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.
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.
Can be found on the internet or at Pike Place Market getting an espresso with cream & sugar. After graduation he is most excited about: “Freedom!”
While students don’t have a lot of free time, Bradley likes getting over to Discovery Park. He also let me in on a secret: “I’ve never been to the gum wall. That makes me want to PUKE.” After graduation he says, “It’s time for a new start!” which he will ruminate upon with a nice iced sweet tea in the sun.
Need a new perspective? Just peek into the objects on display for this MFA student. Hesheng spends his free time at the Ceramic and Metal Arts Building. When confronted with the idea of graduation he could only say: “Yahoo!”
After replying “Oh geez….” to the idea of graduating soon, Kat quickly moved on to topics she loved more, “I’m really into my couch, but I also love Discovery Park.” We then got to talking about the age-old debate between tea or coffee, “Sorry kids, not a fan of leaf juice. Coffee, two teaspoons of sugar, and just enough soymilk to cool it to a drinkable level.”
Make sure to scan the QR code on the label in her piece for more information about the artist. After installing her artwork, she couldn’t wait to get back to “my backyard to have a coffee with cream.” Discussing graduation she says, “It’s been fun, but holy crap I’m glad it’s over!”
Find Sandy here or picking up a new brew at Chuck’s Hop Shop in Ballard. Soon he will have more time to spend there: “Graduation — The point at which I’ll get my weekends back.”
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.
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.
There is something wild happening in the James Turrell Skyspace “Light Reign” where conversations and art invite participants to transform. Formulary for a New Wildness is a collaboration between self and nature where Susan Robb invites you to join artist Eric Olson and psychotherapist Nicole Wiggins for 90-minutes of group exploration into what it means to be wild within ourselves and within contemporary culture.
We caught up with Eric Olson after the first of two sessions they are holding at the Henry.
The first session happened on May 10th, can you tell us some highlights?
The biggest highlight was the participants! Everyone was willing to really engage with and open up to each other. We explored a number of topics including what we mean when we say, “not in your wildest dreams,” and the element of danger in wildness. One person left me a note saying, “grief is wild and dangerous.”
We were so wrapped up in conversation that the session flew by, leaving me excited and anxious to continue the exploration in the coming weeks.
What is it about the attribute “wild” that you want to share with participants?
A few things often come to mind when we first hear the word wild: nature, dreams, sexual inhibitions, uncharted territory. Our day-to-day lives tend to suppress the innate “wildness” within each of us. By diving deeper into personal definitions of the term, as well as our individual curiosities and fears, we hope to create a space that inspires adventuring into the wild. Whether that leads to being more open to connecting with new people or taking off for six months to walk the Pacific Coast Trail.
Where did you find your wild?
It started after finding myself in an unfamiliar place where everything I thought I wanted was nothing but illusion. From there, with lots of help, I began to build an emotional relationship with myself. It is a work in progress and probably always will be.
How did you meet your event partners?
I met Susan Robb when I participated in her project The Long Walk. We started to get to know each other better on the rolling hills of the Tolt Pipeline Trail while discussing Roland Barthes’ essay The Death of the Author and how it can relate to participatory art. The Formulary started brewing one afternoon while we were catching up with each other, and shortly thereafter, Susan reached out to psychotherapist Nicole Wiggins about co-hosting the sessions.
Why the James Turell Skyspace for Formulary?
Light Reign is a perfect venue for the project. The space frames the sky in a way that forces the viewer to acknowledge its ever-present wildness. It also puts participants in a safe and sacred space for contemplation.
This is Seattle and we are always curious, how do you like your coffee?
I take it black — like my heart — unless I end up at Starbucks where I have been known to order a triple tall vanilla soy latte.
Thank you for sharing this experience with the Henry. Any parting words?
We all have something to gain by embracing wildness in ourselves and our everyday lives.
The Formulary will continue at other venues, including the Frye Art Museum, throughout the summer. Please visit wildtimesproject.com for a complete schedule and more information on the project.
Susan Robb’s work is an ongoing investigation of people, place, and our search for utopia. It often takes its form as temporary, site-responsive, and socially-engaged projects. These projects include The Long Walk, ONN/OF “a light festival”, Parking Squid, Sleeper Cell Training Camp, and Warmth Giant Black Toobs. Robb’s work has been funded by a Pollack Krasner Foundation Grant, two Artist Trust Fellowships, a Stranger Genius Award, a 4Culture Special Projects Grant, and the City of Seattle’s Office of Arts and Culture. In 2013 she received a Creative Capital grant to produce Wild Times. Her work has been collected and shown nationally and internationally.
Nicole Wiggins holds an MS in Communicative Disorders from California State University Northridge, an MA in Existential Phenomenological Psychology from Seattle University, a graduate certificate from University of Washington in Infant Mental Health, and is currently in Psychoanalytic Training at Northwestern Psychoanalytic Society and Institute.
Eric Olson is an artist and engineer who currently lives and works in Seattle, WA. He earned a BS in computer science from Seattle University in 2004 and studied human computer interaction at Columbia University. His recent project SEAWORTHY is an artist-run space dedicated to creative practices that value collaboration, experimentation, and social engagement. Through projects, discourse and exhibitions, SEAWORTHY nurtures emerging artists and provide an environment to incubate new ideas.
The Seattle Foundation’s Give BIG is a one-day, online charitable giving event to inspire people to give generously to nonprofit organizations who make our region a healthier and more vital place to live. Each donation made to the Henry on The Seattle Foundation’s website by midnight on Tuesday, May 6 will receive a prorated portion of the matching funds. The foundation will “stretch” all donations up to $5,000 per donor, per organization to grow your gift.
