April 6 – 29, 2017
by David Beckley
First Thursday: April 6, 5 – 8p
David Beckley reexamines the photographic portrait in terms of its ability to convey identity in a meaningful way at or below the surface.
First Thursday: April 6, 5 – 8p
Artist’s Reception: April 22, 6 – 8p
The drawings in this series were done consecutively, each one springing from the forms discovered in the previous drawing – a visual stream of consciousness. They are connected by a common symbol, the ladder. Susan Christensen is known for lively color and composition. These pastel abstracts are in keeping with her style.
First Thursday: May 6, 5 – 8p
Using mixed media and collage, both digital and analog, Ketcham references the built environment – roads systems, bridges, building fragments and maps – the work in Aftermath is inspired by the artist’s dreams, road-trips and daily headlines.
First Thursday: May 6, 5 – 8p
Artist’s Reception: May 13, 5 – 8p
From the artist:
In “Parrot” I use ink and graphite drawing to explore the image as an imperfect copy. Original subjects are first captured with video, then transformed with line and washes into abstract echoes. The show is presented as a series of diptychs, allowing the viewer to meditate on two reflections and fill the void in between.
First Thursday: March 2, 5 – 8p
Artist’s Reception: March 11, 5 – 8p (including presentation by artists at 5:30p)
Places and Spaces is a cluster of ideas that through deliberative planning, and association of accident, seek to understand the identity of the physical elements of natural and geographic space. That identity is defined when meaning is given to segments of the larger space through which life moves. Revealed within both artists’ work are fragmentary experiences of the world held together in an unfamiliar unity.
First Thursday: January 5, 5 – 8p
Artist’s Reception: January 7, 5 – 8p
An installation in homage to the father/mother of Conceptualism, Marcel Duchamp, employing multi-media, kinetic, and experiential strategies to strip the viewer of any remaining dubious notions of the artwork as aesthetic experience.
“Rrose Sélavy” was Duchamp’s female alter-ego and a pun on “Eros c’est la vie,” in English, Eros, that’s life. The work is loosely based on Duchamp’s masterpiece, “The Large Glass,” also known as “Bride Stripped Bare by Her Bachelors, Even.”
Gary Aagaard | Julie Anand and Damon Sauer |Gary Beeber | Jeremiah Birnbaum | Jan Branham | Zachary Burns
Briar Craig | Brooks Dierdorff | Michelle Friars | Jennifer Garza-Cuen | Lauren Greathouse
Eirik Heintz | Sarah Henderson | Donna Hixson | Matthew Hopson-Walker | David Iacovazzi-Pau | Brock Jensen
Rohena Khan | Blazo Kovacevic | Thaniel Lee | Robert KcKirdie | Kristen Michael
Eric Millikin | Sung Eun Park | Nicole Pietrantoni | Marco Pinter | Maria Rendon | Michael Sanata
Harry Sanchez Jr. | Ouida Touchon | Tom Wheeler | Alison Ye | Ilana Zweschi
Statement from Juror:
Greetings from the Anthropocene
By Maiza Hixson
Greetings from the Anthropocene presents thirty-four artists selected from cities across the United States who address issues and themes that reflect the political, social, environmental, technological and emotional dimensions of contemporary life. The title of the exhibition serves as a conceptual framework for art created in this geological period during which human activity has destabilized our global climate and ecosystems. Ranging in medium from drawing and painting to sculpture and installation, the exhibition includes a wide range of creative materials and research strategies relevant to contemporary artistic practice today.
In 2016, the nation elected Donald Trump to the United States presidency. Cited by author Robinson Meyer as “The First Demagogue of the Anthropocene” in an article published in The Atlantic, Trump’s rise as a climate change denier and authoritarian leader remains the subject of many artworks this year. Gary Aagaard’s figurative oil paintings satirize Trump’s personae as Bram Stoker’s Dracula with a signature comb over. Another of Aagaard’s paintings Race Odyssey portrays Trump’s campaign as an ape beating an elephant skeleton while Vice President Mike Pence looks on in the distance.
The construction of toxic masculinity or desire for planetary dominance is also at the center of Brock Jensen’s video, Illuminating the Brute. Filmed in the Salt Flats of Utah, Jensen lugged a 1,400-pound rigid concrete form through the barren plains for one mile in one hundred and two-degree heat. An endurance-based work for which Jensen donned an alien costume with an enlarged head and proboscis, the video shows the half-human figure strive and collapse in defeat.
Also commenting on self and cultural mythology, Jennifer Garza-Cuen’s photograph Untitled, Woman with Gun, Rabun, GA is informed by ideas of American identity and empire. Her representation of a figure defending herself from some unknown force in a backwoods setting conjures visions of hardscrabble life in rural sectors; yet without any further context, we cannot rely on the image as truth. Thus the photograph becomes a reflection of our own imagination about who or what this woman represents.
While Garza-Cuen’s image evokes themes of violence and rural communities, Eric Millikin’s Street Portrait addresses gun violence and police brutality in the urban sector. According to the artist, his portrait of the New York resident Eric Garner was “drawn in one continuous line through the streets of New York, starting from the point where police put him in a choke hold, where he repeated ‘I can’t breathe’ eleven times, past the hospital where he was pronounced dead an hour later, on July 17, 2014.”
