This is our third and concluding blog post from artist Molly Mac on the Summer Field Studies project “How to Get THERE ( the dam) from HERE (Seattle).”
First we ate breakfast.
Then I reminded everybody about three things:
1. How to download a QR code reader for a mobile device
2. I have two heroes: Eva Hesse & Amanda Beard
3. For the rest of the day I’ll give away my voice in 4 color-coded roles: YELLOW is normal voice (wears black and knows she is doing an art project); GREEN voice gives advice; BLUE voice gives facts; PINK voice makes confessions (after she frames a safe space to do so).
THEN I read Richard Serra’s verb list: “Actions to Relate to Oneself”
..which was dry, imperative, and kind of embarrassing, I think.
THEN we drove from the Dam to the Security Facility (facade)
pink gave this:
blue gave this:
THEN we drove from the security facade to the Lake Roosevelt Boat Launch.
green gave this (it was a BIG sticker):
THEN we drove from the Lake Roosevelt boat Launch to the Crown Point Lookout.
>>pink did not have a sticker<<
THEN we drove from Crown Point Lookout to a picnic table by Devil’s Punchbowl (Steamboat Rock State Park)
green gave this:
………. to be continued……
……click here to find the rest……..
We are super excited to offer you FOUR amazing exhibitions this summer. Yeah, we said FOUR in one summer!
Just opened for your museum-going pleasure is Ken Price: Inside/Outside.
Ken Price (U.S., 1935 – 2012). Heat Wave portfolio and book. 1995. Published by Black Sparrow Graphic Arts, Santa Rosa, CA. This is number 134 of an edition of 170. Henry Art Gallery, gift of Burt and Jane Berman, 2006.43.16
This focused exhibition presents, for the first time, holdings in the Henry’s collection by the late Los Angeles-based artist Ken Price (U.S., 1935-2012). The pieces, dating from the 1970s to the 1990s, highlight the representational drawing and narrative approach that Price practiced alongside his more widely known abstract clay sculpture. Images of private and public, interior and exterior spaces look both inward and outward.
The centerpiece of the exhibition is Heat Wave (1995), a portfolio that takes modern Los Angeles as its subject and pairs Price’s visual imagery with the poetry of the celebrated underground poet and fiction writer Charles Bukowski (U.S., b. Germany, 1920-1994). Price’s high-keyed color images of vacant interior spaces and the traffic-clogged, yet hauntingly still, cityscape have an eerie quality and provide a visual counterpoint to Bukowski’s acerbic poems. Characteristic of Price’s work, the pleasures and promise of the colorful images give way to deeper meditations on sometimes painful and banal realities. The works in the exhibition show how Price mined physical space for psychological affect to evoke feelings of emptiness, desire, and disappointment, while inviting viewers to discover the surreal in the ordinary.
Opening July 19:
With Hidden Noise
Electro-dynamic Drawings: Andrew Deutsch & Stephen Vitiello
Rineke Dijkstra and Thomas Struth: See*ing
Want to see the summer exhibitions early? We’re hosting a special Member Preview on Thursday, July 17th.
LeWitt’s Squares are specifically reminiscent of faceted classification, a library development most commonly seen in e-commerce, allowing shoppers to search, browse, and filter merchandise by categories like color, size, and price. We experience such interactions every day, yet, like LeWitt’s art, we only see the surface presentation, never thinking about the work that goes into creating the rules and guidelines that make such interactions possible. — Rachel Ivy Clarke, PhD Candidate, Information School
This iteration of VIEWPOINTS features Red, Yellow, Blue and Gray Squares, Bordered By a Black Band (1989). These four aquatint prints by Sol LeWitt, are exactly as the title describes: a colored square surrounded by a black border. Prioritizing idea over craftsmanship, LeWitt saw the artist in a role similar to that of an architect; the person who designs a building but does not build it. He developed his artistic vocabulary from basic geometric structures and how they are transformed by using these fundamental elements as regular repeated modular units or in a series which explores a range of possibilities in a logical, preset sequence. LeWitt was fascinated by the multiplicity of things that can be generated by a simple idea.
From left, Rachel Clarke, Huck Hodge, and Jay F. Neitz.
A rotating series, VIEWPOINTS presents new combinations of artworks and voices, emphasizing how works from the Henry’s permanent collection can inspire and provoke new dialogues and thoughts. LeWitt’s four prints are displayed alongside the voices of three UW faculty members: Rachel Clarke, Pre-doctoral Lecturer, Information School; Huck Hodge, Assistant Professor in Composition, School of Music; and Jay F. Neitz, Professor, Department of Ophthalmology. These three were specifically selected to respond to LeWitt’s artwork based on their research and teaching interests. We believe multiple voices can help expand our understanding of a work of art, cast a new light on overlooked details, and open our minds to new ideas.
VIEWPOINTS: Sol LeWitt will be on display on the mezzanine from June 6 through September 7.
Come and read each faculty response, and then create your own!
