The Evergreen State College
Dana Schutz, whose vibrant, large-scale paintings are collected by many major museums, gives a lecture at the CFA School of Visual Arts Contemporary Perspectives Lecture series, which brings professional artists, including painters, sculptors, printmakers, graphic designers, and art educators and critics, to campus to share their experiences.
Hosted by College of Fine Arts School of Visual Arts on November 3, 2008.
Robert Yoder Works in painting and collage. “The details and elements of his paintings and collages that are “missing” are really right there in front of the viewer, which can either create a disorienting sense of disconnection or a strong connection with his works.”
Born in Danville, VA, Robert Yoder lives and works in Seattle. He received his B.F.A. from the James Madison University in Harrisonburg, VA and his M.F.A. from the University of Washington. He is represented by frosch&portmann in New York, and the Froelick Gallery in Portland. His work is in the collections of the Frye Art Museum, the Seattle, Portland and Tacoma Art Museums, and The Henry Art Gallery, as well as numerous city and private collections .
Katy Stone paints on a variety of materials and layers the elements into sculptural assemblages and installations that blur the boundaries between drawing, painting, and sculpture, engaging viewers with their complex fluidity. “I create objects with visual magnetism and distinct material presence that reflect the generative power of nature…Their exuberance and beauty shadow a longing: the desire for things to last, a wish against decay…The layers of tension between transience and permanence, nature and artifice, substance and ethereality, growth and decay are pivotal in the work.”
Stone has exhibited at nationally and internationally at galleries in New York, Los Angeles, San Francisco, Seattle and Vienna, and at museums including The McNay, and the Boise Art Museum and alternative spaces including Suyama Space in Seattle. Her work has been featured in group exhibitions across the US including “Art+Space” at Project4 in Washington, DC, “Other Worlds,” at the Jacksonville Museum of Contemporary Art in Jacksonville, Florida; “Earthly Delights,” at Mass Art in Boston; and internationally at The Chengdou International Biennale in Chengdou, South Korea. She has been reviewed in many publications including Artweek, New Art Examiner, Sculpture Magazine and Art in America. Her commissioned public artworks include projects at Conoco Phillips in Houston, King County Correctional Facility in Seattle, Ross School of Business at the University of Michigan, The Ascent in Cincinnati, designed by Daniel Libeskind, and at Twin Parks, in Taichung, Taiwan, among others. In 2011, she will complete her first commission for the GSA’s Art in Architecture Program, at a Federal Courthouse in Jackson, MS, designed by H3 Hardy Collaboration Architecture. Originally from Iowa, Stone received her MFA in Painting from the University of Washington in 1994.
Most painters are, abstractly speaking, sculptors of paint, building images through the careful application of layered pigments. But Livingston pushes this idea to an extreme in her construction of three-dimensional forms. The result is a body of work that might prod paint off the palette, but nevertheless keeps it as a medium very much in the limelight.-Suzanne Beal
“Letting accident and discovery meet invention and experimentation, my goal is to make works that surprise me and pull me into new territory as I investigate the properties of paint pushed into three dimensions.”
Margie received an MFA in Painting from the University of Washington. Recent solo exhibitions include Luis De Jesus, Los Angeles, Greg Kucera Gallery, Seattle; LACE, Los Angeles; Richard Levy Gallery, Albuquerque, NM; and The Archer Gallery, Clark College, Vancouver, WA. She has won multiple awards including the Arts Innovator Award and the Neddy Artist Fellowship for Painting in 2010 and Betty Bowen in 2006. She is a member of SOIL Artist Cooperative and is represented by Greg Kucera Gallery. Her work is in the collections of the Seattle Art Museum, The Henry Art Gallery and the Tacoma Art Museum.
Female heroism is undersung, but Ellen Lesperance is determined to sing it—not only so it’s not forgotten, but with the hope that it might be catching. Go to her web site, and you immediately hear the chants of the Women’s Peace Camp at the nuclear testing site Greenham Common.
Look at her paintings, outside the elevators at Seattle Art Museum, and you see they’re dot patterns in a grid on brownish paper: patterns for sweaters that, when worn—and however soft—might transform the individual wearer. Lesperance, originally from a hippieish family in Seattle’s U District and now living in the latter-day utopic city of Portland, is both wedded to and critical of collective idealism. She knows how it can hollow out over time, and how dogma or compromise can take over. But she plainly still believes in the sheer power of individual action. How to make it happen? That’s the spur of her work.
The tone of inspiration has become pretty rare in art. It’s fairly rare in the culture at large. Radical acts may remain, but the rousing spirit of radicalism is hard to find. Lesperance’s art actually includes everything from the archival photos she starts with to the titles she writes to the pattern paintings that hang on the wall to thesweaters she wants to be worn. One of her own inspirations was visiting the Asylum for Radical Feminism in Santa Fe, which she found harrowing: The feminists were very few in number, and essentially impoverished. But they had stories to tell; that’s where she learned of Greenham Common.-Jen Graves, The Stranger
“I like the idea that, for example, through the recreation of a Greenham sweater, a new ‘wearer’ might be beckoned. I also have a particular interest in assigning valor to young women from the Pacific Northwest like Rachel Corrie and Beth Horehound O’Brien, women who have sacrificed their lives fighting the good fight.”
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