For media inquiries, to arrange interviews, or to obtain images, please contact:
Christina Claassen, Marketing & Public Relations Manager, 360-778-8936.

WHATCOM MUSEUM CELEBRATES 75 YEARS OF ART, NATURE, AND HISTORY AT FREE CELEBRATION AND OPEN HOUSE EVENT

For Immediate Release: Bellingham, WA, Wednesday, July 13, 2016—The Whatcom Museum celebrates 75 years of bringing art, nature, and history to Bellingham with an open house celebration on Thursday, August 11, 2016. All three buildings on the Museum’s campus—the Lightcatcher Building, Old City Hall, and Syre Education Center—will be open, free of charge, noon-8pm. The celebration, sponsored by Peoples Bank, will include a variety of activities, including exhibition and building tours, art activities for adults and children, live music in the Lightcatcher and Old City Hall, a sidewalk chalk art contest, food trucks, cake, and more! Mayor Kelli Linville will make welcoming remarks at the Lightcatcher courtyard at 3pm. The Museum invites the community to celebrate its history, and welcome the next 75 years of community engagement together.

“The Whatcom Museum is proud to celebrate this milestone anniversary,” said Executive Director Patricia Leach. “We are committed to continuing the legacy of providing art and history to the community.”

The Museum will also highlight newly designed history exhibits in Old City Hall. Using items from the Museum’s collection and extensive photographic archives, these exhibits will tell the stories of Bellingham. Old City Hall will come alive through an orientation theater that will take visitors on an audio-visual journey spanning the building’s 124-year history, as well as the city’s early civic and political evolution. A new maritime history gallery featuring Bellingham’s waterfront will give an overview of Bellingham Bay’s history, from early steam ships, to fisheries, to notable schooners that sailed the bay.

“We’ve been working hard with a team of staff to prepare stories and items from our collection for these new history exhibits,” Leach said, “which we look forward to debuting at our celebration event.”

The Whatcom Museum began as a way of saving Bellingham’s vacant and decaying Old City Hall building, built in 1892. It first opened its doors as the Bellingham Public Museum on Jan. 23, 1941. The first exhibits consisted of historical items and curios on loan from community members. John M. Edson, the Museum’s founder, was an eminent ornithologist. The hundreds of taxidermy birds that Edson collected were part of the Museum’s original displays in 1941, which can still be seen today in the Syre Education Center.

Attendance that first year was 5,166, but the Museum had to close for most of the next two years due to a lack of funds during World War II. In 1944, a public vote made the Bellingham Public Museum a City department.

On December 10, 1962, an electrical fire in Old City Hall destroyed the clock tower and much of the roof. This led to a twelve-year effort to fully restore the museum building that was crowned by replacement of the tower in 1974.

Through the years, the Whatcom Museum has grown and evolved to meet the interests of a changing community. From the opening of the Lightcatcher building in 2009 to the ongoing expansion of collections and programs, the Museum has continued to provide innovative and interactive educational programs and exhibitions to the community.

More than 5,000 visitors signed the first museum guestbook in 1941. Now, 75 years and a few name changes later, the Whatcom Museum has grown into the cultural center of downtown Bellingham. Its iconic buildings, first-class exhibitions, extensive collection, and varied educational programs serve more than 70,000 people each year.

For more information about the Whatcom Museum’s 75th Anniversary Open House Celebration, including a schedule of events, visit www.whatcommuseum.org/75ann.

The Whatcom Museum’s three building campus includes the Lightcatcher Building, 250 Flora Street, Old City Hall, 121 Prospect Street, and the Syre Education Center, 201 Prospect Street. For additional information about the Museum’s hours, admission, membership, and offerings, visit whatcommuseum.org.



JUST WOMEN FOCUSES ON WOMEN’S CONTRIBUTIONS TO THE ARTS

Louise Dahl-Wolfe; Untitled,  Gelatin silver print; 10.5 x 9.5 in. Gift of George and Pearl Yewell.

Louise Dahl-Wolfe; Untitled, Gelatin silver print; 10.5 x 9.5 in. Gift of George and Pearl Yewell.

FOR IMMEDIATE RELEASE: Bellingham, WA, May 23, 2016—In 2010, the Whatcom Museum presented the pioneering exhibition, Show of Hands: Northwest Women Artists, 1800-2010, which marked the centennial of woman’s suffrage in Washington State. Six years later, Just Women focuses once again on women’s contributions to the arts and highlights work created by a diverse group of national and international artists. The exhibition will be displayed in the Lightcatcher building, June 18 through September 4, 2016.

Drawn from the Whatcom Museum’s extensive collection of work by female artists, Just Women will explore a wide range of subjects—portraiture, abstraction, landscape, social commentary—in a variety of media, including painting, drawing, printmaking, photography, sculpture, and video. Although some of the artists hail from the Pacific Northwest, many established their careers outside the region: London, New York City, Paris, San Francisco, and Tel Aviv.

According to Curator of Art Barbara Matilsky, “The Whatcom Museum has established a reputation for organizing exhibitions of under-recognized women artists. This exhibition affirms the museum’s commitment to collecting and presenting work by extraordinary women whose visions continue to inspire and delight.”

The installation of Just Women will feature unexpected, thought-provoking juxtapositions, such as Louise Dahl-Wolfe’s (1895-1989) glamourous photographic portrait that reflects her work for Harper’s Bazaar, and Lesley Dill’s (b. 1950) Eye Drop, a visionary mixed-media work on paper. The exhibition also draws relationships between international styles and West Coast interpretations, including Op Art pieces by British artist Bridget Riley (b. 1931), and Mary Henry (1913-2009; born in Sonoma, CA and a long-time resident of Whidbey Island). Just Women provides visitors an opportunity to consider the history and future of women in art both close to home, as well as globally.

Just Women will be on exhibition June 18 – September 4, 2016 in the Lightcatcher building, 250 Flora Street, Bellingham, WA 98225. For more information about the exhibition visit www.whatcommuseum.org.



SITE-SPECIFIC ART INSTALLATIONS BRING SPLASHES OF COLOR TO THE LIGHTCATCHER BUILDING

 

Elizabeth R. Gahan; artwork proposal image. Courtesy of the artist.

Elizabeth R. Gahan; artwork proposal image. Courtesy of the artist.

Exhibition Colorfast: Vivid Installations Make Their Mark Opens June 5, 2016

FOR IMMEDIATE RELEASE: Bellingham, WA, April 13, 2016—This summer, the Whatcom Museum’s Lightcatcher building will feature an exhibition that will bring bright colors, texture, and three-dimensional site-specific artwork to the space. In the exhibition Colorfast: Vivid Installations Make Their Mark, guest-curated by Amy Chaloupka, artists Ashley V. Blalock (Calif.), Elizabeth Gahan (Wash.), Damien Gilley (Ore.), and Katy Stone (Wash.), respond to the unique configuration of the museum with dazzling patterns of  color. The exhibition will be showing June 5 through September 18, 2016.

Using a wide range of media and processes, the four artists in this exhibition will express how color and improvisation fuse with intuitive response and space in a comingling of movement, light, shadow, and striking hue. Viewers will be able to walk through, around, over, and under active fields of color.

During the past year, the artists visited the Lightcatcher building to develop their design concepts in relationship to the architectural spaces. Each artist has selected an area in which to work, including the first floor Markiewicz Gallery, the end of the Lightcatcher passageway, and the exterior entrance to the building. Colorfast marks the first time that site-specific installations fill the Lightcatcher’s entire gallery space and spill out into prominent non-gallery areas. Visitors will be able to experience the artists’ varied processes of creating their work during open hours prior to June 5 from the second floor gallery, passageway, and entrance.

Originally from the Pacific Northwest, and having curated exhibitions for nearly a decade with the Kohler Arts Center in Sheboygan, Wisconsin, Chaloupka relishes the opportunity to work closely with artists from this region for Colorfast.

“One of the most exciting aspects of curation for me is working directly with artists as they envision new artworks,” she says. “With site-specific installation this often leads artists to take risks with their work and seek out new pathways and concepts as they problem solve in response to the space.”

Chaloupka adds, “For the four artists in this exhibition, color, with all its emotional punch, is front and center in their work, but another commonality is the use of materials and processes of familiar or humble means which they all employ with surprising results. Whether walking under an archway of 16-foot crocheted, blood-red doilies, or meandering through a room-sized architectural diagram composed of neon green string that morphs with one’s shifting perspective, visitors will have ample opportunity for discovery as they explore each installation.”

The artists in this exhibition understand the elemental impact of color and wield it in their work with striking effect. Color does not always behave. It amplifies, it spills, and it stains. Foundationally, color field painters of the 1940s through 1960s came to view the expressive power of color as a primary mode of communication in their work. Artists like Mark Rothko, Barnett Newman, and later Helen Frankenthaler, Morris Louis, and Frank Stella, among others, abandoned figuration in their painting in favor of employing large swaths of color in harmonious combination and electric contrast in attempts to achieve the sublime. Color became both the subject and the object in their work.

The contemporary artists gathered here continue in this vein, likewise seeing color as elemental to their work, expanding the conversation to include painting, as well as, sculptural form, light, movement, texture, and shadow to amplify and transform the space.

Colorfast: Vivid Installations Make Their Mark will be on exhibition June 5 – September 18, 2016 in the Lightcatcher building, 250 Flora Street. The member preview reception takes place Saturday, June 4, 5 – 7pm in the Lightcatcher. Guest curator Amy Chaloupka will lead an exhibition tour on Sun., June 5, 12:30pm in the Lightcatcher building. The tour is a $3 suggested donation/Museum members free. Amy will also present slides and discuss the exhibition concepts at the Museum’s brown bag program on Thurs., July 21, 12:30pm in Old City Hall. For more information about the exhibition, related events, and a schedule of installation viewing opportunities visit www.whatcommuseum.org.

 

 



WHATCOM MUSEUM REPATRIATES CHILKAT BLANKET TO TLINGIT AND HAIDA TRIBES OF ALASKA

Tlingit Chilkat Blanket. Photo by David Scherrer.

Tlingit Chilkat Blanket. Photo by David Scherrer.

FOR IMMEDIATE RELEASE: Bellingham, WA, February 29, 2016—After 40 years in the Whatcom Museum’s collection, a Tlingit Chilkat blanket has been returned to the Central Council of the Tlingit and Haida Indian Tribes of Alaska (CCTHITA). The blanket was returned on Friday, February 19 in a closed ceremony held in the Rotunda Room of Old City Hall, with representatives from the Tlingit and Haida Indian Tribes, including elders, tribal members, and dancers from the Haida Laas and Haandei I Jin groups from the Seattle area.

The Brown Bear Chilkat blanket was returned to the tribes after a formal request for repatriation was made under the Native American Graves Protection and Repatriation Act of 1990 (NAGPRA). The blanket was most recently on display in the Museum’s Syre Education Center where it was part of the Pacific Coast exhibit. Throughout the years, countless school children viewed and learned about the blanket during school tours. Now, with the blanket returning to Alaska, the Museum plans to incorporate information about the repatriation process into the Pacific Coast exhibit, and may also include a video of the ceremony.

“Whatcom Museum does believe in the appropriate repatriation of objects and believes it’s an important part of our goal [to be good] stewards or caretakers for our collection,” said Rebecca Hutchins, Curator of Collections at the Whatcom Museum, at the repatriation ceremony.

The ceremony, which included speeches by delegates of both the Juneau and Seattle Chapters of CCTHITA, as well as traditional dances, was a joyful celebration of the return of the blanket.  A shared sentiment of gratitude for the return of this cultural object, as well as its good care while under the Museum’s stewardship, were expressed.

Richard Peterson, President of CCTHITA said, “One of the exciting things that I enjoy [about] being president of Central Council is seeing the return of our sacred items like this blanket. You’ll notice in SE [Southeast Alaska] there has been a real cultural revitalization, almost a reawakening… I think our people have suffered for many times, for a long time because our objects, our language, our very culture was being pulled from us, but you can’t pull it completely away, and when we’re able to return these items, we reawaken and get to know who we are again.”

Chilkat blankets are unique in their design and require special weaving knowledge passed down from generation to generation. They could take a year or longer to create and were generally used by tribal leaders, both male and female, in dances or feasts, worn either over the shoulders or wrapped around the body. Known for their stylized abstract deign motifs, each blanket design incorporated clan symbols of the wearer and other natural forms.

A formal NAGPRA repatriation claim was presented to the Museum for the Chilkat blanket in early 2015 by the CCTHITA. After a review of the documentation and additional research, Whatcom Museum determined the NAGPRA claim was appropriate. After a public notification period through the National Park Service’s Federal Register expired uncontested, the Museum proceeded with the repatriation.

According to the Department of Interior, NAGPRA addresses the rights of lineal descendants, Indian tribes, and Native Hawaiian organizations to request the return of cultural items, including human remains, funerary objects, sacred objects, and objects of cultural patrimony, from organizations such as museums which have received Federal funding in any form.

“Repatriation can help to build a bridge and heal relationships between our institution and cultural groups who have long held the view that many museums have misappropriated important aspects of their culture,” said Hutchins. “The Whatcom Museum wants to work with tribal groups to best care for their objects, and to represent their history with accuracy and respect. Sometimes that includes the return of an item.”

As president emeritus Edward Thomas of the CCTHITA said, “We are very appreciative of the Repatriation Act. It does allow us to bring home to our people, bring back to the rightful owners the [object] so that they can once again be made whole by the return of their blanket, and it is going to be very well appreciated by the people.”



NORTHWEST SCULPTOR’S WORK INSPIRED BY NATURE AND THOREAU

FOR IMMEDIATE RELEASE: Bellingham, WA, January 27, 2016— Faith in a Seed: Philip McCracken’s Sculpture and Mixed-Media Painting surveys nature’s inspiration on one of the Pacific Northwest’s most distinguished artists. It will be on view at the Whatcom Museum’s Lightcatcher building from February 27 through June 5, 2016.

Philip McCracken, born 1928 in Bellingham, studied with British sculptor Henry Moore (1898-1986) in Hertfordshire and created diverse works that embrace both realism and abstraction, time-honored materials such as wood and bronze, and newer media such as resin and epoxy.

