ArtsLink

Currently on display at Gallery4Culture is an exhibition of new photographs by Seattle artist
Adam Satushek.

These large scale photographs arise from the artist wandering the landscape and discovering oddities. The found arrangement of houses and trees, two major elements of the modern domestic landscape, is isolated and preserved.

Houses shelter us from the elements; they are vessels that enable us to live comfortably in the landscape and represent our occupation of the world. Trees live among us and exist in various forms and permutations: as thriving organisms, as raw materials, and in images. In these various forms, trees manifest nature in the landscape. Houses and trees intermingle across the landscape, and exemplify the knitting of humans with nature. As we look closer, these houses and trees become transitory, illusory, and ultimately, our ideas of them become disconnected from their functions.

July 3 - August 1, 2008
4Culture Gallery
For more information, visit 4culture.org

Unveiled for the first time, Dare alla Luce is Greer’s largest and most intricate artwork to date. The room-size installation is featured as part of a larger selection of works drawn from the artist’s last decade of activity. From Skin Tight (1999) to Small But Mighty Wandering Pearl (2006), this survey highlights Greer’s recurring themes of romantic love, eroticism, fetishism and motherhood.

Greer’s exploration of the sensuality of life is reflected in the sensuousness of her medium. The materials mirror the body in its dual reality of emotional and corporal: soft vs. hard, vulnerable vs. strong, huge vs. delicate. Her formal realm is a soft one, made of crocheted and stitched fairy tales and archetypal myths, addressing the commonality of feeling and thinking of the human condition. Meaning is embodied in the narratives and yet embedded in the very material.

Mandy Greer is a Seattle-based sculptor and mixed-media installation artist, who has earned an MFA in ceramics from the University of Washington. Her work has been shown at the Tacoma Art Museum, Kirkland Arts Center, The Henry Art Gallery, 4Culture Gallery, Soil Gallery, and the Tampa Museum of Art, FL, among other locations.

For more information, please visit: bellevuearts.org

Bellevue Arts Museum
May 6 - August 3, 2008

World-renowned sound artist Janet Cardiff created this sound installation based on Spem in Alium by the English composer Thomas Tallis. Written for a forty-voice choir in 1573, Spem in Alium is one of the most intricate and beautiful compositions of the English Renaissance. In Cardiff’s installation, eight groups of five speakers arranged in a large oval allow visitors to experience the choral composition from the vantage of individual performers.

Cardiff received the Millennium Prize in 2001 for international excellence in contemporary art from the National Gallery of Canada, and Artforum magazine featured the work in the “Best of 2003” issue. Editions of the Forty Part Motet are included in the permanent collections of the Museum of Modern Art, New York; the National Gallery of Canada, Ottawa; and it is a promised gift from the Pamela and Richard Kramlich collection to the Tate, London. This exhibition will be Cardiff’s first solo exhibition in the Pacific Northwest.

Tacoma Art Museum
June 28–September 7, 2008

— Related Programming —

Second Tuesdays: The Musical History of Renaissance Composer Thomas Tallis
Tuesday, July 8
10:30 am

Douglas Fullington, Director of the Tudor Choir in Seattle, discusses the historical context of Thomas Tallis’s sixteenth-century forty-voice musical composition featured in Janet Cardiff’s sound installation.

Seattle’s Tudor Choir Performs Works by Renaissance Composer Thomas Tallis
Saturday, July 12
6:30 - 7:30 pm

Enjoy a spectacular musical survey of choral works by Thomas Tallis, composer of Spem in Alium Nunquam Habui, which is featured in The Forty Part Motet, by Janet Cardiff. Tallis was the only sixteenth century English composer to have worked under four monarchs—Henry VIII, Edward VI, Mary Tudor, and Elizabeth I—during decades of political and religious upheaval. The Tudor Choir is a professional a cappella ensemble that has been acclaimed by The New York Times and Gramophone magazine. Tickets are $5 for members; $12 for non members (includes museum admission and members’ opening reception to follow). Seating is limited. For advance tickets, call 253.272.4258 or e-mail programs@TacomaArtMuseum.org. NOTE: Late arrivals will be seated as concert breaks allow.

Skibska molds thin, transparent glass bars into ribbon shapes, which are then fused together to form larger pieces and eventually structures. Her stunning and complex constructions defy the notion of the fragility of glass, showcasing the incredible strength in Skibska’s structural adhesions and firmness in her filament – a skeletal logic that is more grounded than our senses can reckon. This installation will be on view in The Pilchuck Glass School Gallery of Bellevue Arts Museum.

Exhibit runs through September 21, 2008

For those who love the show, there is also an opportunity to meet the artist during a small gathering at her studio in Seattle. Visitors will hear from the artist and get to see some of her other works during a personal tour.

Thursday, August 21
6:30 - 7:30 pm
$15 members/ $20 non-members

Visit Bellevue Arts Museum for more information.

While defining the specific characteristics that, in its time, made Impressionism provocative and new—a focus on everyday subjects, spontaneity, luminosity, loose brushwork—Inspiring Impressionism launches an in-depth exploration of the links between the Impressionists and the major European art historical movements that preceded them.

