Seattle Presents Gallery: No Hiding Place Down Here

No Hiding Place Down Here
August 20 – October 12, 2017
Seattle Presents Gallery

Opening reception Thursday, September 7, 5:30-7:30 p.m.

 

No Hiding Place Down Here is a multi-media installation by Cuban-born artist Tatiana Garmendia. Partnering with documentary photographer Scott Story, who recorded unsanctioned homeless shelters in and around Seattle, Garmendia created a sculptural tent built entirely out of screen scrim which dominates a temporary encampment situated inside the Seattle Presents Gallery. Because scrim material appears opaque when unlit from behind, the structure promises an illusion of privacy that visually dematerializes with the with the projection of documentary images through it. A soundscape intermingles Garmendia’s recollections of her experience with homelessness with street sounds and snippets of music. The dialogue pierces between layers of the tent and its surroundings – between its solid appearance and temporal disappearance, between private and public space, between personal testimony and environmental input – and parallels the complexity of the interactions between people experiencing homelessness and the city. 

No Hiding Place Down Here is part of the Seattle Office of Arts & Culture’s (ARTS) Dialogues in Art: Exhibitions on Homelessness, a four-exhibition series in which artists and artist teams develop artistic projects on the topic of homelessness. Each two-month exhibition in the City of Seattle’s Seattle Presents Gallery will demonstrate artists thinking expansively about what shelter and stability mean to diverse populations, and examining the systemic causes of homelessness.  

Tatiana Garmendia was born in Havana, Cuba, after the Bay of Pigs incident, and remembers a period of homelessness when she left her country as a refugee. A child of revolution and failed promises, she is moved by archetypal narratives embedded in cultural legacies and private fantasies. Her interdisciplinary work is figurative, meditating on national and private histories, on the stories we tell others and whisper to ourselves. Known for creating narratives that fall between fact and fable, the artist slips in and out of identities, recounting her dedication to them in sculptural interventions, then lets them go. She has exhibited her work throughout the United States and abroad. She has exhibited at the Bronx Museum of the Arts, Art in General, and Stux Gallery in New York. Among the European galleries where Garmendia has shown are the Milan Art Center in Italy, Castfield Gallery in England, and the Galeria Riesa Efau in Germany. Her works are in public collections in New York, Miami, Illinois, California, Ohio, and the Dominican Republic.

Office of Arts & Culture’s Public Art Project Receives National Recognition

A public art exhibition from the Seattle Office of Arts & Culture (ARTS) received national recognition from Americans for the Arts Public Art Network’s 2017 Year in Review. Year in Review highlights the most successful, innovative, and exciting public art projects and programs in the United States. The award-winning project was Paradise Under Reconstruction in the Aesthetic of Funk: A Quantum Leap, Starting From The Top…!!! an immersive installation by artist Xenobia Bailey.

This year the Public Art Network received 325 entries from public art programs and artists. A total of 49 projects were selected for recognition. ARTS has received recognition for previous projects in past years. The art works selected for the Public Art Network Year in Review can be seen here. The Year in Review selections were presented at the national conference in San Francisco, CA in June. In addition local artist Buster Simpson and Cath Brunner, Director of 4Culture’s Public Art program also received recognition from the Public Art Network.

“These selected works reflect the incredible diversity of public art projects, including temporary to permanent, sculpture to performance art,” said Robert L. Lynch, president and CEO of Americans for the Arts. “The innovation of work demonstrated in the Public Art Network Year in Review shows the breadth of talent from artists around the country. I congratulate them and their commissioning groups for these community treasures.”

Paradise Under Reconstruction in the Aesthetic of Funk: A Quantum Leap, Starting From The Top…!!! was an installation in the Seattle Presents Gallery. It was part of Dialogues in Art: Exhibitions on Racial Injustice, a year-long series exploring artists’ and curators’ interpretations of racial injustice, both systemic and institutional, impacting Black-identifying people throughout America. In her installation Bailey created an immersive installation featuring African-American homemakers and caregivers that honored and celebrated their innovative, soulful lifestyle. The installation referenced connections to the African-American community and Seattle’s history. The life-sized figures play an important role in cultivating and rebuilding homes and communities, while providing nurturing and guidance for African-American youth. According to Bailey the installation was created as “an exploration for a future of designing and engineering a humane material culture and cyber cottage industry that will address community needs relating to wellness and social and economic development.”

