By Amanda Manitach
Tuesday, May 7th
Some intimate watercolor drawings on paper. Scenes of seduction, lustmord, odalisques, femmes fatales, fatal men and deadly mothers, monsters and devils on horseback.
Eugenie (from La Philosophie dans le boudoir)
Graphite and watercolor on paper
11 x 14 inches
By Erin Frost
Thursday, April 18th
Erin Frost’s recent multimedia work, steeped in eroticism, ritual, and performance, culminates in RE/SEMBLANCE, a one night event featuring new video and accompanying polaroids. These transformative vignettes use self-portraits as a point of origin to further her intimate exploration of compulsion, desire, and reinvention.
APRIL Fest and Vignettes unite over a group exhibition inspired by the poetry and words of Heather Christle from The Trees The Trees.
8pm Reading by Heather Christle
Featuring work by:
Maggie Carson Romano
By J.D. Banke
Friday, March 1st
‘He is masterful at representing a slacker attitude within his effortlessly calculated compositions.’ - Robert Yoder
Acrylic on Wood
An Immodest Show by Kelly O
Vignettes is pleased to present a special Valentines exhibition featuring the photography of Kelly O
Thursday, February 14th
Sex is fun. Sex is good. Sex is everything.
‘She Showed Me Hers’
Las Vegas, Nevada
Vignettes will be taking the month of January to produce ONN/OF “a light festival” 2013. In collaboration with artist Susan Robb, they will conceive a weekend full of illumination during the most depressing days of the year.
$10 all day (21+)
Sunday, January 27th
Free admission until 7pm (All Ages)
$8 after 7pm (21+)
Tivon Rice, Nick Bartoletti, Nat Evans & John Teske, MKNZ & Ross Laing, Graham Downing, Erin Elyse Burns, Baso Fibonacci, Britta Johnson, JD Banke, Taylor Pinton, Max Kraushaar, Izzie Klingels, Julie Alpert, Lindsey Apodaca, Nicholas Nyland, Nko, Anthony Sonnenberg, Eric Aguilar, Klara Glosova, Erin Frost, DK Pan, Xhurch, OneSevenNine,
Laura Cassidy & Ria Leigh, Kate Ryan, Izzie Klingels, Plankton Wat, Airport, Ononos, Midday Veil, Lori Goldston & Jessika Kenney, Queen Shmooquan, PDL, Sgt. Rigsby and His Amazing Silhouettes
By Anthony Sonnenberg
Wednesday, December 12th
Things that are not what they appear to be fascinate me.
Having been born and raised in a tiny Texas town, where secrets were impossible to keep and gossip was the main form of social currency, I learned from a young age to always look beneath the surface and be suspicious of anything that seems too good to be true. I realized early on that the truth existed neither in the fictions that one sees on the surface nor in the facts that lurk below, but rather in the constantly ongoing negotiation between the two.
My work is a continuation of this negotiation. The work is highly variable in regards to media, scale and materials but it is united by a rigorous multi-layer conceptual construction wherein the main narratives are woven into and placed behind superficial semi-transparent ones. Therefore, while on the surface the works may appear to be solely concerned with frivolities of decadence and technical virtuosity, at their core they are driven by the entire unknowable and tragic nature of the human experience. This driving force is not one that viewers are eager to engage with and so the beauty of the surface is needed to bridge the gap between what I would like to communicate to the viewer and what the viewer is willing to receive.
The works selected for this exhibition are, as the title suggest, centered on the still life genre. This decision was made mainly because still lives have been at the forefront of mind for most of my life. It was by studying the grand Dutch still life paintings of the 17th century that I first started to develop the afore mentioned formula for a multilayer conceptual framework. Their impeccably rendered surfaces scream opulence and indulgence, while the suspicion of the physical world and the specter of death loom just below the surface. I have been exploring notions related to still lives by pushing them into the realm of the abstract whilst playing upon the tropes and visual language of the genre. Although commonly dismissed as hackneyed or banal, I aim to prove that the still life genre has much to offer contemporary art
Sunday, November 18th
As long as art has been created, peoples names have been used without permission.
I was honored to discover my name on this print amongst a brilliant flood of women who make this city’s art world what it is today.
Personally I love a good joke and I find this piece to be both thoughtful and tongue-in-cheek.
I would like to share ‘Mamelles’ which was removed from a Cornish Alumni Gallery exhibition curated by Sharon Arnold in response to Elles.
We all come from women, we have all been nourished by a breast and we all respond differently to the world around us.
By Isaac Quigley
Thursday, November 15th
My initial query was into outer space. But, I soon realized that I knew nothing about outer space. I have never studied astronomy. Most resources in my studio concerned physical geography and climate. I found some information and diagrams depicting the reflection of solar heat off of the Earth’s surface into the Earth’s atmosphere. That heat is then re-radiated by greenhouse gases in all directions including back towards the surface of the Earth, heating our environment warmer than it would be without the presence of the gases.
This is known as the Greenhouse Effect. It keeps us from freezing to death.
