I construct narratives, scenes, and stories which point to the tensions found between the individual and communities. I utilize autobiographical threads to inform larger universal fields of experience. Gestures of alienation and displacement are both the aesthetic and subject of much of my work. Often using landscapes and tableaus with day laborers or myself, I explore the way an image is inhabited, and the way that spaces, objects and people are translated into images. My work serves as an expressive and intimate point of contact between the broader realms of subjectivity and political contingency. Through my videos and photographs, I make images that feel at the same time familiar yet distant. I engage the viewer in questions concerning the ways in which the formation and experience of each work is situated—how they exist in and out of place.
Margot Quan Knight‘s photography and video work has been featured in over 70 international publications and exhibited around the world, including solo shows at GAS Art Gallery, (Turin, Italy), 911 Media Arts Center, (Seattle, W.A.), and California State University (Chico, CA) and group shows at the Centre Pompidou (Paris, France), Ar/ge Kunst Galleria Museo (Bolzano, Italy), and the Dotmov Festival (Sapporo, Japan). Margot received a Master in Fine Art degree from the Milton Avery Graduate School of the Arts at Bard College in 2009.
Steve Davis is a documentary portrait and landscape photographer based in the Pacific Northwest. His work has appeared in American Photo, Harper’s, the New York Times Magazine, Russian Esquire, and is in many collections, including the Houston Museum of Fine Arts, the Seattle Art Museum, the Santa Barbara Museum of Art, and the George Eastman House. He is a former 1st place recipient of the Santa Fe CENTER Project Competition, and two time winner of Washington Arts Commission/Artist Trust Fellowships. Davis is the Coordinator of Photography, media curator and adjunct faculty member of The Evergreen State College. He is represented by the James Harris Gallery, Seattle.
Lisa Blas is a visual artist of Guamanian / Italian-American descent working in painting, collage, photography, and installation. Based in New York, she draws from art history, nature, and current events to reflect on specific cultural and political legacies, past and present. She has exhibited nationally and internationally, while living and working in Los Angeles, Washington, DC, Lille, France and Brussels, Belgium during the years of 2001 – 2012. Concurrent with exhibiting her work, Blas has taught across disciplines in Fine Art and Art History at the undergraduate and graduate level, with a special focus on the museum and historical archives. Recent solo exhibitions are LISA BLAS / Still Lifes, Sometimes Repeated at Rossicontemporary, Brussels, LISA BLAS / As if pruning a tree, after Matisse at Musée Matisse, Cateau-Cambrésis, France, and group exhibitions A Particular Kind of Solitude: An exhibition inspired by the writings of Robert Walser at the Elizabeth Street Garden, New York, and Sensations That Announce The Future at Evergreen College Gallery, Olympia, Washington. She is currently working on a project for the forthcoming issue of Public Art Dialogue: The Dilemma of Public Art’s Permanence, to be published in winter 2016. B.A. 1996 University of Southern California / Political Science M.F.A. 2001 Claremont Graduate University / Painting
Amjad Faur currently teaches photography and visual arts at The Evergreen State College, in Olympia, Washington. He came to Evergreen from the University of Arkansas, where he primarily taught art history and critical theory. His current research involves the overlapping visual languages of colonial Europe in the Middle East and the tropes/signifiers scattered throughout Western art history that harmonize with these expansionist tendencies.
Small shifts in what is familiar amplify human presence and speak to the intricacies of social relations in MK Guth’s work. Her videos depart from everyday scenarios into the site of fiction as an entry point to more complicated issues of identity and self and her sculptural installations often act as visual containers for audience interaction.
M.K. Guth is a visual artist working in video, photography, sculpture, performance, and interactive based exchange projects. In 2012, Marylhurst University released the first Monograph on Guth’s work. The NY Times, Flash Art, ArtForum on line 500 words, Art News, Art in America, and Sculpture magazine are just a few of the periodicals where Guth’s work has been discussed. She is a recipient of a Bonnie Bronson Award, a Betty Bowen Special Recognition Award through the Seattle Art Museum and an Award of Merit from the Bellevue Art Museum.
She has exhibited with numerous galleries and institutions including, The Whitney Museum of American Art, NYC, Boise Art Museum, The Melbourne International Arts Festival, Australia, Nottdance Festival, Nottingham, England, Swiss Institute, NYC, Gallery-Pfeister, Copenhagen, Franklin Parrasch Gallery NYC, Betty Moody Houston TX, White Columns, NYC, The Art Production Fund (NYC / Las Vegas), Yerba Buena, in San Francisco and the Henry Art Museum. Guth is a member and the originator of RED SHOE DELIVERY SERVICE, a collaborative interactive video/performance project. (with Molly Dilworth and Cris Moss) www.redshoedeliveryservice.com MK Guth is represented by the Elizabeth Leach Gallery in Portland Oregon and is an Associate Professor at the Pacific Northwest College of Art.
