studies for a direct drawing at Anchor art space, Long
Drawn Out Process exhibition, 2010.
Anchor
Artist Profile
Margaret Davidson
|
| "Button Gap", colored pencil on Nideggan paper, 22 1/2''x 22 3/4'', $900 |
|
| detail |
|
| "Burning Gap", colored pencil and soot on BFK paper, $800 |
RESUMEMargaret A. Davidson e-mail:
margar@cnw.com Telephone: 360-445-2605 (personal website under construction) EDUCATION MFA
printmaking and drawing
University of Washington, Seattle, WA BFA
printmaking
University of Michigan,
Ann Arbor, MI Certificate, Norwegian Arts and Crafts and
Norwegian Literature
University of Oslo International Summer school, Oslo, Norway
WORK 1993 to present
Instructor, Gage Academy of Art, Seattle, WA 1989 to 2001
Instructor, Pratt Fine Arts Center, Seattle, WA 1992,
1993,1994
Faculty, Cornish College of the Arts, Design Dept.,
Seattle, WA 1997, 1994, 1993, 1991 ,1990
Visiting Instructor, Indiana State University, Terre Haute,
IN
EXHIBITS
May 2010
A Long Drawn Out Process, group drawing exhibition
Anchor art space, Anacortes, WA
April 2009
G8 – Paintings and Drawings
Burien Art Gallery, Burien, WA March 2007
New Drawings
Zeitgeist Kunst Kaffee, Seattle, WA January 2007
Obsessive Art
Steele Gallery, Gage Academy of Art, Seattle, WA September 2006
Works on Paper and Vellum Rexville
Grocery, Mount Vernon, WA October 2005
Tails . . .Tales. . .Invitational
The Edison Eye Gallery, Edison, WA May 2005
Celebrate * Skagit Valley * Artists XI
Skagitonians to Preserve Farmland Benefit
The Edison Eye Gallery, Edison, WA January 2005
MFA Alumni Invitational Exhibition
SAM Rental/Sales Gallery, Seattle, WA January 2005
Director’s Cut
Depot Art Center, Anacortes, WA July 2004
“Somnolence”
Edison Eye Gallery, Edison,
WA August 2003 “Two
Forks at the Mouth, A Feast of Art from the Skagit River Delta”
The Edison Eye Gallery, Edison,
WA April 2003
26th Annual Art on Paper
Maryland Federation of Art, Annapolis MD March 2003
“Hotshots”
The Edison Eye Gallery, Edison,
WA May 2002
"Gimme Shelter" Interiors
Exhibit, Focus Gallery
Seattle Art Museum Rental/Sales Gallery, Seattle, WA July 2001
An Uncommon Stillness, a still life
invitational
Fountainhead Gallery, Seattle, WA May
2001
"Real Drawers Don't Scribble, five different views of reality"
The Edison Eye Gallery, Edison, WA February 2001
"Entwined Energy", basketry paintings in conjunction with the Annual Native Basketry Show
Snow Goose & Associates Gallery, Seattle, WA January 2001
Northwest Women Illustrators
Frye Art Museum, Seattle, WA April 2000
Realism Exhibit, Focus Gallery
Seattle Art Museum Rental/Sales
Gallery, Seattle, WA January 2000
"Visions 2000, Art in Nature" Millenium Show of the
Guild of Natural Science Illustrators, Northwest Chapter
Washington State Convention
and Trade Center, Seattle, WA July 1999 "Realism
Knows No Bounds", Sixth Annual Realism Invitational
van de Griff Gallery, Santa Fe, NM February
1999
"Still Life"
Linda Hodges Gallery, Seattle, WA June 1998
"25 by 25" 25th Anniversary Celebration
Seattle Art Museum Rental/Sales Gallery, Seattle, WA
September 1997
Drawings and Paintings, Two-person Show with Alfred Harris
Kittredge Gallery, University of Puget Sound, Tacoma, WA February 1997
"Stitches", paintings of Native American baskets
Goose & Associates Gallery, Seattle, WA November 1996
The Chair
Northwest Gallery of Fine Woodworking, Kirkland, WA <!--[endif]--> August 1996
Pacific Northwest Annual
Bellevue Art Museum, Bellevue, WA July 1996
"Picturing Natural History"
Smithsonian Institution,
Washington, DC PUBLICATIONS2008
Ten Degrees of Reckoning
by Hester Rumberg
all maps 2003
Spruce Root Basketry of the Haida and Tlingit by Sharon
Busby
Marquand Books and University of Washington Press
Seattle, WA
all illustrations 1997
Alaska Archaeology Week Poster National Park
Service
Anchorage, AK 1996
The Archaeology of the Yakutat Foreland: A Socioecological View, Vols I and II
by Stanley Drew Davis
Dissertation for Texas A&M University all maps and
artifact illustrations 1996 Into
the Wild
by Jon Krakauer
Villard Books
New York, NY
all maps 1996
Smithsonian Magazine “The Refined
Art of Picturing Natural History” by Diane M.
