twixt cup and lip
February 6 – 29, 2020
Reception and Prize Presentation on February 7, 2020 from 5-7 pm
Juror: Amanda Donnan, Curator, the Frye Art Museum, Seattle WA
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Amanda Donnan, Juror, has carefully chosen an outstanding collection of work from over 1,500 entries worldwide. Please join us for the Reception and Prize Presentation on February 7, 2020 from 5-7 pm. Covered parking available across the street from Gallery 110 at Butler Garage.
Finalists: Josiah Bell, Nathan Campbell, Eric Chan, merkuria/Johanna Czerwińska, Ian Shearer, Kristen Thacker, and JoEllen Wang
Jurors: George Brandt, Rajaa Gharbi & Trevor Doak
July 4-27, 2019
Thursday, Friday & Saturday Noon-5 pm,
Reception: Friday July 19, 2019 5-7 pm
Congratulations to the winners of this exhibition, Josiah Bell and JoEllen Wang. We are excited to welcome both of these talented artists to our ranks. Be sure to look for their upcoming exhibitions in January 2019.
Welcome to our inaugural Gallery 110 Emerging Artist Scholarship Competition Exhibition – we are thrilled to bring to fruition something we’ve been fund raising and planning for the last 2-3 years. Continue reading
Hart James
June 6 – 29, 2019
We are nature, and in nature, is our peace. What we most need to do is to sing with the Earth on the inside. Continue reading
Photographs from the Edges of the Sea
Lauren Greathouse
June 6 – 29, 2019
The sea and its constant changing, constant motion, make every moment it’s experienced unique and fleeting. I am drawn to capture examples of these scapes, these edges of the Earth, where breathing in the salty air seems to fill the lungs more full, more reassuringly. This collection of photographs comes from those experiences along the edges of the Salish Sea.
Saundra Fleming with visiting artist Darren Haper
June 6 – 29, 2019
Humor and whimsy incite the viewer to make new personal associations and open a unique poetic vein. Suggestive cartoonish images relate back to these artists’ memories of drawing recognizable shapes. A world is created where order is undermined and lightheartedness rules. Multilayered images arise in which the fragility of our daily lives is questioned.
Join the artists Saundra Fleming and Darren Haper for the reception on Friday June 14, 5 – 7pm.
On “Pop Figurations in Flux”…
Saundra Fleming’s pop figurations unleash new evolutionary, post-anthropological possibilities of becoming-human. Some of these transmogrifications take us to the limit of form and phylum. Others, drawing on more personal observations of her mother in decline from Alzheimer’s disease, imagine humorously how the artifacts and prostheses of technology can liberate memory from within transgenerational cultural figurations and biological programs. We delight at the uncanny appearance of a vestigial hand feeding pop tarts into the abyssal mouth of our ancient Mother, the bouquet of flowers rioting from the head of a woman mated with her medical technology. The artist’s palette of Pez dispenser colors contrasts with the themes of mortality, of death-in-life. With wit and whimsy, she revels in the radical flux behind every Trojan horse of form.
–Elizabeth Sikes
This show at Gallery 110, in Seattle, WA, is an event that runs from June 6-29 and is the first time in town, Darren Haper’s paintings, singular cream puffs of joy, are rockin’ our city. Winner of the esteemed New American Painting competition, his techniques and materials are mysterious and masterful. Mr. Haper combines random imagery, taken from the internet with a philosophy of holding childhood memories to his bosom…His sense of comedy, whimsical and subversive.
Poetic lightheartedness rules the day in these yummy and witty paintings de jour. Pop culture characters such as Ash from the Pokeman series in “What I Had With You” and his rumored to be new pieces, that give center stage to Smurfettes, are things that most all kids and many adults will recognize. His familiar celebrations of cartoony characters, or meditation on their body parts (i.e. their smiles!) work for me as a kind of communal Elmer’s glue. And the poetry brought to us through these brightly syncopated images from our past and present lift us up and cuddle us in soft blankets…my kid’s heart delights and pouts for more from this Dayton, Ohio painter….