The Public Art Network is a program of Americans for the Arts, designed to provide services to the diverse field of public art and to develop strategies and tools to improve communities through public art. The network’s constituents are public art professionals, visual artists, design professionals, and communities and organizations planning public art projects and programs.

Americans for the Arts is the leading nonprofit organization for advancing the arts in America. With offices in Washington, DC and New York City, it has a record of more than 40 years of service. Americans for the Arts is dedicated to representing and serving local communities and creating opportunities for every American to participate in, and appreciate all forms of the Arts. Additional information is available at www.AmericansForTheArts.org.

Artist Xenobia Bailey at Seattle Presents Gallery

Seattle Office of Arts & Culture presents Paradise Under Reconstruction in the Aesthetic of Funk: A Quantum Leap, Starting From The Top…!!!, a new installation by Xenobia Bailey

Dialogues in Art: Exhibitions on Racial Injustice
December 14, 2016 – February 10, 2017 at Seattle Presents Gallery in the Seattle Municipal Tower
Open Wednesdays and Thursdays from 12 – 2 p.m. and by appointment

 

SEATTLE (Dec. 14, 2016) – The Seattle Presents Gallery will showcase a new installation by Xenobia Bailey this winter. Paradise Under Reconstruction in the Aesthetic of Funk: A Quantum Leap, Starting From The Top…!!! is the last installation in Dialogues in Art: Exhibitions on Racial Injustice, a year-long series exploring artists’ and curators’ interpretations of racial injustice, both systemic and institutional, impacting Black-identifying people throughout America.

Bailey has created an immersive installation featuring African-American homemakers and caregivers that honors and celebrates their innovative, soulful lifestyle.  The installation references connections to the African-American community and Seattle’s history. These life-sized figures play an important role in cultivating and rebuilding homes and communities, while providing nurturing and guidance for African-American youth. According to Bailey the installation is created as “an exploration for a future of designing and engineering a humane material culture and cyber cottage industry that will address community needs relating to wellness and social and economic development.”

Born and raised in Seattle, Washington, Bailey studied ethnomusicology at the University of Washington, and received her BA in industrial design from Pratt Institute in Brooklyn, NY. Her artworks and installations are often connected to her ongoing project Paradise Under Reconstruction in the Aesthetic of Funk. Her designs draw influences from Africa, China, and Native American and Eastern philosophies, with undertones of funk visual aesthetic, the 1960’s, and her mother and other African American rural and urban homemakers. Today, the New York City-based Bailey is best known for eclectic crocheted hats, large-scale mandalas, and tents consisting of colorful concentric circles and repeating patterns.

Bailey has been artist-in-residence at Pittsburgh’s Society for Contemporary Craft, the Studio Museum in Harlem, and the Marie Walsh Sharpe Art Foundation in New York City. She has exhibited at the Jersey City Museum, the New Museum of Contemporary Art in New York City, the Studio Museum of Harlem, and the High Museum of Art in Atlanta. Bailey recently completed a large-scale mosaic, Funkational Vibrations, for the 34th St-Hudson Yards subway station in New York, for the MTA Arts & Design program. Her work is in the permanent collections at Harlem’s Schomberg Center for Research in Black Culture, the Allentown Art Museum in Pennsylvania, and the Museum of Art and Design in New York City.

Seattle Presents Gallery will be open to the public on Wednesdays and Thursdays from 12 – 2 p.m. and by appointment at 206.684-0182 or email arts.culture@seattle.gov.

The Office of Arts & Culture, in partnership with the Office for Civil Rights, is committed to providing equitable support for arts and cultural organizations. The Seattle Presents Gallery features both emerging and established artists and curators and encourages public engagement in arts and cultural experiences that explore ideas surrounding equity and social justice.

Installation photo courtesy the Office of Arts & Culture. 

Past participating artists in the Dialogues in Art: Exhibitions on Racial Injustice series:

Jasmine Iona Brown was born in Indianapolis, Indiana and traveled to five continents before settling in West Seattle. She earned her B.F.A. at Howard University and her M.A. from UCLA. Her graduate study in ancient history and cultures led her to incorporate antique artistic mediums, such as egg tempera, into her artwork. She is fascinated with the human face and the tragic narratives of marginalized people. Brown is the recipient of a 2011 Puffin Foundation Grant to paint a series of Byzantine style egg-tempera icons memorializing a few of the many children of color that are lost to violence.