Bolz
Volume 27, Number 3, June 1996, p. 60 1990
Basketry: The Nantucket Tradition
by John McGuire
Lark Books, Asheville, North Carolina
interior basket illustrations 1990
Color Trends
edited by Michele Wipplinger
Color Trends, Seattle,
WA
cover art and interior
illustrations DAVID RYAN
KATE CLARK
JEAN BEHNKE
|
|
November 6 - 30, 2009 tangle : New work by Kathryn and Ron Glowen at Anchor art space
tangle is an exhibition of recent works in a variety
of materials that draws inspiration and reference to the patterns of disorder and the undifferentiated condition of the natural
world. tangle is unbounded and messy ”it is clouds, brambles,
dust bunnies. It is lively and complex. tangle is not the straight line, the golden mean. Martha Stewart. Kathryn Glowen a third-generation resident of the coastal Pacific Northwest. The natural world is her surrounding
and essential inspiration, yet she is equally as influenced and inspired by the ways that we examine, interact with and investigate
that world. Her visual language is
derived from the universal (as in the night sky) and the particular (the structure of a leaf or a wasp nest). She is also
drawn to the texture of printed language, particularly dictionary pages, maps and paper ephemera such as postcards, stamps
and package labels. Recent works have focused on the incredibly rich decorative patterns of men's silk neckties as a
material used in her dense, lush color panels. Several of these works were included in the recent exhibition "Finds Refined"
at the Museum of Northwest Art in La Conner, Wash.
In addition to studio works, Kathryn has also worked in
sculptural and installation modes. A major opus, a museum-scale installation titled PETLAND: One Woman's Century, was created
from the personal and business effects of a female proprietor of a pet store in pre-WWII Spokane, Wash. Debuting in 1997,
PETLAND was exhibited at 13 museum and university gallery venues including the Tacoma Art museum (1998) the Whatcom Museum
(2001), and most recently in 2006 at the Museum of Art and Culture in Spokane, Wash.
Ron Glowen is a "semi-retired"
art critic and writer who occasionally collaborates with Kathryn. He has exhibited his own work (drawings, paintings, architectural
works) in several solo and group exhibits including the Eastern Washington University Art Gallery and Noodleworks, an artist
studio complex in Seattle. Kathryn
and Ron live on a farm near Arlington, Wash. tangle exhibited
at Anchor art space November 6th - 28th, 2009. A comprehensive catalog for the exhibit and the Glowen's work will be published
in 2010.   
December 4 - 26 Hands at Work: by Iris Graville and photographs by Summer Moon Scriver
Jeffrey Hanks: Amphorae
Rebecca Meloy, Cascadia Tree Suite, blockprints
October 2 - 31Jim Romberg: Raku Ceramics
Jim
Romberg has been making Raku Ceramics for 37 years. His work in Ceramics began at Pottery Northwest in Seattle, later earning
an undergraduate degree from Pomona College in Ancient and Medieval History, and going on to receive an MFA from the Claremont
Graduate School in Ceramics. Recently retired as Professor Emeritus from Southern Oregon University, Jim has established
a studio in Abiquiu, New Mexico. Deeply engaged with the history and practice of Raku Ceramics Romberg’s work integrates
sculptural and wheel thrown forms with a colorful painterly surface bearing the distinct marks of the raku engagement with
fire and smoke. His work is in collections throughout the U.S. & Europe. Jim has exhibited throughout the United
States, Canada and Europe as well as giving workshops. He is a Board Member of the National Council for Education in the
Ceramic Arts where he is project director for an international symposium on Criticism in the Ceramic Arts titled CRITICAL
Santa Fe, to be held in Santa Fe, New Mexico in October, 2010. As a member of the International Academy
of Ceramics based in Switzerland, Romberg will be presenting work and a paper at the biannual meeting in Paris, France in
2010.  
September 4 - 26 Jane Frances Lloyd: Kudoku series
September
4 - 26, 2009 Jerome Marshak
August
7 - 29 Jane
Frances Lloyd
August 7
- 29, 2009 Chris Watts: Selections
July
3 - 31, 2009 Phil Elverum: In Dreams 
During What the Heck Fest,
co-organized by Anchor artist Phil Elverum, Anchor art space hosted a talk and presentation
by Rich Jensen on the subject of Space
City.
Statement- Rich Jensen -Space City Intensive installation and discussion July 2009
|
|
|
|
A Space City Intensive It follows from a fascinating summer's day a group of friends from Olympia spent together in 1985. The day
involved an expedition from Olympia to a pioneer dairy farm east of Big Lake where the group visited a singular self-taught
artist and tinkerer, Frank Reinhard. The group collected several hours of audio
documentation of the visit with Frank. Some samples of this audio will be available for review as a part of the presentation
this Friday evening, July 17th at Anchor art space as part of What the Heck Fest. Installation opening from 5:30 - 9:00 pm. A free event.
Frank was the creator of a roadside attraction that he called Space City,
a free home-made futuristic display which he maintained in his front yard as a public amenity for the enjoyment of thousands
of visitors from about 1956 until 1962 when he became concerned about becoming the target of vandalism.
My hope is that the installation will provide an opportunity for the What the Heck audience (and other interested
persons and passersby) to reflect on the social and historical context of their community, the experience of decades passing,
and problematic conditions that surround and infuse the public presentation of artistic work and exploration.
About
8pm there will be a reunion of friends that visited Frank Reinhard, creator of Space City on that day trip from Olympia in 1985 We will have a public-oriented talk
about our recollections of that particular day, about visiting with Frank, and what the heft of 25 years feels like.
We'll see how conversation goes, hopefully with some energy from the audience, and then we'll play some audio from
the day with Frank. Written by Rich
Jensen, edited by Jean Behnke, curator Anchor art space, July 2009
|
|
|
|
June 5 - 27, 2009
Carolyn Law: 'Noting'
May 1 - 30 Michael Berman: "Between Sky and Sea"
April 3 - 2, 2009 Cynthia Nawalinski: "Altered Maps"
March 6 - 28, 2009 Neal Anderson
March
6 - 28, 2009
Sylvia Chesley Smith
December 6, 2008 - February 15, 2009 Peter de Lory: "Roads"
|
|
|
|
|
|
|
|
|
