Arc Invited 9th Nwbi Artists CV

Susan Seubert ......................................................................................................................................
2
Rick Araluce.........................................................................................................................................9
Debora Moore....................................................................................................................................11
Susan Robb .......................................................................................................................................13
Stephanie Robison ............................................................................................................................16
sarah hood .........................................................................................................................................20
Margie Livingston .............................................................................................................................24
Doug Keyes ......................................................................................................................................29
Victor Maldonado .............................................................................................................................33
Michael Brophy ................................................................................................................................37
tannaz farsi ........................................................................................................................................45
Michael Kenna ..................................................................................................................................49
Jack Daws .........................................................................................................................................50
Robert Jones ......................................................................................................................................53
Denzil Hurley ....................................................................................................................................59
Zhi Lin ..............................................................................................................................................64
Isaac Layman ....................................................................................................................................72
Chang-Ae Song .................................................................................................................................74
scott trimble ......................................................................................................................................78
Eric Elliott .........................................................................................................................................81
Ross Sawyers ....................................................................................................................................84
Linda Hutchins ..................................................................................................................................87
Micki Lippe .......................................................................................................................................90
Gala Bent ..........................................................................................................................................93
Susan Seubert
The submitted work is entitled, ""Iraqi Extraction."" These are photographs of
teeth that were extracted from Iraqi prisoners of war by U.S. Army medics during
the first Gulf War. The over-sized images represent a duality: how humanity can
exist within the paradigm of war. When I was first told what these teeth were, I
was immediately horrified, assuming that the teeth were extracted for torture
purposes, (i.e. Abu Gharib), or that they were some kind of morbid souvenir from
the battlefield. However they were not removed under coercion: they were removed
at the request of the Iraqi soldiers because their own health care was
insufficient and they were in pain.
Immediately, I was taken aback by my own assumptions and realized that I was
jumping to a conclusion based not on reality or truth. My conclusions were drawn
from information stemming from mainstream news media in the United States. I
have never stepped foot anywhere near the front lines where so many soldiers are
serving, and subsequently dying, every day. This is a perfect example of how (my
own) ignorance creates a reality that may not exist.
Nonetheless, these teeth also present a way to contemplate the atrocities that
happen every day in Iraq. They become symbolic in many ways, such as
representing postmortem identification techniques. Teeth are unique like
fingerprints as no two sets of teeth are identical. The enamel being 98 percent
inorganic, teeth are the most durable part of the human body and sometimes the
only remaining fragment available for identification. It is more common for
people to have been to a dentist than to have been fingerprinted. "Forensic
dentistry plays a major role in the identification of those individuals who
cannot be identified visually or by other means. "[1] They may represent the
human casualties that are so badly disfigured or destroyed that the only remnant
may be a tooth.
The teeth enable one to think of the families of casualties on both sides, many
of who must have to go through the grueling process of identifying body parts or
providing dental records to the authorities.
[1] www.Froensicdentistryonline.org/forensic_pages_1/identguide.htm
Resume
Susan Seubert
BORN
1970 Indianapolis, Indiana
EDUCATION
1992 BFA Photography- Pacific Northwest College of Art, Portland, OR
GALLERY REPRESENTATION
Froelick Gallery, Portland, OR
G. Gibson Gallery, Seattle, WA
J. Crist Gallery, Boise, ID
SOLO EXHIBITIONS
2009 Science, Fiction, Froelick Gallery, Portland, OR (scheduled April 2009)
2005 Memento Mori, Froelick Gallery, Portland, OR
One Hundred Cheerleaders, Donald Sheehan Gallery, Walla Walla, WA
Memento Mori, G. Gibson Gallery, Seattle, WA
2003 Neurasthenia, Froelick Gallery, Portland, OR
University of Portland, Portland, OR
2002 Fotofest, Mixture Contemporary Art, Houston, TX
2000 Chimeras, Froelick Adelhart Gallery, Portland, OR
Oregon Health and Sciences University, Portland, OR
1998 Ten Most Popular Places to Dump a Body in the Columbia River Gorge,
Froelick Adelhart Gallery, Portland, OR
1997 Panphobia, Houston Center for Photography, Gallery X, Houston, TX
1996 Panphobia, Froelick Adelhart Gallery, Portland, OR
Violence Objects: YWCA Week Without Violence, Pioneer Place Atrium, Portland, OR
1993 Every Three Seconds, Jamison Thomas Gallery, Portland, OR
GROUP EXHIBITIONS
2009 Virtually Mixed for Life, Jumeirah Towers, Dubai, UAE (scheduled 2008)
Alaska Yukon Pacific Exposition Centennial, Gallery 4Culture,
(scheduled June 2009)
2008 Untraceable, Ronald Feldman Gallery, Portland, OR
curators: Stephanie Snyder, Cooley Gallery, Reed College and Stuart Horodner,
Atlanta Contemporary Art Center
WAR, Guestroom Gallery, Portland, OR
100 Cheerleaders, Froelick Gallery, Portland, OR
Yer Killin' Me, ArtsWest Gallery, Seattle, WA curator: Deborah Paine
2007 Building Tradition: Contemporary Northwest Art from the Tacoma Art Museum,
Whatcom Museum of History and Art, Bellingham, WA
Winter Group Show, Froelick Gallery, Portland, OR.
Irqai Extraction (grop show), Froelick Gallery, Portland, OR
Photoing On Car, J Crist Gallery, Boise, ID
2006 Winter Group Show, Froelick Gallery, Portland, OR.
Experience, L. Coscino Galllery, Pacific Grove, CA.
Group Show, J Crist Gallery, Boise, ID
Le Noir C'est La Vie, Abbaye St. Andre Centre d'Art Contemporain,
Meymac, France
2005 Lewis and Clark Territory: Contemporary Artists Revisit Place, Race, and
Memory,
Paley and Levy Galleries, Moore College of Art and Design, Philadelphia, PA
Winter Group Show, Froelick Gallery, Portland, OR.
Landmark, Portland Institute for Contemporary Art, Portland, OR
Black and White Photography, 4 Culture Collection Seattle, WA
Turning Light into Silver, Museum of Fine Arts, Houston, TX
2004 Lewis and Clark Territory: Contemporary Artists Revisit Place, Race, and
Memory,
Tacoma Art Musuem, Tacoma, WA curator: Rock Hushka, also at the Yellowstone Art
Museum, Billings, MT
Susan Seubert, New Work, G. Gibson Gallery, Seattle, WA
2003 The Female Aim, G. Gibson Gallery, Seattle, WA
Crossroads, New Art from the Northwest, Center on Comtemporary Art, Seattle, WA-
curator: Michael Klein, Microsoft Collection
Celebrating Women in the Arts- Contemporary Northwest Women Photographers Juried
Exhibition, Frye Museum, Seattle, WA
Pacific NW Photography Now, Whatcom Museum, Bellingham, WA-
curator: Scott Wallin
Building Tradition: Gifts in Honor of the Northwest Art Collection,
Tacoma Art Museum, Tacoma, Washington
Art About Agriculture, Oregon State University, Corvallis, Oregon
2002 Out of the Frame, G. Gibson Gallery, Seattle, WA
Terra Infirma, University of Puget Sound- Kittredge Gallery, Tacoma, WA,
Curator: Greg Bell
Alumni Exhibition, Feldman Gallery, Pacific Northwest College of Art, Portland,
OR
Small Wonder, G. Gibson Gallery, Seattle, WA
2001 Danger, Exit Art, New York City, NY
East Meets West, Froelick Gallery, Portland, OR
The Visual Chronicle of Portland: 1999-2001,Portland Community College-
Northview Gallery, Portland, OR
Northwest Narritive: Portland, Portland Institute for Contemporary Art,
Portland, OR
Northwest Annual, Center on Contemporary Art, Seattle, WA. Juror: Michael Sweney
Northwest Visions: Recent Acquisitions, Key Tower Building Gallery, Seattle, WA
Oregon Biennial, Portland Art Museum, Curator: Bruce Gunther (catalog)
Contemporary Photo Gravure, Kala Art Institute, Berkeley, CA
Sextablos, Augen Gallery, Portland, OR, Curator: Michael Hernandez
Guns in the Hands of Artists, Interstate Firehouse Cultural Center, Portland, OR
Northwest Photography, Prague House of Photography, Czec Republic (Dec 2001)
New Year, New Work, G. Gibson Gallery, Seattle, WA
Winter Group Show, Froelick Gallery, Portland, OR
2000 Oregon's Twentieth Century in Photography, Portland Art Museum-
Copeland Gallery, Portland, OR, Curator: Terry Toedtemeier
Gallery Artists, G. Gibson Gallery, Seattle, WA
Wonder Women: 34 Amazing Oregon Women Artists, The Art Gym- Marylhurst
University, OR (catalog)
Printwork, Froelick Adelhart Gallery, Portland, OR
Open Walls, Portland Institute for Contemporary Art, Portland, OR
Winter Group Show, Froelick Adelhart Gallery, Portland, OR
1999 Necropolis, Galerie Georges-Philippe et Nathalie Vallois, Paris, France
Oregon Biennial, Portland Art Museum, Curator: Katherine Kanjo (catalog)
Pacific Rim Exhibitions: Portland, Terrain, San Francisco, Ca
Newport Biennial, Newport Visual Arts Center, Oregon Coast Council for the Arts,
Curator: Kristy Edmunds (catalog)
Portland Photographers, SK Josefsberg Studio, Portland, OR
Plant Forms, Froelick Adelhart Gallery, Portland, OR
18th Annual Gender Studies Symposium Art Exhibition, Lewis & Clark College,
Portland, OR, Curator: Ted Vogel
Artists Collect, L&B Viewing Room, Portland, OR, Curator: Nan Curtis
1998 Paper, Froelick Adelhart Gallery, Portland, OR
98 Interiors, The Pavilion at the Japanese Gardens, Portland, OR
1997 Observation and Invention: Women Photographers 100 Years After the Photo-
Succession, The Art Gym, Marylhurst College, OR, Curator: Terry Hopkins
The Alchemists Backroom, Benham Studio Gallery, Seattle, WA, Curator: Marita
Holdway
ZYZZYVA: Portland Black and White, Froelick Adelhart Gallery, Portland, OR
Eye Contact, Bumbershoot, Seattle Center, Seattle, WA Curator: Jill Janow
The Garden Show, Portland Institute of Contemporary Art, Lutz Tire Building No.
2,
Portland, OR, Curator: Victoria Beal
Artslate '97, CoArts, Condon, OR Curator: Jane Beebe (award)
1996 Pushing Image Paradigms: Conceptual Maneuvers in Recent Photography,
Portland
Institute for Contemporary Art, Portland, OR, Curator: Kristy Edmunds
The Tool Show, Portland Institute for Contemporary Art, Portland, OR
Bloom, The Heathman, Portland, OR Curator: Elizabeth Leach Gallery
1995 Fifteen Years, Jamison Thomas Gallery, Portland, OR
The Flower Show, Jamison Thomas Gallery, Portland, OR
Resonance, Bush Barn Art Center, Salem, OR
1994 Photo Biennial, Westport Arts Center, Westport, CT (award)
Recent Works, Jamison Thomas Gallery, Portland, OR
Botanical Photographs, Hiram Butler Gallery, Houston, TX
1993 Crosscut, Portland Art Museum, Portland, OR, Curators: Kristy Edmunds,
Terry Toedtemeier, John Weber
1992 Thesis Exhibition, Portland Art Museum, Portland, OR (award)
1991 AICA New York Studio, New York, NY
1990 Wentz Gallery, Pacific Northwest College of Art
CORPORATE AND PUBLIC COLLECTIONS

The Gilkey Center for the Graphic Arts, Portland Art Museum, OR
City of Portland, Oregon- The Visual Chronicle
City of Portland, Oregon- Portable Works Collection
City of Seattle, Washington- Northwest Visions
Microsoft Corporation, Redmond, WA
Museum of Fine Arts, Houston, TX
Portland Art Museum- Permanent Collection, OR
Oregon State University- Valley Library, Corvallis, OR
Research and Education Group- Portland, OR
Stoel Rives, LLP, Portland, OR
Tacoma Art Museum, Tacoma, WA
Hallie Ford Museum Collection, Salem, OR
4 Culture, Seattle, WA
AWARDS
2003 Carey and Glen Strome Agricultural Art Memorial Award, Oregon State
University - Giustina Gallery, Corvallis, Jurors: Harrison Branch, Tallmadge
Doyle, John Olbrantz, purchase award
2001 Betty Bowen Award - Finalist, Seattle Arts Museum, WA
1999 Alfred Eisenstaedt Award- Cover of the Year, administered by Columbia
University, Graduate School of Journalism in conjunction with LIFE Magazine,
New York, NY
1998 1998 Visual Arts Awards: Not Afraid to Walk on the Wild Side Award, Randy
Gragg
and DK Row, The Oregonian, Portland, 1 January, pp 54, 50
1997 Best of Show- Artslate '97, CoArts, Condon, OR, Curator: Jane Beebe
1996 Honorable Mention- Western States Individual Artist's Grant, National
Endowment for the Arts
1992 The Abraham and Anna Helman Award for Fine Art
Thesis Award for Fine Art, Pacific Northwest College of Art
Photography Department Award, Pacific Northwest College of Art
COMMISSIONS
2000 The City of Portland, Oregon - Regional Arts and Culture Council, for The
Visual Chronicle of Portland, six platinum prints of The Chinese Garden in Old
Town/Chinatown
LECTURES
2007 National Geographic Traveler Photographers Lectures, Puerto Rico
2005 Whiman College, Walla Walla, WA
National Geographic Traveler Photographers Lectures, Coeur d'Alene, ID
2003 Women In the Arts, University of Portland, Portland, OR
Artbeat, Portland Community College, Portland, OR
Portland Art Museum, Portland, OR
2002 Microsoft Artist Talk, Microsoft Corporation, Redmond, WA
2000 Issues Facing Women Artists Today, Marylhurst University- The Art Gym,
Portland, OR, panel discussion, Moderator: Lois Allan, author
1999 Bluesky Gallery, Portland, OR
1998 Harvard University, Cambridge, MA
Pacific Northwest College of Art
1997 Oregon Writers Workshop
Pacific Northwest College of Art
1995 Astoria Arts Association, Astoria, OR
1993 Evergreen State College, Olympia, WA
BIBLIOGRAPHY
2008 ""'War'"": What is it good for""?, The Oregonian Blog
D.K. Row, Jan.18
""Taking on Torture,"" The Oregonian, D.K. Row, March 6, 2008, Section E, pp. 1,
4
Artistic Combat: ""War"" as theater of the absurd, The Oregonian,
Brian Libby, Jan. 18, 2008
A Refugee From Gangland, The New York Times, Mimi Read, February 29, 2008. House
& Home, pp. 1 & 7
2007 Memento Mori: The Cameraless Tintype, Boise Journal,
Oct./Nov. 07, p.34
2006 Memento Mori: The Cameraless Tintype, Camera Arts Magazine,
Susan Seubert, Dec. 05/Jan 06, pp.18-23
2005 Best Western, The Philadelphia Weekly, Roberta Fallon, Feb. 16-22, 2005
Spectral Innocence, Afterimage, Claire Sykes, July/August 38-39, 2005
Susan Seubert: Dark Elegance, Photographer's Forum, Claire Sykes,
Fall 2005, pp. 24-31
Susan Seubert at Froelick Gallery, Artweek, Lois Allan, May 2005
pg. 23 vol. 36 issue 4
Insider's New York City, National Geographic Traveler, Washington, D.C.
May/June. 2005 pp.66-79
Insider's Los Angeles, National Geographic Traveler, Washington, D.C.
July/August. 2005 pp.50-63
Going Native, National Geographic Traveler, Washington, D.C.
September 2005, pp82-92
Memento Mori and Other Tintypes, The Portland Tribune, Jill Spitznass, March
2005
Thanks, Just Looking, The Portland Mercury, Chas Bowie, March 2005
F-Stops on the Art Walk, The Oregonian, Portland, OR, 3 March pg. E1 & E3
2004 Hot Ticket, Sheila Farr, The Seattle Times, Seattle, WA March 4
Exploring the Legacy of Discovery, Regina Hackett, The Seattle Post
Intelligencer, Seattle, WA, February 20
Catalogue: Lewis and Clark Territory, Contemporary Artists Revisit Place, Race,
and Memory, Rock Hushka, pp.32-35
Catalogue: Building Tradition, Tacoma Art Museum, pg.41
Lewis, Clark Territory Gets New Look, Billings Gazette, Christene Meyers, July
30
Canada Coast-to-Coast, National Geographic Traveler, Washington, D.C.
Nov./Dec. 2004 pp.60-72
Neurasthenia, The Northwest Review, University of Oregon, Eugene, OR.
Vol. 42, #3, 2004, pp.77-84
2003 Fry's Focus is on Women Photographers, M. Kangas, The Seattle Times,
Seattle, WA,
January 24
Tacoma's Winning Combination, A Posh new Art Museum Gives Double the Measure of
the Region's Artists, D.K. Row, The Oregonian, Portland, 4 May, F10
Artsweek, Radar, D.K. Row, The Oregonian, Portland, 4 May F6
2002 Prints and Proofs of a Curator's Passion, D. K. Row, The Oregonian,
Portland, OR, 17 July, B1
Photography in New York International, New York, NY, March/April, p.118
2001 Danger, Ken Johnson, The New York Times, Art in Review, 4 May, p B31
Exit Art, Lauren Parker, New York Observer, Spring Art Walk, 2 May, p 4
Contemporary Photogravure, Lindsey Westbrook, San Francisco Bay Guardian,
Critic's Choice, 21 February
Oregon Biennial 2001, Karrin Ellertson, The Mercury, Portland, OR, 10 May, p 28
A Shot of Truth, Lisa Lambert, Willamette Week, Portland, OR, 28 March, p 69
Firearm Art is on Target, Michaela Bancud, Portland Tribune, Portland, OR, 20
April, C4
Sextablos, Karrin Ellertson, The Mercury, Portland, OR, 12 April, p 27
The City's Art Collection Your Art Collection, Seattle Arts, WA, Spring, vol 24,
#1, p 5
""Guns in the Hands of Artists"" at IFCC, Bob Hicks, The Oregonian, Portland,
OR, 30 March, p 49
Sensuous ""Sextablos"", Bob Hicks, The Oregonian, Portland, Oregon, 30 March, p
48
Small Show Creates Big Stir, Bob Hicks, The Oregonian, Portland, OR, 11
February, E6-E7
Farewell to All That, D.K. Row, The Oregonian, Portland, OR, 4 February
Oregon Biennial 2001, Portland Art Museum, Portland, OR, pp 15,
52-53, 63, Essay: Bruce Guenther
2000 The Season's Best Bets: Photo Americas 2000, D.K. Row, The Oregonian, Fall
Arts Preview, Portland, OR 8 September, A&E, p 21, (feature image)
Art: Susan Seubert, CALYX, Corvallis, OR. vol 19, #2, Summer, pp 47-51
PICA: Open Walls, Michaela Lowthian, Willamette Week, Portland, OR, 17 May, p 79
Gardens, Meigher Communications
20th Century Photography in Oregon, David Row, The Oregonian
1999 Tin House Magazine, Randy Gragg, No 2
Chinese Box, PLAZM, Randy Gragg, No 23
Jenny Deller, PLAZM, Portland, OR, No 21, p 2
The Accidental Photographer, Linda Knittel, Willamette Week, Portland, 30 June,
pp 41-3
Earthly Delights: Eleven Artists Get Their Hands Dirty, Terri Cohn, Artweek,
February, pp 14-15
Drawn By Gravity, Randy Gragg and DK Row, The Oregonian, A&E. 1 January,
pp 54-5
Oregon Biennial, Portland Art Museum, Essay: Katherine Kanjo, p 28 (exhibition
catalog)
A Good Look Around, Daniel Duford, Willamette Week, Visual Arts, Portland, OR
11 August, p 75
The Best Magazine Photography of the Year, LIFE, Spring, pp 132-33
Hooray for Biennial! Let's Change it for 2001, Randy Gragg, The Oregonian, 8
August
In The Spotlight, Randy Gragg, The Oregonian, 4 August
Art on the Edge, Ron Cowan, Statesman Journal, Salem, OR, 1 August, pp 1D, 5D
Oregon Biennial: Two Views, Sue Taylor and Randy Gragg, The Oregonian, 1 August,
pp 1, 4
Art Old and New, Tricia Jones, The Colombian, 29 July, pp F14, F21
Another View of the New, DK Row, The Oregonian, A&E, 30 July, p70
The Spirit of '99, Karen E. Steen and Caryn B. Brooks, Willamette Week,
Portland,
28 June, E3
Curator Nips Biennial List: Only 25 of 700 Artists Chosen, Randy Gragg,
The Oregonian, 20 June, E3
1999 Oregon Biennial Artists Chosen, Kate Bonasinga, Willamette Week, Portland,
p66
In Second Year, Biennial Curator Urges New Forms, Randy Gragg, The Oregonian, 14
February, pF12
Newport Biennial, Kristy Edmunds and Nancy Jane Reid, Newport Visual Arts
Center, Oregon Coast Council for the Arts (exhibition catalog)
Images More Than What They Seem in Newport Biennial, News Times, Newport,
Oregon, 28 May
1998 Tales of Darkness, DK Row, The Oregonian, A&E, p62
Dance of the Seven Choreographers, Just Out, Portland, OR, 19 June, p 66
Byron Beck, The Oregonian, A&E, 12 June
1997 Women in Photography, Lois Allen, Artweek, December, Vol. 28, #12, pp24-26
Works on Paper Originally in B&W by Seattle/Portland Artists, Curated by Barbara
Shaiman & Charles Froelick, ZYZZYVA, San Francisco, CA, Fall, No. 50,p44
(exhibition catalog)
Observation and Invention: A Marylhurst Exhibit Shows the Varied Works of 14
Women Photographers, Bob Hicks, The Oregonian, A&E, 26 September, pp60-61
Observation and Invention: Oregon Women Photographers, Terri Hopkins, The Art
Gym, Marylhurst University, OR (exhibition brochure)
Susan Seubert: Police Reports (Standard Forms, Objects), Northwest Review,
Eugene, OR, Summer, Vol 35, No. 2, pp 59-75
UO Puts Chosen Few On Display, Randy Gragg, The Oregonian, A&E, 12 January, E3
Susan Seubert: Panphobia, Center, Houston Center for Photography, Houston, TX,
January/February, p1
1996 6/27-8/24 1996: Pushing Image Paradigms- Susan Seubert, Portland Institute
for Contemporary Art, Portland, OR, pp 32-35 (exhibition catalog)
1993 The Next Wave, Randy Gragg, The Oregonian, A&E, 7 February, pp K1,4
Photo's Eye: A Woman's View of Danger, Randy Gragg, The Oregonian, A&E, 13
February, p C8
1992 The Photo Review, Fall
Rick Araluce
My recent work falls into two categories: miniature constructions and full scale
installation work. For this opportunity I am submitting images of my latest
miniature work. An important facet of what I do is to create virtually all the
components used. In the small works I fashion everything seen. The windows,
doors, floorboards, the lot. I have devised over many years special methods to
create a tiny chair, light bulb, telephone handset, architectural moulding and
more. In several of my latest, I have even included tiny working clocks. In
future I plan to create other minute working elements for such pieces. In my
large work, I strive to build or create as much as I can. As in the miniatures,
I build the doors, windows, bricks--even a faux linoleum floor and bird's nest
and eggs for my most recent installation. It is a point of pride. At the moment
I am fabricating an old-fashioned Bakelite telephone handset from scratch that
will be 64"" long and have sound. But there must be more than craftsmanship and
detail. There must be tone, texture, mystery and poetry. There must be a story.
There must be feeling. My works are places where something has happened, perhaps
dramatic, perhaps subtle.
I have an organic approach to making work, always have had. I am essentially

self-taught, and have always held a fascination for ideas, associations, and
metaphor. I tend to ignore trends and art fashion, preferring to take my own
path.
Resume
Born: 1960, Encino, California
Resides: Seattle, Washington
Education: 1979-81 Orange Coast Junior College, Costa Mesa, CA, no degree sought
Special Projects:
2008 ""Fragments of a Life"" a series of miniature site-specific installations
in various locales downtown Seattle, WA
2006 Artist collaborator, ""The Hope Series"" with Robert Kantor, CoCA, Seattle,
WA
2005 Artist collaborator with Sarah Sze, ""An Equal and Opposite Reaction""
Marion Oliver Mc Caw Hall, Seattle, WA
1995 Guest lecturer, Otis Parsons, Los Angeles, CA
Solo Exhibitions:
2009 Sloan Fine Art, New York, NY
2009 William Traver Gallery, Seattle, WA
2009 Off Ramp Gallery, Pasadena, CA
2008 OK Harris, New York, NY
2006 Marion Oliver Mc Caw Hall, Seattle, WA
1998 La Luz de Jesus, Los Angeles, CA
1995 Horwitch/Newman Gallery, Scottsdale, AZ
1994 Louis Newman Gallery, Los Angeles, CA
1994 Orange County Center for Contemporary Art (OCCCA) Santa Ana, CA
1993 Rachelle Lozzi Gallery, Los Angeles, CA
1988 The Onyx Sequel, Los Angeles, CA
Group Exhibitions:
2007 ""Actor! Actor!"" Palo Alto Art Center, Palo Alto, CA
2006 The Production Network, Seattle, WA
2006 ""Scenic Dope"" Ballard Works, Seattle, WA
2006 ""Building Allegory"" William Traver Gallery, Tacoma, WA
2002 ""The Box Show"" The Mark Woolley Gallery, Portland, OR
2002 ""25th Anniversary Show"" William Traver Gallery, Seattle, WA
2002 ""Northwest Documenta I"" Salem Art Association, Salem, OR
2000 ""Assemblages"" William Traver Gallery, Seattle, WA
1996 Jerry Solomon Gallery, Los Angeles, CA
1994 Horwitch/Newman Gallery, Scottsdale, AZ
1993 Rachelle Lozzi Gallery, Los Angeles, CA
1993 ""Twisted Tales"" John Thomas Gallery, Santa Monica, CA
1993 ""Dark Suburban Fantasies"" The Art Institute of Southern California,
Laguna Beach, CA
1992 ""Eclectic Images"" Barakat Gallery, Los Angeles, CA
""Boxes"" Space, Los Angeles, CA
1991 ""California Perspectives"" The Modern Museum of Art (MMOA) Santa Ana, CA
1991 Barnsdall Art Park Gallery, Los Angeles, CA
1990 ""China: June 4 1989"" Los Angeles Contemporary Exhibitions (LACE), Los
Angeles, CA
1988 La Impression, Los Angeles, CA
1987 ""The Men's Show"" Michael Ivy Gallery, Los Angeles, CA
Bibliography: Catalogues/Magazines:
Preview: The Gallery Guide, ""The Stolen Hours"" by Allyn Cantor, 2007, p. 90
Actor! Actor! curated by Signe Mayfield, 2007, p. 6
Encore Magazine, October 2006, p. 9
Dark Suburban Fantasies, curated by Jim Reed, 1993, p.2-3
LA Art, curated by Jeff Phillips and Mickey Kaplan, 1993, p. 30
Barakat Gallery, curated by Jeff Phillips, 1992, p. 6
Bibliography: Newspapers:
The Seattle Times, ""The Stolen Hours"" by Shelia Farr, July 29 , 2007, p. K-1
San Jose Metro, ""Floater"" by Michael S. Gant, March 7-13, 2007
The Stranger, ""Paranoid Dollhouse"" by Tom Mc Taggart, September 19, 1996 p. 65
Awards/Grants:
2008 Artist Trust GAP Award
2006 Seattle City Artist Projects Grant
Debora Moore
Nature has not only been an inspiration and wonder, but a constant source of
reference for my work. I study color and form in nature and interpret it in my
own designs. Within each work I combine an exploration of new techniques and my
ongoing passion for orchids and other botanical studies.
The delicacy and inherent properties of glass have helped me cultivate an
organic approach to sculpture. The materials ability to transmit and reflect
light as well as its variations from transparency to opacity lends itself
perfectly to create a surreal state, one pausing between real and ficiton.
Resume
Born: 1960, St. Louis, Missouri
Professional Experience
1994-present Fiori, Glass Studio Owner, Seattle, WA
2001 Pilchuck Glass School, Instructor, Stanwood, WA
1995-1997 Hilltop Artist-in-Residence Program, Instructor, Tacoma, WA
1992-1994 Glass Eye Studio, Glassblower Seattle, WA
1992-1993 Pratt Fine Arts Center, Instructor, Seattle, WA
1992 Chihuly, Inc., Glassblower/Assistant, Seattle, WA
Awards /Collections
2007 Rakow Commission, The Corning Museum of Glass, Permanent Collection, NY
35th International Invitational, Critics Award, Royal Oak, MI
2005 Museum of Glass, - Artist in Residence, Tacoma WA
Abate Zanetti - Artist in Residence, Murano Venezia Italy
2004 Muskegon Museum of Art - Permanent collection, Muskegon, MI
Harbourfront Centre, Flora - the ubiquity of nature, Visiting Artist, Toronto
Canada
2002 PhilanderSmith College, Donald W. Reynolds Library & Technology Center,
Permanent
Collection, Little Rock, Arkansas
2001 Jon and Mary Shirley Collection, Seattle, WA
1990, '92, '95 Scholarship, Pilchuck Glass School, Stanwood, WA
1998 African American Design Archive, Cooper Hewitt National Design Museum, NY
Selected Solo Exhibitions

