It's a Wrap!

This was one of the busiest holiday sales we've had at Building C Studios. When I arrived at 11:45, 15 minutes before we were scheduled to open, the parking lot was already packed. In five years I've participated I've never seen that happen. Thank you again to everyone who made it out. A terrific time was had by all. I enjoyed the pleasure of your company.

Small Works at Holiday Sale Sat from 1-9 pm

Here is a sample of some of the small works available in my studio during the holiday sale at the Building C Studios. $150 for each 6"x6". They make great stocking stuffers!

Mystic, acrylic on canvas over panel, 2012

 

Fling, acrylic on canvas over panel, 2012

Swirl, acrylic on canvas over penal, 2012

Annual Holiday Sale at Building C Studios!!

Mark your calendars for Saturday, December 8, from 1-9 pm for the Building C Studio's Annual Holiday Sale! Once again there will be over 20 artists with their doors open, and live music in the Annex from 6-9 pm.

Subdivision #5, 4"x6", monoprint, $50 (framed)

SMOKING DEALS: It's time to clear out my storage, which is great for you! My older work will be greatly discounted so arrive early for the best deals. If you are interested in scheduling a preview, drop me an e-mail at sue@suedanielson.net.

Painting Circularity

Circularity #4, 20"x16", acrylic, 2012

If you follow this blog you may have read my earlier postings about the Circularity Series. It evolved out of a group of drawings, and then mono and dry point prints, based upon a series of mini sculptures created with artist and friend, Fiona McGuigan, in her back yard last spring. This fall I've been working on translating the series into acrylic paintings. This process has been the most challenging of all because, well, paint is a different animal I suppose. Here is one of the first efforts.

Blindfold Gallery at the Affordable Art Fair

The Affordable Art Fair seems to be the hottest ticket in town. If you stop by today between noon and 3:00 pm, please come by the Blindfold Gallery where I'll be working. Of course, you should stop by even if I'm not there to see the terrific work on display. I can't wait to see all of the art in one place.  Maybe I'll see you too.

Brain Pickings

My favorite newsletter and blog has become Brain Pickings because it explores creativity through the connection of a broad range of topics, from science to writing to history. It is refreshingly ad-free and arrives in your e-mail on Sunday. Sign up so you can have yet another reason to look forward to Sunday mornings.

Punch Gallery 2012 Int'l Juried Exhibition

Twenty artists around the country have been selected to participate in the Punch Gallery 2012 International Juried Exhibition, which was curated by Scott Lawrimore, the Deputy Director, Collections and Exhibitions at the Frye Art Museum in Seattle. It's an honor to have my piece, Cross-section, included in the exhibit. Here are the details:

Punch Gallery
117 Prefontaine Pl. S. (next door to Core Gallery!)
Seattle, WA
Nov 1 - Dec. 15
Opening:  First Thursday in Pioneer Square from 5-8 pm.

What Would You Print?

X-Box Control, monoprint, Jay E., age 7, 2012

When given a chance, what would a 7-year-old boy choose for his very first monoprint? It might be the image of an X-Box control. Oh, of course it would. Thanks to my nephew, Jay, for spending time in my studio today. The joy on his face when we pulled this print off the press was one of the most thrilling moments I've had in the studio for awhile. I say that while not being stuck in my own process but happily working on developing the Circularity series into paint. The progress has been at moments slow and fast, exciting and plodding, all the stuff that involves the process of painting. I really love it but the thrill of the pull is hard to beat. Now Jay has the fever too.


IN MEMORIAM: Sadly Jay passed away a short time after we printed together. As you can tell, he loved life right up to the end. Jay had fought back cancer so many times that it seemed as though nothing could stop his indomitable will to live. He was so loving, and loved by so many. We were incredibly fortunate to have him in our lives even if it was for such a very short time. Rest in peace Jay.

Who Does She Think She Is? Artist Talk

A woman's right to choose is once again at risk. Who Does She Think She Is is an exhibition that focuses attention on this important issue during the upcoming election. While I am not advocating voting based upon a single issue, there are many to consider and we all vote according to our own sense of values, a woman's right to choose what may or many not impact her body in one of fundamental concern to me and many women in this country. This is why I chose to participate when asked by curator, Ellen Hochberg. Today at 2:00 p.m. there will be an artist talk given by Ellen and participating artists to discuss their work as it relates to this issue and to their work in the exhibition.

