Fill your eyes with can’t-miss art, and your ears with music that’s perfectly in sync.
The Art: p r o x i m i t y – Five-woman exhibit
Left: Fiber works by Hannah Eberts | Right: Glassy eyed, dormant and veiled, photograph by Úna Blue.
P r o x i m i t y brings together five young artists who are at early stages in their careers and asks us to acknowledge and honor the vulnerability of baring your soul to the world. Curated by Elise Carlson and Lacey Verhalen, the show features textile artists Hannah Eberts and Shaana Hatamian, photographers Emma Rogers and Úna Blue, and poet Leena Joshi.
The Music: “Six Years” White Water
Úna Blue contributes photography to this exhibition, as well as music; she’s one part of the local duo White Water. Dark, driving synthesizers race and pulse beneath glam-goth whispering, making an EP of songs to listen to through the teeth of the Northwest winter.
“Blue Pool” Vanessa Carlton
Finding success too early in your career can mean you lug around the same label and associations for the rest of your life. Just ask Vanessa Carlton, who likely has a restraining order against the phrase “A Thousand Miles” within a hundred yards. But, people change, especially those with real talent. “Blue Pool” is a soft, luscious baroque explosion of arpeggios; the sonic equivalent of watching water, ivy or lace tumble slow-motion to the floor. Take heed, young artists of p r o x i m i t y—your first hit doesn’t always mean your last.
2316 2nd ave
Seattle WA, 98121
OPENING NIGHT November 13 8pm – 10pm
VIEWING PERIOD: Nov 14 11am – 6pm, Nov 15 11am – 5pm
The Art: Mary Coss – traces
Coss with traces installation.
METHOD Gallery co-founder Mary Coss takes over the gallery from November through January, erecting traces, a sculpture, and sound installation. Traces is both armature and skeleton; it’s shaped vaguely like a pelvic bone—with all the associations that entails—and looks like the result of cross-pollination between a foamy-laced wedding dress and a flower bed. It’s light and airy, but with a hidden strength in those wire bones. With these pieces, Coss “explores the intersection between nature and contemporary society…uses a twist of forms, sound, and language to go on an archeological dig of cultural inheritance.”
The Music: “Three Songs” by Lakker
An angelic, soaring chorus starts “Three Songs” on its journey, but it is soon subsumed in the crunch and stutter of some deep, driving electronic beats. The voices are swamped at first under the onslaught, but the two eventually find a coexistence—the voices occasionally rising above the crashing waves of sound, jumping out like flying fish—while the rhythm only becomes more massive. Lakker, a duo out of Dublin, make a palimpsest of harsh and soft, weaving the contrast together to make something large and yet delicate, an excellent complement to Coss’ traces.
Tashiro Kaplan All-Arts Building
106 3rd Avenue South
Seattle, WA 98104
Exhibit runs November 5, 2015 through January 2, 2016
Artist’s public receptions: 1st Thursday Artwalk, November 5th: 5-9pm
1st Thursday Artwalk, December 3rd: 5-9pm
Artist’s Talk and Reception: Wednesday, December 2nd 6-8pm
The Art: Mary Iverson – You and Me in the Aftermath
Tipsoo Lake, After Oil on Canvas, 12” x 12”
With one hand, Mary Iverson continues to remind us that we live in the towering, altogether ridiculous beauty of the Northwest landscape, and with the other she scratches it all out, reminding us of all the horrible shit we’re doing to it. Her oils on canvas and her altered photographs show pristine lakes filled with buoyant, Lego-like containers; wild coastlines with listing cargo ships in the waves; and mountains scratched to ribbons—oblivious hikers still toting their Camelbaks. As with every exhibit, we happily take Iverson’s hand and tour the end of the wild blue yonder—because you know it’s going to be an interesting, terribly beautiful ride.
The Music: “Incitation” by Olga Bell
Don’t go gently, incitation / Do your damage/ Undo me over again.