2008 Habatat Galleries, Boca Raton, FL
2006 Nancy Hoffman Gallery, New York, NY
2005 Museum of Glass, Reflections on Nature, Tacoma, WA
2004 Muskegon Museum of Art, Glass By, Muskegon, MI
2003 Habatat Galleries, Solo Showing, Boca Raton, FL
2002 Foster White Gallery, Seattle, WA
Butters Gallery Ltd., Portland, OR
2000 Foster White Gallery, Kirkland, WA
1999 Pismo Gallery, Denver, CO
Gump's, San Francisco, CA
Selected Group Exhibitions

2008 Four Seasons, traveling to SOFA, Habatat Galleries, Royal Oak, MI
2007 35th International Glass Invitational, Habatat Galleries, Royal Oak, MI
2006 Davis & Cline Gallery, Ashland, OR
Museum of Glass, Fresh! Contemporary takes on Nature, Tacoma, WA
Art Chicago, Nancy Hoffman Gallery, Chicago, IL
Art Miami, R.Duane Reed Gallery, Miami, FL
2005 SOFA Chicago, Habatat Galleries, Boca Raton, FL
Palm Beach3, Nancy Hoffman Gallery, Palm Beach, Florida
33rd International Glass Invitational, Habatat Galleries, Royal Oak, MI
2004 SOFA Chicago, Habatat Galleries, Boca Raton, FL
World Glass Exhibition, William Traver Gallery, Tacoma, WA
Glass Art Society, GAS Conference 2004, New Orleans, LA
Tobin Hewitt Gallery, Garden of Glass, Louisville, KY
Muskegon Museum of Art, Muskegon, MI
National Liberty Museum, Philadelphia, PA
Fragile Nature, Habatat Galleries, Royal Oak, MI
32nd International Glass Invitational, Habatat Galleries, Royal Oak, MI
2003 SOFA, Chicago, Habatat Galleries, Boca Raton, FL
Glorious Glass: Color & Form, Seattle Tacoma Airport, Seattle, WA
Art Palm Beach 2003, Nancy Hoffman Gallery, West Palm Beach, FL
31ST International Glass Invitational, Habatat Gallery, Royal Oak, MI
2002 SOFA, Chicago, Habatat Galleries, Boca Raton, FL
30th International Glass Invitational, Habatat Galleries, Royal Oak, MI
2001 Butler Institute of American Art, Winter Orchidarium, Youngstown, OH
SOFA, Chicago, Habatat Galleries, Boca Raton, FL
Habatat Galleries, 19th Annual International Glass Invitational, Boca Raton, FL
Nancy Hoffman Gallery, Winter Orchidarium, New York, NY
2000 Nancy Hoffman Gallery, Glass: A Celebration, New York, NY
LewAllen Contemporary, Santa Fe, NM
Smithsonian Institution, Artistry of Orchids, Washington DC
Publications
Neues Glass, Winter 2005, article by Judy Wagonfield, pgs.38-42
New Glass Review 29, 2008, cover image and article by Tina Oldknow, curator of
Modern Glass, Corning Museum
Susan Robb
I transform common objects into ideological hybrids of flesh, nature, and
technology by drawing on empirical observation, reflection, and imagination
about my immediate surroundings and contemporary social issues. These cross-
disciplinary, open-ended investigations into landscape and environment address
the intelligence of the natural world and dynamic systems.
Resume
Representation
Lawrimore Project, Seattle, WA
Education
University of Washington, Seattle, WA, Master of Fine Arts
Syracuse University, Syracuse, NY, Bachelor of Fine Arts -Photography
Syracuse University, Syracuse, NY, Bachelor of Arts -Art History
Employment
Present - 2003 Adjunct Professor, University of Washington, Seattle, WA
2006 - Teaching Artist Frye Art Museum, Seattle, WA
2005 - 2007 - Teaching Artist, Gage Academy of Fine Arts, Seattle, WA
Solo Exhibitions
2008
Giant Black Toobs #8, Hui No'eau Visual Arts Center, Makawao, Maui,
HI
Giant Black Toobs #7, Montclaire Museum, Montclair, NJ
Giant Black Toobs #5, Marty Walker Gallery, Dallas, TX
The Challenge Nature Provides, Lawrimore Project, Seattle, WA
2007
Warmth, Giant Black Toobs nos. 2 - 4, Volunteer Park, Seattle, WA
2005
Recording Field Level Five, Platform Gallery, Seattle, WA
2004
Black Hole Sound (audio for permanent installation of Steven Pippin's Black
Hole), Wissenshafts Forum, Berlin
2003
Airlifted to Safety, Consolidated Works, Seattle, WA
2002
Seedling, Henry Art Gallery, Faye G Allen Center for the Visual Arts,
Seattle, WA
Group Exhibitions
2007
Lawrimore Project, Aqua Winwood, Miami FL
Help me I'm Hurt, Kirkland Art Center, Kirkland, WA
Invisible Other, New American Art Union, Portland, OR
Human Nature, School of fine Arts Gallery, Indiana University, Bloomington,
IN
2006
Lawrimore Project, Aqua Art Fair, Miami, FL
Sudo Island, Aqua Art Fair, Miami, FL
Wired Forest, Kirkland Art Center, Kirland, WA
Pixel dolls, Meatspace, and Everything All at Once: New Work in Second
Life, www.secondlife.com at Sudo Project and Bumbershoot Festval, Seattle,
WA
Sonic Channels Emerging Media Publics, 15 Nassau St. Swing Space, New York,
NY
Ulterior Modish, Blindside Gallery, Melbourne, Australia
2005
IM5 International Art Market, Parker's Box, New York, NY
Today in Paradise- Genetics and Art, Mobileart 05, Roda Sten, Gothenburg,
Sweden
2004
Gene(sis): Contemporary Art Explores Human Genomics, The Mary & Leigh
Block Museum of Art, Evanston, IL
Gene(sis): Contemporary Art explores Human Genomics, Frederick Weisman
Museum of Art, Minneapolis, MN
2003
Dazzle Camouflage, Consolidate Works, Seattle, WA
Gene(sis): Contemporary Art explores Human Genomics, Berkeley Art Museum,
CA
Wrapture, Consolidated Works, Seattle, WA
Contemporary Northwest Women Photographers, Frye Art Museum, Seattle WA
Awards and Honors

2008
Artist Trust GAP Grant
CityArtist Project Award
4Culture Site Specific grant
2007
King County Performance Network Grant
2005
Pollock-Krasner Fellowship
4 Culture Special Projects Grant
2004
City of Seattle CityArtist Project Grant
King County Works on Paper Collection Award
2003
The Stranger Genius Award
2002
Artist Trust Fellowship
Black Rock City Arts Grant
1998
Artist Trust GAP Grant
Residencies
2008
Hui Press/Hui No'eau Visual Arts Center Residency
2004
Vain's Freethinkers Residency
PONCHO Artist Residency at Pratt Fine Arts Center
2003
Atlantic Center for the Arts residency (fully funded)
2001
911 Media Arts Center, New Works Laboratory Residency
Selected Bibliography
Reviews
Pence, Elizabeth, Challenge Nature Provides at Lawrimore Project. ArtUS,
Issue 23
Brian J Barr, "Robb's Big Idea", Seattle Weekly, 20 Feb. 2008
Matthew Richter, "The Surreal Environmentalist Environments of Susan Robb",
Arcade; Architecture and Design, Vol 26.01 Fall 2007
Leah Balthus,Artist portfolio with limited addition Power Plants,
Hyper-accumulator seed package, Rivet, R19, July 2007
Betsy Stirratt, Human Nature, (catalog),SoFA Indiana University
Bloomington, 2007
The Sense of Another Dimension, artist book with CD, edition of 100, 2006
Beyond Words: A Visual Reader, Ruszkiewicz, Anderson, and Friend, 2005
Data Made Flesh, Embodying Information, edited by Rober Mitchell and
Phillup Thurtle, Routledge, NY and London, 2004
Fashion is Art, (catalog), Fahey, Anna, Thread, 2003
Lava 2002 (catalog), Fahey, Anna, Thread, 2002
Art et Biotechnologies, Presses de l'Universite du Quebec, Louise Poissant
et Ernestine Daubner, 2005
Aesthetics and Visualization in Chemistry, HYLE, International Journal for
the Philosophy of Chemistry, Vol. 9, No. 2, Oct. 2003, Spector, Tami &
Schummur, Joachim & Spalding, David
The Golden Tower Project; The Art of Burning Man, Leonardo, Journal of the
International Society for the Arts, Sciences, and Technology", Vol. 36,
Number 5, 2003
Reviews
The Stranger, July 11, 2007, Graves, Jen, " One Tenth of a Toob"
Artweek, Dec, 2006, Pence, Elizabeth, "This is Gallery at Lawrimore
Project"
Artweek, Vol. 36, Issue 9, Nov. 2005,Pence, Elizabeth, "Susan Robb at
Platform Gallery"
Seattle Post Intelligencer, Sept. 9, 2005, Wagonfeld, Judy, "Robb's
Alluring Images"
The Stranger Oct. 8, 2003 Hall, Emily, "Genius, Visual Art, Susan Robb"
Artweek, Oct. 2002,Spalding, David, "The Missing Link: Art, Biotechnology,
and the Disappearance of Difference"
The New York Times, May 26, 2002, Madoff, Steve Henry, "The Wonders of
Genetics Breed an New Art
Stephanie Robison
My work as a whole examines the relationship between culture, nature and the
built environment. I make sculpture that reflects my surroundings, pulling from
things that exist in our world, things that are familiar: clouds, bricks,
towers, barricades, smoke, signs, scaffolding, pillows, umbrellas, flags, a
staircase, a boat, the body.
I am inspired by the construction I see everyday on the way to work. I find the
elaborate temporary structures that are created to be visually exciting. They
have a carefree, homemade aesthetic that appeals to me. I am interested in the
way we domesticate landscape. I have also drawn inspiration from multiple trips
to Arizona where I've encountered ghost towns and cliff dwellings. These
encounters have caused me to take a closer look at the obscured and contrived
presentation of monuments and landmarks.
The early years my grandmother and I spent together making forts out of dining
room chairs, blankets, and the old hide-a-bed have had an influence on the way I
think about and respond to the world today. In that way, the work is
autobiographical but the intent is to communicate beyond my personal experience.
Through play, my Grandmother inadvertently showed me that objects could function

in more than one way - exist as something other than what was intended. I use
fabric, wood and stone to create objects that reference more than one thing -
forms that are indescribable but remain familiar. It is this edge between the
comfortable, everyday aspects of both the forms and material, and their
uncomfortable, awkward nature that interests me.
Resume
Education:
2004 Master of Fine Arts in Sculpture
from University of Oregon, Eugene,
Oregon.
2000 Bachelor of Fine Arts in sculpture
from Marylhurst University,
Marylhurst, Oregon.
Exhibitions:
2008 Volume, Worksound, Portland, Oregon.
(curated by Jeff Jahn)
Sightlines,
The Art Gym, Marylhurst University,
Marylhurst, Oregon. (two person
exhibtion curated by Terri Hopkins)
Roadside Attraction,
Autzen Gallery, Portland State
University, Portland, Oregon. (two
person exhibition)
Faculty Biennial,
Archer Gallery, Clark College,
Vancouver, Washington.
2007 The Hook Up,

New American Art Union, Portland,
Oregon. (curated by Jesse Hayward)
Stone: recent sculpture from the

oldest material,
Karin Clarke, Eugene, Oregon. (curated
by Tom Urban)
Water Landing,
Tilt Gallery and Project Space,
Portland, Oregon. (solo)
Designated Landmarks
Form/Space Atelier, Seattle,
Washington. (invitational)
2006 The 2006 CoCA Annual,

The Center on Contemporary Art,
Seattle, Washington. (juried by
Jennifer Gately)
Safety Dance,
Porch Gallery, Portland, Oregon.
(curated by Joe Macca)
Blue Frontier,
Portland Modern Window Project,
Overlapping Lines,
University of Ulsan, Ulsan, South
Korea "catalogue". (invitational)
Paper Fences,
Tilt Gallery and Project Space,
Sculpture and Drawing,

Mayer Gallery, Marylhurst University,
Marylhurst, Oregon. (solo)
2005 drawing(s) 40+ Artists/200 works, 25th

Anniversary Exhibition,
Marylhurst, Oregon. (invitational)
Something Red,
Gallery 205, Reed Opera House, Salem,
Oregon. (juried)
2004 Recent Sculpture,

Nine Gallery, Blue Sky Gallery,
MFA Thesis Exhibition,
Pacific Northwest College of Art,
Portland, Oregon.
2003 Mayor's Art Show,

Jacobs Gallery, Hult Center, Eugene,
Oregon. (juried)
Palpable Pleasures,
Gumwood Room, University of Oregon,
Eugene, Oregon. (invitational)
2002 Inter:sections,
12 Installations, Heron Building,
Eugene, Oregon.
2001 Works On Paper,

Robert Cannaga Gallery, Eugene,
Oregon.
New MFA Exhibition,

Laverne Krause Gallery, University of
Oregon, Eugene, Oregon.
2000 Graduate Exhibition,

Blackfish Gallery, Portland, Oregon.
(invitational)
Bachelor of Fine Arts Thesis

Exhibition,
Marylhurst, Oregon.
Bibliography:
D.K. Row, "Exuberantly Interactive," The Oregonian, Portland, Oregon, April 18,
2008.
Richard Speer, "Installation Situation," Willamette Week, Portland, Oregon,
April 16, 2008.
John Motley, "Roadside Attraction," The Portland Mercury, Portland, Oregon,
March 6, 2008.
Richard Speer, "First Thursday in review: Art-chitecture?", Willamette Week,
Portland, Oregon,
June 16, 2007.
Arcy Douglass, "Off the Plane and into Space: THE HOOK UP," PORT,
www.portlandart.net,
Portland, Oregon, June 15, 2007.
John Motley, "The Hook UP", The Portland Mercury, Portland, Oregon, June 7,
2007.
Jen Graves, "The Stranger Suggests", The Stranger, Seattle, Washington, February
15, 2007.
Jen Graves, "In Art News: The Not-Miami", The Stranger, Seattle, Washington,
December 5,
2006.
Jessica Bromer, PORT, www.portlandart.net, exhibition announcement with
photograph,
Portland, Oregon, January 31, 2007.
Vanessa Harless, "Water Landing," PDX Magazine, Portland, Oregon, February,
2007, 49.
Jeff Jahn, "ESL and cafÃ©'s 1, would be institutions 0," PORT,
www.portlandart.net, Portland,
Oregon, February 13, 2006.
John Motley, "Stephanie Robison," The Portland Mercury, Portland, Oregon,
February 9, 2006.
Awards:
2008 Adjunct Faculty Development, Clark
College
2007 RAP, Clark College
Adjunct Faculty Development, Clark
College
2005 Jury Merit Award
2004 Jan Zach Memorial Award
2003 David Mcosh Scholarship
Exhibitions Juried:
2005 Touchable, Pacific Northwest
College of Art, Portland, Oregon.
Visiting Artist:
2008 Portland Community College, Art Beat,
Portland, Oregon.
2007 University of Oregon Stone Carving
Symposium, Eugene, Oregon.
2006 Stone Sculpture Symposium, Silver
Falls, Oregon.
University of Oregon Stone Carving
2005 University of Oregon Stone Carving
Current Employment:
Symposium Director, NWSSA 14th Annual Silver falls Stone Carving Symposium 2008,
Oregon.
Adjunct Professor of Art, Marylhurst University, Clark College, and Portland

State University.
sarah hood
I've come to see jewelry making as a way to explore my somewhat disparate
interests in a very direct and inclusive way. My enthusiasm for gardening,
botany, literature, children's toys, eastern philosophy, and travel all somehow
make their way into my jewelry. Often these subjects inspire tangents in my work
that I find totally compelling, and I find the small scale of jewelry perfect
for exploring a concept to the point of exhaustion. Collecting, organizing,
studying, venerating, and obsessing all come together for me in these small
sculptures.
My work consists of several collections of unique jewelry pieces ranging from

very wearable limited edition jewelry to one-of-a-kind sculptural art jewelry.
My pieces are a constant exploration of the natural world, both its forms and
its materials. I'm drawn to archetypes, those images floating beneath our
collective consciousness--a perfect circle, an elongated leaf, a bare tree.
Shapes are uncomplicated, metals clean and straightforward. Form is often
evidenced by simple lines, like gestural drawings on paper. I love striking
profiles, elegant design, and unexpected combinations of materials.
For years I've been working within the intersection of archetypal form and the
natural world, creating one-of-a-kind jewelry pieces from organic materials. In
Landscape, my latest series of pieces, I've taken a break from the real natural
materials - leaves, pods, seeds-- which have compelled my work for many years to
create miniature, artificial worlds within the context of jewelry. Working with
model railroad landscape materials lets me create tiny snapshots of the natural
world, scenes that can trick the eyes into believing they are seeing something
much larger. In several pieces, this deceit is challenged by the combination of
these small constructed natural forms with full scale, cast sterling branches
which, in material, are equally unreal and illusionary.
My newest collection, Arbor, highlights the stark silhouette of nearly bare

sterling silver and 24k gold trees. Each piece is ultimately wearable, but still
covetable and collectible, the perfect combination. These pieces speak to my
love of the natural but somehow grow beyond that, entering a new realm of almost
fairytale-like beauty. The collection is accessible but still somewhat
mysterious at the same time.
Years ago, I stumbled into a metalsmithing course at a small college in

California, and was hooked. I went on to formalize my studies at Parsons School
of Design in New York City while simultaneously earning a writing degree from
the New School. After earning my BA, I finished my BFA in metalsmithing at the
University of Washington in Seattle, Washington, the city in which I spent much
of my childhood. I currently live and work in Seattle and have been an active
member of the lively arts community there for many years.
My work has been shown nationally and has been featured in many publications,
including Metalsmith Magazine, Seattle Magazine, Elle Magazine, Glamour
Magazine, The Rings Book, by Jinks McGrath, several of the 500 Books, edited by
Marthe LeVan, and many international magazines. My jewelry is included in
several permanent collections, both private and public, including the Tacoma Art
Museum.
Resume
Sarah Hood
www.sarahhoodjewelry.com
6212 Woodlawn N., Seattle WA 98103

________________________________________________________________________________
____________
Selected Exhibitions
Putting the Band Back Together, Savannah Coll. of Art and Design, Savannah GA,
3/5-3/8, 2008
Valentine's Show, The Gallery at the Museum of Contemporary Craft, Portland OR,
2/5-2/29, 2008
New West Coast Design:Jewelry & Metalwork, Velvet DaVinci, San Francisco CA,
1/18-2/17, 2008
The Finer Things:The Gifts That Lovers Give, LUX Center for the Arts, Lincoln
NE, 1/11-3/1, 2008
Fuller Craft Members Exhibition, Fuller Craft Museum, Brockton MA, 11/17/07-
3/3/08
250 Earrings, FacÃ¨rÃ© Jewelry Art Gallery, Seattle WA, 10/8-10/24, 2007
2007 Craft Biennial, Hoffman Gallery, OCAC, Portland OR, 8/2-9/27. 2007
All Media Landscape, Foundry Art Centre, St. Charles MO, 7/27-9/7, 2007
9th Annual Landscape Internat'l Online Exhibit, www.UpstreamPeopleGallery.com,
7/1/07-6/30/08
Material Alchemy, Gallery M.I.M., Baltimore MD, 6/23-7/28, 2007
The Naturals, OXOXO Gallery, Stone Harbor NJ, 5/24-6/30, 2007
Seatttle Metals Guild Biennial 2007, SeaTac Airport, Seattle WA, 9/29/06-9/2007
Parameters of Preciousness, Gahlberg Gallery, Glen Ellyn IL, 5/18-5/28, 2006
Holiday Fine Crafts Show, Elise Mankes Studio, Marblehead MA, 11/25-12/24, 2005
Collections, Elise Mankes Studio, Marblehead MA, 9/15-10/13, 2005
Generating Connections, The Society of Arts and Crafts, Boston MA, 4/4-6/28,
2002
The Magpie's Stash, VAIN, Seattle WA, 11/4-12/4, 2001
Once and Again, OXOXO Gallery, Baltimore MD, 9/22-10/26, 2001
Transmutations, The Glass Gallery, University of Texas at El Paso, El Paso TX,
9/20-10/31, 2001
Garden of Dreams, The Sybaris Gallery, Royal Oak MI, 5/24-6/30,2001
Color on Metal, OXOXO Gallery, Stone Harbor NJ, 5/17-7/9, 2001
Color on Metal, OXOXO Gallery, Baltimore MD, 4/14-5/17, 2001
Jewelry as an Object of Installation, Susan Cummins Gallery, Mill Valley CA,
4/3-4/28, 2001
Vanity of Vanities, NML Gallery, Cardinal Stritch University, Milwaukee WI,
3/30-5/11, 2001
Botanica, OXOXO Gallery, Baltimore MD, 3/10-4/12, 2001
The Ring, Mobilia Gallery, Cambridge MA, 1/27-3/3, 2001
SOFA Chicago 2000-Metalsmith Exhibition in Print Exhibit, Navy Pier,Chicago IL,
11/3-11/5, 2000
Glass/Metal Connection, FacÃ¨rÃ© Jewelry Art Gallery, Seattle WA, 10/11-11/2,
2000
Under the Influence: Contemporary Jewelry & Ethnography, TAM, Tacoma WA,
9/19/00-1/1/01
The Missing Link, Mobilia Gallery, Cambridge MA, 6/2-7/22, 2000
NICHE 2000 Art and Print Expo, Pennsylvania Convention Center, Philadelphia PA,
2/17-2/21, 2000
New Kids on the Block, FacÃ¨rÃ© Jewelry Art Gallery, Seattle WA, 2/1-2/22, 2000
New Metal: Emerging Views, Contemporary Crafts Gallery, Portland OR, 1/18-2/27,
2000
Regional Jewelry/Metals Exhibition, Pratt Fine Arts Center, Seattle WA, 4/9-
4/30, 1999
Awards & Honors

Artist Trust 2008 GAP recipient, 6/2008
Juror's Mention, 9th Annual Landscape Exhibition, Upstream People Gallery,
7/2007
NICHE 2000 Awards Finalist 11/1999
Milnora Roberts Scholarship, University of Washington School of Art 9/1998
Professional Activities
Artist Trust Seattle WA 2008 Artist Trust Auction Committee Member 2007, 2008
Artist Trust Seattle WA 2005 Artist Trust Auction Coordinator 2005
Pratt Fine Arts Center Seattle WA Jewelry/Metals Studio Technician 2000-2001
Pratt Fine Arts Center Seattle WA Jewelry/Metals Studio Coordinator 1998-2000
Seattle Metals Guild Board member 1999-2001
Society of North American Goldsmiths member ongoing
Publications
Russian Jeweler Magazine, May 2008, page 6
D Casa Magazine, May 2008, page 31-32
Trunkt Amazing Artists, Jewelry Edition, 2008, Trunkt, page 8-9
500 Pendants & Lockets, Marthe Le Van, ed., Lark Books, 2008, pg. 127 & 290
Glamour Italia Magazine February 2008, pg. 246
Modern Jewelry from Modular Parts, Marthe LeVan, Lark Books, pgs. 15, 36, 38,
118
Elle (Italian version) December 2007, pg. 98
Grazia Magazine 11/13, 2007, pg. 218, 220
Seattle Magazine November 2007, pg. 10, 42
FHM Germany October 2007, pg. 21
Idex Magazine September 2007, pg. 112
500 Earrings Marthe Le Van, ed., Lark Books, 2007, pg. 236
500 Necklaces Marthe Le Van, ed., Lark Books, 2006, pg.195, 322, 378, back flap
Contemporary Enamelling: Art & Techniques Lilyan Bachrach,Schiffer Publishing,
2005, pg. 152
The Rings Book Jinks McGrath, Krause Publications, 2002, pg.120, 121
American Style Spring 2002, no.28, pg. 16
Metalsmith Magazine: Review of "Under the Influence," by Susan Myers, Summer
2001, pg. 52
Color on Metal Tim McCreight and Nicole Bsullak, Guild Publishing, 2001, pg. 60-
61
SOFA 2000 Catalog, pg. 40
Metalsmith Magazine: Observations Fall 2000, pg. 46-47
Metalsmith Magazine Exhibition in Print Fall 2000, pg. 33
Tacoma Entertainment Quarterly Fall 2000, front page
Art Jewelry Forum News Fall 2000, front page
Society of North American Goldsmiths News August 2000, pg. 3
NICHE Magazine, Winter 2000, pg. 175
Collections
Tacoma Art Museum permanent collection - Big Sur, Malden Avenue East
Education
University of Washington Seattle WA B.F.A. Metal Design 5/1999
New School New York NY B.A. Poetry Writing 12/1996
Parsons School of Design New York NY Industrial Design/Metal Design 9/1995-
1/1997
Gallery Representation
Facere Jewelry Art Gallery, Seattle WA
OXOXO Gallery, Stone Harbor NJ
Lux Center for the Arts, Lincoln NE
Positive Images, Austin TX
Margie Livingston
At first glance, my paintings may look like non-objective abstraction. But for
several years they've been based on constructions I've assembled in my studio.
These hybrid structures--with both natural and built forms-- are set up as
still-life objects and lit with warm and cool lights.
In working from these structures, my goal is straightforward: to build an

equivalent sense of light and space with minimal means (images 1-3). The grid
helps me find points in space and plot the perspective of each mark--especially
when I'm locating a bit of air in the middle of the room.
For my latest works, I've left out the branches, and constructed a white cube
with a grid of string (image 4). The sag of the string gives the grid an
organic, atrophied quality. This set up allows me to concentrate on the
modulation of local and reflected color as it moves through space.
I'm working on a series of 10-12 paintings from this model. Each painting has
it's own point of view and relationship to the space. For the first painting in
the series (image 5), the set up uses daylight and theater spots with red and
yellow gels. The second (image 6), contrasts a warm incandescent bulb with cool
daylight. Several other paintings are almost done, but not quite ready for
presentation.
This summer I was invited to a residency in China at the Shenzhen Fine Art
Institute, where I'm currently preparing work for an exhibition that will be
presented both at Shenzhen Fine Art Institute and the University of Washington's
Jacob Lawrence Gallery. I'm working with a grid of bamboo inspired by the
traditional bamboo scaffolding. I'm presenting two drawings from the series
(images 7-8), but the paintings aren't far enough along to show.
It's possible that being in China will disqualify me from consideration for the
Biennial. I don't mean to be presumptuous, but if I were lucky enough to be
asked for a studio visit, my flight from Hong Kong is August 31st, so September
2nd is the earliest I would be able to meet with you. If this is the case, thank
you for taking the time to look at my work and I hope that my schedule works
better next time.
This is a very exciting time in my studio. Getting rid of the branches in my set
up, experimenting with new lighting, and working in China is pushing my work in
unexpected ways.
Thank you for supporting Northwest artists.
Resume
M A R G I E L I V I N G S T O N
One-Person Exhibitions
2007
Hybrid, Greg Kucera Gallery, Seattle
Betty Bowen Memorial Award Exhibition, Seattle Art Museum
Nexus, Richard Levy Gallery, Albuquerque, NM
2006
The Archer Gallery, Clark College, Vancouver, WA
2005
The Structure Paintings, Greg Kucera Gallery, Seattle
2004
An Introduction, Greg Kucera Gallery, Seattle
2003
Art Center Gallery, Seattle Pacific University
2002
The Berlin Work, Bellevue Community College, Bellevue, WA
2001
Personal Nature, SOIL, Seattle
1997
Greenwood Art Walk, juried by Francine Seders, Seattle