Arists Talk
2:00 pm
Corridor Gallery
Tashiro Kaplin Building
306 Washington Street
Seattle, WA

Small Voids

Here are a view shots from Small Voids, the one-night installation show on the streets around the TK Building in Pioneer Square. I'll post a few photos from the Who Does She Think She is Show next.

Curator, Todd Jannausch, with Chandler Woodfin

Shellee Miggins assists with installation.

The install team at work, in the back and foreground.

Unbound #5, colored pencil, 2012, Sue Danielson, $150 (e-mail me if you are interested).

Yesler and Prefontaine Pl. S.

First Thursday

The Tashiro Kaplin Building is the place to be tonight for the openings of Who Does She Think She Is in the Corridor Gallery and Small Voids on the street. Hope to see you there.

Below is Unbound, (monoprint 2012) which you'll find in the Corridor Gallery. It is available, framed and matted, for $350. A portion of the proceeds will be donated to Planned Parenthood.

Two Openings: Who Does She Think She Is? and Small Voids

Ellen Hochenberg has curated this exhibition in support of a woman's right to choose. I'm proud to be included along with 30 other artists. A portion of the proceeds from this show will go to support Planned Parenthood. I'll be in the gallery from 5-6 pm.

Corridor Gallery
Tashiro Kaplan Building
306 S. Washington St.
Seattle, WA
Opening: Oct 4, 5-9 pm

Exhibiting artists:

Daya Astor

Holly Ballard Martz

Zeynep Banu Alev

Sarah Banks

Ellen Berdinner

Debra Calkins

Mary Coss

Sue Danielson

Adele Eustis

Deborah Faye Lawrence

Rosalie Frankel

Laurie Fronek

Kerstin Graudins

Stephanie Hargrave

Ellen Hochberg

Yun Hong Chang

Terra Holcomb

Lin Holley

David Julian

Pam Keeley

Liora Kuttler

Molly Hueffed

Doris Kleemann-Fischer

June Lindsey

Jo Moniz

Carol Rashawnna Williams

Dawn Rogal

Lynn Schirmer

Rossitza Skortcheva Donesky

Kate Vrijmoet

Rickie Wolfe

Junko Yamamoto

Also on October First Thursday, Small Voids, curated by Todd Janausch, will make its only Seattle appearance (it will be removed at the end of the evening). Small Voids is comprised of 100 12"x12" individually lighted plexiglass boxes or "mini galleries". Each box will contain a work of art from 100 different local artists. The installation will take place near the Tashiro Kaplan Building so keep your eyes peeled. Following Thursday's exhibition, Small Voids, will travel down the West Coast to Portland and Oakland.

Todd's projects are always interesting and expertly executed. His last project Gallery (206), was a phone booth turned gallery (yours truly was also included in this project), which sat in Occidental Square last summer and received many accolades.

Circularity

Circularity Drawing #15, felt pen, 3"x4", 2012

Circularity is a new series of work that emerged this summer, first as small drawings (above). Each one is roughly 3" x 4".  Since I was spending so much time in the print studio learning drypoint, it was a natural progression to translate the drawings into this medium. The process turned out to be more daunting that I had first imagined. Incising the plate to create the right line quality, determining ink color and consistency, proper plate wiping, press pressure, paper size and texture were all new techniques. My first attempts were awkward at best and not very compelling.  Circularity I (below) represents my first successful drypoint translation. I'll have both the drawing and Circularity I hanging on the wall of my studio during art walk tomorrow night.

Circularity #1, drypoint 2012

Open Studio on Saturday

Part of being back in the studio means having the studio open for art walk. I've missed this part of studio life too because of the unexpected and interesting conversations that happen with people who stop by. I would love to have one with you so please join me and the artists of Building C Studios for art walk on Saturday from 6-9 pm. 

I might say come on out because the weather is going to be beautiful but that would be redundant now that we have broken the record for lack of rain. Only the weather will be boring though. The art and conversation will be worth the trip. Hope to see you in Ballard!

Back in the Studio

After a busy and productive summer of printmaking and helping to organize and participate in the Duwamish Residency, I finally made it back to my studio in Ballard today. It was good to be back where much of the work I’ve generated during the prior five years took place. It was also very good to once again be among my Building C Studios colleagues and friends. There is much about this place that feels like home, in no small part because of the fair amount of history it holds. But just as vacation can provide us with a fresh perspective on life, working away from the studio has invigorated me. I came back with the knowledge that my practice is strong no matter where my feet land. That provides another coming home of sorts.