-Ellen Jordan
The Willful Interloper
David Haughton
September 6 – 29, 2018, West Gallery
Statement on Controversy
Questions and Answers
A new series of provocative paintings by artist David Haughton features portraits of neo-Nazis, livid gun advocates, and disenfranchised, resentful and angry protesters. Rich with texture, they capture the rage and violence of angry white men as they express their frustration, desperation and fear towards people who are not like them. The images are taken from news photos in France, Hungary, Bosnia, Poland, England, Scotland, Finland, Sweden, Denmark, Canada and the USA.
Haughton writes, “In depicting these awful people, I was not glorifying them and their beliefs. Rather, I was exposing the underbelly of US and European society. My goal as an artist was to depict, with unflinching honesty, the world in which we live.
This is the first of three planned exhibitions. It focuses mainly on portraits of the “angry white men” – men (and women) who mass on the streets: frightening, loud and looking completely capable of evil deeds. It also introduces four portraits of a second group of men who I call “puppets”. The “puppets” are men who have unquestionably done great evil (for example, Dylan Roof and Anders Brevik). They are also, almost inevitably, damaged men (mental illness and/or intellectual disability and/or disordered personality) who are driven to evil actions by embrace of ideologies of hatred, contempt and fear of people with different beliefs, cultures and skin color.
The later exhibitions in this series, in 2019 and 2020, will include more and larger portraits of these two groups, and introduce a third group, those I call the “puppet masters”. The Puppet Masters are the cynical, successful and intelligent white men who – with cold detachment – work through right-wing media and blogs to manipulate and profit from their more credulous angry white brethren.”
“Decency these days requires the ability to stare barbarism in the face, repeatedly, randomly, intensely, without ever becoming inured to the ugliness of its features.”
— Jelani Cobb, The New Yorker
ARTIST STATEMENT
Everywhere I look in the news of the world, I see angry white men. Their towns have been hollowed out by the closing of factories or mines. The work done by their parents for a decent wage is now done abroad, and by machines and robots. Their insecurities are shaped into weapons by demagogues who blame the people who aren’t like them: immigrants, elites, liberals, democrats. Feelings of frustration and inadequacy are soothed by myths of an older, better time – a time when people loyal to their tribe or “nation” were honored, respected and rewarded.
Men and women lacking in, or deprived of, agency look to nationalism to assure them that, in their own way, they are as good as everyone else – better, even. It is just that the world does not give them the respect they deserve… [they] feel that the disruptions to the economy caused by globalization and technological change have increasingly rigged it against them. Their hard work – real or imagined – goes unrewarded while self-serving elites and the minorities who enjoy their favor reap privileged access to wealth and power. Bureaucrats obsessed with political correctness give immigrants jobs, houses and places in the local schools, while the nationalist’s loyalty to the nation, which is held to stretch back generations, is rewarded only by sneering and disdain.
The Economist – December 23, 2017
I am profoundly grieved and frightened by the rage and fear in their expressions, and the incoherent violence that some are driven to. “I understand a fury in your words. But not the words”. Men furious at Muslims kill Sikhs. Men attempting to murder Jews instead shoot Lutherans. Men whose fathers risked their lives fighting fascism raise their arms in Nazi salutes, join the KKK, and set elderly immigrants on fire.
I morn this regression to tribalism, to a loyalty limited to those of similar race, culture and political viewpoint, to a world-view that sees a threat in people of different religions and cultural backgrounds. But, as I paint these angry white men from France, Hungary, Bosnia, Poland, England, Scotland, Finland, Sweden, Denmark, Canada and of course, the United States of America, I can dimly see their humanity. The market reforms of the 1980s, globalization of trade, and particularly the technological advances of the last 40 years have enriched us all, but disproportionately so the elite; the sense that everyone is in the same boat has been destroyed.