2008
Fresh Impressionism, Seattle Art Museum
2006
All in the Painted View, Museum of Northwest Art, La Conner, WA
Exploded View, SOIL, Seattle
New Works Laboratory, 911 Media Arts Center, Seattle
Particular Places, Creative Arts Workshop, New Haven, CT
2005
University of Washington School of Art First Annual Alumni Award, Jacob Lawrence
Gallery, Seattle
SOIL 1995-2005: A Retrospective, SOIL, Seattle
2004
Masquerade, curated by Bret Marion, SOIL, Seattle
Northwest Biennial: Buildingwise, Tacoma Art Museum, Tacoma, WA
Soft Emergencies, VU Gallery, Western Washington University, Bellingham, WA
2003
Collections and Creations, curated by Randy Wood, Bumbershoot, Seattle
COCA Northwest Annual, juried by Esther Luttikhuizen
Flashpoint, SOIL, Seattle
Introductions, Seattle Art Museum Rental/Sales Gallery
The Last Judgment Project, curated by Stefano Catalani, Bumbershoot, Seattle
Paying Attention, Creative Arts Workshop, New Haven, CT
Specimen, SOIL, Seattle
Young Seattle Artists, Howard House, Seattle
2002
Intersection, Amerika Haus, Berlin, Germany
Invitational, Marlac Building, Seattle
2001
Five Painters, SOIL, Seattle
2000
Homeland, Shoreline Community College, Seattle
1999
MFA Thesis Exhibition, Henry Art Gallery, University of Washington, Seattle
Pacific Northwest Annual, Bellevue Art Museum, Bellevue, WA
1998
Works on Paper, Phinney Ridge Community Center, Seattle
Works in Progress, Jacob Lawrence Gallery, University of Washington, Seattle
1997
Celebrity: Figures of Worship, Fame, Fortune, Heroism, and Infamy, curated by
Greg Kucera Gallery, Bumbershoot, Seattle
Pacific Northwest Annual, Bellevue Art Museum, Bellevue, WA
1997
Works of Faith, juried by Laura Ross Paul, First Presbyterian Church, Portland,
OR
Seattle Women's Caucus for Art, ArtSpace, Seattle
1996
Alder Gallery, Eugene, OR
Baas Gallery, Seattle
1995
Le Petit III, Alder Gallery, Eugene, OR
In Preparation
2008
Seattle City Light Elevator Lobbies Project Commission
Shenzhen Fine Art Institute, Shenzhen, China
2009
Jacob Lawrence Gallery, University of Washington, Seattle, WA
Education
1999 University of Washington, Master of Fine Arts, Painting
Awards
2008
Artist in Residence, Shenzhen Fine Art Institute, Shenzhen, China
Grants for Artist Projects (GAP), Artist Trust, Seattle
2007
Contemporary Northwest Art Award Semi-Finalist, Portland Art Museum
2006
Betty Bowen Annual Memorial Award, Seattle Art Museum
City Artist Projects, Seattle
Individual Artists Program, 4Culture, Seattle
2005
University of Washington School of Art First Annual Alumni Award
2004
Artist Trust/Washington State Arts Commission Fellowship
GAP Grant, Artist Trust, Seattle
2001
Fulbright Scholarship to Germany, 2001-02
1998
Lockitch Scholarship, University of Washington
1997
Juror's award, Works of Faith, Portland, juried by Laura Ross Paul,
First Presbyterian Church, OR
1996
Vermont Studio Center Artist's Grant
Collections
4Culture, King County Public Art Collection, Seattle
City of Seattle, Portable Works
Seattle Art Museum
Swedish Medical Center
Tacoma Art Museum
University of Washington
Gallery Representation
Greg Kuceara Gallery, Seattle
Richard Levy Gallery, Albuquerque, New Mexico
Selected Publications
Mathew Kangus. 2007. Margie Livingston at Greg Kucera. Art in America, December,
p. 170.
D.K. Row. 2007. Museum selects regional talent. The Oregonian, July 28, p. B1.
Gayle Clemens. 2007. Vivid paintings spring up all over. The Seattle Times,
April 13, p. 47H.
Jen Graves. 2007. Roots & Branches. The Stranger Podcast, March 21.
One Shot 2006. Visual Codec.
Sheila Farr. 2006. New Works Lab experiments mix old and new. The
Seattle Times, September 22.
Brian Libby. 2006. Mesmerizing patterns of form and shape. The Oregonian,
October 20, p. 36.
2005. New American Painting. volume 61.
Andrew Engelson. 2005. Margie Livingston & Ruben Lorch-Miller. Seattle Weekly,
April 6-12, p. 33.
Gary Faigin. 2005. The Beat. KUOW, April 20.
Regina Hackett. 2005. In the Galleries. Seattle Post-Intelligencer, April 7, p

C1.
Thom Heileson. 2004. YSA! The Organ, March/April, p. 5.
Allison Faye-Moody. 2004. Meet Margie Livingston, a Seattle Artist. European

Weekly's Pazifische Rundshau, June 2004, p. 16.
Regina Hackett. 2003. Howard House hits hot note with its young artists show.
Seattle. Post-Intelligencer, December 19.
Regina Hackett. 2003. Nature becomes artificial in the hands of artists at SOIL.
Seattle Post-Intelligencer, November 14, p. 18.
Drake Deknatel. 2002. It's a Mad, Mad World. Art Access, April, p. 12.
Artifacts, 2001. Alumni SPOTLIGHT: Who are you? Margie Livingston. Autumn, p. 3.
The Columbian. 2001. Artist receives Fulbright, July 2.
Professional Activities
Seattle Art Museum, Contemporary Art Council Treasurer, 2005-2008
Artist in Residence, Museum of Glass: International Center for Contemporary Art,

Tacoma, WA, 2004
SOIL Artist Cooperative, Seattle, WA, member, 2000-present
Association of Student Painters, University of Washington, member, 1998-1999

MFA Thesis Committee, Fund-Raising Chair, University of Washington, 1998-1999
University of Washington Public Art Commission, 1998-1999
Teaching
Bellevue Art Museum School, Bellevue, WA, 2003
Gage Academy, Seattle, 2001-2007 University of Washington School of Art,
Seattle, 1998-2007
Doug Keyes
Becoming Language
As an artist with a background in graphic design, Doug Keyes is hyperaware of

the ways in which information and images are conveyed to the public. He is
equally aware of the way knowledge stacks upon itself over time, leaving an
impression or collective memory. Keyes' luminous color photographs reveal (or
conceal) an entire experience in a single image. These multiple exposure
photographs document travel along a route, a specific area or a particular place
in an attempt to record what the eye doesn't see but the mind retains. The
resulting images contain subliminal markers of public information, from the
ubiquitous buildings of corporate chains, to monuments of long forgotten war
heroes. Each image is part of a larger Collective Memory project that attempts
to answer the questions: How do we know what we know? How does this everyday
experience change who we are?
Resume
Doug Keyes
Selected Solo Exhibitions

2008
'Becoming Language', G. Gibson Gallery, Seattle, WA
2007
'Collective Memory', Foley Gallery, New York, NY
2006
'Becoming Language', G. Gibson Gallery, Seattle, WA
'Collective Memory', Gallery Unpublished, Seattle, WA
2003
'Collective Memory', Gallery Sink, Denver, CO
'Collective Memory', PhotoEye Gallery, Santa Fe, NM
2001
'New Work', G. Gibson Gallery, Seattle, WA
'Review Americas Photographer of the Year', Nine Gallery, Portland, OR
'Photographs', Rudolph Projects, Houston, TX
1999
'Collective Memory', Rudolph Poissant Gallery, Houston, TX

2006
'Measure of Time', Berkeley Art Museum, Berkeley, CAÂ¬
2005
'A Decade of Excellence: Celebrating the Neddy Artist Fellowship', Tacoma Art
Museum, Tacoma, WA
'The Material Image: Surface and Substance in Photography', Samuel Dorsky Museum
of Art, SUNY New Paltz, NY
2004
'Light Bound - Photographers' Regard the Book', Minneapolis Institute of Arts,
Minneapolis, MN
'Beyond Words, Artists and the Book', Museum of Fine Arts-Santa Fe, Santa Fe, NM
'The 14th NW Annual', Juror-Ken Lum, Center on Contemporary Art, Seattle, WA
2003
PhotoEye Gallery, Santa Fe, NM
2002
'New Acquisitions/ New Work/ New Directions 3: Contemporary Selections',
Curator-Robert Sobieszek, Los Angeles County Museum of Art, Los Angeles, CA
'Multiplex', Bumbershoot Arts Festival, Seattle, WA
'Small Wonder', G. Gibson Gallery, Seattle, WA
'Lexicon: A Photographic Complication', The Writers Place, Kansas City, MO
'LAVA 2002', Noodleworks, Seattle, WA
2001
'TEXTures', Seattle Art Museum, Rental/Sales Gallery, Seattle, WA
2000
'Pacific Northwest Annual', Bellevue Art Museum, Bellevue, WA
'Neddy Artist Fellowship Exhibit', Bank of America Gallery, Seattle, WA
Rudolph Poissant Gallery, Houston, TX
'Northwest Annual', Juror-Mike Bidlo, Center on Contemporary Art, Seattle, WA
'Seattle Collects 2000', Key Tower Gallery, Seattle, WA
1999
'Peripheral Visionaries', G. Gibson Gallery, Seattle, WA
'The End', Juror-Fred Wilson, Tacoma Art Museum, Tacoma, WA
'Pacific Northwest Annual', Juror-Jon Tupper, Bellevue Art Museum, Bellevue, WA
'Neddy Artist Fellowship Exhibit', Seafirst Gallery, Seattle, WA
'Northwest Annual', Juror-Kerry James Marshall, Center on Contemporary Art,
Seattle, WA
1998
Rudolph Poissant Gallery, Houston, TX
1995
'Northwest Noir', Vox Populi Gallery, Seattle, WA
1994
'Northwest Annual', Juror-Joel-Peter Witkin, Center on Contemporary Art,
Seattle, WA
'Kirkland Arts Center Annual', Kirkland Arts Center, Kirkland, WA
1989
'Northwest Annual', Jurors-Leon Golub/Nancy Spero Center on Contemporary Art,
Seattle, WA
Recognition
2007
Jurors' Choice Award, Project Competition, CENTER - Santa Fe, Juror-Deborah
Klochko
Aperture West Book Prize, nominee, Aperture
2001
Review Americas Photographer of the Year, Photo Americas
2000
Finalist, Betty Bowen Award, Seattle Art Museum
Bellevue Art Museum Residency, Bellevue Art Museum
Seattle Collects Purchase Award, Seattle Arts Commission
1999
Ned Behnke Artist Fellowship Recipient, Behnke Foundation
Jurors' Award, The End, Tacoma Art Museum, Juror-Fred Wilson
King County Arts Commission Portable Art Collection Purchase
1998
Jurors' Award, Annual Holiday Exhibit, Photographic Center- Seattle, Jurors-
Sheryl Conkelton/ Michael Van Horn
1996
Jurors' Award, Berkeley Art Center Annual, Berkeley Art Center, Juror-Geno
Rodriguez
1995
Finalist, Seattle Artists Visual Arts Program, Seattle Arts Commission
Selected Collections
Los Angeles County Museum of Art
Museum of Fine Arts-Houston
Minneapolis Institute of Arts
Berkeley Art Museum
Samuel Dorsky Museum of Art
Akron Art Museum
University of Washington-Seattle
Seattle Arts Commission-Seattle City Light
King County Arts Commission/4 Culture
Safeco
Bibliography
2008
Keyes, Doug, Conkelton, Sheryl, 'Collective Memory' (Monograph), Decode Books
2005
Hushka, Rock, 'A Decade of Excellence: Celebrating the Neddy Artist Fellowship'
(Catalogue), Tacoma Art Museum
2004
Anderson, Simon & Peterson, Christian, 'Light Bound, A Love Affair Between Books
and Light', Sara Ranchouse
Peterson, Christian, 'Lights! Camera! Books!', Arts
Kangas, Matthew, 'Still Annual But, Alas, Barely Northwest', Seattle Times, Oct.
29
2002
Howard, Rhonda, Fahey, Anna, Webb, Dan, 'Lava 2002' (Catalogue), Noodleworks,
May
Leitch, Christopher, 'The Pattern at The Writers Place', Review, Mar.
Fefer, Mark D., 'Magma Carta', Seattle Weekly, May 16
Powers, Kathleen, 'Booked - Photo Americas 2001', Afterimage, Jan.-Feb.
2001
Hall, Emily, 'Bio: Art: Doug Keyes', The Stranger, Apr. 19
2000
Ellison, Victoria, 'Reality Bites', Seattle Weekly, Jan. 27
Fredericksen, Eric, 'Look Away', The Stranger, Jan. 6
Seiko, Uyeda, 'Quest for Lost Image', Seven Seas, May
Updike, Robin & Weiss, Peggy, '2000 Neddy Artist Fellowship Exhibition'
(Catalogue), Bank of America Gallery, June
1999
Bell, Greg & Wilson, Fred, '"The End", Northwest Biennial Competition'
(Catalogue), Tacoma Art Museum, Aug.
Bryant, Elizabeth, 'COCA Northwest Annual', Art Access, Feb.
Hackett, Regina, '1999 Northwest Annual: A Very Good Year at Bellevue Art
Museum', Seattle Post Intelligencer, July
Hackett, Regina, '"The End" Winds Up Century on a Light Note', Seattle Post
Intelligencer, Sept.
Hackett, Regina, 'Out-of-Focus Photography Comes Into its Own', Seattle Post
Intelligencer, Dec.
Updike, Robin, 'Almost Out of Sight', Seattle Times, Dec. 16
Weiss, Peggy, '1999 Neddy Artist Fellowship Exhibition' (Catalogue), Bank of
America Gallery, May
1998
Kangas, Matthew, 'Bold in Bellevue', SeattleÂ¬ Times, July
Hackett, Regina, 'Northwest Annual at BAM is a Nice Surprise', Seattle Post
Intelligencer, July 3
Victor Maldonado
With my current body of work I'm interested in deploying the rich language of
art against the complexity and bounty of the American dream. My paintings are
ethnic osculations between the indigenous and the urban, landscapes built by
consumer symbols and conventions of ritual, multicultural readings of history,
visual montage and alliterative slips. The paintings are my attempt at
conceptually engaging the metaphysical origin of my voice and to physically
place painting in contemporary art's fracturing context. The scale and treatment
of the works are intended to call attention to the silhouettes created by
modernist abstraction and to retell the stories of my Mexican migrant experience
in an unexpected context.
Resume
Born
1976 Changuitiro, MichoacÃ¡n, Mexico
Education
2005 M.F.A. Painting and Drawing, School of the Art Institute of Chicago,
Chicago, IL
2000 B.F.A. Painting and Drawing, California College of Arts and Crafts,
Oakland, CA
1998 Study Abroad Program, Ecole des Beaux Artes, Rennes, France
Professionand Experience
2006-present ExhIbitions Coordinator, Froelick Gallery, Porltand, OR
Freelance Art Reporter, PDX Magazine, Portland, OR
2005-2006 Preparator, Museum of Contemporary Art, Chicago, IL
Preparator, Mary & Leigh Block Museum of Art, Evanston, IL
2004-2005 Preparator, Walsh Gallery, Chicago, IL
2003-2005 Preparator, Aron Packer Gallery, IL
2001-2003 Gallery Assistant and Preparator, Augen Gallery, Portland, OR
Solo Exhibitions
2008 Social Studies, Froelick Gallery, Portland, OR
Politics as Usual, Helzer Art Gallery, Portland Community College, Rock Creek,
Portland, OR
2007 Graph: Maps and Soda, Froelick Gallery, Porltand, OR
2005 Myth of Myself, Froelick Gallery, Portland, OR
2003 Critical Masses, Froelick Gallery, Portland, OR
2001 Introducing Victor Maldonado: Changing Stages, Froelick Gallery, Portland,
OR
2000 Thesis Exhibition, California College of Arts and Crafts - North Gallery,
Oakland, CA
1999 California College of Arts and Crafts - Martinez Print Gallery, Oakland, CA
1998 Ecole des Beaux Artes - Galerie des Etudiant, Rennes, France
Group Exhibitions
2007 Un/Common, Pacific Northwest College of Art, Portland, OR, Curator: Kristan
Kennedy
2006 Fall Back: Five Gallery Painters, Froelick Gallery, Portland, OR
Building Tradition: Contemporary Art from Tacoma Art Museum, Whatcom Museum,
Bellingham, WA
Contemprary Barouqe, Gallery X, School of the Art Institue of Chicago, Chicago,
IL
Art Chicago at the Mart, Aron Packer Gallery, Merchandise Mart, Chicago, IL
2005 M.F.A. Exhibition, G2, School of the Art Institute of Chicago, Chicago, IL
Versions05, Invincible Desire, Heaven Gallery, Chicago, IL
Love Screening, Heaven Gallery, Chicago, IL
Snow Installation, Heaven Gallery, Chicago, IL
2004 Graphics Communication Archer Gallery, Clark Community College, Vancouver,
WA
2003 Building Tradition: Gifts in Honor of the Northwest Art Collection, Tacoma
Art Museum,
Tacoma, WA (catalogue)
2002 Animals, Animals, Animals, Corvallis Arts Center, Corvallis, OR
Human Form 2002, Runyan Gallery, Newport Visual Arts Center, Newport, OR
32nd Willamette Valley Juried Exhibition, Corvallis Arts Center, OR,
Jurors: Tom Creelan and Roger Hull
2001 31st Willamette Valley Juried Exhibition, Corvallis Arts Center, OR, Juror:
Bruce Guenther
East Meets West, Froelick Gallery, Portland, OR
Mountain High XII - Prints, Timberline Lodge, Mt. Hood, OR
2000 2 x 3, 40th Street Warehouse, Oakland, CA
Public Art Commissions

2005 Scottsdale-Across Generations, Granit Reef Senior Center Mosaics,
Scottsdale Public Arts,
Scottsdale, AZ
2004 Scottsdale-Across Generations, Self Portraiture Workshops, Civic Center
Library, Scottsdale Public Arts, Scottsdale, AZ
2003 Interstate Boulevard Lightrail Project, Station artwork, Portland, OR
2000 International Boulevard Trash Can Art Project, Spanish Speaking Unity
Council, Art Spark -
Team Oakland, CA
Mural Conservation Checklist And Lecture, Metro Murals, Portland, OR
Team Oakland, CA
1999 East Bay Market Mural, 85th/International, Art Spark - Team Oakland,
Oakland, CA
Oakland Chinatown Banner Project, Art Spark - Team Oakland, Oakland, CA
1998 Book as Self-Portrait, class at Cole Elementary School, Oakland, CA,
Sponsors: NEA and CCAC MacArthur Bart Mural, Art Spark - Team Oakland, CA
Art Spark - Mask and Costume Design, Team Oakland, Oakland, CA
1995 No Blood/No Foul - Assistant Stage Manager, California College of Arts and
Crafts, Oakland, CA, for Suzanne Lacey
Corporate and Public Collections

Perkins Coie LLP, Portland, OR
Teaching Experience / Workshops

2008 Instructor, Pacific Northwest College of Art, Portland, OR
2007 Instructor, Pacific Northwest College of Art, Portland, OR
Instructor, Painting Seminar, Radius Studio, Portland, OR
Team Oakland, CA
1999 East Bay Market Mural, 85th/International, Art Spark - Team Oakland,
Oakland, CA
Oakland Chinatown Banner Project, Art Spark - Team Oakland, Oakland, CA
1998 Book as Self-Portrait, class at Cole Elementary School, Oakland, CA,
Sponsors: NEA and CCAC MacArthur Bart Mural, Art Spark - Team Oakland, CA
Art Spark - Mask and Costume Design, Team Oakland, Oakland, CA
1998 Self-Portraiture Workshop, California College of Arts and Crafts - Summer
Program, Oakland,CA
Code 33 - Artistic Facilitator, California College of Arts and Crafts, Oakland,
CA,
for Suzanne Lacey: East Bay Urban Arts
1996 Multiculturalism Workshop, California College of Arts and Crafts - Summer
Program, Oakland
Awards
2001 Winning Pacific Coast Competitor - New American Paintings, Open Studios
Press, Wellesley,
MA, Juror: Lisa Dennison, Chief Curator, Solomon R Guggenheim Museum, New York,
NY
1994 California Arts Scholar, State of California, Merced County, CA
Grants and Scholarships

2005 Bare Walls Grant, School of the Art Institute of Chicago, Chicago, IL
2000 Diversity Scholarship, California College of Arts and Crafts, Oakland, CA
1998 French Scholarship, California College of Arts and Crafts, Oakland, CA
Diversity Scholarship, California College of Arts and Crafts, Oakland, CA
1995 Bloss Merit Scholarship, California College of Arts and Crafts, Oakland, CA
Diversity Scholarship, California College of Arts and Crafts, Oakland, CA
1994 Creative Achievement Award, California College of Arts and Crafts, Oakland,
CA
Grants and Scholarships continued
Bloss Merit Scholarship, California College of Arts and Crafts, Oakland, CA
Books
2002 A&P, John Updike, 20th Century American Short Story, Publisher: Perfection
Learning,
Des Moines, IA
Catalogues
2004 Interstate Max Public Art Guide, Tri-Met, Mary Priester, Portland, Oregon,
2003 Building Tradition: Gifts in Honor of the Northwest Art Collection, Tacoma
Art Museum,
Tacoma, WA
Periodicals
2003 Art on Paper, Nov/Dec. 2003, vol. 8, no. 2, Portland Galleries, Claire
Sykes
2002 Oregon: Kris Hargis and Victor Maldonado, Isaac Peterson, Artweek, San
Jose, CA
Preview: Art, Karrin Ellertson, The Mercury, Portland, OR, p 20, 3 January
Visual Art - Kris Hargis and Victor Maldonado, Portland Tribune, Portland, OR, 4
January,
Cue section, p 3
Bear Deluxe Magazine, Portland, OR, back cover (August)
32nd Willamette Valley Juried Exhibition, Hester Coucke, Artspirit, Corvallis
Arts Center - Linn-
Benton Arts Council, Corvallis, OR, October, p 1
Bear Deluxe Magazine, Portland, OR (illustration)
First Thursday Gallery Tour, Portland Tribune, 1 January, B6 (illustration)
2001 New American Paintings, Open Studios Press, Wellesley, MA, volume 37,
Winter, Essay: Lisa Dennison
Busy Weeks! - Wednesday January 2nd: Art, Karrin Ellertson, The Mercury,
Portland, OR,
20 December, p 15
World Report: Portland - Crossing Boundaries: East West Symposium in Print Art,
Hidekki
Kimura, Hanga Geijutsu, Tokyo, Japan, #114, Winter, pp 132-133
Art Saves Lives! (Sort Of): On PICA's Visual Arts Flank, Steffen Silvas,
Willamette Week,
Portland, OR, 26 December, p 26
Ongoing Events: Pacific Rim Print Exhibit, Jody Lim, The Asian Reporter,
Portland, OR,
2 October, p 12
Articles and Videography

2005 Myths and Strange Weather, Harvest Henderson, The Oregonian, Portland, OR,
22 April,
A&E, p 26
2002 Film Embodies Artists' Hopes Amid Tragedy, D.K. Row, The Oregonian,
Portland, OR, 10 March
Artists Respond to 9/11, Dana Plautz & David Decker, Mercury Productions Inc,
Portland, OR, 27 minutes
2001 Visual Arts: Kris Hargis and Victor Maldonado at Froelick Gallery, Bob
Hicks, The Oregonian,
Portland, OR, 28 December, p 57
2001 The Buzz That Was: October 13, The Oregonian, Portland, OR, 28 December,
A&E, pp 6-10
The Frame Game: ""East Meets West"" at Froelick Gallery, Stan Hall, The
Oregonian,
Portland, OR, 14 October, F10
Print City: Froelick Gallery, Bob Hicks, The Oregonian, Portland, Oregon, 9
October, E1
ArtBeat - Artists Respond to 9/11, Dana Plautz & David Decker,
Oregon Public Broadcasting, Portland, OR, September
2000 Art is Where You Paint It, San Francisco Chronicle - Bay Area, CA, 5 August
(illustration)
Trash Transformation, The Oakland Tribune - Cityside, CA, 4 August
(illustration)
Michael Brophy
MICHAEL BROPHY
Born and educated in Oregon, Brophy has been described as the quintessential
regional artist because of his subject matter and painting style. As a landscape
painter, Brophy continually asks, ""Why does the landscape look the way it
does?"" His answers are not simple and point to the complex relationship between
industry, history, and environmental preservation. His art reminds the viewer
that the need for natural resources must be balanced with solutions that provide
long-term sustainability.
Brophy explores the intersection of history, forest ecology, and the rich
tradition of landscape painting. Through large-scale works that depict the
savage beauty of the Northwest's altered rivers, forests, and mountains, Brophy
engages the social and political forces reshaping and defining environmental
preservation and sustainability.
General Artistic Concerns

In the most general sense, I've been concerned with the intersection of human
history and the natural history. I paint the landscape as if it is a character.
These are portraits of landscapes. I find these places in the midst of that most
American of pursuits - driving. I paint only places that I've been to. It's
important that I know the forces that have shaped a place; I want to know what
it feels like. I like the American West, the big empty places. I like to look at
things that most people wouldn't bother with. I'm into uncool things, like the
sublime, and the generosity of space, even though the view is beat-up. Sometimes
I feel as if I'm an essayist in paint. I'm influenced by the printed word,
museums and natureâ€¦ mix well with linseed oil. My paintings are addressed,
individually, to each person who looks at them. My aim is to slow and silence
the solitary viewer and perhaps create an awareness of being meaningfully
present on this planet.
Evolution
Painting to me is a process, a practice, a discipline, and the reason I get up
in the morning. I've been doing it every day for over 20 years, and the work
continues to grow and evolve. I've worked my way through crude beginnings to
increasing levels of fluidity. If anything, the work has gotten more minimal and
direct. Right now, I'm focusing on a new way of looking at my own work. A fire
destroyed my home and studio last fall. At that time, I had a chance to see some
of my earliest canvases laid out to dry on a warehouse floor. They looked like I
painted them with a hammer -direct and straightforward. I think my newest work
has come around to some of that feeling again. Perhaps they contain less of a
history and more of a novel in their painted language.
Resume
MICHAEL BROPHY
Born: 1960, Portland, OR
EDUCATION
B.F.A., Pacific Northwest College of Art, Portland, OR 1985
Studio Arts Centers International, Florence, Italy 1983-84
University of Oregon, Eugene, OR 1978-82
AWARDS
Fellowship for Individual Artist, Regional Arts & Culture Council, Portland, OR
2003
Juror's Award, Oregon Biennial, Portland Art Museum (Kathryn Kanjo, curator)
1997
Pollock/Krasner Foundation Grant 1995
Juror's Award, Oregon Biennial, Portland Art Museum (John Weber, Kristi Edmunds,
curators) 1991
Western States Arts Federation, NEA Fellowship 1990
Weiner Travel Scholarship, Pacific N.W. College of Art 1985
ONE PERSON EXHIBITIONS