It was surprising to discover, once I had pulled out the stack of mono and drypoint prints generated in class at UW this summer and during extra print studio time over the past two and a half weeks, that a pile of over 100 prints needed to be evaluated and organized. The first sort resulted in three piles of three distinct series of work. I posted examples of the first two series earlier on my blog. The first of those was generated through a process of painting, drawing, and creating three-dimension maquettes before making the prints. The second series is a playful exploration of circular patterns yet to be named. The third series was generated after completing the Duwamish Residency and is distinctly abstract and architectural. No pictures yet of this last one have been posted but they will be in the near future. 

In the meantime, I’ll continue to cull through the prints to determine which ones are the keepers, and dust off the studio in preparation for September art walk on the second Saturday of the month. Oh, and prepare to settle back into a studio practice through the upcoming winter. It's good to be back home.

A Week of Endings

Yesterday was the final day of the Duwamish Residency. It will take some time to articulate what this experience has encompassed but the immediate one-word description that comes to mind is amazing. Eight days in this visual wonderland with nine talented studio artists and just "good people" was a real treat. Each willingly took on the challenge of working outside in an unfamiliar area of the city to see what would happen. Last night we had a closing dinner and shared our work. The volumn, variety and strength of work was humbling and inspiring.

The other ending this week is the 8-week class on monoprints and drypoint at the UW. This has been another experience that has shifted my perspective significantly, and solidified my love of the printmaking process. Today, my last day of printing before the final submission, was focused on creating a series based upon the Duwamish Residency, which succeeded in bringing these two experiences together. I will share a few of them here soon.

Now, it's time to get back to my studio. I believe I remember what it looks like.

Currents: Seattle Print Arts at Jacob Lawrence Gallery

If you've been following my blog then you know about my enchantment with mono and dry point printing this summer because of a class taught by Curt Labitzke and Claire Cowie at the University of Washington. One of the prints generated while in class, Surfacing, will be included in Current, an exhibition presented by Seattle Print Arts at Jacob Lawrence Gallery on campus and opening next Friday, August 10 from 4 to 7 pm. It is only up until the 18th so catch it quickly!

Prior to this summer my printing experience was minimal. While I had taken a couple of good week-end workshops at Pratt Fine Art Center, without sufficient time with a press it was impossible to get a handle on this whole thing called printing. Anyone who has printed knows about the overwhelming options, which can be both good and bad. Armed with an almost unlimited access to a print studio and two excellent instructors, I have managed to produce several prints that excite me. These all relate back to the continuing process I wrote about earlier this summer where I have moved from painting to 3-D, then to drawing and printing, all the while using the same imagery as my source. Once summer passes I'll return to my studio to paint and am excited to see where that takes me. As for the prints that didn't work out, they are material for some future collage. It's all fodder. It's all good.

(re)Members at Washington State Convention Center

My participation in the EDGE program through Artist Trust took place three years ago. I traveled to Fort Worden in Port Townsend for a full week of intensive training on the business of art. It was a considerable amount of important information to take in during such a short period of time but has a significant impact on my career as a professional artist. While there, I also developed enduring friendships with other professional artists.

For the first time, Artist Trust has brought together the work of EDGE graduates in a curated exhibition now on display at the Washington Convention Center through October 18. The opening is September 7 from 5:30 to 8:30 pm. My mixed-media painting, Instrument, was selected for inclusion in the show. You are personally invited to stop by and see the show.

Brice Marsden Up Close

Several months ago while in Chicago and visiting the Art Institute, I was struck once again by the lyrical paintings of Brice Marsden. This is a close up of one. Marsens' work has always been equally mysteriously simple and compelling to me. Recently I began, or rather returned to, a series of woven line drawings and prints that have a hint of Marsden. It wasn't until I looked back over photos taken on the Chicago trip that I realized where some of my ideas may have begun to germinate. Influences often exert themselves in mysterious ways.

Another in a Series

Unbound, 8"x8.5", monotype, 2012

This is another print from one of the series I've been working on in class this summer. This palette of blues, greens and orange has resurfaced after being in hibernation for some time. Maybe it returned because printmaking is just not as comfortable as my old friend painting, although they are certainly related. Maybe it's just the time of year and because the sun is finally here.

The process of pure printmaking is new enough to be very challenging but it is also an exciting and fun way to work. The mystery of what happens under the pressure of the press is a compelling thing and reinforces working intuitively. The stack of prints is slowly growing. More to come.

