MittWit
a collaboration with Leanne Grimes and Rodrigo Valenzuela
Opening/Closing Reception
October 13th
6-9pm
MittWit combines making with being. The making of the objects involves a narrative journey. The fabrics used in it’s construction have had previous lives – old friends’ clothing, safety workers vests, rescued scraps from the Filson’s dumpster. These memories have been pieced together with a visible path inlaid by the violent but necessary act of sewing. The purpose of MittWit is to provide a space for two people to occupy over an extended period of time. This forced communion negotiates between private intentions and public display with the purpose of becoming present with another in a way that is patient and supportive.MittWits build relationships, while also calling attention to the nature of them.
Memes
A group exhibition featuring the creations of the following artists:
Michael Fettig
Erin Toale
at an off-site location
Monday, September 19th
7-10pm
A meme is an idea, behavior or style that spreads from person to person within a culture.
Troy Gua
même chose
16x16” each
resin coated, digitally manipulated photography on metallic photo paper mounted to panel, battery powered led’s.
Mike Simi
Meat Tray Dartboard
cast plastic, darts, 2010
Klara Glosova
From 2D to 3D
youtube video, porcelain, 2010
Joey Veltkamp
Hang in There Bear
Ink on Paper, 2011
This Vignettes exhibition will occur off site at the Aguilar/Fettig residence.
Sequoia’s Lusting Night
by Frank Correa
Wednesday, September 7th
7-10pm
Frank Correa presents a girl’s last teen night under the bare full moon.
A night of colors and freedom.
Adriana Grant - Seattle Met Open House
sleeping with my contacts in: close to home, close to work
Thursday, August 25th
7-11pm
‘I’ve been sleeping with my contacts in for the last four months.
Sometimes if they hurt in the morning I’ll take them out and wear my glasses for the day.
I’ve had these glasses since high school and people always say I don’t look like myself when i wear them.
I also don’t know my social security number.
And i always buy gas 5 dollars at a time.’
Image:
fog machines found in abandoned halloween shop
iphone photo, 2011
http://grahamdowning.tumblr.com/
Celebrity Deaths
painted white lighters
2011
Man in Park Failing to Throw Boomerang
Video Projection
2011
Surface to Area
Styrofoam, nails, string, tape
2011
City Arts Magazine Putting the Art in Apartment
Bring to Light
new photographs by
Serrah Russell and Julia Salamonik
Tuesday, August 2nd
7-10pm
There are some who let you in as you travel along, some where closeness is found. It is them who sway our fascination. We are waiting, always hoping to glimpse their intimacy and it is that precise moment we delight to preserve.
http://www.flickr.com/photos/babamak/
The Divided $elf
New work by Matthew Offenbacher
Wednesday, July 20th
7-10pm
Ke$ha zine
ink on paper
1 of 2 pages, 8.4x14”
2011
Hey! I’m Ke$ha … interviewing Ke$ha. But I’m the hotter version. Okay, so aside from our record ANIMAL (which is a total party jam top to bottom) what are some of your OTHER favorite party jams?
Fight for Your Right to Party always gets the party started. Zepplin’s Black Dog always gets me in the mood to break stuff. Girls Just Want to Have Fuh-hun. Big fan. Obviously, you know this. (cause you’re me.)
So what is your tour going to have?
My tour is going to be REALLY amazing because there’s lasers.
Delicious.
No big deal.
Glitter.
It’s like a dance party.
And I’m the dance commander.
WHAT DOES IT TAKE TO BE A DANCE COMMANDER??
You really have to train. You know, 6 in the morning. Sometimes 4 in the afternoon. Awkward time for a dance party. You have to really stick with it. A really strict regimen.
The Divided $elf view from entrance
Untitled (poncho)
oil, acrylic and distemper on stainguard
Untitled
oil, acrylic and distemper on stainguard
Untitled
oil, acrylic and distemper on stainguard
Ke$sha Zine
ink and paint on paper
Untitled
magic marker on staingaurd
Alterations
New solo and collaborative works by Erin Frost & Shaun Kardinal
Tuesday, July 5th
7-10pm
There was a time when we created;
Now, we alter.
Erin, trained and experienced in photography,
Destroys, combines and reconstructs her prints, while
Shaun, obsessively compelled by order,
Embroiders shapes and patterns on vintage cards.