"Here - There" G. Gibson Gallery, Seattle WA 2008
"Here There Nowhere," The Laura Russo Gallery, Portland, OR 2007
"Scenes from an Imaginary Western," The Laura Russo Gallery, Portland, OR 2007
"The Wilderness Act," G. Gibson Gallery, Seattle, WA 2006
""The Romantic Vision of Michael Brophy,"" Tacoma Art Museum, WA, &
Hallie Ford Museum of Art, Salem, OR, traveling exhibition 2005-2006
""Michael Brophy: New Sumi Inks,"" Lux, Portland, OR 2005
The Laura Russo Gallery, Portland, OR 1991, 1992, 1993, 1995, 1998, 1999, 2000,
2001, 2003, 2005
Linda Hodges Gallery, Seattle, WA 1996, 1997, 1998, 2000, 2003
Fields Art Center, Lewis & Clark College, Portland, OR 2000
Kitteridge Gallery, University of Puget Sound, Tacoma, WA 1998
University of Puget Sound, Tacoma, WA 1998
Giustina Gallery, Oregon State University, Corvallis, OR 1997
Quartersaw Gallery, Portland, OR 1987, 1988, 1989
GROUP EXHIBITIONS
"great out doors", G. Gibson Gallery, Seattle WA 2007
"Building Tradition: Contemporary Northwest Art from the Tacoma Art Museum,"
traveling exhibition, presented at the Whatcom Museum of History and Art,
Bellingham, WA 2006-2007
"15 + Â½ Anniversary Exhibition," G. Gibson Gallery, Seattle, WA 2006
"20th Anniversary Group Show," The Laura Russo Gallery, Portland, OR 2006
"Oregon Biennial: 2006," Portland Art Museum, Portland, OR 2006
"Referencing Nature," Seattle Art Museum Rental Sales Gallery, Seattle, WA 2006
"Drawing(s): A 25th Anniversary Exhibition," The Art Gym, Marylhurst University,
Marylhurst, OR 2005
"Artists Drawing," The Laura Russo Gallery, Portland, OR 2005
The Laura Russo Gallery, Portland, OR Annually 1990 through present
"Lewis and Clark Territory: Contemporary Artists on Race, Place, and Memory,"
Tacoma Art Museum, Tacoma, WA (invitational exhibition) 2004
"The Grand View: Bierstadt to Brophy," Museum of Northwest Art, La Conner, WA
2004
""Baja to Vancouver: The West Coast and Contemporary Art,"" Seattle Art Museum,
Seattle, WA;traveling to San Diego, CA, Vancouver, BC, and San Francisco, CA
2003-2004
"Painting Portland," The Art Gym, Marylhurst University, Marylhurst, OR 2003
""West by Northwest,"" Paris Gibson Square Museum of Art, Great Falls, MT 2003
"The Hunt," Core Sample Exhibition, Belmont Factory, Portland, OR 2003
"After," Pacific Northwest College of Art, Portland, OR (invitational) 2002
"PNCA Faculty Show," Pacific Northwest College of Art, Portland, OR 2002
"Northwest Narrative: Portland," Portland Institute for Contemporary Art,
Portland, OR 2001-2002
"The Visual Chronicle of Portland (A Timeline Tour)," North View Gallery,
Portland Community
College, Portland, OR 2001
"Northwest Views, Selections from the SAFECO Collection," Frye Art Museum,
Seattle, WA 2001
"Natural Causes," Gallery One, Ellensburg, WA (invitational) 2001
"15 Anniversary Group Show," The Laura Russo Gallery, Portland, OR 2001
"Northwest Visions: Recent Acquisitions," Seattle Arts Commission, Seattle, WA
2001
"From PDX to Quartersaw: Celebrating 16 Years," Quartersaw Gallery, Portland, OR
2000
Jenkins Johnson Gallery, San Francisco, CA 2000
"Outward Bound: American Art at the Brink of the 21st Century," Meridian
International Center, Washington D.C.; Museum of Fine Arts, Hanoi, Vietnam; The
Painting Institute, Shanghai, China; The Working People's Cultural Palace,
Beijing, China; Jakarta Arts Center, Jakarta, Indonesia;The Metropolitan Museum,
Manila, Philippines; The Singapore Art Museum, Singapore 1999
"Works on Paper," The Laura Russo Gallery, Portland, OR 1999
Mt. Rainier Central Exhibition, University of Puget Sound, Tacoma, WA 1999

"The Lake Oswego Visual Chronicle, Lake Oswego OR 1999
Oregon Biennial, University of Oregon Museum of Art, Eugene, OR 1998
Linda Hodges Gallery, two person exhibition, Seattle, WA 1998
"Here and Now," Tidbit Gallery, Portland, OR (invitational) 1998
"Prints and Drawings", The Laura Russo Gallery, Portland, OR 1998
"Springs Eternal," Seafirst Gallery, Columbia Seafirst Center, Seattle, WA 1998
"Bio-Adversity," Cornish College of the Arts, Seattle, WA 1997
"Holiday Group Show: Small Works", The Laura Russo Gallery, Portland, OR 1997
Oregon Biennial, Portland Art Museum, Portland, OR 1997
"The Garden Show," Portland Institute for Contemporary Art, Portland, OR 1997
"From Object to Image," Portland Art Museum, Portland, OR 1997
"Utopian Visions," The Port Angeles Fine Arts Center, Port Angeles, WA 1996
"The Tool Show," Portland Institute for Contemporary Art, Portland, OR 1996
"One Year Later: Work by Washington Park Fences Project Artists," Froelick
Gallery, Portland, OR 1996
Anne Reed Gallery, Ketchum. ID 1996
Coos Art Museum, Coos Bay, OR 1995
Art Slate '95, Condon, OR(invitational) 1995
"Fallen Timber," Tacoma Art Museum, WA (invitational) 1994-1995
Linda Hodges Gallery, Seattle, WA 1993, 1995
"Artquake," Portland, OR (invitational 1994) 1988, 1990, 1994
"Crosscut," Portland Art Museum, Portland, OR 1993
"Northwest Tales: Contemporary Narrative Painting," Anchorage Museum of History
and Art, Anchorage, AK 1992
Oregon Biennial, Portland Art Museum, Portland, OR 1991
"Environmental Alarm," Blackfish Gallery, Portland, OR 1991
"Ambitious New Work," Marylhurst College, OR 1990
"Close to Home," Heathman Hotel, Portland, OR 1990
Quartersaw Gallery, Portland, OR 1987
"Studio Visits: Seven Emerging Artists," The Art Gym, Marylhurst College, OR
1986
PDXS Gallery, Portland, OR 1985
Studio Art Centers International, Fiesole, Italy 1984
COMMISSIONS
Washington State Art Commission, Mount Rainier High School, Des Moines, WA
Awarded 2008
Commission, City Hall Council Chamber, Portland, OR 1998
Commission, Columbia Gorge Discovery Center, Wasco County Historical Society
1997
Washington Park Fences Project, Tri-Met Westside MAX and
The Regional Arts & Culture Council, Portland, OR (catalogue) 1995-1996
COLLECTIONS
4Culture, King County Art Collection, Harborview Medical Center, Seattle, WA
Allen Creek Elementary, Marysville, WA (Washington State Arts Commission)
ArtColl Trust, Bellevue, WA
Beaverton Arts Commission, Beaverton City Hall, Beaverton, OR
Beaverton Lodge, Portland, OR
Centennial Elementary, Graham, WA (Washington State Arts Commission)
City Center Parking, Oregon Trail Building, Portland, OR
City Center Parking, Postal Building, Portland, OR
City of Portland, City Hall Collection, Portland, OR
City of Tacoma, Greater Tacoma Convention and Trade Center, Tacoma, WA
Copeland Landye Bennett & Wolf, Portland, OR
Federal Reserve Bank, Portland, OR
Hallie Ford Museum of Art, Willamette University, Salem, OR
King County Justice Center, Seattle, WA
Lakeridge Elementary, Renton, WA (Washington State Arts Commission)
Mazama Capital Management, Inc., Portland, OR
Mentor Graphics, Hillsboro, OR
Metropolitan Arts Commission, Portland, OR
Microsoft, Seattle, WA
Morse & Bratt, Vancouver, WA
Multnomah County Library Collection, Portland, OR
Northwest Visions Collection, Seattle Arts Commission, Seattle, WA
Oregon State University Library, Corvallis, OR
Portland Community College, Portland, OR
Regional Arts and Culture Council, Portland, OR
Safeco, Seattle, WA
Seattle Art Museum, WA
Seattle Community College, District Offices, Seattle, WA
Seattle Office of Arts and Cultural Affairs, Seattle, WA
Tin House, Portland, OR
Tonkon, Torp, Galen, Marmaduke & Booth, Portland, OR
TriMet, Portland, OR
USHIO, Newberg, OR
Washington State Arts Commission
RELATED EXPERIENCE
Lecture and Panel, "How Do We See the West? Reverberations of Landscape
Tradition,"
Tacoma Art Museum, Tacoma, WA 2005
Slide Lecture, Yale Valley Arts Festival, Anderson Lodge, Cougar, WA 2003
Instructor, Pacific Northwest College of Art, Portland, OR 1988-2002
Slide Lecture, Symposium on Environmental Affairs, Lewis & Clark College,
Portland, OR 2000
Slide Lecture, University of Oregon, Eugene, OR 1998
Panelist, What is the Role of Marginal Art in Oregon's Growing Urban Community,
Public
Symposium, Reed College, Portland, OR 1998
Adjunct Assistant Professor, Portland State University, OR 1994-1996
Slide Lecture, Speaking of Art Series, Portland Art Museum, Portland, OR 1992
Instructor, Marylhurst College, Marylhurst, OR 1990
Exchange Program, University of London, Humanities 1980
PUBLICATIONS
Farr, Sheila. ""Portland painter Michael Brophy eyes the big picture"" Seattle
Times, Seattle, WA, Friday, June 13, 2008.
""Here There Nowhere"", Paintings by Michael Brophy, Essays by Jonathan Raban
and William Lang, Nobius Projects, Oregon State University Press, 2008
Clemans, Gayle, "Beauty and tension in the natural world," The Seattle Times,
Friday, November 3, 2006
Duford, Daniel, "2006 Oregon Biennial at Portland Art Museum, " Artweek, October
2006, Volume 37, Issue 8, pp.18-19
Portland Art Museum, "Oregon Biennial: July 29-October 8, 2006," PAM Magazine,
Spring/Summer 2006, p.9
Seago, David, "Public art success story," The News Tribune, Tacoma, WA, Sunday,
April 30, 2006, Insight pp. 1, 4
Row, D.K. "Biennial choices paint multifaceted show," The Oregonian, March 20,
2006, pp. C1, C4
March, Ray A., "Tourism - Part I, A Overview," Modoc Independent News, January
2006, Vol3, Issue 1, p. 1
Butler, Connie, Curator, New American Paintings, Juried Exhibition-in-Print:
Pacific Coast, No. 61, January 2006, p. 18-21
Clemens, Gayle, "Iconic urban landscapes, and disharmony in nature," The Seattle
Times, Dec. 9, 2005, p. 48
Faigin, Gary, "Review of The Romantic Vision of Michael Brophy at the Tacoma Art
Museum," Broadcast transcript, KUOW-FM, December 2005
Blake, Victoria, "A Quarter Century of Quality," The Oregonian, A&E, December 2,
2005
Motley, John, Visual Art Review, Portland Mercury, November 24, 2005, p. 39
Clayton, Alec, "Nature lover," Fort Lewis Ranger, Lakewood, WA, October 27, 2005
Graves, Jen, "Symbols fill grand landscapes," The News Tribune, Tacoma, WA,
October 11, 2005, pp. E1, E6
"The Romantic Vision of Michael Brophy," Tacoma Art Museum Notes, Fall 2005, pp.
3-4 illus. Hushka, Rock, The Romantic Vision of Michael Brophy, Exhibition
Catalogue, 79 pages
Northwest Perspectives Series, Tacoma Art Museum, 2005
Raymond, Jonathan, ""Michael Brophy,"" Artforum, October 2005, pg. 280
High Desert Journal, Fall 2005, Issue No. 2, pp. 17 and 32
Keefer, Bob, "Man's Mark on the Land," The Register-Guard, July 17, 2005, p. G3-
G4
Row, D.K. ""The Romantic Vision of Michael Brophy,"" The Oregonian, June 17,
2005, A&E p. 46 illus.
Row, D.K. ""A Clear-Cut View,"" The Oregonian, June 12, 2005, pp. D1-D2, illus.
""'The Woods' Sleater-Kinney,"" New York Times, June 12, 2005, painting
reproduced for cover of CD recording
Cantor, Allyn, ""The Romantic Vision of Michael Brophy,"" Preview: the Gallery
Guide, Vancouver, BC, June/July/August 2005, p. 72 illus.
""Michael Brophy '85"" Re:view; Pacific Northwest College of Art Newsletter,
Spring 2005, p. 6
Row, D.K. ""Show of Note,"" The Oregonian, March 25, 2005, A&E p. 25
Gragg, Randy, ""Great Expectations,"" The Oregonian, February 25, 2005, pp. E1,
E3
Gragg, Randy, and Matthew Stadler, ed. Core Sample: Portland Art Now, Clear Cut
Press, Astoria, OR, 2004
Sanders, Angela, "The Paul Bunyans," Portland, The University of Portland
Magazine, Summer 2004, pp. 22-27 illus.
Row, D.K. "D.K.'s Hot Sheet," The Oregonian, July 9, 2004, A&E p. 25
Hushka, Rock. Lewis & Clark Territory: Contemporary Artists Revisit Place, Race,
and Memory, Tacoma Art Museum, Tacoma, WA, 2004, p. 36 (exhibition catalog)
Richardson, Charlotte, ""An Evergreen Scene,"" American Style Magazine, August
2004, p. 36-39
Kangas, Matthew, ""Northwest Landscapes as Inspiration and Lamentation,"" The
Seattle Times, March 5, 2004,p. 46H, illustrated
Fiege, Gale, "Art of the Land," Skagit Valley Herald Applause, January 8, 2004,
p. D1-D2
Duchene, Paul, "Grant Masters," Portland Tribune, January 6, 2004, p. B1-B2
Allan, Lois, "Core Sample Throughout Portland," Artweek, December 2003/January
2004, p. 25
DeVuono, Frances, "Baja to Vancouver," Artweek, December 2003/January 2004, pp.
13, 28
Stone, Jana, Ed. Building Tradition, Tacoma Art Museum, Tacoma, WA, 2003, p. 30
Bauer, Mary, ed. "Michael Brophy and Judy Cooke Awarded the RACC Visual Arts
Fellowships," Art Notes,
Newsletter from the Regional Arts & Culture Council, Portland, OR,
November/December 2003, p. 1
Allan, Lois, "Painting Portland at The Art Gym, Marylhurst University," Artweek,
November 2003, pp. 25-26
Row, D.K. "Best of the West," The Oregonian, November 11, 2003, p. E1, E4
Row, D.K. "Unearthing a Scene," The Oregonian, October 19, 2003, pp. E1-E2
Hall, Emily, "Naturally: 33 Artists Digest the West Coast," The Stranger,
October 16, 2003. p. 36
Bancud, Michaela, "A Sample Plan," Portland Tribune, October 10, 2003, pp. 10-11
CUE
Henderson, Harvest, "Mirror, Mirrorâ€¦" The Oregonian, October 3, 2003, pp. 52-
53
Corrin, Lisa, "Baja to Vancouver," Program Guide & Members News, Seattle Art
Museum, Fall 2003, pp. 2-4
"Old Growth," painting reproduced in The Bear Deluxe #20: the Art Issue,
published by ORLO, Portland, OR,Fall 2003, p. 28
DeVuono, Frances, "Michael Brophy at Linda Hodges Gallery," Artweek, July/August
2003, pp. 22-23
D'Ambrosio, Charles, Michael Brophy Paintings, Clear Cut Press, Astoria, OR,
2003 (monograph)
Farr, Sheila, "Uncommon Landscape Artist Sees the Big Picture," The Seattle
Times, May 9, 2003, p.47H
D.K. Row, ""Tacoma's Winning Combination,"" The Oregonian, May 4, 2003, pp. F1,
F10
Hansen, Mark, ""Interview With Michael Brophy,"" The Organ Review of Arts,
May/June 2003, p. 7
Row, D.K., "A Painter of Terrible Beauty," The Oregonian, April 3, 2003, pp. F1,
F4
Row, D.K., "First Thursday: Laura Russo Gallery," The Oregonian, March 28, 2003,
p. 56
Open Spaces, Views from the Northwest, Vol. 5, Issue 3, 2003; "On the Cover,"
page 1
"PNCA Faculty Show," PNCA Newsletter, Fall 2002, p. 1
Gragg, Randy, Reviving Regionalism: Art in a Small Corner," The Oregonian, Nov.
25, 2001, pp. E1, E4
Gragg, Randy, "An Outsider's Guide to the NW," The Oregonian, November 9, 2001,
pp. 54-55
Carman, Sean, "Building a Bridge," www.artaccess.com, September 2001
Klein, Harriet, "Michael Brophy and Jef Gunn," America On Line digitalcity.com,
September 2001
"Gallery Tour First Thursday," Portland Tribune, September 4, 2001, p. C2 illus.
Ellertson, Karrin, "Michael Brophy and Jef Gunn at Laura Russo," The Oregonian,
Aug. 31, 2001, p. 55
Zevitas, Steven T., New American Painting, The Open Studio Press, Wellesley, MA,
2001
Harmon, Kitty, The Pacific Northwest Landscape, A Painted History, Sasquatch
Books, Seattle, WA, 2001
Gragg, Randy, "Reviving Regionalism: Art in a Small Corner," The Oregonian,
November 25, 2001,pp. E1, E4
Rabin, Jonathan, "Battleground of the Eye,"The Atlantic Monthly, March 2001
Row, D.K., "And the Winners Areâ€¦" The Oregonian, December 22, 2000, p. 57
"New Works by Michael Brophy," The Oregonian, A&E, September 29, 2000, p. 34
Duford, Daniel, "Wings of Desire," Willamette Week, September 6, 2000, p. 73
Gibson, Eric, Outward Bound: American Art at the Brink of the Twenty-First
Century, Stinehour Press,
Lunenburg, VT, 1999
Row, D.K., "Brophy on Brophy," The Oregonian, August 21, 1999, p. E1
Row, D.K., "What Summer Doldrums?" The Oregonian, August 5, 1999, p. E1
Lake, Eva, "Michael Brophy's Vision," Ourtown, August 2, 1999, p. 10
Raymond, Jonathan, Plazm Magazine, 1999
Gragg, Randy, "Pure Thrill of Collecting Drives New University Museum," The
Oregonian, September 27, 1998, p. E4
Row, D.K., "Art and the City," The Oregonian, April 17, 1998, pp. 62, 65
Row, D.K., "Designing Consciousness: Midcareer Virtuosos," The Oregonian, April
10, 1998
Clayton, Alec, "Clearly Cut," Tacoma City Paper, April 9, 1998, p. 11
Row, D.K., "Strokes of Ingenious Paintings" The Oregonian, April 2, 1998, pp.
C1, C4
"Art of the Pacific Northwest," ArtNews, March 1998
Updike, Robin, "The Wonders of Water," The Seattle Times, January 8, 1998
Gragg, Randy, "Out on a Limb," The Oregonian, August 22, 1997, pp. 62-63
Raymond, Jonathan, "Forest Flaneur," Anodyne, August 1997, p. 34
Row, D.K., "Can-Do Kanjo," Willamette Week, August 27, 1997
Cowan, Ron, "What a Difference Two Years Makes," The Statesman Journal, Salem,
OR, August 1997
Gragg, Randy, "Art for Biennial: A Fresh Look," The Oregonian, July 27, 1997, p.
F10
Row, D.K., "And the Winnners Are. . ." Willamette Week, July 23, 1997, p. 26
Kangas, Matthew, "Seattle: Michael Brophy at Linda Hodges," Art in America,
February 1997
Failing, Patricia, "Necessity Is the Mother of Reinvention," ARTnews, December
1997, pp. 62-63
Cashdan, Rochelle, "Public Magic," Oregon Quarterly, Winter 1996, p. 50
Demetre, Jim, "Reviews," AORTA, August/September 1996, pp. 22-23
DeVuno, Frances, "Michael Brophy at Linda Hodges," Artweek, July 1996, p. 28
"Utopian Visions," On Center, Port Angeles Fine Arts Center Newsletter, Summer
1996, pp. 1-3
Gragg, Randy, "Range of Work Adds to Museum's Permanent Collection," The
Oregonian, January 31, 1996
Ferranto, Matt, "Michael Brophy at Laura Russo," Reflex, October/November 1995
Gragg, Randy, "Transcending Politics, Embracing Paradox," The Oregonian,
September 18, 1995, p. D5
Bennett, Laura Lee, "The Essence of Northwest Art," The Oregonian, October 14,
1995
Allen, Lois, Contemporary Art in the Northwest, Craftsman House, University of
Toronto Press, Buffalo, NY 1995
Edmunds, Kristy, "Fences," Wyatt Group, 1995
Fiedler, Nadine, "Michael Brophy: Men Baffled by Their Surroundings," Reflex,
January/February 1994, p. 20
Gragg, Randy, "Drawings at Laura Russo," The Oregonian, January 15, 1993
Gragg, Randy, "Critic's Choice: Michael Brophy," The Oregonian, November 26,
1993, p. 25
Gragg, Randy, "Laura Russo Gallery," The Oregonian, November 3, 1993
Francis, Kevin, "Fresh Weekly: Laura Russo," Willamette Week, November 18-24,
1993, p. 56
Glowen, Ron, ""Northwest Tales: Contemporary Narrative Painting,"" Anchorage
Museum of History and Art,
Anchorage, AK, traveling exhibition brochure, 1992
Gragg, Randy, "3 Shows Look at Current Events," The Oregonian, June 3, 1992
Stirling, Kassandra Kelly, "Artist at Work," Portland Downtowner, May 18, 1992,
p. 16
Gragg, Randy, "Tree Toppler," The Oregonian, June 21, 1992, pp. P1, P3
Gragg, Randy, "In the Beginning," Reflex, January/February 1992, pp. 12, 15,
drawing
Harrison, Thomas B. "Exhibit of Narrative Paintings boasts Impressive Lineup,"
Anchorage Daily News, Anchorage, Alaska, February 9, 1992, pp. H1-H2
Maves, Norm Jr., "Art Up Close," The Oregonian, November 2, 1991, p. C1
Gragg, Randy, "Michael Brophy," The Oregonian, March 1, 1991, p. E24
Gragg, Randy, "Oregon Biennial: Art of the State," The Oregonian, September 20,
1991, pp. 4-5
Portland Art Museum, Portland, OR, "Oregon Biennial," exhibition catalog, 1991
"The Unknown Artist," Portland Downtowner, March 4, 1991
"Wry Guy," The Oregonian, February 1, 1991
"WESTAF Regional Fellowships in Painting," OAC News, Oregon Arts Commission,
Salem, OR, Fall 1990
Western States Arts Federation, Santa Fe, NM, 20 Artists in Painting: WESTAF/NEA
Regional Fellowships for Visual Artists, 1990, catalog, 1990
Gragg, Randy, "At Artquake, Main Course Still Is, Yes, Art," The Oregonian,
August 31, 1990
Johnson, Barry, "Last Chance for a Look at Painters," The Oregonian, late 1980s
REPRESENTATION
G. Gibson Gallery, Seattle, WA
Laura Russo Gallery, Portland, OR"
tannaz farsi
Questioning the nature of space in relation to the body is the core focus of my
work. My installations combine the internal and external, the analytical and the
emotive, the viewer and the work. I am interested in the invisible function of
infrastructures in our society, the model becoming that which the body
subliminally interacts with. Concrete sidewalks, fire escapes, the touch
sensitive screen of the money dispensing machines, the shadow cast at a
particular time of the day in a particular direction, and in essence the body
itself. The specious unity of the body as a whole stands opposed to the notion
of my ownership to it. I look down and see hands, feet, belly tucked in, chin
held up and pensive. I look around and see other bodies (other units) whole,
without fault lines demarcating experience and memory. My gaze conflicts with
how I perceive and what I desire is the experience of body that is full with a
sense of history in association to space.
Dislocation hovers in the context of our transnational society. It has seeped

into the newsrooms and printing services, it is echoed on the airways and
cellular lines. It describes war-torn regions as well as natural disasters and
descriptively defies specificity in the context of mind, body and space.
Dislocated from my country of origin, I am driven to examine the fluid nature of
identity and its dependence on any particular environment. My family, those
living abroad as well as in Iran, share a construct of home as a virtual space
that does not physically exist any longer due to the disruption of the familial
unit as a whole entity. Through globalization and technology, human culture
operates similarly to the diasporic identity juxtaposed by the assumption of
nostalgia and memory.
Contextually, my work seeks to make apparent functional structures that have

become invisible. Currently this transparency takes form in the use of air as a
delineation of space and video as witness to the physicality of the body. The
quest to make invisible function repetitive, robotic yet aware of its boundaries
speaks not only to the objects and videos in the installations but the gaze that
is directed towards them by the viewer. A successful depiction of space becoming
one in which the viewer operates between analytical as well as visceral
signification to propel physical awareness in association to space.
Resume
EDUCATION
2007
MFA, Ohio University, Athens, OH
2002
Jingdezhen School of Ceramic Art, Jingdezhen, China
2004
BFA, West Virginia University, Morgantown, WV- Summa Cum Laude
SOLO EXHIBITIONS
2009 (Upcoming)
The Baron and Ellin Gordon Galleries, Old Dominion University, Norfolk,VA
2008
The Formal Absences of Precious Things, Sculpture Center, Cleveland, OH
2007
Self-Haunted and Synthetic, Siegfried Gallery, Athens, OH
2006
Proxy/Substitute, Roy G Biv Gallery, Columbus, OH
2004
Topography, Zen Clay Gallery,
Morgantown, WV
GROUP EXHIBITIONS
2009 (Upcoming)
Architecture of Fragments, The New Art Center Gallery, Newtonville , MA - 3-
person show
2008 (Upcoming)
Tacoma Contemporary, Tacoma, WA
Surreal Systems, Gallery Homeland, PDX Film Festival, Portland, OR
Beginnings and Ends, Gallery 621, Tallahassee, FL - 3-person show
2007
1990 Until Now*, The Winery, Louisville, Kentucky
2006
Fall, Mid-America Print Council Conference, The Ridges, Athens, OH
Majestic Invitational, Majestic Galleries, Nelsonville, OH
Cross Section, Ohio University Art Gallery, Athens, OH Gallery, Athens, OH
2005
Training Wheels, Trisolini Gallery, Athens, OH
OU Ceramics, Esther Allen Greer Museum, Rio Grande, OH
New Genre, Siegfried Gallery, Athens, OH
Fire, Washington County Arts Center, Hagerstown, MD
2004
Elephant Market, Walnut Street Gallery, Morgantown, WV
Level, Laura Mesaros Gallery, Morgantown, WV
American Craft Council, Baltimore Convention Center, Baltimore, MD
2003
WV Juried Exhibition, State Capital Complex, Charleston, WV
Revolution & Representation, Southern Graphics Council, Boston, MA