Printmaking and Process

This summer I'm excited to be taking a works on paper print making class at UW. It is a critical element in a process that I used several years ago with the Monolith Series. It is by no means unique to me and involves taking the forms from my paintings and creating maquettes. From there, the  imagery is taken back into 2-D space both in the print studio and through drawing and painting. Here's how it goes. Below is a painting, Stitched, that was made at the very end of 2011.

 

Stitched, 18"x24", 2011, mixed-media

Here is one of the small-scale sculptures that was made recently in my studio, followed by a recent print.

Going back and forth from 2-D to 3-D, between techniques, and also between more controlled and less controlled imagery keeps my ever restless nature very happy. While the wet and cool weather in Seattle this summer has put a damper on the moods of some folks I am not one of them. It may be a result of being a native Northwesterner and my choice to move back here after living away for almost a decade. It is often under a brooding, gray sky and the rhythm of the rain against the roof that my best work is created. Maybe because I am now settled here, most likely for good, that my restlessness comes out visually. Whatever the reason, this summer is proving to be a good one.

Duwamish Residency

The Duwamish Residency is a staycation residency created during the past few months by my good friend and colleague, Fiona McGuigan, and myself. It is taking place over the course of the summer, including eight days on-site. The focus of the residency is about getting to know an area of our city that we previously knew little about, and to move out of our studios into that community to see what might happen to our art practice. We have invited nine other studio artists and one writer to join us in our adventure. As part of the residency we will be getting to know the community surrounding the Duwamish River, including the Duwamish Tribe and the South Park arts community, and taking a boat tour down the river. For more information about this exciting, please visit our blog. 

Art Walk'in

Despite two graduations (UW and PLU), a viaduct that was closed and numerous other stuff going on around town on Saturday, we had a great crowd at Building C Studios for the art walk. Thanks to everyone who made it out. It was a ton of fun!

Open Studio This Saturday

It's time! My studio at Building C Studios, along with many other artists, will be open from 6-8 pm so please stop on by and see what's been going on.

Dana Schutz Again

If you are a fan of Dana Schutz than you may want to set aside a block of time to watch her interviewed by Keith Mayerson in the fall of 2011. In it Schutz explains her approach to painting from paradigms.

Before beginning the painting "Swimming, Smoking, Crying" Schutz considered what three verbs cannot possibly be performed at the same time. After some thought she concluded that smoking, swimming and crying inexplicably work together. Her "Face-eating" series depicts the final stages of this act, and as strange as it sounds the paintings make so much sense to me. This is definitely weird stuff, and I suspect you'll get no argument from Schutz on that score. The challenge for her seems to lie in depicting the impossible. Fortunately for us she does it so well.

In the interview Schutz also discusses how issues of time and narrative impact her work, artists who have influenced her, and much more. The interview is about an hour long so make popcorn and get comfortable.

Robert Yoder at Platform Gallery

Thick and thin. Light and dark. Robert Yoder's paintings and collages in a show he calls DILF at Platform Gallery are often compelling in their graphic contrasts and elegance. Details have been fondled but not overworked. The result is a show that is a little bit coy. The work draws you in but reveals not quite enough. Ultimately you are left wondering and yet vaguely satisfied, well not satisfied enough to stop thinking about them. It's a lovely show.

WHAT: DILF
WHO: Robert Yoder
WHERE: Platform Gallery in Pioneer Square
WHEN: Through June 16, 2012

Images were taken with the permission of the gallery.

Q & A: More with Tod Gangler

Tod Gangler of Art and Soul Photography, agreed to answer a few more questions about his thought process and the process of color carbon printing as a follow-up the original interview I posted on April 6.

SD: What is the first thing you do as you begin your work?

TG: With my work being my photography, I start each new project by researching old ideas. I like to have a foundation of ideas, and I like to use photo images to explore themes from art history. I don't look at images from art history as much as read, including biographies of dead artists. Then, as I start to make the first few pictures in a new body of work, I look hard to see what the pictures show that I've completely overlooked- there's always plenty! The project then usually goes in new directions, suggested by the pictures themselves.

Eirik Johnson at G. Gibon Gallery

Johnson's current exhibition of photographs, Camps and Cabins, at G. Gibson Gallery, up through May 26, are full of the pinny richness of Eastern Oregon mountains, and rough structures in the cool arctic landscape. It will come as no surprise that the structures appeal to me. The cabins and houses, some incomplete or abandoned, others roughly built, are full of possibilities while containing elements of sadness, of dreams unfulfilled. And home. The images speak of home and all weighty emotions contained within. Go see the show. Even better, tomorrow, Saturday, May 19, at 2:00 hear Johnson speak. You know I'll be there.

