Seattle
August 13, 2012, 8:30am
Painting the Fourth Wall: Pull at G. Gibson Gallery
The jagged, orange mass of Seattle painter Blake Haygood’s This Only Seems Abnormal that writhes through a fantastical meteor shower exemplifies the theme of G. Gibson Gallery group show Pull. Evoking classic scenes of the Millennium Falcon being overtaken by tractor beams and meteor showers throughout the Star Wars trilogy, the sensory experience of a gravitational pull breaks through the fourth wall of Haygood’s canvas, the center mass so outrageously oversized against the smaller pieces of matter that its heaviness radiates from the canvas.
July 30, 2012, 8:30am
Leanne Grimes: The Journey to Radiant Earth
Two newcomers to the Seattle scene are worth checking out this month: Blindfold Gallery, now mounting its fourth exhibit since opening in April, and Leanne Grimes, who graduated last year from the University of Washington’s MFA painting program.
May 30, 2012, 8:25am
Comingled Encounters: Artist Relationships at SEASON
Artist Robert Yoder’s gallery, known simply as SEASON, resides on a wide thoroughfare between two north Seattle neighborhoods, somewhere between a deli and a city park. One of several residential spaces appearing in disparate corners of the post-recession city as other spaces downsized or faded away, SEASON fills not only a gap in available spaces for artists to show work but also creates a distinct venue for relationships between artists to manifest. - Erin Langner, Seattle Contributor
May 29, 2012, 8:26am
The Conversation: Robert Yoder & Ian Toms
This is the first in a series of discussions conducted between professionals - gallerists, collectors, curators, artists - who have some kind of connection or partnership that elicits conversation about practice, collaboration, or the business of art. Robert Yoder (NAP #7, #85) is a Seattle-based artist who has shown work internationally and is no stranger to New American Paintings. He runs a gallery called SEASON out of his mid-century home in the Ravenna neighborhood of Seattle.
May 16, 2012, 8:15am
Flat Time Blue: Buddy Bunting at Prole Drift
The centerpiece of Buddy Bunting’s Flat Time Blue at Prole Drift (on view through May 27th) is a panoramic watercolor and flashe painting that stretches twelve feet across the wall. The painting depicts a prison washed out and warmed up with scalding bright yellow sun, its structural starkness rendered sheer and almost weightless. It’s the tenth in a series Bunting has been developing since 2004.
May 14, 2012, 8:30am
Jen Erickson's Topographies Of Lost Memory
The tenuously-connected tissue of small marks on Jen Erickson's paintings at PUNCH Gallery (On view through June 3) fan out like smoke curls, clustered blooms of algae or exploding supernova. Some diptych panels, hung side-by-side, have mirrored designs, like bifurcated stains on a Rorschach blot or diagrams depicting binary division and replication of cells. The unfurling sprawl is comprised of thousands of graphite zeroes drawn over oil paint on panels. In this blend of the organic and mathematical, Erickson's work melancholically dwells on the inability to retain memory.
April 27, 2012, 8:35am
Black and White and Red All Over: Denzil Hurley & Robert Storr
One would not expect to happen upon Robert Storr’s paintings inside a small gallery in a residential neighborhood of Seattle. Finding Storr’s paintings on the Internet is difficult enough, given the visual art behemoth’s repertoire of curatorial projects and writings. For the month of April, however, four modest works titled S.P.
April 19, 2012, 8:30am
See-Through Fantasies: Mirage at James Harris Gallery
The concept of the mirage is one of intrigue, as evidenced by pop culture’s frequent attempts to define its mystery. A floating desert oasis memorably deceives Daffy Duck into inhaling a mouthful of sand (“Aqua Duck,” 1963), while Steve Wynn’s Mirage casino enchants Las Vegas visitors with its lush terrarium and waterfall-lined swimming pools. Within the context of such widely known references, the question of how the mirage can function within a painting is an interesting one posed by James Harris Gallery’s group show focused on this theme. –Erin Langner, Seattle Contributor
March 19, 2012, 8:15am
The Place Between the Layers: Ben Waterman’s Midnight Lullaby
Ben Waterman’s paintings invite extended meditation on seemingly banal objects: a red mosquito net, a brown piano, a vacant fireplace. These highly specific objects float in contrast to their surroundings--disorientingly unidentifiable places painted with inarticulate brushstrokes. Given the Seattle artist’s pronounced affinity for travel to new places, these surreal landscapes prompt questions on the complicated role of inspiration within constructed visual images.
January 19, 2012, 9:09am
The Faces of Our Time: Give Me Head at James Harris Gallery
Give Me Head at Seattle’s James Harris Gallery transpires most literally: as a collection of 21 heads. This group show of paintings and sculptures primarily created within the last five years offers a visual survey of the face. With very limited exceptions, a lack of expression represents the unifying theme of the imagery. Although some eyes meet the viewer dead-on and others gaze outside the confines of their frames, the intimacy affiliated with portraiture is consistently absent among these stoic figures, raising the question: why would the lack of expression define this body of work?
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