Painting at The Alice

Grace Rosario Perkins has an painting exhibit up currently at The Alice Gallery.
Every time I see a painting show I like I will post about it immediately.

I wish I had taken better photos, the installation of these abstractions hug the walls and take over some of the flooring. I always appreciate someone working out of the confines of of our typical canvas square.

According to Rosario Perkins her work is autobiographical in nature and eludes to landscapes.

As per The Alice website there will be a closing reception and reading 9/1/18.

The Alice Gallery Hours: 12-7PM on Saturdays
6007 12th Avenue South, Seattle, WA 98108 (the second floor).

PS Root around on the artist’s website, she’s done some interesting collaborations. For instance this one called We Belong Together.

Lake and Diebenkorn Again

I’m backlogged on my thoughts from my recent Portland trip but through no small irony, the two artists I went to Portland to see a week ago are found together again in at Bellingham’s Whatcom Museum.

When I found out there was another Diebenkorn show in the vicinity I made the two hour trek north as soon as I could .

The Whatcom Museum is a fairly tiny but pleasant museum in the very pleasant (I would even say tranquil) town of Bellingham, Washington.

Their Diebenkorn offering is: THE INTIMATE DIEBENKORN: WORKS ON PAPER, 1949-1992 a small collection of Richard’s Diebenkorn drawings spanning 40 years of his career. Sometimes it is the small works, the not so precious experiments that can give you insight into someone’s head over the larger and more seriously executed paintings. One of my favorite pieces in the show was made with a ball point pen and watercolor.

Contained within the exhibit is a small room you can sit down and watch an 1988 CBS Sunday Morning interview with Diebenkorn as well (here you go if you’re interested). The concept of interviewing an artist, especially a painter these days on television seems so foreign. Diebenkorn stated in the interview that some days he will just sit with one of the works for hours doing nothing. Yet then he will feel guilty for wasting time. Such a mild mannered soul, it is a privilege to take a moment to hear his thoughts.

What I wasn’t expecting was to cross the room into their other non-permanent exhibit to find my artist friend Eva Lake on the wall as she is part of the Crow’s Shadow Institute of the Arts at 25 exhibit. This is a survey of over 70 prints from their archive, showcasing the variety of artists who have worked with them through the years. A wonderful variety of print accomplishments are represented here.

Imagine my surprise when I turned a corner and saw this print titled Golden No. 2,  (2011, eight color lithograph).

I had to text her that I had unwittingly stumbled acrossed her work.

Here is Crow’s Shadow Institute’s website. They are based in Pendleton, OR and offer invitational only residencies to artists to create print work.

“Crow’s Shadow Institute of the Arts (CSIA) is a nonprofit organization aimed at providing opportunities for Native Americans through artistic development. With an emphasis on contemporary, fine-art printmaking, we also function as a venue to practice traditional Native American art practices — weaving, bead working and regalia making — of the Plateau region.”

Eva Lake’s print work can be found here on their site.

I also really liked Jim Denomie’s piece below as well.

These are small shows in a small museum but to me the drive was worth seeking out such rewarding content. I also spent the morning looking at Western Washington’s University campus sculpture collection, which I’ll write about soon.


The Intimate Diebenkorn: Works on Paper, 1949-1992

Crow’s Shadow Institute of the Arts at 25

Both shows are on on view through August 19, 2018 at the Whatcom Museum Lightcatcher Building (open Wed-Sun, 12-5p)

Now after all this driving I want to find out why Seattle has not had a recent a Diebenkorn exhibit for me.

Ken Kelly: Land Ho at studio e

When I ran into Doug Parry a few weeks ago he highly recommended a visit to studio e to see Ken Kelly’s latest show. Kelly is a long surviving/practicing artist in the Seattle art world.

The show and the space did not disappoint. Strictly drawing and painting exhibits seem to be a rare occurrence and for me it’s always a thrill to seek one out. I liked Kelly’s small works the best in this show. Particularly this subdued almost Robert Ryman-esqe pocket size canvas.

studio e is a cheerful building to come across in the Georgetown neighborhood, and I appreciate the work they are championing.

Ken’s show is up through July 14th.

studio e is open every Thursday, Friday & Saturday 1-6pm.

Ken’s instagram is here.