Red Matter

Red Matter, 18"x18", mixed-media, 2012

Where did the concept of painting in series originate? Was it inspired by a gallery owner looking to satisfy an audience or simply born out of the process of painting because the artist got snagged by an idea and couldn't let it go? Wherever it came from, there has often been a gnome who resides on my right shoulder scolding me, reminding me that I'd better put together a series of work. On the other shoulder is the gnome that says, "Hey Sue! Chill, baby. Just work and the rest will take care of itself."
Red Matter is part of what has emerged to be a series of work done while chilling out. The value of becoming a student again, which I hadn't anticipated, is the distraction it provides while working in the studio. Put another way, I forgot about the whole painting in series concept. It wasn't until a recent studio session of cleaning, reorganizing, and putting the newest work on the wall that this new series became evident. That moment when matter coalesces into something new is dang exciting. It's one of the reasons that I paint.

Cool! - Van Gogh Watercolor

 1882 water color of a pollard willow by Vincent van Gogh from his early Dutch period. The Van Gogh Museum in Amsterdam unveiled the painting Thursday.

Dreaming Home at Art & Soul This Saturday

Paintings from my Dreaming Home series will be on display at Art & Soul Gallery (2860 NW Market, Seattle) through the first week of June. The opening is this Saturday from 6-8 pm. The gallery is open Mon-Fri, 9-5 pm. Please stop by.

Shades of Gray, acrylic, 36"x36", 2011

Intersections

During the installation of Radiant Flux (Combined Selves) with Lori Koshork and artist, Therese Buckmiller, who created the piece.

A few weeks ago I had the honor of helping my friend and artist, Therese Buchmiller, and her partner, Lori Koshork, with the installation of Radiant Flux (Combined Selves) as part of Intersections: Interpretations and Reflections of Queer Artists that was on exhibition until yesterday at the Viking Gallery on the Campus of Western Washington University in Bellingham. Other exhibiting artists were Adrain Chesser, Timothy White Eagle, Paul D. McKee, Garth Amundson, Pierre Gour and Steven Miller. It is unfortunate that I didn't get a post here before the show ended. Luckily you can view a video here. Curator, Ashley Hollender, did a nice job of pulling together strong work that intelligently explores identity.

Radiant Flux is a piece that I first saw in March of 2011 at Rock DeMent Gallery. It is a visual feast, a cohesive whole made up of colorful and mysterious objects generated from re-purposed objects and packaging material that are suggestive, or outright representative, of female body parts, from eyes to breasts. Radiant Flux (Combined Selves) reflects a complex yet humorous exploration into identity that is life affirming. For my part, I had a blast getting to experience the recombining.

New One

Pink Square, acrylic, 9"x11", 2012

As I mentioned before, I've started back to school and am beginning to develop a routine that better balances time between studio and homework. When life gets crazy, hopefully, we figure it out and gain a sort of equilibrium. That has been the case for me during the past week so it feels good to share some of new paintings that first appeared on twocoatsofpaint.com following Sharon Butler's visit to Building C Studios. Here is the first one, Pink Square.

Two Coats of Paint Blog

Artist, Sharon L. Butler, has been blogging about the art world from New York since 2007 under the banner, twocoatsofpaint.com, and has won awards for her intelligent, straight forward writing and keen eye. She recently visited Seattle for the opening of her show, Squeeze Hard (Hold That Thought) with Allison Manch at Season. Don't miss it.

While in town, Sharon stopped by Building C Studios at the invitation of Robert Hardgrave and blogged about her visit. Although I wasn't able to be present, Sharon included my work in the blog, which features Robert Hardgrave along with fellow building artists Gillian Theobald, C.L. Utley and Andree B. Carter. Here is a link to her post.

High Ho, High Ho

It's back to school I go. Three weeks ago I became a student again after more years that I care to share, purely out of my own need to deny my age while also loving life from the perch were I now reside. To lay out all the reasons for the delay would probably result in your not getting past this sentence. The reasons for going back in part include the desire to finish something I started long ago. The biggest surprise of this experience thus far happened while going through college orientation, which bounced me right back to being 18-20 years old. I found myself like a deer in the headlights staring at the pile of registration papers. Fortunately that mental state only lasted minutes because I was able convince myself that I am not 18 after all (a definition of maturity?) but the experience was revelatory all the same. I'll write more about my back to school experience as time allows. In the meantime, there won't be as much time for the blog but I will continue to post as I can.