Barry Johnson is a Washington-based visual artist and filmmaker from Kansas who has had a range of works in visual art and film shown across the U.S. and the world. Waking up at 2 am every morning to paint in his studio, Johnson works tirelessly to create pieces that challenge views on gender, race, sex, and sound. His work is a result of events taking place around the world and in everyday life.

Mark Mitchell is an artist who speaks to social issues through textiles. His contributions to Seattle’s cultural community bridge a number of disciplines, including art, music, theater, fashion, activism, and education. He is the subject of the award-winning documentary film Burial, and presented a performance and exhibition of the same title at the Frye Art Museum in 2013.

Shaun Scott is a Seattle-based independent filmmaker whose first feature film was “Seat of Empire” (2009), a 3-hour long documentary tour of the city of Seattle using archival footage. In 2010 he directed and wrote “Waste of Time”, a historical mash-up of original footage, archival images, and contemporary music meant as a portrait of consumer capitalism.

Sam Vernon earned her MFA in Painting/Printmaking from Yale University in 2015 and her BFA from The Cooper Union for the Advancement of Science and Art in 2009.  Her installations combine photocopied drawings, photographs, paintings and sculptural components in an exploration of personal narrative and identity. She uses installation and performance to honor the past while revising historical memory. Vernon has most recently exhibited with Brooklyn Museum, Queens Museum, Fowler Museum at UCLA, Seattle Art Museum, Ewing Gallery of Art & Architecture at the University of Tennessee, Knoxville, the Emery Community Arts Center at the University of Maine, Farmington, MoCADA, or the Museum of Contemporary African Diasporan Arts in Brooklyn.

Seattle Office of Arts & Culture presents Rage Wave by Sam Vernon

The final exhibition in the Dialogues in Art: Exhibitions on Racial Injustice series
September 12 – November 11, 2016 at Seattle Presents Gallery in the Seattle Municipal Tower
Open Thursdays from 12 – 2 p.m.

SEATTLE (Sept. 27, 2016) —This fall, the Seattle Presents Gallery will feature a multimedia installation by artist Sam Vernon. The installation Rage Wave is a partner program with Interstitial Gallery where Vernon has created an accompanying multimedia, site specific installation. At Interstitial and Seattle Presents Vernon uses the gallery space to explore architecture, body, labor, domestication, and the boundaries between public and private.

Rage Wave is part of the Seattle Presents Gallery series Dialogues in Art: Exhibitions on Racial Injustice, a yearlong exploration of artists’ and curators’ interpretations of racial injustice and systemic racism impacting Black and African-American people throughout America.

Vernon plastered the walls of the Seattle Presents Gallery with a combination of black and white photocopies and color saturated 5×7 photographs. The photocopies are of the artist’s original drawings, video projections, found materials, and varied artist contributions. The copies cover the walls from floor to ceiling and spill out onto the floor of the gallery, giving the impression of a creative artist furiously at work.

Vernon earned her MFA in Painting/Printmaking from Yale University in 2015 and her BFA from The Cooper Union for the Advancement of Science and Art in 2009. Her installations combine photocopied drawings, photographs, paintings and sculptural components in an exploration of personal narrative and identity. She uses installation and performance to honor the past while revising historical memory. Vernon has most recently exhibited with Brooklyn Museum, Queens Museum, Fowler Museum at UCLA, Seattle Art Museum, Ewing Gallery of Art & Architecture at the University of Tennessee, Knoxville, the Emery Community Arts Center at the University of Maine, Farmington, MoCADA, or the Museum of Contemporary African Diasporan Arts in Brooklyn.

The Office of Arts & Culture, in partnership with the Office for Civil Rights, is committed to addressing, and increasing community-wide awareness about, existing inequities so that we, along with our cultural and community partners, can most effectively work together toward a vision of racial equity. Seattle Presents Gallery features a variety of immersive installations, curated exhibitions pulled from the city’s Portable Works Collection, resident artists, and original artworks. The gallery presents both emerging and established artists and curators, and provides all who pass by the opportunity to engage in diverse arts and cultural experiences. 