More images from the show below:

Last one here I think is my favorite.

#Georgetown w/ Sharon

Met up with writing mate Sharon Arnold  (Sharon’s website) last night and proceeded on to Georgetown’s interstitial  and The Alice.

Sheila Farr

Thank you Seattle Met and who ever made the decision a couple of years ago to hire Sheila Farr to write about art again.


Here she is in fine form in this piece about Francine Seders: Francine Seders, Accidental Art Dealer.  francine-seders_e9h3ve Photo credit Seattle Met/Brandon Hill From the article:

Then in her 30s, Seders still looked as fresh-faced and candid as a schoolgirl. With her high heels and lilting French accent, she was appealingly mediagenic. One local reporter described her as “dark eyed and fragile…like a figure from a Degas painting.” A bit reserved with strangers, she was still more comfortable around artists than customers who needed to be coddled and convinced. In a business known for competitiveness, calculated maneuvering, and backroom deals, Seders was straightforward and transparent. If someone asked about the future value of a painting (akin to predicting the stock market), she’d answer bluntly: “I have no idea.” She cared about the art, not the ingratiating rituals of salesmanship.

More Farr /Met archives here.  

Farr was the Seattle Times art critic from roughly 2000-2008 (her sign off here)/(her favorite pieces here).

Emily Gherard at Francine Seders

emily 4

emily drawing 2

emily oct 5 1

[Emily Gherard’s Drawings 2013: Wherever Green Is Worn, Francine Seders Gallery]

All good things must come to an end.

I am pleased that I pulled my head out of a fog in time to catch the last few exhibits at the Francine Seders Gallery.

When ever I needed to clear my head I would take a trip to her gallery.

The first exhibit space I visited when I decided to start looking at art again was Francine’s.

I will miss her integrity, most notable in her emphasis of presenting thoughtful exhibits and taking local artists seriously. I enjoyed being able to go to a place where I knew I would see a grown-up show.

I also appreciate that she was a stand alone there on Phinney Ridge. We need more art up here in North Seattle.

Jen Graves profile of Seders from 2006 stated “Seders has a reputation for intellectual sincerity, business honesty, professionalism, and devotion to her artists.

Emily Gherard’s exhibit (photos above) in the upstairs rooms of the gallery looks very much at home in Seders fold. A handful of elegant, tonal works on paper.  Downstairs was work by Michael Stafford and Jacob Lawrence, two of the artists that the gallery is most well known for.

The final few exhibits are being mounted as 2013 winds to a close when the gallery will be shuttered. The final opening is on December 8th, for Norman Lundin, Dale Lindman and Diann Knezovich.

PS. I like this interview of Gherard in her studio on the blog Contemplative Process .

Mary Ann Peters at Winston Wächter

For my money, the best show up in Seattle that nobody is speaking of is the small installation of Mary Ann Peters drawings at Winston Wächter “Lucky 7” exhibit. Peters was seen last month in Platform’s Paperwork show that featured two of her drawings. I managed to do a pit stop drive through of their gallery right before Christmas and found myself especially taken by her pieces. These are beautiful drawings underlining the eloquent skill of a mature artist.

Now Peters is featured in Lucky 7, at Winston Wächter’s large new gallery space (a few blocks down from their old space on Dexter- right next door to the Holiday Inn). A large scroll drawing (see on WW’s website) is one of the first pieces you see upon entering the gallery, and then more drawings which appear to be from the same series presented at Platform. Minimally secured to the wall with pushpins these delicate works on paper show Peters fluid and intelligent line work. As a long time working artist in Seattle, Peters was a recipient of a Neddy Fellowship in 2000 and has collaborated with choreographer Pat Graney. I hope to see more of her work soon.

Also included in Lucky 7 are some tile pieces by Ann Gardner that caught my eye. Gardner is another seasoned Seattle artist I’m glad to see receiving exposure. She was previously represented by Linda Farris and William Traver and is now on WW’s slate. Lucky 7 is an exhibit featuring only a handful of artists from their regular line up, I am not sure if it might be an introductory show for the others, or in the case of Susan Dory (repped by Howard House), just visitation rights.

At any rate, the trip to Dexter was worth it as I had hoped; Lucky 7 is currently up through February 1st.