Photography as Printmaking: Interview with Tod Gangler of Art & Soul Photography

Marble Torso of a Boy, Tod Gangler (used with permission of the artist)

Current exhibition:

Art & Soul Photography Gallery through April

2860 Market Street, Seattle

9 am to 5 pm, Monday through Friday

About five years ago a friend said to me, “Art & Soul Photography is the best place in Seattle to have your work photographed.”  “Okay”, I said, “I’ll check it out.” The problem was I couldn’t find it the first time I went looking. There is no sign outside the modest, white building located just north of Taco Time near the Ballard locks.  The sign is there but it’s located in the window below eye level.  I persisted and was hugely rewarded for my efforts. That’s because the real story here is about a very talented photographer named Tod Gangler and a rare process called carbon color printing.

How Could I Forget . . . Red Current at Roq La Rue!

Mea culpa! I'll admit right up front that I've been a bit distracted lately. Act fast! There are only three more days to see Red Current (sweet fruit) at Roq La Rue. Curated by Sharon Arnold, this exhibition features the work of 37 contemporary women artists. Run don't walk!

First Thursday: Two Shows I Won't Miss

Here are two exhibits, in no particular order, that I'm excited to see tomorrow night during First Thursday. Each show has a unique vision that is worth checking out.

In 1970 a book of prints by Jacob Lawrence depicting Aesop's Fable's was published by University Press. Seattle visual artist, Robert Hardgrave, has used this book as a departure point in curating Refable, an exhibition opening April 5 at Collom Gallery in Seattle. He invited a dozen contemporary artists to choose one print from Lawrence's Aesop's Fable and graphically reinterpret it for the exhibition. The opening reception will be Thursday, April 5th from 6-8 pm.

Says Hardgrave, "Jacob Lawrence has been an important resource to many artists for his simple yet dynamic compositions. As a lifelong teacher his lessons continue to ring even after his passing in 2000. This exhibit features several notable northwest artists as they take on making work based on Lawrence’s classic renditions of Aesop’s Fables. I hope to engage the public in the power of Lawrence’s graphic work by presenting it through a few contemporary artists, while enjoying the rich bounty of talent that exists here in the northwest today."

Where: Cullom Gallery, 603 S Main Street, Seattle, WA 98104
When: April 5th-28th;  
Opening reception Thursday, April 5, 6-9 pm
Who: Matthew Dennison, Warren Dykeman, Hibiki Miyazaki, Amy Huddleston, Sean Michael Hurley, Darin Shuler, Peter Taylor,  Joe Park, Gene Gentry McMahon, Stacey Rozich, Claude L. Utley, Kimberly Trowbridge and Robert Hardgrave

Pramaste, Anna-Mária Vág (used with permission)

Next up is Mossitative, a visually stunning series of luminous images by Seattle photographer Anna-Mária Vág. By playing with focal length and cropping of her chosen subject, Vag has created painterly images that push into abstraction. A distinctive process of dye-infused aluminum creates a holographic-like quality, the effects of which can only be experienced in person.

Where: Mithun Threshold Gallery on Pier 56 at 1201 Alaskan Way # 200 Seattle, WA 98101
When: April 3 - May 8,
Opening reception Thursday, April 5, 5-7 pm

Viva Las Vegas

Cross-section, acrylic, 2012, 16"x20", Sue Dnaielson

If you are heading to Sin City any time before April 27, please stop by the Contemporary Art Center of Las Vegas for the 23rd Annual Juried Exhibition. The juror was Matt Gleason, a Los Angeles based art critic and curator who is a regular contributor to the Huffington Report Art Section. My painting, Instrument, that you may have seen during my exhibition at Core Gallery in February, was accepted into the Las Vegas show.

From the official press release: "The CAC invited artists from around the globe to contribute to its 23rd annual show, and now, after much humming, hawing, and careful selection, the show is ready to be unveiled to the public. The collection was carefully curated, and showcases internationally sourced contemporary art that simply cannot be seen elsewhere in Las Vegas."

CAC is located in the Arts Factory, part of the Las Vegas Arts District, which holds it's art walk on the First Friday of every month. Before entering this show I was unaware that Las Vegas was such a supporter of the arts. It's encouraging to see more cities designating art districts. Please support this one next time you win big, or even if you don't.