My attempt to investigate Outer Space became an investigation of Inner Space, the place where greenhouse gases keep all of us alive and safe. So, the series of work became a rather broad examination of staying warm physically, mentally, and emotionally.
Atmospheric Heat with Border
28” x 22”
acrylic, sharpie, paper, glitter, pins, and lace on canvas.
by Doug Newman
Friday, September 21st
Slide Show begins at 8pm
I first met Doug Newman in my apartment at one of the twenty-four Vignettes exhibitions that took place in 2011. He would attend when he wasn’t working and usually purchase a piece for him and his partners apartment two floors down.
One day I received a series of fliers under my door inviting me to his exhibition at ReBar titled ‘Like Sands through the hourglass, so are the days of our lives’ it fell on a day that I had no desire to leave the apartment, but the short walk was inexcusable and I knew I would enjoy what I found there. Graham and I walked down and quickly found ourselves socializing, drinking a beer and purchasing two framed works for our growing collection.
Shortly after we decided on our purchases we were led to the back room in which everyone found themselves a seat for the second part of the show. Doug sat at the back with a large stack of slide spools and a projector. The music began and immediately we were drawn into his world. Each series of photographs documented years, months, days that could all exist as one long dream. You soon learned that this individual was capable of photographing humans at their most vulnerable state and at the same moment not exploiting them at all.
Doug’s images remind me of all of my favorite photographers I’ve studied in history.
You know something is happening when he has his camera out and you want to be a part of it.
by Hanita Schwartz
featuring a series of iphone documented vignettes
Thursday, August 30th
The implications of waiting are not predictable.
They are a result of many hours spent in the car, on playgrounds, in bars, at the doctor’s office, waiting for takeout, etc.
This work is a result of me waiting.
the early work of Leigh Riibe
It’s rare that a retrospective come before an artist show any of their work publicly. As a teenager, I produced a lot of art including collage, paintings, and photographs that I never allowed myself to show in a gallery setting mostly out of fear. Now that I am 30 years old, I have decided to have my first solo show be a collection of my photography and mixtape collage spanning my teenage years as a way to validate my history as an artist and honor what I’ve lived through.
I attended Catholic school from kindergarten through 8th grade, which I found to be more and more oppressive the older I got. There was just no tolerance for a young girl’s artistic expression or that of her budding sexuality, let alone opinions! By the seventh grade, I found myself getting in trouble for everything from dying my hair to doodling on my stomach to writing a report speaking out against Don’t Ask Don’t Tell (a report which was literally banned from school).
I was heavily influenced by the music I immersed myself in. The Riot Girl Movement was born just a few miles from the little Seattle suburb I was trapped in. My older sister was attending college at Evergreen in Olympia watching this history unfold. She would mail me records from Kill Rock Stars, Sub Pop, K Records, Chainsaw, and the like and I would listen to them on repeat until I could recite every word. I remember the first time I heard Bikini Kill; it was 1995 and I was 13 years old. The depths of emotion I heard in Kathleen Hanna’s voice was something I could identify with. I felt like I could breathe again; my rage was valid. I used this music as an escape from a place I found to be dull, lifeless, and without promise and as the ammunition that would propel me into a world better suited for me. I wanted so badly to scream, but I hadn’t found my voice, so I screamed through images.
The photos in this collection were taken before I had access to digital photography. Some were shot with a little red Kodak point-and-shoot, and some with a manual camera: a Minolta XD11 which was manufactured for the first time in ’77. All of the images were directed by me and most were shot by me (with the exception of a few portraits of myself) while I was a teenager. Each is titled after a song I would consider to be a part of the Soundtrack of My Life.
The accompanying 30 page zine includes photos as well as mixtape collage art and hand painted stories of my teenage years. The accompanying 13 song mixtape is a musical time capsule and inspiration for the pieces. I call this collection “a mixtape archive and a photo herstory of one girl in America”.
Blessing Mix Up (black and white print/1996)
Good Sister/Bad Sister (black and white print/1996)
by Lindsey Apodaca
Thursday, July 12th
alter, broken, sculpture, used, religiously, dark, nostalgic, memory, metaphor, icon, longing, too much therapy, issues, sex (lack of), masturbation, treasure, collection, sad, surface level (but people think it’s deep), love, depression, infinity, time, drugs, crystals (deep, but people think it’s surface level), flannel, lunch in middle school.
Broken Heart-Shaped Sunglasses (2012)
FOCUS AND ASK AGAIN (ballpoint pen on card stock/2012)
Everybody must get stoned
At The Egan House
1500 Lakeview Boulevard East
“Sun Worshipers”, curated by Sierra Stinson, is a 100-page print compendium of works by 26 artists who represent the city’s unique circumspection and vitality.
Photographer Ross Laing will be releasing the book “HELLAWASTED”—a photologue of moments from the past year, including his various travels.
Both books and associated artwork will be available for purchase.
Musical performances by Hair and Space Museum as well as others TBA
By Klara Glosova
Thursday, June 14th
This show is poetry
but then again I’m like America -
full of Grand Canyons and contradictions.
Jako slon v porcelánu (Like a bull in a china shop)
Porcelain, green shrubbery, 2012