Participating artists in the Dialogues in Art: Exhibitions on Racial Injustice series  

Xenobia Bailey studied ethnomusicology at the University of Washington, and received her BA in industrial design from Pratt Institute in Brooklyn, NY. Her pieces are often connected to her ongoing project “Paradise Under Reconstruction in the Aesthetic of Funk”. Her designs draw influences from Africa, China, and Native American and Eastern philosophies, with undertones of the 1970’s funk aesthetic. Bailey has been artist-in-residence at the Studio Museum in Harlem, the Society for Contemporary Craft in Pittsburgh, and the Marie Walsh Sharpe Art Foundation in New York City. Bailey co-organized a Black Cultural Workshop with the African-American inmates at McNeil Island Federal Penitentiary and Monroe State Reformatory in the 1970’s. Her work has been exhibited at the Studio Museum in Harlem, the Jersey City Museum, the New Museum of Contemporary Art, and the High Museum of Art in Atlanta and NAAM. Her work is in the permanent collections at Harlem’s Schomberg Center for Research in Black Culture, the Allentown Art Museum, the Museum of Contemporary Arts, and the Museum of Arts and Design. 

Jasmine Iona Brown was born in Indianapolis, Indiana and traveled to five continents before settling in West Seattle. She earned her B.F.A. at Howard University and her M.A. from UCLA. Her graduate study in ancient history and cultures led her to incorporate antique artistic mediums, such as egg tempera, into her artwork. She is fascinated with the human face and the tragic narratives of marginalized people. Brown is the recipient of a 2011 Puffin Foundation Grant to paint a series of Byzantine style egg-tempera icons memorializing a few of the many children of color that are lost to violence. 

Barry Johnson is a Washington-based visual artist and filmmaker from Kansas who’s had a range of works in visual art and film shown across the U.S. and the world. Waking up at 2 am every morning to paint in his studio, Johnson works tirelessly to create pieces that challenge views on gender, race, sex, and sound. His work is a result of events taking place around the world and in everyday life.

Mark Mitchell is an artist who speaks to social issues through textiles. His contributions to Seattle’s cultural community bridge a number of disciplines, including art, music, theater, fashion, activism, and education. He is the subject of the award-winning documentary film Burial, and presented a performance and exhibition of the same title at the Frye Art Museum in 2013.

Shaun Scott is a Seattle-based independent filmmaker whose first feature film was “Seat of Empire” (2009), a 3-hour long documentary tour of the city of Seattle using archival footage. In 2010 he directed and wrote “Waste of Time”, a historical mash-up of original footage, archival images, and contemporary music meant as a portrait of consumer capitalism.

Interstitial functions as space between the studio and the commercial gallery for artists to explore ideas related to the creation and consumption of new media. Interstitial (formerly Interstitial Theatre) was founded in September 2010. At that time Interstitial Theatre’s goal was to provide space and time to contemporary artists to exhibit new media art in Seattle. In January 2015 Interstitial opened its first dedicate space in the Georgetown neighborhood. Interstitial is powered by Shunpike, a 501(c)3 nonprofit organization.

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The Faded Signs Podcast by Shaun Scott, part of the Dialogues in Art: Exhibitions on Racial Injustice series

July 18 – September 10, 2016 at Seattle Presents Gallery in the Seattle Municipal Tower

This summer, the Seattle Presents Gallery will be home to filmmaker and writer Shaun Scott’s The Faded Signs Podcast. In two shows featuring conversations with brilliant luminaries and digressions into forgotten detours of American history, The Faded Signs Podcast will ponder what the present will look like to future generations who can only see what we left behind (and not our best intentions).

The Faded Signs Podcast is part of the Seattle Presents Gallery series Dialogues in Art: Exhibitions on Racial Injustice, a yearlong exploration of artists’ and curators’ interpretations of racial injustice and systemic racism impacting Black and African-American people throughout America.

Scott writes the column “Faded Signs” for City Arts Magazine. In bi-weekly dispatches, he covers film, music, professional sports, and the Seattle arts scene for a critical portrait that calls attention to dynamics of race, class, and gender in the popular culture of 21st century capitalism. The Faded Signs Podcast will shine the same light. Interviews, found audio from the vault of pop culture, and creative nonfiction will come together in a treat for the ears and the mind. The podcast will be available free on iTunes and SoundCloud, and on the Office of Arts & Cultural Affairs’ website.