UPDATE: 4/3/12 Received word that an exhibition catalog is in the works. 

Heighten by Julia Hensely, Reception Friday

Close up of Heighten, a site-specific installation by Julia Hensley

In an earlier post I shared with you Julia Hensley's site-specific installation at University Heights called Heighten. Don't miss the second opening tomorrow, Friday, March 16. I shouldn't fail to mention that since the first opening Julia has put in a considerable amount of work into this growing installation. Click here is more information. Up through April 16.

Van Gogh on my Mind

The Van Gogh Museum in Amsterdam has put together an incredible on-line resource for reviewing the letters of Vincent Van Gogh. The data base is searchable and includes images of the of original letters. As you may know, aside from producing an enormous volume of paintings and drawings in just ten years time, Van Gogh was also a talented writer. Having his writings available at the touch of a finger is, well, just dang cool.

Plus, if you haven't checked out the Google Art Project yet you are missing out. Here is a link to a very high res image of Van Gogh's The Bedroom . It's not the same as seeing it in person, true, but pretty sweet all the same.

Last Week for Conversations in Paint

Conversations in Paint: Danielson, Hamje and Gagnon at Vermillion on 11th between Pike and Pine closes on Saturday. Be sure to stop by and check it out before the end of the week. 

Mixing it Up

Do you put cereal into your bowl first when making breakfast in the morning? Consider mixing it up by putting the milk in first. The result may just be a more nimble mind. According a new study reported by Tom Jacobs on the Miller-McCune blog,  changing the order in which you perform routine tasks such as making breakfast or building your favorite sandwich can open up your thinking and allow for more creativity. Who would have thought!

Britches by Julie Alexander

Britches, Julie Alexander, 2011, oil (image used with permission of the artist)

This is my favorite painting by Julie Alexander in her show at IMA Gallery. Today's the last day of the show so catch it quick.

Sarah and Evan Make Magical Music

Last night in the back of Vermillion Gallery and Bar, surrounded by soft light and old-brick walls, Sarah Charles on vocals and Evan Flory-Barnes on bass, shared a mix of classic jazz and original compositions by Sarah. It felt like a conversation between old friends. In truth they had originally met by chance in New York City the week before. Sarah was in Seattle for the first time and Evan was home. Yet after only an hour of practice they put together a set of music that was nuanced, lyrical and accomplished. 

You could have argued that it was Sarah's show - she had flown in to play in the gallery where her aunt, Marie Gagnon, had curated a show, and yet they shared the stage equally with a respect and generosity that was palpable. The resulting music left the audience completely charmed, and continually delighted and surprised. The hour-long set felt like 15 minutes because it went by so quickly. These two clearly have a future together on stage and both have long careers ahead of them. 

Sarah will be heading back to NYC soon but Evan plays around town when he's not on tour. Be sure to check him out. Maybe I'll see you there. And Sarah plays around NYC so if you're ever in the Big Apple look her up.

About Painting

Painting is assessing. Painting asks nothing of me except to question until an honest conclusion has been reached. 

Jazz and Art at Vermillion on Thursday

I received this e-mail today from Marie Gagnon and am passing it along here:

For over four years I've yearned to have a Sarah Charles jazz performance combined with an exhibit of my paintings...craving a melding of art and jazz.  Surprisingly, over a week ago, this dream has become a reality.   I am thrilled to announce an evening of Jazz and Art.

Thursday, February 23, 6:30 - 8:00 pm

Vermillion Art Gallery and Bar

1508 11th Ave

Seattle WA 98122

www.vermillionseattle.com

Sarah Elizabeth Charles is a vocalist and composer based out of New York City. Her musical stylings are unique and the intricacies to her art focus on modernizing classics and composing distinctive originals. The Vermillion show is the first time that Sarah will be performing her original compositions/arrangements as a duo with renowned Seattle-based bassist Evan Flory-Barnes. Combining this debut artistic presentation with the paintings of Seattle artists Marie Gagnon, Sue Danielson and Laura Hamje, in "Conversations in Paint: Danielson, Hamje and Gagnon" will make for an eclectic evening of art, jazz, soul, and folk. Two of Sarahs's performances: *w/ The Jesse Elder Group Live at the Blue Note NYC-April 2010 http://www.youtube.com/watch?v=09rtyeSDN6s *S.E.Charles Quartet Live-November 2011 http://www.youtube.com/watch?v=MO2pcd0vplE *Evan Flory-Barnes website: http://evanflorybarnes.com/

Artist Talk

Instrument, mixed-media, 2012, Sue Danielson

Please join Therese Kunzi-Clark and me tomorrow at 1:00 pm when we talk about our current exhibitions, Amalgamate and The Truth of What I See at Core Gallery. See you there!