WIN A GOLDENTICKET
DuringGive BIG, individual donors will be drawn at random to win a Golden Ticket! The winner will have an additional $1,000 added to their donation, and will also receive a $100 Starbucks gift card! Everyone wins!
Give us thirty minutes and just see how stress melts away in the face of art and being still. These 30-minute “drop-in” mindfulness-meditation sessions are held on the second Thursday of each month. Meditations begin promptly at 12:30. Free and open to the public.
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.
Feeling Wild? Curious about the Pacific Coast Trail? Artist Susan Robb will be hiking the trail and creating new media, social media, and site responsive art in her project Wild Times. While she hikes the PCT, we will visit the Skyspace with artist Eric Olsen and psychotherapist Nicole Wiggins for 90-minute explorations into what it means to be wild within ourselves and contemporary culture. Free with Museum Admission.
Art, films, tours, and a whole afternoon of family fun. Just a typical week here at the Henry…
Art Break Tour
Wednesday, April 30, 12:00 – 12:30 PM
UW Art History doctoral student Lane Eagles will guide visitors through Parallel Practices: Joan Jonas & Gina Pane during this art break tour. Her primary research interest concerns crossroads between magic and religion (particularly Catholicism), and the use of art objects in both miraculous legend and magical lore. RSVP is requested.
Screenings: Jellyfish Eyes by Takashi Murakami
Fri, May 2, 7:00-9:00pm
Sat, May 3, 1:00-3:00pm
Sun, May 4, 12:00-2:00pm
The first live-action feature film from writer/director Takashi Murakami, Jellyfish Eyes (2013) combines his trademark anime-inspired visual aesthetic with broader themes of social change and self-empowerment. The Henry is pleased to be one of nine art institutions and cultural venues across the United States who are hosting the film. Get tickets.
Collection in Focus: Superflat
Fri, May 2, 6:00pm FREE
Before the Friday screening of Jellyfish Eyes stop by the museum’s Study Center to see works in the Henry’s collection by Murakami and members of the Kaikai Kiki Collective (an art production and artist management company founded by Murakami) along with older Japanese prints from the Edo (1603-1867) and Meiji (1868-1912) periods.
UW Associate Professor Phillip Thurtle will discuss the spatial aspects of the works on display, primarily the idea of ‘superflat.’ Murakami coined the term superflat to describe the way various forms of graphic design, pop culture, and fine arts are compressed or flattened in Japan. More information.
Arty Party! Family Fun at the Henry
Sun, May 4, 1:00-4:00pm
LOOK * LISTEN * EXPLORE * LAUGH
Come spend the afternoon at the Henry with the family! Go on an ARTventure in our galleries, make art with local artists and Henry staff, and listen to a stories from a professional storyteller. You can also meet and create with filmmakers from Coyote Central, learn how to hula, and take your photo in our photo booth (with props!) hosted by the Student Henry Advisory Group. Plus more!
The Henry, like many art museums, loans art to our fellow museums for their exhibitions. In addition to loans in Washington to Seattle Art Museum, Tacoma Art Museum, and the Washington State University Museum of Art, our Winslow Homer painting “An Adirondack Lake” been out on loan 23 times in its history, traveling with tours and retrospectives to Chicago, Kansas City, Atlanta, Los Angeles, New York, Minneapolis, New Orleans, Washington, D.C., and Vienna. Think of the multiple audiences who have visited our Homer! Artist Philip Koch saw “An Adirondack Lake’ in Indiana in the early 70s. The guest post below is how a piece from the original Horace C. Henry collection made its way around the world and into artists’ and the public’s heart.
First published on Koch’s blog on February, 24, 2014
Today (Feb 24) is Winslow Homer’s birthday (Am. 1836 – 1910). I was reminded of this by the Colby College Museum of Art‘s Facebook post wishing that old master of American Realism the best this afternoon. Accompanying their good wishes was the painting at the top, The Trapper, from their Collection that Homer painted in 1870. It probably served as a preparation for a larger work Homer painted expanding on the subject that’s now in the Henry Art Gallery, University of Washington, Seattle. (I had the good fortune to tour the impressive and recently expanded Colby Museum last summer and got to see The Trapper in the flesh).
Way back in 1970 I graduated as a studio art major from Oberlin College in Ohio, packed my odd collection of student paintings in a van and drove over to the adjoining state to spend the next two years in Bloomington at Indiana University in their MFA Painting Program. I arrived there passionate to do some serious painting with no real direction at all. I actually did a number of canvases of what I imagined the surfaces of undiscovered planets might look like (as it turned out, I had little idea myself and the paintings were pretty unconvincing).
The Indiana University Art Museum had a small bookshop. Browsing the stacks of books my eye was caught by the figure of a tall man holding an even taller paddle. I had stumbled upon the catalogue for a show that had concluded at the Museum only months before I had arrived – The American Scene 1820 – 1900 organized by Louis Hawes, an art historian at Indiana University in honor of the school’s Sesquicentennial. Though I missed the show, the catalogue’s 144 pages of black and white photographs of Hudson River School and American Impressionist paintings drew me in and held me. This was a branch of the art world I knew almost nothing about.
Here were images that seemed painted by artists who had fallen in love with their subjects. Their embrace of the natural world seemed so straight from the heart and utterly lacking in any ironic stance. Most of all, so many of the paintings reminded me ever so much of the wooded hillsides of northern Lake Ontario where I had lived from four until I was eighteen. Maybe I was a little homesick, but these paintings hit home in a way my surrealist inspired imaginary planet paintings never would.
The worn cover of Hawes’ exhibition catalogue should give you a clue I didn’t let the book out of my sight for months. It gave me that last little shove needed to start me down the landscape painting path I’ve followed the last 42 years. Louis Hawes is gone now, perhaps joining Winslow Homer up in art heaven. To each of them I’d like to say a heartfelt thanks.