For the past 28 years, Deidi von Schaewen has traveled in India, immersing herself in its people and culture, and exploring themes through her photography and video. For her series on the Sacred Trees, she traveled the length and breadth of India. The exhibition in Evergreen Gallery is an opportunity to view these lush, complex images in large-scale, to be surrounded by their energy and power.Born in Berlin, von Schaewen studied painting at the Berlin Academy of Arts before deciding to concentrate on photography and film. Currently she is based in Paris. She has exhibited extensively throughout Europe, India, North Africa, and the US. Twenty books of her photographs have been published, with one about Sacred Trees of India due out next year. A continuing obsession of hers is to capture on film the ephemeral, aspects of our urban and rural civilizations that are temporary, fleeting, or vanishing with time. For the Sacred Trees of India, it is more a revelation of devotion and accumulation over time, the ability of trees to survive, rejuvenate, transform – in India, trees are not only sacred to the gods, they can actually BE gods.
Evergreen Gallery is extremely pleased to announce the fall exhibition, Sacred Trees of India: Photographs by Deidi von Schaewen. The exhibition in Evergreen Gallery is an opportunity to view these lush, complex images in large-scale, to be surrounded by their energy and power.
Von Schaewen was director of photography for a feature film by Robert Cordier in 1972 – a time when it was unusual for a woman to be in that position. She continued as director of photography on other films, and in 1978 she began writing and directing her own films. One of her films, Sravanabelgola, will be showing in Evergreen Gallery as part of the exhibition.
Opening Wed. Oct. 8, 5-7pm Exhibition continues through Dec. 3
Dennis DeHart’s (b.1970) fine art photographs and interdisciplinary projects are compelled by the connections, conflicts, and intersections of the natural and cultural worlds. His work has been exhibited in a diversity of venues including group and solo shows regionally, nationally and internationally. Dennis has received grants from the New York State Council on the Arts and the Arizona Commission on the Arts. His photographs are included in private and public collections including the Getty Archives in Los Angels, The City of Phoenix, and the Museum of Fine Arts, Houston.
Dennis received his MFA in photography from the University of New Mexico. He previously served as an Assistant Professor of Photography with the State University of New York College at Buffalo and is currently an Assistant Professor of Photography with Washington State University in Pullman, Washington. Most recently (summer/fall 2013) Dennis exhibited in a solo show with China’s Pingyao International Photography Festival, in addition to participating in Backlight Photography Festival/Photographic Centre Nykyaika Residency in Tampere, Finland.
Ashley Hunt is an artist and activist who uses video, photography, mapping and writing to engage social movements, modes of learning and public discourse. Among his interests are structures that allow people to accumulate power and those which keep others from getting power, while learning from the ways people come to know, respond to and conceive of themselves within these structures. Rather than seeing art and activism as two exclusive spheres of practice, he approaches them as complimentary, drawing upon the ideas of social movements and cultural theory alike — the theorizing and practices of each informing the other. This has included investigations into the prison, the demise of welfare state institutions, war and disaster capitalism, documentary representations and political activism. His recent performance, Notes on the Emptying of a City, explores the first-person politics of being in New Orleans with a camera in the months following Hurricane Katrina, when he engaged with community activists to research the city’s refusal to evacuate the Orleans Parish Prison. Other projects include a number of works included under the umbrella of The Corrections Documentary Project (www.correctionsproject.com), which centers around the contemporary growth of prisons and their centrality to today’s economic restructuring and the politics of race; 9 Scripts from a Nation at War, a collaboration with Andrea Geyer, Sharon Hayes, Katya Sanderand David Thorne, and an ongoing collaboration wtih Taisha Paggett, On Movement, Thought and Politics.
Hunt’s work has been screened and exhibited at the P.S.1/MOMA, Project Row Houses, Documenta 12,the Gallery at REDCAT, Nottingham Contemporary, the 3rd Bucharest Bienial, the Tate Modern, the Museum of Modern Art, the Contemporary Museum in Baltimore, the Martin Luther King Jr. Center in Atlanta, as well as numerous grassroots and community based venues throughout the U.S.
Writings and publication include, Printed Project 12 (’09), the Journal of Aesthetics and Protest (‘08, ‘07& ‘05), On Knowledge Production: A Critical Reader (BAK ’08), Art Journal (‘07), Chto Delat (‘07), Rethinking Marxism (‘06), and at Artwurl.org (‘03–‘05), and Sandbox Magazine (‘02) .
Amjad Faur received his BFA in Painting from the University of Arkansas in 2003, and his MFA in Photography from the University of Oregon in 2005. He has been working for over a decade with large format photography and it continues to be the means by which he conceptualizes, associates and produces his work. The visual content of Faur’s images is mostly informed by the transitional and elastic spaces found in the ethnic, political and religious labyrinth of the Middle East; the images are contingent on having been shot “in camera” so as to reinforce the visual abstractions contained within them. He is represented by PDX Contemporary Art, in Portland Oregon. Amjad joined the Evergreen faculty in 2012.