Scott is a Seattle-based writer and filmmaker whose work has appeared in Jacobin Magazine, Seattle Weekly, and the film journal Senses of Cinema. He is the author of the e-book Something Better: Millennials and Late Capitalism at the Movies. His forthcoming book Millennials and the Moments That Made Us: A Cultural History of the U.S. from 1984-present is forthcoming in 2017.

The Office of Arts & Culture, in partnership with the Office for Civil Rights, is committed to addressing, and increasing community-wide awareness about, existing inequities so that we, along with our cultural and community partners, can most effectively work together toward a vision of racial equity. Seattle Presents Gallery features a variety of immersive installations, curated exhibitions pulled from the city’s Portable Works Collection, resident artists, and original artworks. The gallery presents both emerging and established artists and curators, and provides all who pass by the opportunity to engage in diverse arts and cultural experiences. 

Participating artists in the Dialogues in Art: Exhibitions on Racial Injustice series  

Xenobia Bailey studied ethnomusicology at the University of Washington, and received her BA in industrial design from Pratt Institute in Brooklyn, NY. Her pieces are often connected to her ongoing project “Paradise Under Reconstruction in the Aesthetic of Funk”. Her designs draw influences from Africa, China, and Native American and Eastern philosophies, with undertones of the 1970’s funk aesthetic. Bailey has been artist-in-residence at the Studio Museum in Harlem, the Society for Contemporary Craft in Pittsburgh, and the Marie Walsh Sharpe Art Foundation in New York City. Bailey co-organized a Black Cultural Workshop with the African-American inmates at McNeil Island Federal Penitentiary and Monroe State Reformatory in the 1970’s. Her work has been exhibited at the Studio Museum in Harlem, the Jersey City Museum, the New Museum of Contemporary Art, and the High Museum of Art in Atlanta and NAAM. Her work is in the permanent collections at Harlem’s Schomberg Center for Research in Black Culture, the Allentown Art Museum, the Museum of Contemporary Arts, and the Museum of Arts and Design. 

Jasmine Iona Brown was born in Indianapolis, Indiana and traveled to five continents before settling in West Seattle. She earned her B.F.A. at Howard University and her M.A. from UCLA. Her graduate study in ancient history and cultures led her to incorporate antique artistic mediums, such as egg tempera, into her artwork. She is fascinated with the human face and the tragic narratives of marginalized people. Brown is the recipient of a 2011 Puffin Foundation Grant to paint a series of Byzantine style egg-tempera icons memorializing a few of the many children of color that are lost to violence. 

Barry Johnson is a Washington-based visual artist and filmmaker from Kansas who’s had a range of works in visual art and film shown across the U.S. and the world. Waking up at 2 am every morning to paint in his studio, Johnson works tirelessly to create pieces that challenge views on gender, race, sex, and sound. His work is a result of events taking place around the world and in everyday life.

Mark Mitchell is an artist who speaks to social issues through textiles. His contributions to Seattle’s cultural community bridge a number of disciplines, including art, music, theater, fashion, activism, and education. He is the subject of the award-winning documentary film Burial, and presented a performance and exhibition of the same title at the Frye Art Museum in 2013.

Shaun Scott is a Seattle-based independent filmmaker whose first feature film was “Seat of Empire” (2009), a 3-hour long documentary tour of the city of Seattle using archival footage. In 2010 he directed and wrote “Waste of Time”, a historical mash-up of original footage, archival images, and contemporary music meant as a portrait of consumer capitalism.

Elizabeth Spavento is interested in identity politics (particularly as they relate to race and gender), the untapped potential of space, altered states of consciousness and unstructured time. Her practice seeks the fringe as a way to push back against hegemony, and her work tends to favor alternative spaces and community-driven practices. She has curated exhibitions for Disjecta Contemporary Art Center in Portland, OR and Open Source Gallery in New York, NY in addition to exhibiting her own work in Buffalo, NY. Spavento’s most recent project, ALL RISE, was a two year series of temporary public artworks punctuated by performance, video and music on a 90,000 sq. ft. gravel lot in downtown Seattle. She is the 2016 visiting curator for Interstitial, Seattle’s premiere exhibition space for artists working in new media. Elizabeth Spavento currently lives nowhere in particular and works everywhere she is.