2002
Recent works, Zen Clay, Morgantown, WV
Eastern Influences, Washington County Arts Center, Hagerstown, MD
AWARDS
2008
Bemis Center for Contemporary Art Residency, Omaha, Nebraska
2006
Travel Grant, Ohio University, Athens, Ohio
2005
Aesthetic Technologies Lab Grant, Ohio University, Athens, Ohio
2004-2007
Full Fellowship, Ohio University, Athens, OH
2002
GEO Grant, WVU, Morgantown, WV, China
2001-2004
College of Creative Arts Performance Scholarship, WVU, Morgantown, West Virginia
2001
West Virginia Arts Council Materials Grant, Charleston, WV
1998
Nagoya University Travel Grant, Nagoya, Japan
PROFESSIONAL EXPERIENCE
2008- present
Assistant Professor, Sculpture, University of Oregon, Eugene, OR
2007-2008
Visiting Assistant Professor, Sculpture, University of Oregon, Eugene, OR
2007
Lab Associate, Aesthetic Technologies Lab, Ohio University, Athens, OH
Visiting Artist Lecture, Bowling Green State University, Bowling Green, OH
2006
Conference Demonstrator, Clay and Print, Mid-America Print Council, Athens, OH
2005
Co-Curator and Organizer, Ceramics Symposium/Show, Exchange, Athens, OH
2001-2004
Studio Assistant, Ceramics Department, WVU, Morgantown, WV
1998-2004
Studio Artist, Belington, WV
BIBLIOGRAPHY
Douglass Max Utter, Trapping The Sky, Cleveland Free Times, Volume 15, Issue 49,
Theresa Bembnister, Capsule Reviews: Tannaz Farsi, Scene Arts & Entertainment,
May 21, 2008
Dan Tranberg, Fine Art/ Art Matters, The Plain Dealer, Cleveland, OH, Friday,
April 4, 2008
Michael Kenna
I have been photographing for thirty five years, and like to think of myself as
being thoroughly modern, if also a bit ancient. I still work with traditional,
non digital cameras and materials, and make all my own prints in the darkroom. I
see the world as being both beautiful and very mysterious, a complicated mixture
of light and dark, good and evil. My photographs concentrate primarily on the
interaction between the ephemeral atmospheric conditions of the natural
landscape, and human-made structures and sculptural mass. I am very proud to
live in the North West even though my subject matter comes from wherever I
happen to be in the world. Thank you for your consideration
Resume
Born in 1953, raised and educated in England. Moved to USA 1979.
Over 500 One Person and Group exhibitions in galleries and museums
world-wide
Work in permanent collections include: The Bibliotheque Nationale, Paris; The

Metropolitan Museum of Photography, Tokyo; The National Gallery, Washington,
D.C.; The Shanghai Art Museum, Shanghai; and The Victoria and Albert Museum,
London.Â
Thirty five books and catalogues have been published, including: Michael Kenna -
A Twenty Year Retrospective (Treville, 1994 and Nazraeli Press, 2000),Â Le
Notre's Gardens (Ram, 1997), Impossible to Forget (Marval and Nazraeli Press,
2001), Japan (Nazraeli Press and Treville Editions, 2003), Retrospective Two
(Nazraeli Press and Treville Editions, 2004), Hokkaido (Nazraeli Press and
Shuppan Kyodosha, 2006), and Mont St. Michel (Nazraeli Press, 2007).
2001, Chevalier in the Order of Arts and Letters, Ministry of Culture, France.
Represented by G. Gibson Gallery, Seattle. (wwwgibsongallery.com)
For a more extensive resume, please see www.michaelkenna.com"

Jack Daws
JACK DAWS / STATEMENT
Most artists, including myself, strive to make work that is personal and
formally compelling. Where my work differs from most I see is that it also
addresses a range of socio-political issues, sometimes in rather overt ways, and
sometimes not.
All this work is concept driven. By using everyday objects and materials I'm
able to utilize the symbolic loads they carry. I want the pieces to seem
familiar, yet be slightly, or in some cases, wildly askew.
These pieces are meditations. They are not intended to be read as conclusions.
The intention is for the pieces to act as starting points for a line of
questioning.
I spend a great deal of time thinking about a piece, sometimes a year or more,
before I actually make it, or have it made. A piece makes the cut if it can hold
my attention. It must resonate, for me.
I prefer to not share my personal feelings about the work. It seems that to do
so would interfere with the viewers' experience, be it positive, negative, or
indifferent. If someone finds a piece of mine offensive, someone else will find
it hilarious. If someone thinks I'm a genius, someone else will think I'm a
hack. This has always been true, in varying degrees, for all artists.
All one really needs to know about my work is this, and I want this to be clear:
I make this art because I love the world, even if I'm not always happy with the
way things are unfolding here.
Seattle
July 2008
Resume
JACK DAWS
Born 1970, Kentucky. Lives and works in Seattle.
AWARDS/GRANTS
2006 Pollock-Krasner Foundation Grant
SOLO EXHIBITIONS
2007 Nothing to Lose, Greg Kucera Gallery, Seattle WA
2003 Kentucky Windage, Greg Kucera Gallery, Seattle
2002 A Nice, Swift Kick in the Head, King County Art Gallery, Seattle
Bicycle Thief, Video Installation, Commencement Art Gallery, Tacoma WA
SELECTED GROUP EXHIBITIONS

2008 Multiplex, Western Bridge, Seattle
Speaking Volumes: Transforming Hate, Holter Art Museum, Helena MT
World Upside Down, Agnes Etherington Art Centre, Queen's Universtiy, Kingston,
Ontario
2007 Thermostat: Video and the Pacific Northwest, Art Basel Miami Beach FL
Sparkle Then Fade, Tacoma Art Museum
Campfire, Motel 1, Bridge Motel, Seattle
Loyal Opposition: Art as a Vehicle for Protest and Dissent, Texas State
University, San Marcos TX
2006 Building Tradition: Contemporary Northwest Art from Tacoma Art Museum,
Whatcom Museum, Bellingham WA
World Upside Down, Walter Phillips Gallery, the Banff Centre, Alberta
Scope Hamptons, with Jack the Pelican Presents, New York
2005 Affair @ the Jupiter Hotel, Portland OR, with Greg Kucera Gallery
Fresh Trouble, 4246 SE Belmont, Portland
Ergonomicon, Consolidated Works, Seattle
2004 NW Biennial: Buildingwise, Tacoma Art Museum
101 Ways to Remove A President From Power, CoCA, Seattle
Vexed, Kittredge Gallery, University of Puget Sound, Tacoma
Art and Social Commentary, Evergreen State College, Olympia WA
2003 The Best Coast, Portland OR
International Abstraction, Seattle Art Museum, Seattle
2002 Collaborators, SOIL, Seattle
States of the Union: Before and After, Greg Kucera Gallery, Seattle
Gun Show, SOIL, Seattle
Mustang Summer, SOIL, Seattle
NW Annual, CoCA, Seattle
LAVA 2002, Noodleworks Invitational, Seattle
First War of the New Millennium, SOIL, Seattle
2001 Pacific NW Annual, Bellevue Art Museum, Bellevue WA
NW Annual, CoCA, Seattle
SELECTED COLLECTIONS
Henry Art Gallery, Seattle
Tacoma Art Museum
Western Bridge, Seattle
SELECTED PUBLICATIONS
DeVuono, Frances. "Jack Daws: Nothing to Lose," Artweek, November 2007
Graves, Jen. "Who's Afraid of Jack Daws?" The Stranger, October 11, 2007
Hackett, Regina. "Artist Jack Daws is an all-American troublemaker," Seattle

Post-Intelligencer, September 13, 2007
Scott, Carrie E.A. "Checkout Time," Seattle Weekly, September 12, 2007
Hackett, Regina. "The pennies of Jack Daws,"

http://blog.seattlepi.nwsource.com/art/archives/115470.asp?source=rss
May 16,2007
Hackett, Regina. "Daws is too edgy for the Stranger?" Seattle Post-
Intelligencer, November 12, 2005
DeVuono, Frances. "101 Ways to Remove a President From Power at the Center on
Contemporary Art," Artweek, October, 2004
Hackett, Regina. "Anti-Bush Artists Trumpet Their Political Views in a Trio of

Shows," Seattle Post-Intelligencer, August 6, 2004
de la Paz, Diane. "Provocative Ideas Inspire Young Artist," Tacoma News Tribune,
April 17, 2004
Hackett, Regina. "Life's Flaws Inspire Jack Daws' Wicked Sense of Play," Seattle
Post-Intelligencer, August 15, 2003
DeVuono, Frances. "Jack Daws: A Nice, Swift Kick in the Head," Artweek, February
2003
Jahn, Jeff. (www.thebestcoast.com)
"Rewind with Bill Radke," Interview with Luke Burbank, National Public Radio,
November 15, 2002
Esquivel, Karla. "Jack Daws' Delinquent Art," The Tablet, 11/14 - 11/27, 2002
Brown, Elizabeth and Corrin, Lisa. "View from Seattle...The Mountain Is Out,"
Modern Painters, Autumn, 2002
Fahey, Anna. "First War of the New Millinneum," Art Papers, Sept/Oct, 2002
Webb, Dan. "Jack Daws: Whatever Means Necessary," LAVA 2002 catalog with essays
and reproductions, published by THREAD, 2002
"
Robert Jones
ARTIST'S STATEMENT
Since 1950 some artists and critics have declared various "isms", movements
(Abstract Expressionism, Op, Pop), and in fact whole forms of art dead.
"Painting is dead!" I do not believe this; nor do I think after centuries of
visual art that abstract art or modern painting is exhausted after a mere one
hundred years on the scene. So, I make oil paintings - that are more or less
abstract - and hopefully are modern in the best sense of that word.
After years of working from something (the still life, the landscape, the
figure) I now paint to something. Some thing or suggestion emerges out of the
chaos of visual accident and invention. As it does I try to maintain a balance
between the act of painting and whatever it is that is recognizable, if in fact
nameable as the subject - between the architecture (structure) of that subject
and the architecture of the painting, space and form, color, and defining line.
Drawing is easier; when it works it is almost instantaneous. I try to keep that
sense of immediacy in the painting, but over time and a process of trial and
error, making and looking, scraping and keeping or repainting, it is a
collection of moments. Hopefully those moments fuse into a whole which engages a
viewer and creates a sense of order and beauty.
Robert C. Jones
Resume
R O B E R T C. J O N E S
BORN: 1930, West Hartford, CT
EDUCATION: 1957 59, M.S. Rhode Island School of Design

1952, Hans Hofmann, Summer School
1950 53, B.F.A. Rhode Island School of Design
1948 50, Kenyon College, Gambier, OH
HONORS:
2003/2004 Flintridge Foundation Award for Visual Artists, Pasadena, CA

1990 Western States Arts Federation/National Endowment for the Arts Fellowship
SOLO EXHIBITIONS:
2008 Paintings, Drawings, and Prints, Francine Seders Gallery, Seattle, WA

2005 Recent Paintings, Francine Seders Gallery, Seattle, WA
2003/2004 Robert Jones: Abstractions, Hallie Ford Museum of Art, Willamette
University, Salem, OR
2002 Recent Work, Francine Seders Gallery, Seattle, WA
1999 New Paintings, Francine Seders Gallery, Seattle, WA
Drawings, Museum of Northwest Art, La Conner, WA
Robert C. Jones Drawings & Paintings, Pierce College, Tacoma, WA
1998 Recent Drawings, The Upstairs Gallery, Francine Seders Gallery, Seattle, WA
1997 Selected and Unselected Drawings, Francine Seders Gallery, Seattle, WA
1996 Selected Work 1994-1996, Francine Seders Gallery, Seattle, WA
1993 Francine Seders Gallery, Seattle, WA (Also 1991, 1988, 1985, 1982, 1980,
1979, 1975, 1972, 1970)
1990 Whatcom Museum of History and Art, Bellingham, WA
1987 Documents Northwest, Seattle Art Museum, Seattle, WA
1984 Art Center Gallery, Seattle Pacific University, Seattle, WA
1982 Tacoma Art Museum, Tacoma, WA
Oregon State University, Corvallis, OR
1967 Earl Ballard's Island Gallery, Mercer Island, WA
1965 University of Montana, Missoula, MT
Scott Galleries, Seattle, WA
SELECTED GROUP EXHIBITIONS:
2008 Seattle Public Utilities Northwest Masters Portable Works, Mayor's Office
of Arts & Cultural Affairs, Seattle Municipal Tower Gallery, Seattle, WA
2007 Ten Painters, Francine Seders Gallery, Seattle, WA
2006 Works ( ) Paper, Festival International de Arte ContemporÃ¡neo, Leon, GTO,
Mexico
Fay and Robert Jones, Museo Gene Byron, Marfil, GTO, Mexico
2005 pARTners, Kirkland Arts Center, Kirkland, WA
NuArt 05: Juror's Choice, Anacortes Arts Festival, Anacortes, WA
2004 Big and Small, Francine Seders Gallery, Seattle, WA
Seattle Perspective-Selections from the City of Seattle % for Art Portable Works
Collection, Washington State Convention & Trade Center, Seattle, WA
2003 2003 Neddy Exhibition, Washington State Convention Center, Seattle, WA
Northwest Abstraction, Portland Center for the Advancement of Culture, Portland,
OR
Variations of Abstraction, Selections from the City of Seattle's Portable
Collection, City Space, Seattle, WA
2002 Northwest Masters, Selections from the City of Seattle One Percent for Art
Portable Works Collection, City Space, Seattle's Art Gallery, Seattle, WA
Francis Celentano, Robert C. Jones, Michael Spafford, Three Eminent Northwest
Artists, The Laura Russo Gallery, Portland, OR
2002-2004 Les Fables de La Fontaine, Centre pour L'Art et la Culture, Aix-en-
Provence, FRANCE; Temple University, Rome, Italy; The Jacob Lawrence Gallery,
University of Washington, Seattle, WA; The Meyerhoff Gallery, The Maryland
Institute College of Art, Baltimore, MD
2001 Landscape and Life, Cancer Lifeline, Seattle, WA
Husbands and Wives, Kittredge Gallery, The University of Puget Sound, Tacoma, WA
2000 A Gift of Light and Time, Bank of America Gallery, Seattle, WA
1999 Drawing Space, Suyama Space, Seattle, WA
Bygone Modern - Paintings by Northwest Artists from the Last Quarter of the 20th
Century Selected from the City of Seattle Collection, Washington State
Convention & Trade Center, Seattle, WA
Black & White & Color, Francine Seders Gallery, Seattle, WA
1998 Painting and Sculpture, Francine Seders Gallery, Seattle, WA
1997 Black/White, Rental Sales Gallery, Seattle Art Museum, Seattle, WA
Square Painting/Plane Painting, curated by Lauri Chambers, CoCA, Seattle, WA
1995 Northwest Art: Shaped by the Spirit, Shaped by the Hand, Museum of
Northwest Art, La Conner, WA
Washington: 100 Years, 100 Paintings, Bellevue Art Museum, Bellevue, WA
Art Works for Aids, Seattle Center Pavilion, Seattle, WA (also 1993, 1990)
1994 Tacoma Art Museum: Selections from the Northwest Collection, Seafirst
Gallery, Seattle, WA
Large Works by Four Artists: Philip Govedare, Robert C. Jones, Robert McNown,
Paul Swenson, Francine Seders Gallery, Seattle, WA
Drawings, Kirkland Arts Center, Kirkland, WA
1993 Tribute, In Remembrance of Dr. William Sawyer 1920-1993, William Sawyer
Gallery, San Francisco, CA
1992 Works on Paper, Francine Seders Gallery, Seattle, WA
1991 1991 National Governors' Association Annual Meeting Exhibition, Washington
State Convention and Trade Center, Seattle, WA
Paintings by Four WESTAF Fellowship Recipients, The Nevada Museum of Art, Reno,
NV
25th Anniversary Exhibitions: The Early Years 1966-1972, Francine Seders
Gallery, Seattle, WA
Academy-Institute Invitational Exhibition of Painting and Sculpture, American
Academy of Arts and Letters, New York, NY
1990 Directions in Abstraction, North Seattle Community College, Seattle, WA
Drawing Power, Western Gallery, Western Washington University, Bellingham, WA
New Work, Francine Seders Gallery, Seattle, WA
1989 100 Years of Washington Art, Tacoma Art Museum, Tacoma, WA
Decade of Abstraction 1979-1989, A Bumbershoot Visual Arts Exhibition, curated
by Matthew Kangas, Seattle Center, Seattle, WA
1988 Paper Works, North Seattle Community College Art Gallery Seattle, WA
School of Art 1975-1988, Safeco Corporation, Seattle, WA
School of Art 1960-1975, Safeco Corporation, Seattle, WA
Drawings, Francine Seders Gallery, Seattle, WA
1987 Focus: Seattle, San Jose Museum of Art, San Jose, CA
1986 Northwest Impressions: Works on Paper, Henry Art Gallery, University of
Washington, Seattle, WA
10/40 Anniversary Exhibition, Bellevue Art Museum, Bellevue, WA
1985 Seattle Painting 1925 1985, Bumberbiennale, Seattle Center, Seattle, WA
1984 SIZE, Bumberbiennale, Seattle Center, Seattle, WA
1983 Contemporary Seattle Art of the 1980's, Bellevue Art Museum, Bellevue, WA
Drawings By 3, LRC Gallery, College of the Siskiyous, Weed, CA
Bumberbiennale, Northwest Rooms, Seattle Center, Seattle, WA
1982 Three From Seattle, William Sawyer Gallery, San Francisco, CA
1981 Seattle Drawings: An Invitational Exhibition, Seattle Pacific University,
Seattle, WA
The Mind's Eye: Expressionism, Henry Art Gallery, University of Washington,
Seattle, WA
1980 Salon des Refuses, Soames Dunn Building, Seattle, WA
1978 Seattle Selects Part II, Seattle Arts Commission 1% for Art Program, Arctic
Building, Seattle, WA (Also Part I, 1976)
1977 Northwest '77, Seattle Art Museum, Seattle, WA
Robert C. Jones, Fay Jones, Adlai Stevenson Library, University of California,
Santa Cruz, CA
1973 Francine Seders Gallery, Seattle, WA (also 1970)
1971 Drawings U.S.A., St. Paul Museum, St. Paul, MN
1970 Governor's Annual Invitational, State Capital Museum, Olympia, WA
1967 The West 80 Contemporaries, University of Arizona, Tucson, AZ
1965 Far West Regional Exhibition of Art Across America, San Francisco Museum of
Art, San Francisco, CA
1963 82nd Annual Exhibition, San Francisco Museum of Art, CA
Younger Washington Artists, Henry Gallery, Seattle, WA
1962 175th Annual Exhibition of American Painting and Sculpture, Pennsylvania
Academy of the Fine Arts, Philadelphia, PA
PUBLIC AND CORPORATE COLLECTIONS:
City of Seattle Portable Works Collection, Seattle, WA

Hallie Ford Museum of Art, Willamette University, Salem, OR
The Lakes Club, Bellevue, WA
Microsoft Corporation, Redmond, WA
Municipal Collection, Seattle, WA
Safeco Corporation, Seattle, WA
SeaFirst Bank, Seattle, WA
Seattle City Light, Seattle, WA
Seattle Public Utilities Portable Works Collection, Seattle, WA
Stoel, Rives, Boley, Jones and Grey, Seattle, WA
University of Washington, Seattle, WA
Weyerhaeuser Company, Auburn, WA
SELECTED BIBLIOGRAPHY - ROBERT C. JONES
Chronological List of Books and Catalogues
2004 Awards for Visual Artists, Flintridge Foundation 2003-04. Pasadena, CA:
Flintridge Foundation
2003 2003 Neddy Exhibition. Seattle, WA: The Behnke Foundation.
1999 Boylan, John. Robert C. Jones, Seattle, WA: Francine Seders Gallery and
University of Washington Press.
1990 20 Artists in Painting. Santa Fe, New Mexico: Western States Arts
Federation.
1990 Art Works for Aids. Seattle, WA: Seattle Center Pavilion.
1989 Kangas, Matthew and Laura Brunsman. Decade of Abstraction 1979-1989, Notes
on Selected Artists. Seattle, WA: Bumbershoot Visual Arts Exhibition.
1982 The Washington Year: A Contemporary View, 1980-81. Seattle, WA: Henry Art
Gallery, University of Washington.
1972 Robert C. Jones, Drawings and Paintings. Seattle, WA: Francine Seders
Gallery.
1966 Faculty Exhibition. Seattle, WA: School of Art, University of Washington,

Henry Gallery.
1963 Younger Washington Artists. Seattle, WA: Henry Gallery, University of

Washington.
Chronological List of Periodicals

2008 Hackett, Regina. "Painters at Different Stages of Their Careers Show Strong
in Three Exhibits." Seattle Post-Intelligencer, February 8.
2008 Demetre, Jim. "Jones, Gherard at Francine Seders." Artdish, January 24.
2008 Clemans, Gayle. "Paradoxes and Puzzles: Two top painters engage the eye,
mind." The Seattle Times, January 18.
2007 Graves, Jen. "Ten Painters'." The Stranger, March 29.
2007 Bryant, Elizabeth. "Northwest Forum on Visual Art." Artdish, March 4.
2005 Engelson, Andrew. "Robert C. Jones." Seattle Weekly, September 28 - October

4.
2005 Farr, Sheila. "50 Years Pursuing Spontaneity, Freshness." The Seattle
Times, September 25.
2005 Demetre, Jim. "Robert C. Jones at Francine Seders Through October 2nd."
Artdish, September 4.
2005 Koplos, Janet. "Report from Seattle, Plugged In and Caffeinated." Art in
America, September.
2005 Clayton, Alec. "Collection of Moments." Art Access, September.
2004 Farr, Sheila. "The Pleasures of Paint on Canvas." The Seattle Times, August
20.
2004 Demetre, Jim. "Big and Small at Francine Seders." Artdish, August 11.
2004 Demetre, Jim. "Flintridge Foundation Awards for Visual Art Presented at
Museum of Northwest Art, LaConner." Artdish, August 11.
2004 Hackett, Regina. "'Big and Small' Paints a Wide Swath of Expressive
Abstraction." Seattle Post-Intelligencer, August 6.
2004 Hackett, Regina. "Flintridge Lauds Artists for Strength of Vision." Seattle
Post-Intelligencer, August 4, 2004.
2003 Cowan, Ron. "The Happy Accidents of Robert Jones." Statesman Journal,
Salem, OR, November 29.
2002 Row, D.K. "Vision Quest." The Oregonian, February 23.
2000 Updike, Robin. ""From Portugal with Love."" The Seattle Times, January 20.
1999 Kangas, Matthew. "Abstract Essence." The Seattle Times, December 9.
1999 Farr, Sheila. "Drawing the Lines." The Seattle Times, November 11.
1999 Hackett, Regina. "Works Reveal Peaks, Pitfalls of Painting." Seattle Post-
Intelligencer, January 19.
1998 Farr, Sheila. "Keeping Up With the Joneses." Seattle Magazine, November.
1998 Hackett, Regina. "Seattle's Art World: Looking Pretty Good." Seattle Post-
Intelligencer, May 26.
1997 Hackett, Regina. "'Square Painting/Plane Painting': COCA's Latest Angle is

a Good One." Seattle Post-Intelligencer, January 24.
1997 Kangas, Matthew. "A Look at CoCA in the Abstract." The Seattle Times,
January 23.
1996 Farr, Sheila. "Three Painters." Seattle Weekly, June 16.
1996 Lynch, KC. "Show of Progress." The Daily of the University of Washington,
June 17.
1996 Hackett, Regina. "Robert Jones' Abstract Paintings at Seders are Brash and
Elegant." Seattle Post-Intelligencer, June 7.
1995 Hackett, Regina. ""A Brush with History."" Seattle Post-Intelligencer, May
2.
1995 Hackett, Regina. ""Putting their Art Where their Hearts Are."" What's
Happening, Seattle Post-Intelligencer, April 21.
1991 Hackett, Regina. ""Seders' 25th Anniversary Show Starts off with a Sterling
Exhibit."" Seattle Post-Intelligencer, May 16.
1991 Carlsson, Jae. ""Robert Jones at Francine Seders Gallery."" Reflex,

March/April.
1991 Hackett, Regina. ""Jones Mixes Tenderness with Grit."" Seattle Post-
Intelligencer, January 16.
1988 Kangas, Matthew. ""Nature Becomes Electrifying."" Seattle Weekly, March 30.
1988 Hackett, Regina. ""The Power of Painting."" Seattle Post-Intelligencer,

March 12.
1987 Hackett, Regina. ""Painter's Painter Uses Black."" Seattle Post-

Intelligencer, August 14.
1986 Berkson, Bill. ""Report from Seattle, In the Studios."" Art in America,
September.
1985 Hackett, Regina. ""Jones' Paintings Have Their Own Internal 'Weather'.""
Seattle Post-Intelligencer, October 15.
1985 Kangas, Matthew. ""Integrating the Blacks."" Westart, December 20.
1984 Kangas, Matthew. ""Robert C. Jones at Seattle Pacific University."" Art in

America, September.
1982 Kangas, Matthew. ""Robert C. Jones."" Vanguard, October/November.
1982 Hackett, Regina. ""Robert Jones' Airy Works are Largely Ignored."" Seattle
Post-Intelligencer, May 24.
1981 Kingsbury, Martha. ""Drawing in the Northwest."" Drawing,
November/December.
1979 Glowen, Ron. ""Established Artists Break New Ground."" Argus, March 16.
1964 Robbins, Tom. ""The Professor and the Muse - a Futile Relationship?""
Seattle Times, February 9.
Denzil Hurley
- For me, working reductively engages rather than denies references, precedents,
feeling, cultural influences, practice-based developments, and discourse. It
further sets parameters which can extend connections rather than segment or
ignore cross fertilization of ideas.
- Form, color, and structuring are important emphases in my work. Layering and
particular attention to surfaces combine to engage the various elements and
configurations. The elements involve stacking, clustering, and serial
combinations which operate spatially against rigid emphasis or grided divisions.
Modular elements further establish this aspect as they carry references to
structuring which involve a certain physical presence and size. Variation of the
elements is an ongoing concern within the range of my work, this allows me
further emphasis concerning individual pieces. It extends the surfaces allowing
for compression and expandable space in direct relationship to placement of
individual elements, their clustering, their configuration, and their
structuring.
- Looking is an essential part of my working process, it is necessary for me to
see, to engage and realize certain configurations and relationships which might
only be relevant to a given work. Time and presence of a piece are intended to
involve the present as a point in which the work is being made and when it is
encountered through viewing. Drawn elements, redaction, reconfiguration,
layering, and adjustments to color involve my responses and decision making.
- Working on different sizes, allows me to see how scale and color feel. I don't
clearly understand all aspects of my work, but I embrace the preoccupation and
the consciousness it seems to demand and foster. Certainly, the nuances, the
openness, and the rigor of the work are all related. It feels more like life and
not just process. The surprises that painting brings, constantly challenges me
to stay open while being decidedly engaged in addressing the complexity of the
work towards a whole that is fresh.
Resume
D E N Z I L H. H U R L E Y
BORN: 1949, Barbados, West Indies
EDUCATION:
1977-79, M.F.A. Yale School of Art, New Haven, CT
1971-75, B.F.A. Portland Museum Art School, Portland, OR
AWARDS AND FELLOWSHIPS:

2008 Neddy Artist Nominee, Behnke Foundation, Seattle, WA
2003 Old Dominion Fellow of the Humanities Council and the Visual Arts Program,
Princeton University, Princeton, NJ
1993 National Endowment for the Arts, Painting
1989 Pollock-Krasner Fellowship, Painting
1989 National Endowment for the Arts, Painting
1988, 89 Massachusetts Artists Foundation, Award in Painting
1985 Western States Print Invitational, Portland Art Museum, Purchase Prize
1980 Guggenheim Fellowship, Painting/Printmaking
1978-79 Ford Foundation, Special Projects Grants, Yale School of Art
SOLO/TWO-PERSON EXHIBITIONS:
2007 Denzil Hurley: Falk Visiting Artist, Weatherspoon Art Museum, The
University of North Carolina at Greensboro, Greensboro, NC
2006 Variant/Glyphic/Negation/Redact, Francine Seders Gallery, Seattle, WA
2004 Denzil Hurley New Abstract Paintings, Kemper Museum of Contemporary Art,
Kansas City, MO
2000 James Harris Gallery, Seattle, WA
1998 Time and Abstraction: Paintings by Denzil Hurley and Julie Shapiro, Pollock
Gallery, Southern Methodist University, Dallas, TX
1993 Denzil Hurley and Franz West, Burnett Miller Gallery, Los Angeles, CA
1988 Burnett Miller Gallery, Los Angeles, CA (also 1986)
1985 Mona Berman Gallery, New Haven, CT
Jack Tilton Gallery, New York, NY
1984 Andrew Forge & Denzil Hurley, Mona Berman Gallery, New Haven, CT
1980 Louis B. Comfort Gallery, Haverford College, PA
1977 Marylhurst College, Portland, OR
1976 The Purple Daggers Gallery, Portland, OR
GROUP EXHIBITIONS:
2008 2008 Neddy Artist Fellowship, Tacoma Art Museum, Tacoma, WA

Traces and Accumulations, Wright Exhibition Space, Seattle, WA
2006 8th Northwest Biennial, Tacoma Art Museum, Tacoma, WA (Juror's Award)
2004 23+ on 9th, Elizabeth Leach Gallery, Portland, OR
2004 Big and Small, Francine Seders Gallery, Seattle, WA
2003-04 International Abstraction, Seattle Art Museum, Seattle, WA
2002 Peterdi in Context, Silvermine Guild Galleries, New Canaan, CT
No Greater Love, Abstraction, Jack Tilton/Anna Kustera Gallery, New York, NY
American Academy Invitational Exhibition of Painting and Sculpture, The American
Academy of Arts and Letters, New York, NY (also 1997)
2001 Alumni Choice, Yale School of Art, New Haven, CT
Short Stories, Henry Art Gallery, Rotating Exhibition, Seattle, WA
2000 Abstraction/Construction, Soil Gallery, Seattle, WA
Trio: Denzil Hurley, Paul Moran, Julie Shapiro, Francine Seders Gallery,
Seattle, WA
Elizabeth Leach Gallery, Portland, OR
1999 Neddy Artist Fellowship Award Exhibition, Seafirst Gallery, Seattle, WA
1998 Faculty Exhibition, Jacob Lawrence Gallery, University of Washington,
Seattle, WA (also 1997, 1995, 1994)
The Edward R. Broida Collection, Orlando Museum of Art, Orlando, FL
1997 Square Painting/Plane Painting, Center on Contemporary Art, Seattle, WA
1996 Minimalism: Aftermath and Affinities, Seattle Art Museum, Seattle, WA
1993 Burnett Miller Gallery, Los Angeles, CA (also 1988, 1986)
1991 Abstract Painting, Jack Tilton Gallery, New York, NY
1990 Faculty Exhibition, Yale Norfolk Program, Norfolk, CT (also 1989, 1988,
1987)
1989 New Geometry, Delaware Center for the Contemporary Arts, Wilmington, DE
1988 Faculty Exhibition, Hampshire College, Amherst, MA
1987 Drawing Invitational, Paul Creative Arts Center, University of New
Hampshire
1986 Drawing Invitational, Guilford College, Greensboro, NC
1985 Western States Print Invitational, Portland Art Museum, Portland, OR
Yale Drawing, Mona Berman Gallery, New Haven, CT
1982 General Electric Headquarters, Fairfield, CT
1981-82 22nd National Print Exhibition, Brooklyn Museum, Brooklyn, NY (also
1978)
Twenty Artists, Los Angeles Printmaking Society, UCLA Gallery, Los Angeles, CA
1980 Painting Invitational, Gallery, Studio School, New York, NY
1977 Oregon Annual, Portland Art Museum, Portland, OR
1976 New Talent, The Fountain Gallery, Portland, OR
PUBLIC COLLECTIONS:
Boston Printmakers
The Brooklyn Museum, Brooklyn, NY
Edward Broida Trust
General Electric Headquarters, Fairfield, CT
Henry Art Gallery, University of Washington, Seattle, WA
Library of Congress, Washington, DC
Metropolitan Museum of Art, New York, NY
PepsiCo
City of Portland, Portland, OR
Portland Development Commission, Portland, OR
Yale University, New Haven, CT
BIBLIOGRAPHY - DENZIL H. HURLEY
Chronological List of Books and Catalogues
2008 2008 Neddy Artist Fellowship. Tacoma, WA: Tacoma Art Museum.
2008 Hushka, Rock. Traces and Accumulations. Seattle, WA: Wright Exhibition
Space.
2007 Hushka, Rock. The 8th Northwest Biennial. Tacoma, Washington: Tacoma Art
Museum.
2006 Denzil Hurley. Greensboro, NC: Weatherspoon Art Museum, The University of
North Carolina at Greensboro.
2006 Denzil Hurley Paintings, 2002-2005. Seattle, WA: Francine Seders Gallery.
2004 Van Keuren, Philip. Denzil Hurley: New Abstract Paintings. Kansas City, MO:
Kemper Museum of Contemporary Art.
2000 Abstraction/Construction. Seattle, WA: Soil Gallery
1999 1999 Neddy Artist Fellowship Exhibition. Seattle, WA: Seafirst Gallery.
1998 Van Keuren, Philip. Time and Abstraction: Paintings by Denzil Hurley and
Julie Shapiro. Dallas, TX: Southern Methodist University.
1998 The Edward R. Broida Collection. Orlando, FL: Orlando Museum of Art.
1997 Square Painting/Plane Painting. Seattle, WA: Center on Contemporary Art.
1981-82 22nd National Print Exhibition. Brooklyn, NY: Brooklyn Museum.
1978 21st National Print Exhibition. Brooklyn, NY: Brooklyn Museum.
Chronological List of Periodicals
2007 Hushka, Rock. "Where the Action Is." City Arts Magazine, Tacoma,
March/April.
2007 Hackett, Regina. "The Artist Lineup for Tacoma Art Museum's Northwest
Biennial is Irresistible." Seattle Post-Intelligencer, March 16.
2006 Failing, Patricia. "Denzil Hurley Francine Seders Seattle." ARTnews, May.
2006 Hackett, Regina. "Serial in Seattle." Visualcodec.com, March 1.
2006 Kangas, Matthew. "Creating, and Enjoying, Art for the Sake of Art." The
Seattle Times, February 17.
2006 Hackett, Regina. "Painter Denzil Hurley's Layers of Labor are a Pleasure
for the Viewer." Seattle Post-Intelligencer, February 10.
2004 Farr, Sheila. "The Pleasures of Paint on Canvas." The Seattle Times, August
20.
2004 Demetre, Jim. "Big and Small at Francine Seders." Artdish, August 11.
2004 Hackett, Regina. "'Big and Small' Paints a Wide Swath of Expressive
Abstraction." Seattle Post-Intelligencer, August 6.
2004 "Zelmore, Merlin." www.sabartes.com..
2004 Johnson, McLain. "The Art of Reduction: Denzil Hurley." Netfirms.com,

January 26.
2004 Thorson, Alice. The Kansas City Star, January 18.
2004 Stephens, Liz. "Hurley Exhibit More Than Meets the Eye." The University
News, University of Missouri, January 17.
2004 McTavish, Brian. The Kansas City Star, January 14.
2000 Kangas, Matthew. The Seattle Times, October 13.

2000 Row, D.K. The Oregonian, June 30.
2000 Simblist, Noah. ""Denzil Hurley: Present Absence."" RedHeaded StepChild,

volume 2, issue 5, May.
2000 Hackett, Regina. Seattle Post-Intelligencer, April 21.
1997 Josslin, Victoria. Aorta, Contemporary Art and Culture, April/May.
1997 McTaggart, Tom. The Stranger, February 13.
1997 Hackett, Regina. Seattle Post-Intelligencer, January 24.
1997 Kangas, Matthew. The Seattle Times, January 23.
1986 Gardner, Colin. Los Angeles Times, July 25.
1982 Contributing Author. "About Making." Perspecta 19, M.I.T. Press, September.
Zhi Lin
From 1992 to 2007, I completed a series of five large-scale paintings (12 x 7
ft), Five Capital Punishments in China; the fifth painting in the series,
Drawing and Quartering, was finished in 2007. The contemporary events in China
and the common usage of the death penalty in the U.S. have persuaded me to mix
Chinese history and culture with modes of Western painting as an inquiry on
human propensity for cruelty. I believe Five Capital Punishments confronts us
with the legacy of the death penalty and challenges our awareness of the
cultures in which we live. Each of the five paintings depicts a different form
of capital punishment in front of a crowd of more than 150 people. During the
research phase for each of the five paintings, I also produced at least four to
five hundred drawings, diagrams and sketches. For communicating my message to
the audience effectively, I used many layers, styles, and metaphors in the
Punishments series because I want my work to penetrate time and cultures, and
give new meaning to our present and our past. I attempt to visually compress the
chapters of history by overlaying human trauma in the format of early
Renaissance paintings combined with the style of Socialist Realism of the
twentieth century and presented like Tibetan Buddhist paintings.
Since 2007, I began to embark on the project, Invisible and Unwelcomed People:
Chinese Railway Workers, which is focused on the bitter history of Chinese
workers in the construction of the American transcontinental railroads in the
19th century. To date, I have produced three groups of work. The small onsite
water medium sketches (Chinese ink on paper, 12 x 8 inches) are produced during
my trips - tracing the journeys taken by the Chinese workers. The large-scale
paintings (4 x 9 ft) are based on my onsite sketches. Both of them are painted
in the style of the English watercolor tradition, and reflect the aesthetic
taste of the 19th century, regarded by many people as "the golden days." In my
opinion, under this graceful and civilized veil was a society that openly
practiced injustice and carried out brutalities, even genocide. The large-scale
painting/video projection/installation piece, Names of the Unremembered:
Transcontinental (12 x 7 ft), depicts the reenactment of the Golden Spike
Celebration, and is a collaborative work with Dan Boord and Luis Valdovino. The
canvas below the video image of a present day's reenactment is painted in a
subtle monochromatic tone, as though recalling faint memories. On the stone
ballasts of the railroad, the entire list of Chinese workers' groups, recovered
from existing payroll records, is inscribed in light red, like calligraphically
carved and painted stones on mountainsides in China. The projection lights up
the bottom painted image, and reveals the red writings. In the construction of
the railroad, several thousand Chinese workers were badly injured, and at least
1,200 lost their lives. White is the funeral color in China; the whiteness of
the light cast on the canvas memorializes the nameless workers who perished,
while the faint sounds of the train's whistle and bells echoes on the summit.
Resume
Education
1989-1992 Master of Fine Arts. University of Delaware. Newark, DE. U.S.A.
1987-1989 Higher Diploma in Fine Art (M.F.A.). Slade School of Fine Art,
University of London. London, U.K.
1985-1987 Postgraduate in Fine Arts. China National Academy of Fine Arts.

Hangzhou, China.
1978-1982 B.F.A. China National Academy of Fine Arts. Hangzhou, China.
Academic Positions (selected)

2001-present Associate Professor, School of Art; Affiliate faculty, China
Studies Program; University of Washington. Seattle.
1992-2001 Assistant and Associate Professor (tenured). Missouri State

University. Springfield, MO.
Grants, Fellowship, Awards (selected)

2007
Fritz Faculty Research Grant. Henry Jackson School of International Studies,
University of Washington. Seattle, WA
Milliman Endowment Grant. School of Art, University of Washington. Seattle, WA
2006
Fellow in the Humanities Council and the Tang Center for East Asian Art,
Princeton University. Princeton, NJ
Institute for Ethnic Studies in the United States Research Grant, University of
Washington. Seattle, WA
2003
Artist Trust GAP Grant. Seattle.
Royalty Research Fund Scholar. University of Washington. Seattle.
2002
Washington State Arts Commission/Artist Trust Fellowship. Seattle.
University of Delaware Presidential Citation for Outstanding Achievement
2000
Creative Capital Foundation Grant in Visual Arts (Painting). New York, NY.
1997
Lila Wallace - Reader's Digest Artists at Giverny Program (France). New York,
NY.
Missouri State University Foundation Awards in Research. Springfield.
1996
Art Matters Foundation Fellowship Award. New York, NY.
1995
National Endowment for the Arts Visual Artists Fellowship Grant (Painting).
Washington, DC.
1994
NEA Midwest Regional Artists' Project Grant. Chicago.
Missouri Arts Council 1995-96 Visual Artists' Biennial Grant. St. Louis, MO.
1992
Delaware State Arts Council Individual Artist Fellowship as an Emerging
Professional Artist. Wilmington, DE.
Solo Exhibitions (selected)

2008
Zhi Lin's Onsite Sketches: Invisible and Unwelcomed People. North Park
University, Chicago, IL; University of Puget Sound, Tacoma, WA; Seattle Pacific
University, Seattle, WA.
2007
Zhi Lin: Unheard Voices and Invisible People, Howard House Contemporary Art,
Seattle, WA
2003-04
Zhi Lin: Crossing Cultures/Crossing History, Frye Art Museum, Seattle, WA;
Indiana State University, Terre Haute, IN; Koplin Del Rio Gallery. Los Angeles,
CA; Spartanburg County Museum of Art. Spartanburg, SC
2001
Zhi Lin's Recent Work. Missouri State University Gallery. Springfield, MO
1998-2000
Five Capital Executions in China. University of Toledo. OH; University of
Northern Iowa. IA; Tennessee Technological University. TN; College of the
Ozarks. MO
1992, 1989 Sue Williams Gallery. London, U.K.
Group Exhibitions (selected)

2008
Chinaman's Chance - Views of Chinese American Experience. Pacific Asia Museum,
Los Angeles, CA
In the Land of Retinal Delights. Laguna Art Museum, Laguna Beach, CA
China/China- Reflections and Perception. University of London Art Collection.

London, UK
The Power of the Academy: Documentary Exhibition of China National Academy of

Art . China National Academy of Art Museum. Hangzhou, China.
An Educated Eye: the Collections of the Princeton University Art Museum.

Princeton University Art Museum. Princeton, NJ
2007
Banquet: A Feast for the Senses. Pacific Asia Museum, Los Angeles, CA
2006
Re-Presenting Representation VII. Arnot Art Museum. Elmira, NY
2005
Ancient Arts in a Modern World: Contemporary Chinese Art Exhibition. Tang Center
for East Asian Art, Princeton University. Montgomery Center for the Arts,
Princeton, NJ
2002
The Perception of Appearance, a Decade of Contemporary American Figure drawing.
Frye Art Museum. Seattle, WA
2000
Tempus Fugit: Time Flies. Nelson-Atkins Museum of Art. Kansas City, MO
ARTstravaganza, 13th Annual National Juried Art Exhibition. Hunter Museum of

American Art. Chattanooga, TN
1999
Why Modernism Wasn't A Public Affair. Missouri State University Gallery.
Springfield, MO
International Contemporary Painting Competition. Erector Square Gallery. New

Haven, CT
12th Northern National Art Competition. Northern Arts Council. Rhinelander, WI
Contemporary Visions '99. University of Bridgeport. Bridgeport, CT
14th Greater Midwest International Exhibition. Central Missouri State

University. Warrensburg, MO
1995-96
Missouri Arts Council Visual Artists' Biennial. Missouri Museum of Art and
Archaeology. University of Missouri, Columbia, MO; Albrecht-Kemper Museum of
Art. St. Joseph, MO; Springfield Museum of Art. Springfield, MO; Margaret
Harwell Art Museum. Poplar Bluff, MO.
1992
MOAK 4 States Regional Exhibition. Springfield Art Museum. Springfield, MO
1989
4th International Biennial Print Exhibit: 1989 ROC. Taipei Fine Art Museum.
Taiwan
Chinese Prints. Contemporary Arts Institute. London, U.K.
British Open 89: Royal Society of Painting-Etchers & Engravers. Bankside

Gallery. London, U.K.
Chinese Woodcuts. Flaxman Gallery, University of London. London, U.K.
1988
Slade Prints. British Council Gallery, British Council. Islamabad, Pakistan.
Contemporary Chinese Paintings & Print. Royal Festival Hall, South Bank Centre.
London, U.K.
Contemporary Chinese Art. Churchill College, Cambridge University. Cambridge,
U.K.
1987
Chinese Paintings and Prints. Artist Club. London, U.K.
1980-1987 Participated in over twenty major provincial, regional, national

juried and invitational exhibitions in Hangzhou, Wuhan, Shanghai, Guangzhou, and
Beijing in China
Collections (selected)
Princeton University Art Museum, New Jersey; Pacific Asia Museum, Pasadena, CA;
Frye Art Museum, Swedish Hospital Collection, and Washington State Art
Commission, Washington; China National Fine Art Museum, China National Academy
of Fine Arts, China; Britain Great Britain-China Centre, Slade School of Fine
Art, Rothermere Foundation, Michael Marks Foundation, Sue Williams Gallery,
Caroline Oriental Company, England.
Gallery representations
Koplin Del Rio Gallery, Los Angeles, CA

Howard House Gallery, Seattle, WA
Bibliography (selected)
Books
Dr. Donald D. Landon, Daring to Excel - The First 100 Years of Missouri State
University. Walsworth Publishing Co. Marcline, MO. 2004. p. 283, 285, 390.
Bill Ivey, Jennifer Dowley, Nancy Princenthal, A Creative Legacy - A History of

the National Endowment for the Arts Visual Artists' Fellowship. Harry N. Abrams.
New York, NY. 2001. p. 226
Dana Friis-Hansen, Other Times/Other Histories. Book Tempus Fugit: Time Flies.
Edited by Dr. Jan Schall. Nelson-Atkins Museum of Art. Kansas City, MO. October
2000. p.187-188, plate 187.
Dr. Judith W. Simpson, Art Education and the Creation of Meaning. Prentice Hall.
Englewood Cliffs, NJ. 1998. p.128. plates 4-1, 4-2, 4-3.
Exhibition Catalogues
Dr. Kresser, Land marks: Metaphor and Trace on the Path of the Transcontinental
Railroad. Exhibition catalog entitled, Zhi Lin's Onsite Sketches: Invisible and
Unwelcomed People. University of Washington, University of Puget Sound. November
2007. 40 pages.
Robert K. Cassetti, Representing Representation VII. Arnot Art Museum. Elmira,

NY. September, 2005. p. 76, plate 30.
Thomas Blackman, Art Chicago 2005. Thomas Blackman Associates, Chicago, IL.
April, 2005. p 132, 133, 270
Dr. Jan Schall, Meditations on Cruelty and Compassion. Exhibition catalogue Zhi
Lin: Crossing History/Crossing Cultures. Edited by Dr. Debra Byrne. Frye Art
Museum, Koplin Del Rio Gallery, Seattle and Los Angles, October 2003. p. 7-10,
plate 1-19.
Norman Lundin, The Perception of Appearance, a Decade of Contemporary American

Figure drawing. Frye Art Museum. University of Washington Press, Seattle and
London, June 2002. p. 133, plate 43.
Dr. Dianne Strickland, Why Modernism wasn't a public affair. SMSU, Springfield.
March, 2000. p. 19, 20, 23, plate 14 -17.
14th Greater Midwest International Exhibition. Warrensburg, MO. 1999.
Susan Krane, 95-96 Missouri Arts Council Visual Artists' Biennial. Missouri Arts
Council. St. Louis, MO. April, 1995.
MOAK 4 State Regional Exhibition. Springfield Art Museum. December, 1992.
4th International Biennial Print Exhibit 1989. Taipei Fine Arts Museum. Taipei,
Taiwan. March 18, 1990. plate 219.
Exhibition of Contemporary Chinese Paintings & Prints. The South Bank Centre and
Royal Festival Hall. London, U.K. 1988
Articles
Dave R. Davison, Eye of the storm - Kittredge exhibits examine human frailty.
Tacoma Weekly. Tacoma, WA. April 10, 2008.
Jenine Baines, A 'Celestial" view from 'Golden Mountain.' Pasadena Weekly.

Pasadena, CA. March 13, 2008.
Emanuel Parker, China focus of Pacific Asia Museum exhibit. SGVTribune.com.

Pasadena, CA. March 8, 2008.
The Chinese-American Experience. Pasadena Now. Pasadena, CA. February 22, 2008.
Yun Ma, Art Exhibition of Chinese-American Experience. World Journal. New York,
NY. February 16, 2008. Los Angeles Edition - p. 1.
http://www.worldjournal.com:82/gate/gb/www.worldjournal.com/wj-la-
news.php?nt_seq_id=1671411
Dr. Kresser, Zhi Lin: A New Old Master. Image. Seattle Pacific University,
Seattle, WA. January 2008. Issue 56. pl. 8-12, p. 71-81
Jen Graves, In Art News - The Six Degrees OF CC. The Stranger. Seattle, WA.
August 17, 2007.
Frances DeVuono, Zhi Lin: Unheard Voices and Invisible People. Artweek. Palo
Alto, CA. 6, 2007, Vol. 38, Issue 5. p. 22 (reproductions)
Sheila Farr, UW professor's art gives voice to society's "unheard." The Seattle
Times. Seattle, WA. March 30, 2007. p. 38H (reproductions)
Scarlet Cheng, Asian style and taste - Artists explore the many facets of food
in "Banquet." Los Angeles Times. January 11, 2007.
Larry Reid, The Cultural Evolution of Zhi Lin. Juxtapoz Magazine. San Francisco,
CA. January, 2007. p. 80 - 85 (reproductions)
Dan Sanchez, Banquet Art Exhibition at Pacific Asia Museum. The Epoch Times. New
York, NY. December 10, 2006.
Miriam N. Kotzin, Zhi Lin: Five Capital Executions in China. Per Contra. Summer
2006.
Zhang Guanghui, Art in US West. Hubei Institute of Fine Arts Journal. Wuhan,
Hubei, China. April, 2006. p 26-27 (reproductions)
Janet Koplos, Plugged In and Caffeinated. Art in America. New York, NY.
September 2005. p. 69-71 (reproductions)
David Pagel, The human form in staid settings. Los Angeles Times. Los Angeles,
CA. August 27, 2004. p. E27
Holly Myers, Reviews: National - Zhi Lin at Koplin Del Rio in Los Angeles.
ARTnews. New York, NY. June 2004. p. 120
Collectte Chattopadhyay, Zhi Lin at Koplin Del Rio Gallery. Artweek. Palo Alto,
CA. May 2004, Vol. 35, Issue 4. p. 20
Sheilla Farr, Artist Zhi Lin offers a brutal look at 'Five Capital Executions.'
The Seattle Times. Seattle, WA. Jan. 2, 2004. p. 39H
Regina Hackett, Bo Barlett and Zhi Lin bring life to oddities and horrors.
Seattle Post-Intelligencer, Seattle, WA. Jan. 2, 2004.
Victoria Josslin, Intimate Encounters: Contemporary Figure Drawing. American

Arts Quarterly. NY. Summer, 2002. p19.
Camille Howell, Horror story of human cruelty fills gallery. News-leader.

Springfield, MO. May 7, 2001. p. 5B
Rebecca Golden, A cruel and unusual subject. Toledo City Paper. Toledo, OH. Dec.
14, 2000. p. 14.
Alice Thorson, Quality 'Time' at the Nelson. The Kansas City Star. Kansas City,
MO. Sunday, Oct. 29, 2000. Arts, p. 1, 3.
Deborah Dickson Campbell, Considering the Moments and Moment of Time. Review.
Kansas City, MO. November 2000, p. 36-37.
Stephen Goode, Avant-Garde Art Has New Bankers. Insight on the News. Washington,
DC. July 17, 2000. p.20-21. plate 21.
Creative Capital Gives First Grants. Art in America. New York, NY. March, 2000.
p.160.
Matthew Mirapaul, More Grants for Digital Artists. The New York Times. New York,
NY. December 30, 1999. Thursdays, arts@large
Carol Ferring Shepley, Missouri Arts Council Visual Artists' Biennial. St. Louis
Post-Dispatch. St. Louis, MO. May 30, 1996. GET OUT
Ron Jennings, Art of Conflict. Sedalia Democrat. Sedalia, MO. March 14, 1996. p.
6.
NEA Fellowship for Artists, 1995. Art in America. New York, NY. November, 1995.
p.138.
Tamlya Beasley, Images of Brutality. News-Leader. Oct. 26, 1995. p. 5B.
Todd Foltz, Ominous Beauty. News-Press. St. Joseph, Missouri. July 14, 1995. p.
D1.
Guy Burn, Prints. Art Review. London, U.K. May 5, 1989. p.328-329.
Isaac Layman
These selected works are from my July exhibition Photographs from Inside a Whale
at Lawrimore Project. The works, hyperreal in their clarity and represented
larger than life, capture the mundane spaces and objects within my Seattle home.
I photograph with a high-resolution digital 4 x 5 camera, incorporating multiple
exposures and perspectives in a single image. "Stereo," for example, is
comprised of 45 individual photographs. In it, I use three distinct
perspectives: one from in front of each speaker and one directly in front of the
center vacuum tubes. Additionally, I photographed the same viewpoint many times,
focusing the camera at different depths, bringing multiple areas that couldn't
normally be in focus in a single photograph into hyper-focus in order to
simultaneously heighten, collapse and ultimately confuse the sense of space
inside the stereo cabinet. All of this is done in an effort to change the
viewer's habits looking -- to slow them down and make them question the truth of
what they are seeing. In support of this new sense of space, many of the images
have a "frame" or "container" built into the image - like the rim of the sink or
casework of the medicine cabinet - that frames the objects depicted. This
framing is an effort to acknowledge and build awareness to the effect one's
point of view has on knowing something. While the high resolution and accurate
focus adds to a sense of space and realism, the photographs ultimately fail (as
photography always does) at being the "real" thing. This work records the places
and things (sink, stove, medicine cabinet, stereo) that I visit many times a
day. They are ultimately unremarkable scenes, but I feel an affinity to them
nonetheless as they are beautifully representative of all I have.
Resume
ISAAC LAYMAN
2135 N 52nd St
Seattle, WA 98103
isaaclayman@gmail.com
206.235.8097
Isaac Layman received his BFA at the University of Washington
and is represented by Lawrimore Project in Seattle.
SOLO EXHIBITIONS
2008 Photographs from Inside a Whale, Lawrimore Project, Seattle WA
2007 Early Works, Lawrimore Project, Seattle WA
2005 Storyboards, Hugo House, Seattle WA
Portraits, Crawl Space Gallery, Seattle WA
2003 Photograms, Trofeo Gallery, Seattle WA
Photographs, Hiroki, Seattle WA
Object Participation, Hiroki, Seattle WA
1999 Powerlines, Rosebud, Seattle WA
1997 African Streets, Bayview Gallery, Bayview WA