Mary Iverson quite literally takes knives to her paintings, scratching matrices of chaotic human excess onto the Northwest environs. On “Incitation” off her new EP, Olga Bell is doing the same: those jagged pulses, scratchy skitterings, and fractured vocals seem to be cutting through a commonplace song and putting it back together in more interesting ways. Every time the track seems to slow or settle, she upends it with an atonal bang, a siren alarm, a lurking echo. Music for Iverson’s patchwork apocalyptic aftermath, and perhaps inciting the landscape to not go so quietly into the scratched, ruined future.
G Gibson Gallery
300 S Washington St, Seattle, WA 98104
Exhibit runs October – November 28th
The Art: Judith Kindler: The Shape of Things to Come
Flying mixed media on panels 24 x 38 in
Judith Kindler presents mixed media collages that utilize photography, found objects, splicing and stitching, and multiples, to explore human figures and our ecosystems. She composes some pieces like a comics artist; using gutters to separate figures going through motions and connoting the passage of time. In other pieces, hand drawn shapes are floated above and near her subjects’ heads, stand-ins for thought or speech bubbles. For static work, it is remarkably energetic: gestures and moves lend kinetic energy by the soft, sky-blue shapes that are interspersed amongst her figures, making the eye jump and twitch from section to section.
The Music: “Interference” by Holly Herndon
Judith Kindler cuts apart static images to make motion and movement; Holly Herndon stops the movement of sound and stitches it back together to make stutter-stop music that seems to have more akin to stop-motion animation than traditional songcraft. Herndon, residing in San Francisco, strips almost all of the humanity out of her music, preferring to surround and bombast with the kinds of beeps and whirs that we used to associate with computers (though our electronics today are often so quiet as dating that comparison), an electronic orgy of interference. Herndon cuts sound into such small particles that the beginnings and endings of her songs sound like random boot-up sounds, and only when she tightly cinches them into beats do they become recognizable music.
Abmeyer Wood Fine Art
Nov 2 – 28, Opening Reception Nov 5th
1210 2nd Avenue Seattle WA 98101
The Art: CoCA Marathon
The barely controlled madness that is the Center on Contemporary Art’s 24-Hour Marathon is coming around again. Artists including Juli Adams, Kate Alkarni, Curtis Ashby, Flynn Bickley, Larry Calkins, Bo Choi, Chris Crites, Casey Curran, Braden Duncan, David Francis, Anne Marie Grgich, Aramis Hamer, Jazz Mom, Holly Ballard Martz, Savina Mason, Gabriel Marquez, John Osgood, Kyle Rees, June Sekiguchi, and Chris Sheridan will cut, design, paint, code, photograph and melt down in public over the course of 24 hours to create original works of art. For the first time, a pair of game designers will join the fray, coding up something out of nothing. Visitors can drop in anytime to watch the progress and see artists working in the wild—shhh, don’t spook them.
All art will be auctioned off during the Auction Gala on November 13.
The Music: “Secret in the Dark” by Monika
If you’re going to go slightly disco with your sound, there’s really no reason not to go full-on Saturday Night Fever with it. Monika is Greece’s pop sensation, and she goes broke for pastiche on her American-oriented debut, “Secret in the Dark”. From Europe comes some of the best over-the-top dancehall fromage, and this track follows unselfconsciously in ABBA’s wake. Artists in CoCA’s marathon should spin it right around the 3 am mark to ramp things up and keep feet moving.
All events take place at The Summit Building on Capitol Hill
420 East Pike Street (at Summit Street)
Seattle, WA 98122
Marathon: Starts Wednesday, November 11 at 9 pm through Thursday, November 12 at 9 pm.
Art Walk Art Party: Thursday, November 12, 6pm-9pm. Part of Capitol Hill Art Walk. Meet the participating artists, check out the new art created in the previous 23 hours. Gala Auction Fundraiser: Friday, November 13, 5:30pm-10:00pm. Tickets at CoCA’s website.