I also understand that, given that in the right combination of frustration, desperation and fear, I might look like them. I, too, have ‘bred in my bones’ the capacity for fear, contempt, anger and violence towards strangers who look different, talk a strange language and now compete for the same resources.
Dorothy Anderson Wasserman
June 7-30, 2018
This is an exhibition of photo collage portraits; surrealistic in nature owing to the fluidity of the medium when exploring the illusive element of time.
Wasserman takes all the photographs used in her work and assembles them by hand. The physicality of this method is closely connected with the history of collage making. The cutting, pasting, and assembly creates a rough, engaging surface. As a final step, the benefits of technology are utilized by digitizing the collage and printing it on rag paper, using pigmented inks. This helps to unify the differing surfaces and textures, creating an archival, luxurious, and repeatable print.
Dorothy Anderson Wasserman is a visual artist, photographer, art educator, tap dancer and choreographer. These professional careers have crisscrossed the span of over four decades, informing and enlivening the directions taken. Added to this, throughout all the years, is a deep and abiding love of music.
Michael Abraham
March 1 – 31, 2018
Reception Saturday, March 3, 2018, sponsored by the Canadian Consulate General of Seattle
The varied figurative paintings and sculptures of Vancouver artist Michael Abraham contain a nuanced display of the lighter and dark sides of existence, with an underlying hopefulness.
He writes, “Art is a reflection of life: growing and dying, serious, funny, absurd, joyous, hard, paradoxical, sensuous, scary, communal, divisive… all things at once, and ever changing. Each creation is a snapshot of the mind in time.”
David Haughton
March 1- 31, 2018
Reception Saturday, March 3, 2018, sponsored by the Canadian Consulate General of Seattle
Artist’s Talk: “Hokusai and Me”, Saturday March 10, 2018
A new series of landscape paintings by Vancouver, BC artist David Haughton pays homage to the Japanese artist Katsushika Hokusai, an artistic ‘hero’ of Haughton’s for many years. The new work further develops Haughton’s series “40 Views of Mount Baker” with dramatic and intriguing views of the mountain and surrounding areas of the Northwest Coast. Continue reading
8th Annual Juried Exhibition at Gallery 110, Seattle, WA
February 1-24, 2018
Juror: Sara Krajewski Curator of Modern and Contemporary Art, Portland Art Museum
Prize Winners
First Prize: Kristina Aas
Second Prize: Elizabeth Magee
Third Prize: Jennifer Drinkwater
People’s Choice Award – Paul Adams
In 2018 we initiated an additional prize, the People’s Choice Award. We began collecting votes during Seattle’s First Thursday Artwalk, a popular monthly event. Visitors lingered and engaged with the artwork, casting 235 votes that included votes for every artist in the exhibition. The 2018 People’s Choice Award went to Paul Adams for his wet plate collodion tintypes.
Exhibition Catalog – order online
♦ Please order the catalog online from Blurb.
Exhibition Images
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About the Exhibition
The annual Gallery 110 Juried Exhibition showcases contemporary art chosen by a juror with ties to the artistic community of the Pacific Northwest. The juror selects work from submissions by artists around the world. Previous jurors include Scott Lawrimore (former curator at the Frye Art Museum), Maiza Hixson (Curator, Santa Barbara Museum of Art), and Catharina Manchanda (curator of modern and contemporary art, Seattle Art Museum).
In 2018, Gallery 110 was honored to have Sara Krajewski as juror. Krajewski is the Robert and Mercedes Eichholz Curator of Modern and Contemporary Art at the Portland Museum of Art. Previously she was the director of the INOVA (Institute of Visual Arts) galleries at the University of Wisconsin-Milwaukee. Seattle locals will remember Ms. Krajewski as curator of the Henry Art Gallery, where she organized nearly 40 exhibitions of contemporary art and photography over eight years. In 2014, Krajewski was recognized as an emerging leader by the Leadership Institute of the Association of Academic Museums and Galleries.
Curator’s Video
View curator Sara Krajewski discussing the exhibit and awards.