A UV print on 3D film, Blazo Kovacevic’s Gold Tory Burch Handbag With Knife conflates violence and haute couture. The image appears as an x-ray showing a knife inside of a purse. A symbol of aggression beneath the façade, this secret weapon also evokes questions surrounding who or what is the immediate threat. The golden handbag seemingly signifies material excess in a capitalist age in which our penchant for expensive brands can often lead to violence and death.
Rohena Khan’s mixed media work entitled Temptations also speaks to ideas of desire in its iconic depiction of a melting ice cream cone. Khan’s work suggests that time is running out in our chase for material gratification. Interpreted differently, we can see the ice cream cone as a stand in for any object of desire or finite resource.
Time and assigned value also informs the work of Michael Sanata. A commentary on the scarcity of natural resources, his sculptural installation appears as a sink with dirty water. Entitled Thirsty, the basin is actually filled with colored resin and embedded within the hardened liquid is an excerpt of a United Nations study on drought.
In the book Learning to Die in the Athropocene, author Roy Scranton initiates a discussion about how individuals accept the fate of a dying planet. As a society confronting climate change we are increasingly aware of such existential themes. A sense of finality pervades artist Briar Craig’s image of scrolling end credits of a 35mm film and underscores ideas of loss. Entitled The En, Craig’s screenprint also resonates as an ironically nostalgic gesture that both points to new digital film formats replacing the old and the desire to retain some vestige of the past embodied by the screenprint as a traditional medium itself.
Tom Wheeler’s photographic print Walking Out of the Fourth Dimension and Marco Pinter’s Less Ephemeral series both reveal haunting visions that reference shifting temporality. Wheeler’s image of an illuminated portal through a deserted landscape appears as a result of the camera’s long exposure. Alternatively, Pinter employs an industrial thermal camera to photograph dancers pressing their bodies against a thermally sensitive surface. The resulting image shows the application and fading heat of corporeal movement over time. While the appearance of heat in Pinter’s work seems purely aesthetic, viewed in this geological period, the image can also register as something more than formal information. In a larger sense, the visualization of heat in an age of planetary warming may be interpreted as political.
Documenting the imperceptible human trace, Julie Anand and Damon Sauer’s photographs of Cold War satellite calibration markers show the positions and orbits of contemporary satellites present in the sky at the time of photographing. Calibration Mark A48 depicts what is normally invisible to the naked eye, reflecting networks of vast information gathering, such as U.S. intelligence and international secret surveillance programs. Anand’s work acts as a corollary to Harry Sanchez Jr.’s oil painting, named after the Edward Snowden who copied and leaked classified information from the National Security Agency (NSA) in 2013. According to his Wikipedia page, Snowden’s disclosures revealed numerous global surveillance programs, many run by the NSA and the Five Eyes Intelligence Alliance, with the cooperation of telecommunication companies and the European government.
As an exhibition, Greetings from the Anthropocene signals a warning and welcome to the viewer of the featured artworks. Like Hieronymous Bosch’s famous triptych Garden of Earthly Delights painted between 1490 and 1510, its landscape is both mysterious and intoxicating.
In Bosch’s original painting, the left panel depicts God presenting Eve to Adam, while the central panel portrays peaceful figures in a natural paradise. The far right panel presents the world as a hellscape of smoke and flames where desperate beings are devoured by gleeful devils.
Like many historical works, Bosch’s vision remains a relevant metaphor for our greatest aspirations as well as human caused catastrophe and planetary peril. Similarly, the artists in Greetings from the Anthropocene further the dialogue of art as a prescient signifier of significant environmental and cultural change.
First Thursday: December 1, 5-8p
Please note the gallery will be closed Saturday, December 24th and Saturday, December 31st.
For our December exhibition our gallery artists are offering a wide range of art, ranging from photography and prints to paintings and sculpture. Each piece in this exhibition measures 12″ or less in any direction, is affordably priced, and may be removed from the gallery on the date of sale.
First Thursday: December 1, 5-8p
“Be the change you want to see in the world” is a summative quote from when Mahatma Ghandi famously said:
We but mirror the world. All the tendencies present in the outer world are to be found in the world of our body. If we could change ourselves, the tendencies in the world would also change. As a man changes his own nature, so does the attitude of the world changes towards him. This is the divine mystery supreme. A wonderful thing it is and the source of our happiness. We need not wait to see what others do.
Youth in Focus’ mission is “to empower urban youth through photography, to experience their world in new ways and to make positive choices for their lives.” Gallery 110 is proud to present the work of Youth in Focus students in our East Gallery during the month of December.
First Thursday: November 3, 5 – 8p
Nancy Coleman and Darrel Rhea have both been sailors since childhood, spending much of their adult lives sailing. They met when both worked in Design, finding romance and adventure on the water together navigating the San Francisco Bay and California Delta, living for years on a wooden Norwegian trawler in Sausalito. In 2001, Nancy and Darrel married and in 2011 moved to Seattle partly to explore the enticing Pacific Northwest’s waterways.
Over the years, both artists have developed a unique style to express their shared experiences and views of the water. Darrel’s romantic realism is painted digitally; Nancy’s Visionary works are in acrylic and encaustic. Water Is Everything is their first show together, and Darrel’s public debut as an artist.