Beneath the Impressionists’ commitment to capturing contemporary life, there lay a deep exploration of the art of the past, as well as of their more recent early-19th-century predecessors. The Impressionists learned from art historical sources by making painstaking oil copies executed at such museums as the Louvre. These copies, as well as drawings and sketchbook studies by the Impressionists, are shown with the Old Masters works they copied.

The exhibition then unfolds into a series of subject groups—portraits, still lifes, landscapes, interiors and nudes—with specific comparisons drawn between Impressionist works and the art of the past, as well as broader connections related to issues of subject, composition and technique. These thematic groupings are punctuated with small dossier sections on three artists who drew most heavily on art historical sources: Edouard Manet, Edgar Degas and Paul Cézanne.

June 19–September 21, 2008
SAM Downtown

The violet hour is dusk, a temporal bridge from the clarity of daylight to the obfuscation of night. Borrowing a phrase from T.S. Eliot’s The Waste Land for its title, this exhibition presents art about a twilight time that may be our immediate future. Artists Matthew Day Jackson, Jen Liu, and David Maljkovic imagine alternative realities that could emerge from the socio-political strife and environmental degradation now accumulating on the global stage. The Violet Hour features video, sculpture and two-dimensional works that address the physical and emotional weariness of our time in an attempt to overcome the cultural amnesia preventing us from learning the lessons of history.

Matthew Day Jackson debuts three new works, including a sculpture consisting of a crashed race car frame lit with low rider effects and an immense wood panel “painting” depicting the constellations of the night sky, made from the coin currencies of many nations. Jackson’s work explores events in American history and envisions a future of uprisings rectifying past injustices.

Jen Liu’s videos and large scale watercolor drawings feature the “Brethren of the Stone,” a back-to-nature cult that clashes with modern industrial society. Beyond the battle between nature and technology, her work underscores issues of state power and civil disobedience, modernity and nostalgia, and a comical take on science fiction and recent pop culture.

In his videos and collaged photographs, Croatian artist David Maljkovic depicts his generation as lost and listless souls unmoored from their own heritage by years of warfare. Maljkovic finds inspiration for his work in the nostalgic desire for the socialist system at a time when his country is entering the increasingly globalized European Union.

The Henry Art Gallery: Stroum Gallery
June 21 – October 12, 2008
Free for students.

The Latvians: Fifty Years in the State of Washington
Friday, June 6, 2008 to Sunday, July 27, 2008

In the years following World War II, immigrants from the Baltic State of Latvia found home and work in the state of Washington. Photographs, textiles, folk costumes and and fine art tell the story of the 50-year history of their daily lives, work, and accomplishments, and the cultural traditions they have kept alive in their new home.

Nordic Heritage Museum
3014 NW 67th Street
Seattle, WA 98117

With your Husky Card: $5.00/person

Erin Frost is erotica made hazy by surrealism. So lovely.

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Showing June 2nd - 28th, 2008
Captive Creatures by Erin Frost           

Erin Frost presents new photographs that explore reconstruction and transformation through self-portraits, pursuing ideas of myth and ephemeral moments, as well as ideas of power possessed and given in to. Frost’s erotic and surreal traditional black and white photographs are influenced by the decadent and dangerous tales of dreams and memory. Through the intuitive process of self-portraits, often using mirrors to distort and transform, she works with the concept of reinvention fueled by creative desire.             

Some Space Gallery
625 Ist Ave @ Cherry St
Seattle, WA 98104
PH: 206 718.3104
info(at)somespacegallery.com

What sets “Captive Creatures” apart from your past shows?

“Captive Creatures” is more a continuation than a departure. However, it does strive for a beauty that insinuates something uncomfortable and even dangerous at times. The realization that transformation occurs within — and because of — the restrictions involved, captive in mortality, consciousness and body. It stems from ideas of power, restraint and possession. (From nwsource.com)

However, Brophy’s quirky wit ensures that his paintings playfully upend traditional notions of regionalism and point outward with references to romantic painting. On the one hand, his paintings clearly celebrate the Northwest’s natural beauty, capturing the sublimity of mountaintop vistas and endless green. But in numerous paintings of clear-cut timber stands, he portrays our forests as sites of desolation, rather than idyllic landscapes. (information from http://www.portlandmercury.com/portland/Content?oid=35468&category=22127)

G. Gibson Gallery
300 S. Washington St.
Seattle, WA 98104

The G. Gibson Gallery opened in Seattle, Washington in August, 1991. The gallery exhibits contemporary painting, sculpture and installations, works on paper, and continues an emphasis on mid-20th century and contemporary fine art photography. The owners’ collective history include backgrounds in art history, painting, photography, and approximately 26 years of gallery experience. We have participated in art fairs in Los Angeles, San Francisco, New York, and Basel, Switzerland. We love the work of exhibiting and representing interesting artists of regional, national, and international reputation, and hope to do this for the rest of our lives.

We are also members of the Seattle Art Dealers Association and the Association of International Photography Art Dealers.

Hours in the gallery: Tuesday through Friday 11 to 5:30 & Saturday 11 to 5. (we are open by appointment on Monday, & closed Sundays)

Location: At the corner of South Washington & Third Avenue South in the Pioneer Square neighborhood of Seattle. For driving directions, enter your address below: