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Summer/Fall 2018 Exhibitions & Programs
PRESS RELEASE
Tanja Baumann, Interim Communications [email protected] 251 9401 (cell)
For its summer and fall 2018 season, the Frye Art Museum is pleased to announce exhibitions that reflect the Museum’s dedication to showcasing global contemporary art alongside the work of emerging Pacific Northwest artists, and situating our Founding Collection within broader historical contexts. Additional special programming is planned around significant commu-nity events and artists.
Please note that the following information is subject to change. Prior to publication, please confirm dates, titles, and other information with the Frye Art Museum communications department.
Towards Impressionism: Landscape Painting from Corot to MonetMay 12–August 5, 2018
Press Preview: Thursday, May 10, 9-10 amEmail [email protected] to RSVP.
Public Opening: Friday, May 11, 7:30-10:30 pm
Towards Impressionism traces the development of French landscape painting from the schools of Barbizon and Honfleur up to Impressionism, featuring over forty works from the extraordinary collection of the Musée des Beaux-Arts, Reims. The Frye Art Museum is one of only two venues in the United States to host the exhibition and selections from the Museum’s own holdings will be incorporated into the show, making this a unique opportunity to situate masterpieces from the collection within their original context.
The Reims museum has one of the world’s foremost collections of landscape paintings by artists associated with the Barbizon colony—artists like Théodore Rousseau, Charles-François Daubigny, Jean-François Millet, and Constant Troyon who gathered in the village of Barbizon between 1830 and 1855 to paint in and around the nearby Forest of Fontainebleau. Fascinated by the mysteries of the forest and rural tradition, the Barbizon artists rejected
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EXHIBITIONS
urban life and the teachings of the French Academy. Where previously landscape had served only as backdrop for allegorical or historical tableaux, the Barbizonists painted landscape for its own sake, working from observation but often infusing their subjects with an emotionality reminiscent of Romanticism.
One of the most significant artists to frequent Fontainebleau, Camille Corot, is a particular focus of the exhibition. Corot’s long life (1796–1875) coincided with the period in which idealized, classically-inflected views of foreign lands like Italy—executed in the artist’s studio and composed according to Academic principles—gave way to native French landscapes painted out-of-doors in direct response to the scenery. Corot also traveled frequently to the Normandy coast, painting in the seaside environs of Honfleur. Later, from about 1850 onwards, a circle of artists would converge in the village around Eugène Boudin, whose preoccupation with light, reflection, and “instantaneity”—most often applied to nautical scenes painted entirely en plein air—would influence the work of visitors like Gustave Courbet and Claude Monet.
Tracing the development of French plein air painting through these seminal figures and their favorite locales, Towards Impressionism witnesses the century-long cultural shift away from the Academy that legitimated landscape as a subject, elevated the subjective experience of the artist, and ultimately gave rise to Modernism.
Artists: Antoine Barye, Jean-Victor Bertin, Eugène Boudin, Jean-Baptiste Camille Corot, Gustave Courbet, Gustave Caillebotte*, Charles-François Daubigny, Narcisse Virgile Diaz de la Pena, Jules Dupré, Henri Joseph Harpignies, Charles Jacque, Stanislas Lépine, Georges Michel, Jean- François Millet, Claude Monet, Camille Pissarro, Auguste-François Ravier, Pierre-Auguste Renoir, Théodore Rousseau, Alfred Sisley*, Constant Troyon, and Félix Ziem. (*Represented by works from the Frye collection only)
Towards Impressionism: Landscape Painting from Corot to Monet is curated by Suzanne Greub and managed by her team at Art Centre Basel in collaboration with the Musée des Beaux-Arts, Reims and the City of Reims, France.
The installation at the Frye Art Museum is overseen by Amanda Donnan, curator, and David Strand, head of exhibitions and publications. Generous support is provided by Meriwether Advisors LLC, The Danforth, Murano Senior Living, Bonhams, Clark Nuber, USI, and the Frye Foundation. News media sponsorship is provided by The Seattle Times. Broadcast media sponsorship is provided by KCTS 9 and Classical KING FM 98.1.
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Image: Jean-Baptiste Camille Corot. Monte Cavo, ca. 1825–28. Oil on cardboard. © Musée des Beaux-Arts, Reims, Legacy Paul Jamot. Photo: C. Devleeschauwer.
Related Programs
Saturday, May 12, 2 pmPerformance by American mezzo-soprano Deanne Meek
Sunday, July 22, 2 pm Performance by American mezzo-soprano Deanne Meek
Saturday, July 28, 2 pmGallery tour with artist Valerie Collymore
Tuesday–Friday, July 24–27, 11 amSummer Art History Lecture Series with Rebecca Albiani
Juventino Aranda June 16–September 23, 2018
Press Preview: Thursday, June 14, 10-11 amEmail [email protected] to RSVP.
Public Opening: Friday, June 15, 7:30-9:30 pm
Born to Mexican immigrants in Walla Walla, WA, Juventino Aranda’s search for self-identity informs his process as it relates to the social, political, and economic struggles of Chicanos. His art and activist practices are influenced by the grassroots movements of Cesar Chavez and Dolores Huerta, as well as the formal and conceptual strategies of post-minimalist artists. From the street to the gallery, he is an archeologist, historian, and architect to a shifting Chicano community, engaging current political debates and notions of the American dream.
Aranda’s recent work draws on his family history and particularities of his childhood that speak to broader cultural themes. The mass-produced art his mother purchased but never removed from its corrugated cardboard protectors, for instance, appear in Aranda’s work as subtle markers of social aspiration and personal economies of value. For his exhibition at the Frye Art Museum—Aranda’s first in a museum setting—the artist will continue this line of inquiry and present a new body of work that explores the ways in which common objects and imported products become emblems of dual cultural identity.
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The exhibition will include sculptural and wall-hung works that are created through a variety of technical processes to communicate the essence of Aranda’s (re)appropriated source material, which spans from Golden books and Pendleton blankets to Azteca warrior calendars and loteria cards. Using shifts in scale and context to estrange and magnify the significance of these objects, Aranda explores the subtle ways in which ideology is communicated through—and belief systems form around—seemingly mundane aspects of the material world.
Juventino Aranda lives and works in Walla Walla and received his BFA from Eastern Washington University. Solo exhibitions of his work include Weed the Lawn and Feed the Roses at Greg Kucera Gallery, Seattle (2017). He has participated in group shows at Terrain (2016, 2015) and Saranac Art Projects (2016) in Spokane, WA, and Center on Contemporary Art, Seattle (2016), among other venues.
Aranda received the 2016 James W. Ray Venture Project Award, which is funded by the Raynier Institute & Foundation through the Frye Art Museum | Artist Trust Consortium. The award supports and advances the creative work of outstanding artists living and working in Washington State and culminates in an exhibition at the Frye Art Museum.
Juventino Aranda is organized by the Frye Art Museum and curated by Amanda Donnan. Lead support for this exhibition is provided by the Raynier Institute & Foundation through the Frye Art Museum | Artist Trust Consortium. Additional generous support is provided by Seattle Office of Arts & Culture. Media sponsorship is provided by KUOW.
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Image: Juventino Aranda. We Shall Meet in the Place Where There is No Darkness (Jaguar), 2016. Bronze, black cotton velveteen, Mouliné stranded cotton, corrugated cardboard frame. Photo: Tara J Graves.
Group Therapy September 15, 2018–January 6, 2019
Press Preview: Thursday, September 13, 10-11 amEmail [email protected] to RSVP.
Public Opening: Friday, September 14, 7:30–9:30 pm
Centering on participatory projects and major installations, Group Therapy brings together artworks in a range of media by an international roster of artists and serves as a platform for a full slate of public programs. The exhibition addresses themes of healing and self-care, comprising works that comment on and/or adapt strategies of alternative medicine, psychotherapy, and wellness practice. Projects that focus on social and communal experiences feature prominently and transform the Frye Art Museum into a unique free “clinic” in which artists or their intermediaries engage visitors in therapeutic processes. Approaching therapy not only as a curative endeavor, but as a “potentiator” of human possibilities, these projects variously attend to the individual mind-body, and prescribe collective catharsis, connection, and empowerment.
Tracing an arc from neurosis to release, the exhibition begins with works that diagnose social pathologies like racism, sexism, and political tribalism that can manifest as personal anxieties and compulsions, and in turn fuel the ongoing growth of the wellness and self-help industries. Projects that focus on identification and self-narration follow, taking the visitor from observer to participant in a range of (completely voluntary) “treatments” related to psychoanalysis, divination, and somatic techniques. The final passage engages visitors in sensory experiences and visualizations that plug into embodied forms of knowledge and deeper, interconnected consciousness.
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The exhibition marks the U.S. debut of Liz Magic Laser’s (American, b. 1981) padded-room video environment, Primal Speech (2017) and includes new multi-media installations by Marcos Lutyens (British, b. 1964), Shana Moulton (American, b. 1976), and Lauryn Youden (Canadian, b. 1989). Youden’s meditative floor installation will be activated with in-gallery programming throughout the run of the exhibition, as will Cindy Mochizuki’s (Canadian, b. 1976) Fortune House, in which she exchanges tarot and tealeaf readings for participants’ monster stories and translates their revelations into inkblot drawings. Pedro Reyes’s (Mexican, b. 1972) Museum of Hypothetical Lifetimes will be attended by a facilitator who will help participants curate an exhibition representative of their life using a tabletop museum model and array of objects selected from nearby shelves. Also included in the exhibition are sculptures, films, and works on paper by Maryam Jafri (Pakistani, b. 1972), Joachim Koester (Danish, b. 1962), Leigh Ledare (American, b. 1976), and Kandis Williams (American, b. 1985)—all exhibiting in Seattle for the first time. Longtime Seattle resident and acupuncturist Ann Leda Shapiro (American, b. 1947) will contribute a recent group of energy studies and healing scrolls, while Wynne Greenwood (American, b. 1977) presents a new version of her video spa installation, How We Pray (2011).
Special programs planned in conjunction with the exhibition include Liz Magic Laser’s Political Therapy, a curative drama workshop which weaves participants’ personal feelings about politics into a shared, lived experience; a wit(h)nessing movement workshop led by Kandis Williams, which is based on the Constellation Method and guides participants through direct personal experience of Systemic Entanglements between Victim, Attacker, and Witness; a presentation by Seattle-born artist Leigh Ledare on his film The Task (2017) and the process of documenting group sessions he convened based on the Tavistock Method; and more. A full schedule of programming will be released in advance of the opening.
Group Therapy is organized by the Frye Art Museum and curated by Amanda Donnan. Generous support is provided by the Frye Foundation and Frye Art Museum members. Media sponsorship is provided by City Arts.
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Image: Liz Magic Laser. Primal Speech (video still), 2016. Single-channel video installation. Developed with therapeutic activities conducted in collaboration with Certified Professional Life Coach Valerie Bell. Photo: Courtesy of the artist.
Quenton Baker: Ballast October 6, 2018–January 27, 2019
Press Preview: Thursday, October 4, 10-11 amEmail [email protected] to RSVP.
Public Opening: Friday, October 5, 7:30-9:30 pm
Quenton Baker’s poetry focuses on how black interiority functions under the constraints of an anti-black society. His exhibition at the Frye Art Museum will be an outgrowth of an in-process collection of poems that examines the 1841 slave revolt aboard the brig Creole, using the event as a kaleidoscopic lens through which to consider the position of blackness and the ongoing afterlife of slavery.
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The Creole revolt occurred when a group of enslaved persons, led by Madison Washington, commandeered the ship en route from Virginia to Louisiana, and steered it toward the British island of Nassau. Britain abolished slavery in 1833, meaning that no authority could be exercised over any of the enslaved who landed on English soil, and 135 people gained their freedom as a result. It is the only successful large-scale revolt involving U.S.-born enslaved people in American history.
Baker’s book project is a combination of erasure poems—made using pages from the Senate document detailing the Creole case—and poems in invented form that look at what some black writers and thinkers call “the long memory” or the “long utterance” of blackness. What started out as strictly a historical, research-based endeavor has taken on personal dimensions as the project draws connections between enslaved people’s survival techniques and contemporary coping mechanisms employed by the artist and his loved ones.
Moving from the intimate scale of the page to the immersive potentialities of the gallery space, Baker’s installation at the Frye will take the form of a layered text-and-image environment that amplifies a sense of oscillation between legibility and illegibility, and of loss or un-speakability within fragmented historical narratives. The ballast that was used to offset the weight of human cargo aboard slave ships serves as a symbol of this “echoing in the break”—a mute and yet charged negative image that throws into high relief the complex humanity of its absent counterpart.
Quenton Baker is a poet and educator born and raised in Seattle. His work has appeared in Jubilat, Vinyl, Apogee, Poetry Northwest, The James Franco Review, and Cura and in the anthologies Measure for Measure: An Anthology of Poetic Meters and It Was Written: Poetry Inspired by Hip-Hop. He has an MFA in Poetry from the University of Southern Maine and is a two-time Pushcart Prize nominee. He is a 2017 Jack Straw Fellow and a former Made at Hugo House fellow, as well as the recipient of the Arts Innovator Award from Artist Trust. He is the author of This Glittering Republic (Willow Books, 2016).
Baker received the 2016 James W. Ray Venture Project Award, which is funded by the Raynier Institute & Foundation through the Frye Art Museum | Artist Trust Consortium. The award supports and advances the creative work of outstanding artists living and working in Washington State and culminates in an exhibition at the Frye Art Museum.
Quenton Baker is organized by the Frye Art Museum and curated by Amanda Donnan. Lead support for this exhibition is provided by the Raynier Institute & Foundation through the Frye Art Museum | Artist Trust Consortium. Additional generous support is provided by the Frye Foundation.
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Image: Courtesy of Quenton Baker.
Frye SalonThrough September 22, 2019
Frye Salon features over one hundred forty paintings from the Frye Art Museum’s collections hung floor to ceiling—a mode of display referred to as a salon-style hang. The installation approximates the dramatic viewing experience enjoyed by visitors to the art gallery in Charles and Emma Frye’s Seattle home in the first decades of the twentieth century.
First opened in 2013, Frye Salon originally focused solely on the Founding Collection; in 2018, the premise evolved to include works that entered the collection after the museum opened in 1952. Twenty-two paintings—including early acquisitions and recent donations—have been rotated in to highlight the ways in which the Museum has continually honored and expanded upon the vision of the Fryes.
Charles and Emma Frye developed their passion for art at the Columbian Exposition, a world fair held in Chicago in 1893, an experience that would have a great influence on the painterly subjects and artists the young couple would collect in years to come. Over the next four decades, they sought out canvases by an international roster of artists from Europe and the United States, with a particular focus on works by German artists. Frye Salon gathers many of these works together to recall the abundance and visual splendor of the salon-style exhibitions held in the Fryes’ home a century ago.
Frye Salon is organized by the Frye Art Museum. Generous support is provided by the Frye Foundation and Frye Art Museum members.
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Image: Installation view of Frye Salon, 2015. Photo: Mark Woods.
EDUCATION PROGRAMS
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All Power: Visual Legacies of Black Panther Party discussion series organized in conjunction with Photographic Center Northwest
A three-part discussion series featuring artists and activists including Royal Alley-Barnes, Endia Beale, Yadesa Bojia, Councilman Larry Gossett, Ayana V. Jackson, and Robert Wade that will examine the ongoing impact of the Black Panther Party’s aesthetic legacies internationally, nationally, as well as its impact in Seattle.
Sunday, April 22, 2 pm International Impact with Yadesa Bojia, Ayana V. Jackson, and Robert Wade, moderated by Negarra A. Kudumu, Frye Art Museum Manager of Public Programs
Saturday, May 19, 2 pmNational Impact with Endia Beale in conversation with Michelle Dunn Marsh, Photographic Center Northwest Executive Director and Curator
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Saturday, June 9, 2 pm Local Impact with Royal Alley-Barnes and Councilman Larry Gossett, moderated by Michelle Dunn Marsh, Photographic Center Northwest Executive Director and Curator
This series was organized in collaboration with Photographic Center Northwest and is held in conjunction with its exhibition All Power: Visual Legacies of the Black Panther Party, which runs from April 20–June 10, 2018.
Image: Lewis Watts. Graffiti, 1993. West Oakland.
Benchmarks: Public Architecture in the City
June 16–October 14, 2018
Public Opening: Friday, June 15, 7:30–9:30 pm
Benchmarks: Public Architecture in the City is a Partnership for Youth exhibition presented as part of the ongoing partnership between the Associated Recreation Council at Yesler Community Center and the Frye Art Museum. The Partnership for Youth program offers free workshops to teens led by trained professionals, who impart skills that can be transferred to a career. The works in Benchmarks will be developed by students over the course of eight weeks as they learn how to collaborate to design and produce a bench. Using this common form that is closely associated with public space, students will employ design-thinking strategies to explore public architecture as a lens through which to perceive the city.
The teaching artist team includes Olson Kundig architects Laura Bartunek and John Hallock, and University of Washington Architecture Professor Jim Nicholls. Negarra A. Kudumu, Manager of Public Programs, will organize the exhibition.
This program is presented by the Frye Art Museum in partnership with Associated Recreation Council RechTech program at Yesler Community Center, Olson Kundig, and the University of Washington Department of Architecture. Funding for the program is provided by the Seattle Office of Arts & Culture and Frye Art Museum members.
Conversations with David Shields
A three-part series examining key literary and film works by author David Shields including War is Beautiful and I think you’re totally wrong, contextualized via critiques of these works using lived experience, art, and politics as touchstones.
Saturday. October 20, 2 pmSaturday, November 10, 2 pmSaturday, December 1, 2 pm
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David Shields is the internationally bestselling author of twenty books, including Reality Hunger, The Thing About Life Is That One Day You’ll Be Dead, Black Planet , and Other People: Takes & Mistakes. The film adaptation of I Think You’re Totally Wrong: A Quarrel was released by First Pond Entertainment last year; The Trouble With Men: Reflections on Sex, Love, Marriage, Porn, and Power is forthcoming next year. The recipient of Guggenheim and NEA fellowships and senior contributing editor of Conjunctions, Shields has published essays and stories in the New York Times Magazine, Harper’s, Esquire, Yale Review, Salon, Slate, McSweeney’s, and Believer. His work has been translated into two dozen languages.
Shields received the 2015 James W. Ray Venture Distinguished Artist Award, which is funded by the Raynier Institute & Foundation through the Frye Art Museum | Artist Trust Consortium. The award supports and advances the creative work of outstanding artists living and working in Washington State and culminates in a presentation at the Frye Art Museum.