Together, connected and cohabited,
A third dimension is revealed.
SunSpasm
Andrew Reisert
Opening/Closing
Tuesday, June 21st
7-10pm
These works are reflections of the wonder I have in looking and contemplating. So much can be derived when only a limited amount of information is given. Perhaps how we once thought of the celestial bodies as Gods floating above. I enjoy thinking of the wild world before we had put our ours in such confining parentheses. How it must’ve been. to come face to face with plants, animals, and the skies above before we knew “better”. It’s not that I’m just simply dwelling on a past I can not possibly experience. Knowledge aside I can still find myself in that place, excited, fearful of what might be outside the walls of my confines, happy that the unknown still exists and once again like a young boy turning over creek rock, bewildered and amazed with misunderstanding.
-Andrew Reisert
Tahoma
Gretchen Bennett
Opening/Closing Reception
Tuesday, May 31st
7-10pm
Windfall Alphabet, 2011
Chris Doyle in Gretchen Bennett’s Governors Island Studio 2010
The jpeg and YouTube source material is so important, as it is rescuing things from a meaningless life of repetition. These are being pulled out of the stream, and folded into a new narrative.
The Windfall Alphabet letters read in space as letters; they have dimension. There is an overall vibe suggested in this work that has to do with craft and craftsmanship.
In this work, there is a complexity of translation.
Rematerializing the John Ruskin “Twigs” neutrally exposes the process of obsessive translation.
This is a process of translating the meaning away, rather than towards, so it takes the material many steps away from it’s original thought, becoming something else.
The new meanings connect to the foundness of materials. The work shows an interest in not knowing where they came from, but the desire to experience and cause a disconnect, rather than a connect. The art references don’t matter, either. They could’ve been more personal or random, but in the end, it’s both of those. The disjointed state the viewer is left with is the intended condition.
Even the Windfall stick font is taken from an incredible web of connection and disjointed from it. It’s intentionally separated from its original intent and content, to become somewhat strange, suggestive of an alternate civilization. This is why the Internet is so important, because in dipping into this culture, alien to the artist, she doesn’t know what her limitations are, what they should be. This is not about misunderstanding, but reunderstanding; moving away from and strengthening what the work is moving towards. This happens in steps and becomes a language. Meaning is built over time.
How does one evaluate the success of these objects? The hope is that the fervor involved in the process shows through. In order for that to happen, the process of observation, collection and reconfiguration has to be like a religion.
It must come from such power and beauty. But the power has to come from religion, carrying the same devotional aspects. The drapery, font and necklaces have an artifactual quality.
Drawing installation and ‘Charcoal Stick Alphabet’ 2011
Vision Quest Series, 2011
Jen Graves- Slog Interview Sierra Stinson Moves Her Bed So You Can See Good Art
OBSCURE CHARACTERS OF TELEVISION
Derek Erdman
Kyle Johnson
C.M. Ruiz
Shannon Perry
Opening/Closing Reception
Thursday, May 19th from 7-10pm
These four portrait focused artists have created works reflecting on the golden era of television each incorporating their own style, humor, personality and aesthetic.
IMAGE:
Derek Erdman
YOU OLD FISH EYED FOOL
latex on glass
24”x35”
http://www.derekerdman.com
http://kjphotos.com
http://www.cmrtyz.com
http://www.shannonperry.net
Love & Gore
Lindsey Apodaca and Mckenzie Porritt
Opening/closing reception
Friday, May 6th from 7-10pm
“In my limited experience with love, there is a thin line drawn
between fervor and aggression. A focused, ardent examination
of your love (whatever it may be) will undoubtedly lead you to gross particulars.”
‘Public Meltdown’ by Lindsey Apodaca
This Is The Crisis I Knew Had To Come (Brutally Taking Its Toll)
Susan Robb and Robert Yoder
Opening/Closing Reception Tuesday, April 26th from 7-10pm.
‘I just need to remind myself why I started this and what the real important things are. I realize with a strange mixture of dread and hope, I already know the future—I answer my own questions as I ask them. I stand still as everything else rushes past, and I am blissfully, painfully happy.’
Susan Robb and Robert Yoder, 2011
Robert Yoder - Untitled (Carl Again) 2011, oil on panel, brass, vinyl covered styrofoam, mylar, 24 x 36 x 6
Susan Robb - Untitled, 2011, HD video loop