2008 The Terrible Twos: A Lawrimore Project Biennial, Lawrimore Project, Seattle
WA
2007 Aqua Art Wynwood, Lawrimore Project, Miami FL
2007 Still Life, Pulliam Deffenbaugh, Portland OR
2006 Aqua Art Miami, Miami Beach, Miami, FL
FaÃ§ade, SOIL Art Gallery, Seattle WA
SOIL New Member Exhibition, SOIL Art Gallery, Seattle WA
2005 AquaArt Miami, Miami Beach, Miami, FL
2004 2004 National Photography Competition, SoHo Photo Gallery, New York NY.
Juror: Lyle Rexer, author and critic for the New York Times, Art in America, and
other periodicals.
2003 UW School of Art Open, The Jacob Lawrence Gallery, Seattle WA
Juror: Esther Claypool, Esther Claypool Gallery (Juror's Award)
16x20, The Photographic Center Northwest, Seattle, WA; New Zealand, Tasmania.
Juror: Elizabeth Brown, Chief Curator, Henry Art Gallery (3rd Place)
B.F.A Thesis Exhibition, The Jacob Lawrence Gallery, Seattle WA
Inaugural Show, Trofeo Gallery, Seattle WA
Finding Patterns in Chaos, Mohala Arts Gallery, Seattle WA
2002 S.A.P.R.IX Fall Exhibition, Palazzo Pio, Rome Italy
Installations, University of Washington Medical Center, Seattle WA
Light Box, University of Washington, Seattle WA
2001 UW School of Art Open, The Jacob Lawrence Gallery, Seattle WA
Juror: Greg Kucera, Greg Kucera Gallery
ArtDrill, Sandpoint Naval Base, Seattle WA
2000 Spring Show, Whidbey Island Center for the Arts, Langley, WA
1998 Choochokam Open, Bayview Gallery, Bayview WA (Best in Show)
SELECTED BIBLIOGRAPHY
2008 Duncan, Michael. Art in America. (forthcoming review)
Allen, Kenneth. "Isaac Layman and Photography," Photographs from Inside a Whale:
exhibit catalogue, Seattle: Lawrimore Project Publications, July.
Graves, Jen. "The Men Who Kew Too Much," The Stranger, 7/15.
2007 Graves, Jen. "Seattle in Miami 2007," The Stranger Slog, 12/13.
Graves, Jen. "Eye of the Storm," The Stranger, 11/13.
Hackett, Regina. "Lawrimore Project knows a good thing when it sees it," Seattle
P-I, 3/8.
Langley, Matthew. "A few questions: Isaac Layman," Matthew Langley ArtBlog, 3/8.
Bryant, Elizabeth. "This Month in Seattle: Some Notes," ArtDish, 3/4.
Graves, Jen. "The Continuation of Isaac Layman's World Domination Tour," The
Stranger Slog, 1/24.
2006 Gordon, Margery. "Art Basel Miami: Offbeat Highlights from the Fair Trail,"
ARTINFO, 12/16.
Graves, Jen. "Miami Shout-Outs, part 1," The Stranger Slog, 12/12.
Graves, Jen. "Seduced: The lying, cheating heart of photography," The Stranger,
10/17.
Hackett, Regina. "Hidden Talent Sees the Light of Day at Crawl Space," Seattle
P-I, 7/1.
Engman, Chris. Soil: Artist-Run Gallery, 1995-2005, Seattle: SOIL PUBLICATIONS,
2005
Chang-Ae Song
Mass Landscape
In my recent MASS drawing series, I am exploring human nature and the human
condition in relation to our current cultural, social, ethical, and political
situations, using multiple images of human figures to form landscapes.
I employ strategies of dual perspectives and scale. For example, the viewer
encounters a panoramic view of a graceful landscape. This panorama might seem at
first clichÃ©, reminiscent of romantic landscapes in both Eastern and Western
art. Upon closer observation, though, unexpected human images challenge the
viewer, contrasting their first impression of what the work was going to be
about. Details of fragmented human bodies - entangling, wrestling, climbing,
mixing - seem sexual, grotesque, even sinister. Up close, the image appears
far more complex and ambiguous. The contradiction of these dual perspectives,
the macro and micro, shifts the meaning and experience of the work. The gestalt
actively engages the viewer, both physically and psychologically, and allows the
work to bridge imagination and real space.
The original source of the figure drawings I incorporate into landscapes comes
from online newspaper photos of the Abu Ghraib detainees. One photograph in
particular shocked me; it depicted naked figures climbing on top of one another
in a pyramid. It was the most appalling and humiliating photo I've ever seen. I
use this appropriated image as a basic element, multiplying and manipulating it
through photocopying. I conceive of this essential mechanical process as like a
mutation in science: a single cell multiplies endlessly by division with
modification. This mechanical process also alludes to both constructive and
destructive aspects of war and its endless cycle of human atrocities.
The meaning of the figures morphs and expands through photocopying. The symbolic
importance of Abu Ghraib becomes less singular. It takes on multiple and
timeless meanings, with historical references to genocide, sexuality, landscape,
etc. In my MASS series, I hope to present a visual language that enables such a
connection between East and West to address our collective human condition
related to contemporary events. The ambiguous interrelationship between humans
and nature is the core question of my work: Are these figures elements that
activate our inanimate land, or are they trash to be swept away?
Resume
Chang-Ae Song
541-954-9582 / casong2003@yahoo.com
Education
2008 M.F.A in Painting, Graduate School of University of Oregon

1997 M.F.A in Korean Painting, Graduate School of Sookmyung Women's
University (Seoul, Korea)
1995 B.F.A in Painting, College of Fine Arts, Sookmyung Women's University
Solo Exhibitions
2005 "City Scapes" (White Lotus Gallery, Eugene, OR, USA)
2002 "Impression of the Metropolitan Seoul, Korea"
(White Lotus Gallery, Eugene, OR, USA)
2001 "Manif: Seoul International Art Fair"
(Seoul Art Center, Seoul, Korea)
2001 "Life - Confluence" (Pegasus Gallery, Corvallis, OR, USA)
2000 "Soul of Seoul"
(Fairbanks Gallery of Art, Oregon State University, OR, USA)
1998 "Life - Wall" (Kongpyung Art Center, Seoul, Korea)
1996 "Life - Coexistence" (Seokyung Gallery, Seoul, Korea)
2008 Pacific Currents (Archer Gallery, Clark College, WA)

OSU Faculty Exhibit (Fairbanks Gallery of Art, Oregon State University, OR)
Installation Exhibit (LaVern Krause Gallery, U Of O, Eugene, OR)
Recent Graduate Exhibit (Blackfish Gallery, Portland, OR)
"Eying" - Installation (Eric Washburn Gallery, UO, Eugene)
Open/End MFA Thesis Show (Jordan Schnitzer Museum of Art, UO, OR)
"Habitat" (LaVern Krause Gallery, Univ. Of Oregon, Eugene, OR)
Drawing Exhibit (LaVern Krause Gallery, Univ. Of Oregon, Eugene, OR)
Cultural Connections Exhibit (Pegasus Gallery, Corvallis, OR)
2006 The Exchange Exhibit between OSU and Kaye Academic College of Israel
(Beer-Sheva, Israel & Concourse Gallery, OSU, OR, USA)
Sangmyung Univ. Art Works Special Exhibition (Sangmyung Univ. Seoul)
Jackie Woodward & Chang-Ae Song (North Santiam Hall Gallery, Albany, OR)
MFA painting (LaVern Krause Gallery, Univ. of Oregon, Eugene, OR)
2005 "Confluence", Three-person shows by Chang-Ae Song, Rex Silvernail,
& Sidney Rowe (Pegasus Gallery, Corvallis, OR, USA)
"The 3rd Around Oregon Annual" juried exhibition
(Corvallis Art Center, Corvallis, OR, USA)
"Imagining Ourselves Virtual Exhibit"
(International Museum of Woman, San Francisco, CA, USA)
Fall Festival Fine Art Showcase
(Corvallis Benton County Library, OR, USA)
2004 "Dwellings" (NORTHWIND Arts Center, Port Townsend, WA, USA)
2003 "Beyond Borders", Trends in Asian Contemporary Art
(Azuma Gallery, Seattle, WA, USA)
"Artisans - 2003 National juried Exhibition", juried by Marian Parmenter,
Executive Director & Founder, SFMOFA Artiest Gallery, San Francisco
(Artisans Gallery, CA, USA)
"Opening Windows", An Introspective Journey of Woman
(Pearl Gallery, OR, USA)
"Images & Poetry", Two-person show by Chang-Ae Song
& W.E. Shumway (Pegasus Gallery, Corvallis, OR, USA)
2001 The 95th Anniversary, Sookmyung University Art Exhibition
(Insa Art Center, Seoul, Korea)
1999 "The 21st Century Korea Elite Artist Invitation"
(Seoul Municipal Museum of Art, Seoul, Korea)
"Ah! Korea- Arising again" (Sang Gallery, Seoul, Korea)
1998 "Stroke- Expression of Freedom" (Kongpyung Art Center, Seoul, Korea)
"Korean painting of Transition Period- Reflection and Awareness"
(Kongpyung Art Center, Seoul, Korea)
Artist DATA Conference Exhibition (Hanjon Plaza, Seoul, Korea)
1997 "Viewpoint and Expression" (Kongpyung Art Center, Seoul, Korea)
"Spaces of Three Hundreds Exhibition"
(Dahm Gallery & Seonam Museum, Seoul, Korea)
"Representation under Transition-Change of Cognition Exhibition"
(Ehoo Gallery, Seoul, Korea)
Awards
2007 Jury's Choice: The 5th Around Oregon Annual" juried exhibition
(Corvallis Art Center, Corvallis, OR, USA)
2005 Honorable Mentions: "Art on Paper", juried by Pamela Wilson,
Executive Director, Maryland Federation of Art
(Gallery International, Baltimore, MD, USA)
2003 The 3rd place: The 19th Annual National Juried Contemporary Fine Art
Exbibition: New Directions 03, juried by Temero Mosaka, curator of
Contemporary Art in Brooklyn Museum of Art (Barrett Art Center, NY)
1998 The 1st Prize in Korean painting: The 17th Grand Art Exhibition of Korea
(National Museum of Contemporary Art, Kwachon, Korea)
Accepted: The 15th Dong-A Art Exhibition
Accepted: The 20th Joong-Ang Grand Art Exhibition
(Hoam Art Gallery, Seoul, Korea)
1997 Accepted: The 16th Grand Art Exhibition of Korea
1996 Accepted: The 15th Grand Art Exhibition of Korea
Specially selected: The monthly magazine ""Art World""
(Seoul Metropolitan Museum of Art, Seoul, Korea)
1995 Superiority prize: New Frontier Exhibition
(Kyungin Art Gallery, Seoul, Korea)
1994 Specially selected: The New Grand Art Exhibition
(Design Center, Seoul, Korea)
Bronze Prize: Art College Festival of Entire Nation
(Hongik University, Seoul, Korea)
Sumi-Ink Workshops
2004~7 Drawing Concepts, Oregon State Univ., Corvallis, OR

2005 Jumpstart, Oregon State Univ., Corvallis, OR (June)
Scholarships
2008 A&AA Dean's Graduate Fellowships

2006 Phillip Halley Johnson Fellowship
Baker Family Scholarship
Teaching and Public Experiences
2008 ~9 Drawing 233

Adjunct Assistant Professor (Winter, Spring/University of Oregon)
2008 Drawing Concept & Advanced Painting
Adjunct Professor (Fall/Oregon State University)
2007~8 Drawing 233 - Instructor (GTF)
(Fall07, Winter07, Spring08)
2008 Guest Speaker and Panel for Art and the Environment Discussion
(White Stag building, Portland, OR)
2008 Juror for Pacific Northwest Annual Art Exhibit (UO, Eugene)
Public Collection
Sangmyung Art Museum (Seoul, Korea)

scott trimble
The spatial relationships between, industry, architecture, nature, figure, and
machine, have long been sources of my imagery. I tend to take on new materials
and processes every few years, usually resulting in an exploration and
methodology that tends to be obsessive and repetitive. Major themes in my work
address issues ranging from the tension between humanity and the natural world
and how we interact, perceive and participate in it. I strive to make art that
serves as a catalyst of possibility of exploration, is inclusive and integral to
the surrounding architecture, and challenges the traditional contexts of how and
where art is experienced.
Resume
EDUCATION:
2003 University of Washington, Seattle, WA, Masters of Fine Arts Degree,
Sculpture
1999 San Jose State University, San Jose, CA, Bachelor of Fine Arts, Spatial Art
PUBLIC ART COMMISSIONS

2008 New Settlement Public School, Bronx, NY Opening Fall 2011, Percent for Art
NYC
AWARDS/RESIDENCIES
2008 4-Culture, Seattle, WA, Individual Projects Grant
Anderson Ranch, Near Aspen, Co, Two-month residency, Oct. 15- Dec. 20
Bemis Center for Contemporary Art, Omaha, NE, Three-month residency, Feb. 1
-Apr. 30
2007 Sculpture Space, Utica, NY, Two-month residency program, Jan-Feb
2005 Artist Trust, Seattle, WA, GAP Grant, Emerging & Cross-Disciplinary Arts
Moses Lake Art Museum, WA Sculpture Without Walls, Best of Show-Cash Award
2002 University of Washington, Seattle, WA, Gonzalez Scholarship, Sculpture
2001 University of Washington, Seattle, WA, Recruitment Scholarship, Sculpture
2000 California Works, California State fair Fine Arts Competition, Award of
Merit- Cash Award
1998 California Works, California State fair Fine Arts Competition, Award of
Merit- Cash Award
1997 Sebastopol Center for the Arts, Sebastopol, CA, Best of Show- Cash Award
SELECTED SOLO EXHIBITIONS & INSTALLATION:

2006 Greg Kucera Gallery, Seattle, WA, About a Boardwalk: A Journey of a
Different Scale
Crawl Space Gallery, Seattle, WA, Divergent Paths
2004 Bumbershoot Arts Festival, Seattle Center, Seattle, WA, Selected Vending
Sculptures
2002 Ceramic Metal Arts (CMA) Gallery, UW, Seattle, WA, Come See the
Conveyorscape
1999 Herbert Sanders Gallery, SJSU, San Jose, CA, Bachelor of Fine Arts
Exhibition
1997 Santa Cruz County Health Services Agency, Santa Cruz, CA, Various Works
Santa Cruz County Government Building, Santa Cruz, CA, Various Works
SELECTED GROUP EXHIBITIONS:

2008 Drop City Gallery, Seattle, WA, Reclaim: Installation by John Flemming and
W. Scott Trimble
2006 Lake Oswego Foundation for the Arts, Lake Oswego, OR, Outdoor Sculpture
Exhibit
2005 SEATAC-Concourse A, The Biology, Chemistry, Physics Invitational 2005-2006
Bumbershoot Arts Festival, Seattle Center, Seattle, WA, Outside: In Curated by
Kate Seekings
Moses Lake Art Museum, Moses Lake WA, Sculpture Without Walls, Outdoor Exhibit
COCA, Seattle, WA, People Doing Strange Things with Electricity II
2004 Monarch Sculpture Park, Tenino, WA, Annual Sculpture Exhibit
Crawl Space, Seattle, WA, Coupling II: Love Fests & Fist Fights
2003 COCA, Seattle, WA, People Doing Strange Things with Electricity
University House, Issaqua, WA, MFA thesis Traveling Exhibition
Henry Art Gallery, Seattle, WA, Master of Fine Arts Exhibition
Bemis Building, Seattle, WA, Germinate: Experience Art, Juror: Doug Jeck
2002 Downtown Park, Bellevue, WA, Bellevue Sculpture Exhibition 2002
Nation Gallery, Seattle, WA, Boys Against Girls, Girls Against Boys
Jacob Lawrence Gallery, UW, Seattle, WA, Works in Progress-1st Year MFA Show
2001 New Leaf Gallery, Berkeley, CA, Web Site Premier Opening -Web Launch
2000 California State Fair, Sacramento, CA, California Works, Fine Art
Competition, sculpture
1999 Santa Cruz Art Center Gallery, Santa Cruz, CA, Works: W. Scott Trimble &
Adon Valenziano
1998 Fine Arts Institute of the San Bernardino Museum, San Bernardino, CA
33rd Annual Open International Exhibition-Christopher Schink, Juror
Sculpture Group, Danville, CA, Annual Juried Exhibition
California State Fair, Sacramento, CA, California Works, Fine Art Competition,
sculpture
Santa Cruz Art Center Gallery, Santa Cruz, CA, BC' 98
1997 Chico Art Center, Chico, CA, 1st National Juried Exhibition-Juror, Clayton
G. Bailey
Sebastopol Center for the Arts, Sebastopol, CA, Into the New Abstract Art
SELECTED PRIVATE AND PUBLIC COLLECTIONS:

-Microsoft Art Collection, Redmond, WA, Sine Wave
-Joe Delaney, Foster/Pepper, Seattle, WA, Tale of Two Cities Commission
-Sharon & Martin Lott, Mercer Is., WA, Water Theme Commission
-Zymogenetics Art Collection, Seattle, WA, Burning Bridges
-Suzanne Beal, Seattle, WA, Shit or Get Off the Pot
-Deborah Paine, Seattle, WA, Fire Pole
-Francine Sedars Gallery, On Loan Outdoor Sculpture 2004-5, Seattle, WA, Linkage
IV
-School of Public Health, University of California at Berkeley, West Entrance-
Departure II
-Nancy Current, Seattle, WA, Viceware IV
-Dan and Marilyn Wyman, Los Gatos, CA, Expansion I
-Holt and Margaret Murray, Coralitos, CA, Linkage I
-Dr. Jon Foster, Capitola, CA, Viceware V
-Ellen Zeigler, Seattle, WA, Burning Bridges II
-Patricia Strange, Bainbridge, WA, Warp & Weft
-Bemis Center, Omaha, NE, Untitled Boardwalk Forms
MEDIA:
2007 Verve, Seattle Channel, Episode 2. 1 of 3 featured artists,
http://www.seattlechannel.org/Verve/
Scott Trimble, Sculptor
2006 The Beat, KUOW, 12-21-06, 1 of 3featured artists, www.kuow.org
About a Boardwalk by Scott Trimble at Greg Kucera Gallery
SELECTED BIBLIOGRAPHY:
Wyman, Marilyn. Looking and Writing: A Guide for
Art History Students. Upper Saddle River, NJ;
Prentice-Hall, Inc., 2003
TEACHING:
2002 Instructor, 3D Design (Art 124) Fall Quarter
University of Washington, Seattle, WA 2002
Instructor, 3D Design (Art 124) Spring Quarter
Instructor, Wood Sculpture (Art 273) Winter Quarter
Eric Elliott
I am searching for a visual language that shows the idea that all things are
interconnected and one, that everything is part of a larger whole. At the same
time, I want to make visible the fact that although things are connected they
still differ. Ultimately, I wish to depict the paradox of interconnected
individuality.
I use the objects that surround me as a point of departure to depict the concept
of interconnectedness. A plant, chair, or teapot are signifiers or metaphors for
anything and everything. Clusters of objects become metaphors for other
clusters, like a molecule is a cluster of atoms or a human being a cluster of
cells. The objects in the still life come together to make a larger form. I am
interested in this shape as a whole but still want to allow some individuality
to the objects within. At times I take away the name of a specific object and in
some instances completely cancel out an object's identity. In this way, the
objects start to become more a part of a whole than individual things. Parts or
all of the composition start to defuse into each other, compressing space while
at the same time creating atmosphere.
To create a stronger sense of unity I have limited my palette to four pigments
(red, blue, yellow and white), and all colors start from a neutral gray mixed
with the primary colors. I use this neutral gray as a unifying base (in my
drawings the white of the page acts as this base or unifier) and then lean that
gray towards warm/cool, dull/saturated and light/dark. I try to keep everything
close to the neutral base and depending on how much I push the color, the
objects emerge from or dissolve into the ground. There is a heavy build up of
paint that becomes almost relief, as I search for the balance between focus and
letting the composition fuse into one. The thick paint acts as a screen, and
adds another level to the painting which brings the viewer's attention back the
two-dimensional aspect of the canvas, and the fact that everything they are
looking at is on one plane. I am interested in this flux between two and three
dimensions that painting allows and how it can work as a metaphor for the
apparent paradoxes of reality.
Resume
ERIC ELLIOTT
343 N 79th St. - Seattle, WA 98103 - 206-919-9848
elliottea@hotmail.com
Education:
2007 Masters of Fine Arts, Painting and Drawing, University of Washington,

Seattle
2003 Bachelor of Arts, Art Practice, University of California, Berkeley
Exhibitions:
2008
Transitions, James Harris Gallery, WA
Deep Space Punctuated by Planets, Soil Gallery, WA
Message in a Bottle, James Harris Gallery, Seattle, WA
Black & White Show, Catherine Person Gallery, Seattle, WA
Seven Propositions, Ouch My Eye, Seattle, WA
Bifocal, Ouch My Eye, Seattle, WA
2007
MFA Thesis Show, Henry Art Gallery, Seattle, WA
2006
Works on Paper, Jacob Lawrence Gallery, Seattle, WA
SP1, Sand Point First Year MFA Painting Exhibition, Seattle WA
2005
Works in Progress, 1st Year Master of Fine Arts, Jacob Lawrence Gallery,
Seattle, WA
2004
Faculty Show, Morrison Library, Berkeley, CA
2003
Fall Honor Studio Show, Worth Ryder Gallery, Berkeley, CA
New Works, Worth Ryder Gallery, Berkeley, CA
Spring Honor Studio Show, Worth Ryder Gallery, Berkeley, CA
2002
Ghosts of Kroebis, Fall Arts Festival, Berkeley Art Museum, Berkeley, CA
The Dirt Show, Worth Ryder Gallery, Berkeley, CA
2000
Art One Gallery, Scottsdale, AZ
Awards
Artist Trust GAP (Grants for Artist Projects) Recipient

James Phalen Art Scholarship Recipient
Maybelle Toombs Art Scholarship Recipient
Articles and Reviews:
2008
The Men Who Knew Too Much
by Jen Graves, July 15, 2008, The Stranger- Seattle, Washington
http://www.thestranger.com/seattle/Content?oid=621778
Paintings by Carlos Vega and Eric Elliott Are a Must-See at Harris Gallery
by Regina Hackett, July 10, 2007, Seattle Post Intelligencer
http://seattlepi.nwsource.com/visualart/370285_visual11.html
La Especial Norte, #1
by Jen Graves, April 22, 2008, The Stranger- Seattle, Washington
http://slog.thestranger.com/2008/04/la_especial_norte_1
La Especial Norte by Mathew Offenbach, April 2008
Hold Still
by Jen Graves, February 19, 2008, The Stranger- Seattle, Washington
http://www.thestranger.com/seattle/Content?oid=515437
2007
Henry and the Masters
by Regina Hackett, May 25, 2007, Seattle Post Intelligencer
http://blog.seattlepi.nwsource.com/art/archives.115867.asp
Professional Experience:
Teaching:
Art Instructor, Gage Academy of Art, Seattle 2007- Present
Art Instructor, North Seattle Community College, Cont. Education, 2007- Present
Adjunct Instructor, University of Washington, Seattle, Fall 2007 and
Spring 2007 & 2006
Teaching Assistant:
Beginning Figure Drawing, Assoc. Professor Zhi Lin, Fall Quarter 2006,
University of Washington, Seattle
Beginning Drawing, Assoc. Professor David Brody, Winter Quarter 2006, University
of Washington, Seattle
Figure Drawing, Prof. Richard Shaw, Fall Semester 2002, Univ. of California,
Berkeley
Studio Assistant:
Norman Lundin, November 2005 - Present
Adelie Landis-Bischoff, April 2004 - May 2005
Ross Sawyers
The class of structures I reference in my photographs - apartments and houses -
are structures that we all experience in various and intimate ways. This level
of familiarity is important to me, allowing the environments I create to
resonate with the viewer, allowing them to create parallels between my visual
interpretations and that which they have directly experienced in their own
reality.
I have been influenced by a variety of themes relative to these common spaces:

the romantic, nostalgic memories of a rural childhood; the urban decay found in
neglected and abandoned structures within the core of a Midwestern city; and
most recently, the combination of living in increasingly smaller spaces and in
closer proximity to others that is found in increasingly dense neighborhoods and
housing developments of a city like Seattle. I construct the situations I
photograph as a way to challenge my understanding of the buildings and
neighborhoods I am referencing. Building and photographing models allows me to
exaggerate and over-state what I observe taking place in my surroundings, rather
than simply replicating it. The environments depicted in my photographs are
close to the actual, but not completely accurate copies of reality.
In my experience, the more realistic the space presented in the photograph

appears to be, the more important the model becomes to the viewer. The
photograph becomes more about how the model was made, and it's relative accuracy
of replication, and less about what the subject matter is proposing. Recently,
the situations presented in the photographs have become more contrary to reason
and common sense and because of this, the idea of the model as a more or less
accurate replication seems to be less important to the viewer.
It is important to consider the function of the constructed model and its

relationship to what the depicted subject matter is proposing. The finished
image should be able to suggest that the space presented could actually exist in
reality. The constructed model cannot accomplish this in lieu of the photograph;
what makes the model function is how the camera transforms the constructed space
contained within the model. The model itself does not discriminate in the
details presented to the viewer, scale is fixed and obvious and the details of
construction become evident. The camera on the other hand, makes scale ambiguous
and exposes only what I choose to include within the frame making the space
within the borders of the photograph a more dynamic and believable environment.
Recently my intentions have begun to shift from representing specific ideas such
as the decay of buildings or the increasing density of new neighborhoods towards
broadening my understanding of the space itself and why I am so attracted to
these types of environments. As the spaces I create get further away from the
reality I am referencing, it has become increasingly important to continue to
incorporate details familiar to living spaces in order to ground the images in
reality while at the same proposing situations outside of what is normally
expected of these spaces.
Resume
Ross A. Sawyers
www.rossawyers.com
ross@rossawyers.com
5502 29th Ave. NE Apt. 2
Seattle, Washington 98105
(206) 330-1110
Education
Master of Fine Arts, Photography

University of Washington, Seattle Washington
Bachelor of Fine Arts, Photography & New Media

Kansas City Art Institute, Kansas City Missouri
Representation
Platform Gallery, Seattle WA
SAM Gallery, Seattle WA
Selected Exhibitions and Commissions
Upcoming
Solo Exhibition and Residency
Whitworth University, Spokane Washington
2008
35th Anniversary Exhibition
Seattle Art Museum Gallery (Group)
Clear Blue, Sky
Gallery 4Culture, Seattle, Washington (Solo)
2007
Fall Showcase, 2007
Jen Bekman Gallery, New York City, New York (Group)
Ross Sawyers, Platform Gallery, Seattle, Washington, (Solo)
Home Sweet Home Soil Gallery, Seattle Washington, (Group)
M.F.A. Thesis Exhibition (Group)Henry Art Gallery, Seattle Washington
New & Old School Photography (Group)Rake Gallery, Portland Oregon
2006
CoCA Annual 2006 (Group)Center on Contemporary Art, Seattle Washington Juror;
Jennifer Gately Curator of Northwest Art, Portland Art Museum
Works on Paper (Group), Jacob Lawrence Gallery at The University of Washington,
Seattle WashingtonJuror, Scott Lawrimore, Jurors Award
ArtWall Commission Art In The Loop Foundation, Kansas City Missouri
Facade (Group)Soil Art Gallery, Seattle Washington
Coupling IV, Secret Handshake (Group)
Center On Contemporary Art, Seattle Washington
2005
Living Rooms, Basements and Thresholds (Solo),
Tchoupitoulas Gallery, Kansas City, Missouri
2004
Current Work by Ross Sawyers (Solo),
Society for Contemporary Photography, Kansas City, Missouri
Kansas City Flatfile (Group),
H&R Block Art Space at the Kansas City Art Institute, Kansas City Missouri
2002
Current Work by Ross Sawyers (Solo),
Michael Cross Gallery, Kansas City Missouri
2001
Current Works 2001 Annual International Competition (Group),
Society for Contemporary Photography, Kansas City Missouri, Juror; Steven Yates,
Jasper Stands Amazed Wondering What Happened to his Youth (Solo),
Michael Cross Gallery, Kansas City, Missouri
Public & Private Collections
The John And Maxine Belger Family Foundation Collection Kansas City, Missouri
Fidelity Investments Corporate Collection
Boston, Massachusetts
King County Public Art Collection, Portable Works King County, Washington
The Joseph & Elaine Monsen Photography Collection Seattle, Washington
Bibliography
Seattle Art Museum Gallery: Marking a Milestone by Tracking Artists' Journeys,
Theresa Goffredo, Everett Herald, Friday May 16, 2008
"Ross Sawyers at Platform", Frances Devuono,
Artweek Magazine, October 2007, Vol. 38, Issue 6
Art + Auction Magazine, July 2007
Ill. p. 62 Looking Out, 2007,
Rivet Magazine, Vol. 18, March 2007
Ill. Cover Second Floor, 2004
"Great Wall of Art", Alice Thorson The Kansas City Star, November 5, 2006
Ill. Approximation 5, 2006
"Art Review, Ross Sawyers", Gala Bent, Asthamtickitty.com/sidebar, November 11,
2006
Ill. Approximation 6, 2006, Living Room, 2004
Special Accomplishments and Awards
Crystal Apple Award, Society for Photographic Education, 2007