Hello, June. Is Summer here yet?
The 2014 Annual Meeting of the Henry Gallery Association
Thursday, June 5, 4:45 – 6:00 PM
The Annual Meeting is a time to share and celebrate what we have accomplished over the past year with our valued members, Board of Trustees, and the community. We will also present information about upcoming Henry programs, exhibitions, and initiatives. This meeting is free and open to the public.
Joan Jonas. Mirror Piece I. 1969. Chromogenic color print. Collection of the artist. Photo: Paul Hester.
Thursday, June 5, 6:00 pm
Sunday, June 8, 2:30 pm – LAST CHANCE
These are the last two performances in this series so don’t miss your chance to see this groundbreaking work! In Mirror Check, a performer uses a small, round hand-held mirror to inspect all visible parts of her exposed body. Mirror Check — one of Jonas’ earliest works — marks an important theoretical and artistic turning point in her practice, when mirrors cease to be a material utilized in her sculptures and become actual instruments in her live performances.
The Henry, in partnership with Velocity Dance Center, is proud to announce a series of performances of Joan Jonas’ Mirror Check.
It was a logical development and kind of abstraction of a solo work, standing nude in front of an audience, examining one’s own body with a mirror very slowly. It’s a very simple piece. There is the stipulation that it has to be done by women because that’s how it was originally performed and seen, and meant to be seen because it’s about a woman looking at her own body, having control of that gaze. – Joan Jonas
Joan Jonas. Mirror Piece I. 1969. Chromogenic color print. Collection of the artist. Photo: Paul Hester.
Mirror Check, a performance based on the 1970 work of the same name by Jonas, will be performed in the galleries for the final six weeks of Parallel Practices: Joan Jonas & Gina Pane at the Henry. In Mirror Check, a performer uses a small, round hand-held mirror to inspect all visible parts of her exposed body. Mirror Check — one of Jonas’ earliest works — marks an important theoretical and artistic turning point in her practice, when mirrors cease to be a material utilized in her sculptures and become actual instruments in her live performances.
Check our website for performance dates and the details of Mirror Check.
Please note: This performance features nudity.
The final countdown to our Graduate Student Party has started: T-Minus 10 days!
While we wait for a graduate storm to descend, we hope you will join us this week for:
Worried a Polar Vortex might be headed our way? Join us for some yoga and heat up your core. Thursday at 12:30 PM.
Critical Collaboration Sessions
Discover Seattle’s Aurora Avenue with the presentation of Design Lab: An Open Sketchbook on Aurora, the UW College of Built Environment will host a series of weekly design intensives. They kick off this Thursday at 4:30 – 7:30 PM. All sessions are free and open to the public.
ART 361 Lecture Series Winter Quarter
The Henry is welcoming back the UW School of Art back for another free public art lecture series, held in conjunction with ART 361 Critical Issues in Contemporary Art, in which cutting edge artists and curators discuss their work. The first artist, Allyson Vieira, is a New York City-based sculptor whose works address myth and materiality. The series starts this Thursday at 7 PM in the Henry auditorium. RSVPs encouraged.
Curator-led Tour of Jason Dodge: What we have done.
Before this exhibition closes on Jan 26th, join Luis Croquer, Deputy Director of Exhibitions and Collections, for an intimate walk-through of the exhibition Jason Dodge: What we have done. Space is limited, so please register today.
Making plans for the week? Check out what’s happening here at the Henry.
Industrial Effects: Photographs from the Henry Art Gallery Collection is open now through September 1.
Over the years, photographers have traced the rise and fall of industry’s popularity, from sweeping views of skyscrapers to critical looks at industry’s effect on workers and the environment. Through a selection of photographs from the Henry’s permanent collection, Industrial Effects traces evolving attitudes toward industry from the 19th century until now. This exhibition is organized by Sylvia Wolf, Director.
Edward Burtynsky. Shipbreaking #12, Chittagong, Bangladesh. 2000. Chromogenic color print. Henry Art Gallery, gift of Dale and Leslie Chihuly.
Thursday, June 13
Mindfulness Meditation, 12:30 – 1:00. Mindful Awareness is the moment-by-moment process of actively and openly observing one’s physical, mental, and emotional experiences. Thursday’s session will be held in the East Gallery which is currently showing Paul Laffoley: Premonitions of the Bauharoque. This event is free. Please check in at the front desk.
Saturday, June 15
Public Forum: Free Market, 1:00 – 3:00. Everything must go! Toward the close of Small Change, once all of the handmade currency has been dispersed, artist Rebecca Chernow will be hosting a “liquidation sale” during which time everything that has accumulated in the space through means of trade and barter will be made available to the public.
Visitors are encouraged to empty the gallery space of its contents in this final week, exchanging real U.S. dollars (on a strictly donation basis, at their discretion) for objects of their choosing. All donations support the Henry’s mission of advancing the art, artists, and ideas of our time.
Items ready for purchase in Small Change