More Painting Shows to See in Seattle

Here are three more painting shows that I highly recommend you see this month:

Emily Gherard and Michael Howard at Francine Seders Gallery. I'll be back to see this one weekly until it ends. Killer!

Kimberly Trowbridge at Plastile Frames. I haven't made it to see this show in person yet but Kimberly is one of the best painters in town so it will be a treat when I do.

I also haven't gotten to see Julie Alexander at I M A Gallery but from what I can see on line, this is a new body of work based upon tree bark is wonderfully abstract and beautifully painted. It's a departure from Julie's prior work and I'm anxious to see it in person.

I'm still looking around. Let me know if there are any other shows in Seattle that I shouldn't miss.

The Truth of What I See, Virtually

Thank you to Bradford Bohonus for shooting these (here and here) virtual reality photographs at Core Gallery of both my show, The Truth of What I See, and sculptor and photographer, Therese Kunz-Clark's show, Amalgamate. You can, of course, see them in person through February 25.

Let The Conversation Continue

One of the most exciting aspects of last night's opening at Vermillion was the unexpected surprise generated by our decision to hang the work salon-style in multiple groupings, based solely on how the work interacted with each other. The result was that we had so many great conversations with so many interesting people. Thank you to everyone who came and talked about painting and art. May that conversation continue long after this show is over.

Opening at Vermillion Tonight

The installation with Marie Gagnon and Laura Hamje is almost done.

Please join us tonight at the opening of Conversations in Paint: Danielson, Hamje and Gagnon at Vermillion Gallery during the Capitol Hill Art walk from 6-8 pm. Thanks to The Stranger for the recommendation.

Participating with Marie Gagnon and Laura Hamje in this show has been one of the best collaborative experiences I have had. It's a thrill to have my work share the walls with these two terrific painters. Marie curated this show and brought us together. Diana Adams at Vermillion generously agreed to host us.

Heighten by Julia Hensley at University Heights

Check this out! Heighten is an installation project by Julia Hensley, who "treats the interior of this beloved, 110-years old former school building as a canvas for a vast, site-specific collage painting." Ongoing during the month of February at University Heights, 5031 University Way NE in Seattle.
You can visit Julia on Saturday, February 11, 11-2. There will also be live music, wine and snacks at the opening reception on Friday, February 17 from 6-8. Closing reception, Friday, March 16. For more information go here. (all images used by permission of the artist).

About Another Last Night

Good weather brought out the crowds last night in Pioneer Square for First Thursday Art Walk. The gallery was pretty much full all night. A big, warm, sloppy kiss to all of you who made it to Core Gallery, old friends and new.

Putting together an exhibition is a group endeavour. While it's true that the paintings are my creation, getting them to the walls of the gallery requires many hands. First and foremost, thank you to my husband, Dave, for his undying support. You might have seen him wandering around the gallery with a camera last night. He always documents my openings, one of his many talents.  Many thanks to the members of my monthly critic group of four years running, to Robert Hardgrave who helped to install the show, and to Art & Soul Photography for taking such wonderful documentary photographs of my work. Thank you also to the many friends who have backed me up along the way.

Featured on New Day on Channel 5

A big thank you to Nancy Guppy for highlighting my upcoming show at Core Gallery, The Truth of What I See during "Weekend Zone", on New Day, broadcast on Jan 26. on Channel 5 in Seattle. You'll see the review 2:25 minutes into the clip.

The opening reception for The Truth of What I See is Thursday night from 6-8 pm. See you there.

Matter

Matter, acrylic, 48'x60', 2011 (image: Westside Pictures LLC)

As I've culled through work completed during the past year in preparation for The Truth of What I See at Core Gallery in February, this painting, Matter, never fell off of the list. It was begun in late 2010 and then turned toward the wall for months, yet not forgotten. In a sense it took on a life of it's own and that's when things get exciting in the studio. But is was a slowly emerging life. Periodically Matter was pulled back out to receive more attention, and sometimes paint. That process was repeated several times until it felt complete. Each painting has a life of it's own, and that means in terms of the process as well as the resulting imagery. That is the fact of the matter.