Chase Graduating With Excellence Award, University of Washington, 2007
Research and Recognition Award, University of Washington, 2007
Top Recruitment Scholarship, Photography, University of Washington, 2005
Mentorship Award, Kansas City Art Institute, 2002
Lectures and Presentations
Visiting Artist Lecture and Workshop

Whitworth University, Spokane WA, (Upcoming October, 2008)
Approximations, Graduate Track Presentation
Society for Photographic Education National Conference, March 2007, Miami
Florida
Visiting Artist Lecture
Kansas City Art Institute, Kansas City Missouri, November 2006
Linda Hutchins
Dipping a pen in ink and drawing line after line across an expanse of paper
creates a record of the present moment and the unfolding of time.
Drawing on the wall with my grandmother's silver spoon deposits a vestige of the
past as well as the present. As I walk the spoon from one end of the wall to the
other, a trace of actual silver links the physical line with the metaphorical
lineage of ancestry. A repetition of lines mirrors the repetition of
generations.
For the past few years I have created work through processes that are not only
labor intensive and time consuming, but also highly repetitive. I execute these
processes by hand, at the limits of my capacity for endurance, discipline and
perfection. As I walk or draw, an image grows. Variations in the pressure or
pace of my movement register as moments in time. Accidents are welcome. I guide
them by balancing between too much and too little control. The resulting nuances
follow an internal logic, building on each other to create a pattern of making.
To repeat anything over and over - as a meditation or a discipline - is to grasp

at the infinite.
Resume
GALLERY REPRESENTATION
Pulliam Deffenbaugh Gallery, Portland, Oregon
EDUCATION
1988 BFA, Drawing, Pacific Northwest College of Art (PNCA), Portland, Oregon
1978 BSE, Computer Engineering, summa cum laude, University of Michigan, Ann
Arbor, Michigan
SELECTED SOLO AND TWO-PERSON EXHIBITIONS

2007 Linda Hutchins: Lineal Silver, Gallery One, Washtenaw Community College,
Ann Arbor, Michigan
2006 Linda Hutchins: Line Drawing, Pulliam Deffenbaugh Gallery, Portland, Oregon
2005 Introductions: Linda Hutchins and Jen Pack, Pulliam Deffenbaugh Gallery,
Portland, Oregon
2004 Linda Hutchins: Reiterations, The Art Gym Gallery 2, Marylhurst University,
Marylhurst, Oregon
Waiting for Rumplestiltskin, PDX Window Project, Portland, Oregon
2003 CROWD CONTROL: Linda Hutchins + Mark R. Smith, Northview Gallery, Portland
Community College Sylvania Campus, Portland, Oregon
2000 Bread, L&B Viewing Room, Portland, Oregon

2007 Over, Under, Around, and Through, Southwest School of Art and Craft, San
Antonio, Texas
2006 Marking Boundaries, Braunstein/Quay Gallery, San Francisco, California
2005 drawing(s): A 25th Anniversary Exhibition, The Art Gym, Marylhurst
University, Marylhurst, Oregon
2004 Northwest Biennial: Buildingwise, Tacoma Art Museum, Tacoma, Washington
Collecting Words On and Off the Page, Gallery 114, Portland, Oregon
2003 18 Women, Art Center Gallery, Clatsop Community College, Astoria, Oregon
2002 Looming Large: Contemporary Weavers of the Vanguard, Bedford Gallery, Dean
Lesher Regional Center for the Arts, Walnut Creek, California
2001 Beyond Thread: (a)mending social thought, Braunstein/Quay Gallery, San
Francisco
Drawings, Art Center Gallery, Clatsop Community College, Astoria, Oregon
1999 The Notebook: The Art of the Idea, L&B Viewing Room, Portland, Oregon
1996 Seeking Security: The Human Spirit and the Compulsion to Control, WORKS/San
Jose, California
Passages: Tapestries of the Northwest, Oregon History Center, Portland, Oregon
1994 National Tapestry Invitational Exhibition, Art Space/Lima Gallery, Lima,
Ohio
Tapestry Visions, Minneapolis College of Art and Design, Minneapolis, Minnesota
1993 Northwest Tapestry 1993, Nordic Heritage Museum, Seattle, Washington,
Contemporary Crafts Gallery, Portland, Oregon, and Richmond Art Gallery,
Richmond, British Columbia
1991 The Art of Tapestry, Bush Barn Art Center, Salem, Oregon
Western Weavers: On the Edge, Joanne Rapp Gallery/The Hand and The Spirit,
Scottsdale, Arizona
1990 Risk Factors, Littman Gallery, Portland State University, Portland, Oregon
Women's Strength: To Be, To See, To Act, Blackfish Gallery, Portland, Oregon
1989 Fiberart '89 International, Pittsburgh Center for the Arts, Pittsburgh,
Pennsylvania
9th Annual NW International Art Competition, Whatcom Museum of History and Art,
Bellingham, Washington
1988 Pacific Northwest College of Art Thesis Exhibition, Portland Art Museum,
Portland, Oregon
SELECTED AWARDS, GRANTS AND RESIDENCIES

2008, 02 Individual Artist Fellowship, Oregon Arts Commission
2004, 03 Project Grants, Regional Arts and Culture Council, Portland, Oregon
2003, 02 Artist Residencies, Caldera, Sisters, Oregon
1985-87 Scholastic Awards, PNCA (Merit Scholarships 1985-87, Drawing, Sculpture
and Photography Prizes 1985-87)
COLLECTIONS AND PUBLIC ART

King County [Washington] Public Art Collection, Portable Works
Multnomah County [Oregon] Library, John Wilson Room, Special Collections
Multnomah County [Oregon] Public Art Collection, Portable Works
Museum of Contemporary Craft, Portland, Oregon
Portland Community College, Sylvania Campus Library, temporary installation
(2003 - present)
Portland International Airport, wallWORKS:PDX temporary installation (2001-2002)
SELECTED BIBLIOGRAPHY
2008 Gupta, Anjali, ed., Unpacking the Collection: Selections from the Museum of
Contemporary Craft, Portland, Oregon, pp. 106-7
2007 Colchester, ChloÃ«, Textiles Today: A Global Survey of Trends and
Traditions, Thames and Hudson, New York, NY, pp. 148-9
One Shot: A Visual Codec Project, Visual Codec, Seattle, Washington
Russell, Carol K., Tapestry Handbook: The Next Generation, Schiffer Publishing,
Atglen, PA, pp. 11 and 160
2006 Jahn, Jeff, "May Gallery Roundup," PORT (www.portlandart.net), May 24, 2006
Row, D.K., "Shows of Note," The Oregonian, May 12, 2006
2005 Hemmings, Jessica, "Words are Not Enough: The textile work of Linda
Hutchins, Sara Haskell and Brigitte Amarger," Embroidery, January/February 2005,
pp. 26-29
Lake, Eva, "A Zone All Its Own," PSU Vanguard, January 26, 2005, p.8
2004 Taylor, Sue, "Linda Hutchins at the Art Gym at Marylhurst University," Art
in America, September 2004, p. 140
Scheinman, Pamela, "Linda Hutchins: Reiterations," American Craft,
August/September 2004, cover & pp. 36-39
Wagonfeld, Judy, "Innovative pieces rise above the rigid foundation of
'Buildingwise'", Seattle Post-Intelligencer, April 30, 2004
Boas, Pat, "Hidden in Plain Sight," Linda Hutchins: Reiterations, Marylhurst
[Oregon] University
Bernard, Julie, "Art Focus" interview, KBOO Radio, Portland, Oregon, January 8,
2004
2003 Bowie, Chas, "Crowd Control," Portland Mercury, March 20, 2003, p. 27
Goetze, Janet, "Viewers' Challenge," The Oregonian, Friday, February 28, 2003,
p. B2
2002 Russell, Carol K., "Linda Hutchins: New Realities," FIBERARTS,
September/October 2002, p. 23
Hemmings, Jessica, "in review: Beyond Thread," Surface Design Journal, Spring
2002, pp. 44-45
"Restricted Area at Portland Airport," Artweek, February 2002, p. 32
Ellertson, Karrin, "Arts and Entertainment Picks for the Week," Portland
Mercury, Jan. 3, 2002, p. 11
2001 Lambert, Lisa, "News and Hangings," Willamette Week, December 26, 2001, p.
51
2000 Koumis, Matthew, ed., Art Textiles of the World: USA, Telos Art Publishing,
Winchester, UK, pp. 78-85
Bernard, Julie, "Art Focus" interview, KBOO Radio, June 1, 2000
1995 Russell, Carol K., "Tapestry Comes to Ohio," FIBERARTS, Summer 1995, pp. 9-
10
1994 Hutchins, Linda, "DO NOT CROSS THIS LINE," ITNET Journal, Fall 1994, pp.
44-45
Abbe, Mary, "Tapestry's Threads of Today," The Minneapolis Star Tribune, July 7,
1994, pp. 1-2E
1991 Orban, Nancy, ed., FIBERARTS Design Book Four, Lark Books, 1991, p. 9
1990 Scarborough, Jessica, "A Fine Line: Opening New Doors," FIBERARTS,
September/October '90, p. 59
Scally, Alan, "Risk Factors: Tapestry Forum 1990," Portland State Univ.
Vanguard, April 3, 1990, p. 7
1989 Farr, Sheila, "Arts Competition Turns to Crafts," The Bellingham Herald,
June 8, 1989, p. C1
1988 "New Works: Linda Hutchins," FIBERARTS, Nov/Dec '88, p. 20
COMMUNITY SERVICE
2004-07 Board of Trustees, Portland Institute for Contemporary Art, Portland,
Oregon
2006 Visual Arts Fellowship Review Panel, Regional Arts and Culture Council,
Portland, Oregon"
Micki Lippe
My studio is my safe place. I make the rules, there are no stop signs, no speed
limits. It is the place I go to when life is good and when life is bad. Making
jewelry offers me the pleasure of working with my hands building things. I have
the opportunity to work directly with the material, most always metal. To quote
Ramon Puig Cuyas "" The handwork turns itself into a way of thinking, where
intuition is confronted with reflection. ""
Resume
MICKI LIPPE
www.looselyhinged.com
________________________________________________________________________
EDUCATION
B.F.A. - Washington University, St. Louis, MO - 1965
Workshops (selected):
Ron Peters Robert Ebendorf
Charon Kransen Lisa Gralnick
Iris Bodemer Sandra Enterline
PUBLICATIONS - selected
Ornament Magazine - Spring 2008
Art Jewelry Today - 2nd Edition (due out in 2008)
500 Earrings - Lark Books - 2007
Three Plus Three - Exhibition at Souvenir Gallery 2006
Art Jewelry Today, Donna Meilach
Metalsmith Magazine Winter 2002 - Review
Book of Boxes and Lockets, Tim McCreight
Metalsmith Magazine Winter 1999 - Review
Ornament Magazine Winter 1997, "Micki Lippe - Intimate Minimalism"
Jewelry - Fundamentals of Metalsmithing, Tim McCreight
Seattle Times 1996 "Northwest Art - Beyond Fashion: The Evocative Art of
Jewelry"
Lapidary Journal - November 1996 "Breaking In" Annie Osborn
One of A Kind - Contemporary American Art Jewelry Today, Susan Lewin
Seattle Post-Intelligencer 1992 ""Of Power, Magic and Memory""
Ornament Magazine Fall 1992, "Of Power, Magic and Memory"
TEACHING EXPERIENCE
2007 Soldering BIG and Small - Danaca Designs, Seattle, WA
Make it and Wear it - Pratt Fine Art Center. Seattle, WA
2006 Soldering BIG and Small - Pratt Fine Arts Center, Seattle, WA
Explore and Expand - Penland School of Crafts, Penland, NC
Niello - The Ancient Technique - 92nd. Street Y, New York, NY
2005 Expand and Explore - Pratt Fine Arts Center, Seattle, WA
Niello - The Ancient Technique - Spokane Art Center, Spokane, WA
2004 Niello - The Ancient Technique - Pratt Fine Arts Center, Seattle, WA
Niello - The Ancient Technique - Tucson, AZ
2003 From Idea to Reality - Pratt Fine Arts Center, Seattle, WA
2000 Design, Production and Marketing - Pratt Fine Arts Center
1972 - 1998 Available upon request
ADMINISTRATIVE EXPERIENCE
2005 - 2007 - Chair, Seattle Metals Guild High School Exhibition Com., Seattle,
WA
2003 - 2004 - Advisory Board - EDGE Program, Artists Trust, Seattle, WA
2000 - 2003 - Board Member - Society of North American Goldsmiths
1992 - 2000 - Board member - Pratt Fine Arts Center
1996 - 1998 - co-chair - Society of North American Goldsmiths National
Conference
1994 - 1999 - Organizational Board-Jewelry /Metals Symposium
1989 - 1996 - Board member - Seattle Metals Guild
1989 - 1992 - President, Seattle Metals Guild
1989 - founder Seattle Metals Guild
1983 - 1985 - President Oklahoma Metals Guild
ONE PERSON SHOWS

2006 - From Here to There, a Retrospective Exhibition - Pratt Fine Art Center,
Seattle, WA
Artisans on Taylor - Port Townsend, WA
2002 - Facere Gallery, Seattle, WA
2000 - Denovo Gallery, Palo Alto, CA
1999 - Linda Richman Jewelry, Milwaukee, WI
1998 - Sybaris Gallery, Royal Oak, MI
1986 - 1996 - Available upon request
GROUP EXHIBITIONS
2007 - Midsummer's Night Dream - Obsidian Gallery, Tucson, AZ
CERF Raffle - Bud and Bloom - SOFA Chicago
New West Coast Design - Velvet da Vinci - San Francisco, CA
100 Earrings - Velvet da Vinci, San Francisco, CA
Anti-War Medals - Gallery I/O, New Orleans, LA
Reaching for the Light - Blue Horse Gallery, Bellingham, WA
Widney Moore Presents - Widney Moore Gallery, Portland, OR
2006 - Three Jewelers - Souvenir, Seattle, WA
Words - Sam Shaw Gallery, Harbor, ME
Alumni Show - McGuffy Art Center, Charlottesville, VA
Reaching for the Light - Blue Horse Gallery, Bellingham, WA
Artisans on Taylor - Port Townsend, WA
2005 - Holiday Exhibition - Taboo Gallery, San Diego, CA
Artist's Choice - Aaron Faber Gallery, New York SOFA, New York, NY
Airport Exhibition - Seattle Metals Guild, Seattle, WA
2004 - Feature Exhibition - Obsidian Gallery, Tucson, AZ
You Wear What You Eat: the Sociology, Politics and Joy of Food - Seattle Metals
Guild
Here I Am - Obsidian Gallery, Tucson, AZ
Seattle Metals Guild Bi-Annual, Seattle, WA
2003 - Christmas Exhibition - Taboo Studio, San Diego, CA
Art at the Armory - Milwaukee, WI
Planting, Potting and Pruning - Racine Art Museum, Racine, WI
Glass Dimensions - beyond the bead; Washington State Convention Center, Seattle,
WA
2002 - Christmas Exhibition - Taboo Studio, San Diego, CA
Seattle Metals Guild Bi-Annual, Seattle, WA
Nature and Time - Deutsches Goldschmiedehaus, Hanau, Germany
Contemporary Metalwork and Jewelry of Six Countries - Japan and Korea
CERF Raffle - Boats - SOFA Chicago, Chicago, IL
The Art of Change for UNICEF, Bainbridge Arts and Crafts, Bainbridge Island, WA
1972-2001 available upon request
MUSEUM EXHIBITIONS
2003 - Nature and Gardening - Racine Art Museum, Racine, WI
1998 - Adornment - Charles A. Whustum Museum, Racine, WI
1990 - 1997 available upon request
PRESENTATIONS
2007 - Micki Lippe - A History - Northwest Bead Society - Seattle, WA
Micki Lippe - A History - Tacoma Art Museum - Tacoma, WA
2006 - Discussion of Work in One Person Show - Pratt Fine Arts Center, Seattle,
WA
2005 - Micki Lippe - A History - Seattle Metals Guild - Seattle, WA
2003 - Discussion of Work in One Person Show - Facere Jewelry Gallery, Seattle,
WA
2001 - Seattle Plus Two - Burg Gebeninstien School of Jewelry, Halle, Germany
1994-1999 available upon request
MUSEUM COLLECTIONS
Tacoma Art Museum, Tacoma, WI
Racine Art Museum, Racine, WI
LIVE ABROAD
2000 - 2001 Studio in Halle, Germany
Gala Bent
As I observe the way that many small things move in concert with one another in
the natural world, I am amazed at the sheer mass that can be created by the
accumulation of tiny elements. There is power in numbers, but also in the
invisible forces that cause them to move in synchronicity. I am also fascinated
by the ways in which these patterned flocks, drifts and scatters meet one
another and react. All parts and pieces are in conversation with one another.
Some of my favorite books are popular scientific texts that bring geological
cataclysms, mammoth sea creatures and microscopic fauna into our living rooms.
For millennia, artists, philosophers and scientists, even if known by other
names, have been reaching for ways to describe and measure the elusive elements
of nature and the human spirit, wanting to find what structures and forces are
at work behind the scenes. I'm fascinated by the notations and shorthand
versions of things as shifty as wind, or as invisible as romantic attraction. I
find them to be beautiful, heart breaking and hopeful.
My own drawings and paintings are a tribute to this desire to understand and
document the world around us in an effort to make the unknown known. I use
graphite and gouache in the spirit of so many field studies that have been done
on site by people trying to document flora and fauna. Pencil lines are also part
of the figuring of many thinkers who work out ideas in visual form. In my case,
mixtures of book images, memory and observation feed into the works themselves,
allowing an intuitive ordering of elements.
Resume
GALA BENT
EDUCATION
Master of Fine Arts, Interdisciplinary Visual Arts
State University of New York at Buffalo (SUNY) Buffalo, New York, 1999
Bachelor of Fine Arts, Painting, Art History minor
Ball State University Muncie, Indiana, 1997 Summa cum laude
SELECTED EXHIBITIONS
2009
4Culture solo exhibition, Seattle, WA, April (upcoming)
2008
On, of and about Paper Orange County Center for Contemporary Art, CA
Draw In 00130 Gallery, Helsinki Finland
Unusual Animals 930 Gallery, Louisville, KY
Studio Intensive Residency (with Zack Bent), Crawl Space Gallery, Seattle, WA
Solo show at Seattle Pacific Art Center, Seattle, WA (upcoming)
2007
Allegoric Chicago Country Club, Chicago, IL
Allegoric Bridge Art Fair, London, England
Embellished Drawings Caffe Fiore, Seattle, WA (Solo)
Mostly Loves Clouds Harrison Center for the Arts, Indianapolis, IN
Rivet Art Auction, Crawlspace, Seattle, WA, USA
Events in the Sky Caffe Fiore, Seattle, WA (Solo)
Lark Books Asheville, NC (Solo)
2006
Naturelle Harrison Center for the Arts, Indianapolis, IN (3 person)
Metcalf Visual Arts Center permanent stained glass installation, commissioned by
Taylor University Upland, IN (fabricators: Architectural Glass Art, Louisville,
KY)
2005
Embracing the Gift Azusa Pacific University, Los Angeles, CA
Landscape and Space College of Architecture and Planning, Muncie, IN
Taylor University Metcalf Gallery, Upland, IN
Open Space: Art about the Land Muncie IN, Anderson Fine Arts Center, Anderson
IN, Art Association of Henry County, New Castle, IN
Glory Be: Taylor University Faculty Exhibition Taylor University Metcalf
Gallery, Upland, IN, Honeywell Center, Wabash, IN
2004
Grapes of the Terroir Indianapolis Museum of Art Auction, Indianapolis, IN
Open Space: Art about the Land Minnetrista Cultural Center, Muncie IN, Anderson
Fine Arts Center, Anderson IN, Art Association of Henry County, New Castle, IN
Painting award and two purchase awards
Underpinning Harrison Center for the Arts, Indianapolis, IN (2 person)
Species of Light Book Release Exhibition, Mitchell Place Gallery, Muncie IN
2003
Up and About Harrison Center for the Arts, Indianapolis, IN
Artrageous Cornerstone Festival, Bushnell, IL, Best of Show
2002
Fruition: New Work by Gala Bent (Solo) Taylor University in Upland, IN Gordy
Fine Art in Muncie, IN
2001
Open Space: Art About the Land Minnetrista Cultural Center, Muncie IN, Anderson
Fine Arts Center, Anderson IN Art Association of Henry County, New Castle, IN
2000
Dynamic Stabilization Exercises (3 person) Mitchell Place Gallery, Muncie, IN
1999
MFA Thesis Exhibition Center for Research + Culture, SUNY Buffalo, NY
1998
Albright Knox Museum's 47th Annual Western New York Show
Anderson Gallery, Buffalo, New York Collaboration with Zack Bent
Object D'art National traveling exhibition; a project of Sandbox/Simparch
National touring exhibition
UB Painters Student Gallery, SUNY Buffalo, NY
First year graduate exhibition Center for Research + Culture, SUNY Buffalo, NY
PUBLISHED WORKS
Rivet Magazine R19 The Power Issue July 2007 Ill. "Redcloud" p.26
Asthmatic Kitty Records "Waves and Waterstains" Castanets/Shapes&Sizes EP Cover
2007
"25 Emerging Artists" CIVASeen Vol. IV 2004: pp.7-8
"A Psalm" & "Untitled" Country Feedback Literary Magazine Issue 2, 2002 ed. Sara
Billups:
pp.19, 88
PROFESSIONAL EXPERIENCE
Adjunct Teaching Faculty March 2007-present
Seattle Pacific University, Seattle, WA
Columnist - Art Reviews October 2006-present
Asthmatic Kitty Records Website (www.asthmatickitty.com)
Teaching Faculty (Assistant Professor) September 2001- May 2006
Taylor University, Upland, Indiana
Independent Press Founder 2003-2006
Bellywater Press, Muncie, Indiana
Adjunct Teaching Faculty August 1999-May 2001
Ball State University, Muncie, Indiana
Museum Registration Intern May 1999- August 2000
Ball State University Museum of Art, Muncie, Indiana
Calligrapher, Bookbinder and Letterpress Publisher June 1998-present
(Self-employed)
Teaching Assistant August 1997- May 1999
SUNY Buffalo, Buffalo, New York
Fundraiser for Artist-run Arts Organization June 1998-August 1998
Hallwalls Contemporary Art Center, Buffalo, New York
Contract Videographer for Independent Film & Video Organization July 1998-Aug
1998 Squeaky Wheel, Buffalo, New York
GUEST LECTURES & WORKSHOPS

Underpinning Artist's Talk, 2004
Harrison Center for the Arts, Indianapolis, IN
Calvin Festival of Faith and Writing: Presenter and exhibitor, 2004
Calvin College, Grand Rapids, MI
Taylor University Alumni gathering, Indianapolis Chapter: Panelist, 2004
Harrison Center for the Arts, Indianapolis, IN
Art Spectrum: Speaker and workshop leader, 2004
Minnetrista Cultural Center, Muncie, IN
The 4th Frances White Ewbank C.S. Lewis and Friends Colloquium: Speaker, 2004
Taylor University, Upland, IN
Fruition Artist's Lecture, 2002 Taylor University, Upland, IN
Photographic Memory: A Short History of Photography Gallery Talk, 2000
Ball State Museum of Art, Muncie, IN
Pencils, Pens and Paper: The Materials and Techniques of Drawing
"Friday with Friends" lecture, 1999
Doodles, Sketches and Plans: The Drawing as Preparatory Study Gallery Talk, 1999
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Susan Seubert ......................................................................................................................................

CORPORATE AND PUBLIC COLLECTIONS

I have an organic approach to making work, always have had. I am essentially

Selected Solo Exhibitions

Selected Group Exhibitions

Awards and Honors

Through play, my Grandmother inadvertently showed me that objects could function

2007 The Hook Up,

Stone: recent sculpture from the

2006 The 2006 CoCA Annual,

Sculpture and Drawing,

2005 drawing(s) 40+ Artists/200 works, 25th

2004 Recent Sculpture,

2003 Mayor's Art Show,

2001 Works On Paper,

New MFA Exhibition,

2000 Graduate Exhibition,

Bachelor of Fine Arts Thesis

Adjunct Professor of Art, Marylhurst University, Clark College, and Portland

My work consists of several collections of unique jewelry pieces ranging from

My newest collection, Arbor, highlights the stark silhouette of nearly bare

Years ago, I stumbled into a metalsmithing course at a small college in

6212 Woodlawn N., Seattle WA 98103

Awards & Honors

In working from these structures, my goal is straightforward: to build an

Thank you for supporting Northwest artists.

Selected Group Exhibitions

One Shot 2006. Visual Codec.

2005. New American Painting. volume 61.

Gary Faigin. 2005. The Beat. KUOW, April 20.

Regina Hackett. 2005. In the Galleries. Seattle Post-Intelligencer, April 7, p

Thom Heileson. 2004. YSA! The Organ, March/April, p. 5.

Allison Faye-Moody. 2004. Meet Margie Livingston, a Seattle Artist. European

The Columbian. 2001. Artist receives Fulbright, July 2.

Artist in Residence, Museum of Glass: International Center for Contemporary Art,

SOIL Artist Cooperative, Seattle, WA, member, 2000-present

Association of Student Painters, University of Washington, member, 1998-1999

University of Washington Public Art Commission, 1998-1999

As an artist with a background in graphic design, Doug Keyes is hyperaware of

Selected Solo Exhibitions

Selected Group Exhibitions

Public Art Commissions

Corporate and Public Collections

Teaching Experience / Workshops

Grants and Scholarships

Articles and Videography

General Artistic Concerns

ONE PERSON EXHIBITIONS

Mt. Rainier Central Exhibition, University of Puget Sound, Tacoma, WA 1999

Dislocation hovers in the context of our transnational society. It has seeped

Contextually, my work seeks to make apparent functional structures that have

Surreal Systems, Gallery Homeland, PDX Film Festival, Portland, OR

Beginnings and Ends, Gallery 621, Tallahassee, FL - 3-person show

Majestic Invitational, Majestic Galleries, Nelsonville, OH

Cross Section, Ohio University Art Gallery, Athens, OH Gallery, Athens, OH

OU Ceramics, Esther Allen Greer Museum, Rio Grande, OH

New Genre, Siegfried Gallery, Athens, OH

Fire, Washington County Arts Center, Hagerstown, MD

Level, Laura Mesaros Gallery, Morgantown, WV

American Craft Council, Baltimore Convention Center, Baltimore, MD

Revolution & Representation, Southern Graphics Council, Boston, MA

Eastern Influences, Washington County Arts Center, Hagerstown, MD

Visiting Artist Lecture, Bowling Green State University, Bowling Green, OH