From animal sculptures to witty interpretations of contemporary life, McCracken has forged his own path, inspired by the writings of the nineteenth century philosopher Henry David Thoreau whose posthumous book, Faith in a Seed (1993), suggested the title for this show. Like Thoreau, McCracken celebrates the wonders of nature and captures its beauty in his work. This exhibition presents a wide spectrum of the artist’s sculpture and mixed-media painting, dating from 1952 through 2013, and underscores the duality of tradition and innovation at the heart of his career.

“If Thoreau had been an artist, his work would likely have looked much like that of Philip McCracken,” writes Deloris Tarzan Ament in the book 600 Moons: Fifty Years of Philip McCracken’s Art. “It celebrates the natural world—animal, vegetable, mineral, and the stuff of stars. He has put into sculpture bird song, poetry, and the motion of gasses. No theme is too daunting.”

Studying in the ceramics department at the University of Washington in the early 1950s under French potter Paul Bonifas, McCracken met and was inspired by many Northwest artists such as Mark Tobey, Morris Graves and Guy Anderson. After spending a summer assisting Henry Moore in England, McCracken moved back to the Northwest and settled down with his wife Anne in Guemes Island, Washington. It was from the forms of nature and the wildlife that surrounded him that McCracken drew inspiration for his artwork in the coming decades.

McCracken explores complex subjects, such as space, geology, mechanics, and poetry, and gives them form and feeling. Throughout his career, the artist has experimented with a wide variety of materials, including wood, metal, stone, bone, owl down, plaster, and artificial amber, among others. While many of his sculptures are clearly identifiable, his abstract compositions convey metaphor and meaning.

McCracken was the first artist to receive the Washington State Governor’s Award honoring an outstanding Washington State artist in 1964. He also garnered the Governor’s Arts Award in 1994 and the Cornish College of the Arts presented him with a Lifetime Achievement Award in 1999. He has exhibited work both nationally and internationally and has created many commissioned sculptures throughout the Northwest. His bronze sculpture, Heron, is perched at the back of the Whatcom Museum’s Old City Hall for all to enjoy.

Faith in a Seed: Philip McCracken’s Sculpture and Mixed-Media Painting will be on exhibition in the Lightcatcher building, 250 Flora Street, February 27 – June 5, 2016. The member preview reception takes place Friday, February 26, 5 – 7 PM. The Whatcom Museum will host two community programs related to the exhibition:

Having Faith in a Seed: Poetry in the Gallery
Thursday, May 12, 6:30 PM in the Lightcatcher; Free with $5 Thursday Admission

Like the art of Philip McCracken, the poetry of Paul Hansen, James Bertolino and Anita K. Boyle embraces the natural world. Join us in a conversation about art and poetry followed by a performance in the gallery surrounded by McCracken’s art.

AHA! After Hours Art: Animal Essences: Sculpture Inspired by Philip McCracken
Thursday, May 26, 5:30 – 7:30 PM in the Lightcatcher Building; $18 General/$15 members

Join Whatcom Museum educator and artist Emily Dieleman for an evening of creative sculpting. Participants will use modeling clay and natural materials to capture the essence of their favorite animal. For registration contact Emily by email or call 360.778.8960.



BRINGING HOME THE WORK OF IRA YEAGER: SIX DECADES OF ART

FOR IMMEDIATE RELEASE: Bellingham, WA, January 5, 2016— Returning Home: Six Decades of Art by Ira Yeager surveys the artist’s multifaceted approach to art where figures and landscapes, vibrant colors, and abstract lines harmoniously mingle. Highlighting more than 50 works of art, ranging from intimate en plein air studies to large oil and acrylic canvases, the exhibition provides viewers an opportunity to appreciate Yeager’s stylistic development over 60 years.

Opening at the Whatcom Museum’s Lightcatcher building on February 6, 2016 and running through May 15, 2016, the exhibition marks the first Washington museum retrospective of the artist, who left Bellingham, where he was born and raised, for art school in San Francisco.

Ira Yeager has traveled the world and created a unique body of work that illuminates the characters and landscapes that he encountered while abroad. The exhibition reflects the ways that he reinvented himself as an artist while exploring the many places he called home: Florence, Corfu, Tangiers, Santa Fe, New York City, San Francisco, and Calistoga.

Born in Bellingham, WA in 1938, and exploring drawing from the age of eight, the region exerted a formidable influence on the budding artist. His father, Ira Yeager senior, the founder of the sporting goods store of the same name, outfitted and led fishing and hunting expeditions in the Pacific Northwest. But Ira, born of a sensitive nature, rejected this machismo culture and found refuge in the world of art.

“I longed to be on the shore painting when I was a child,” said Ira Yeager. “Painting was one of the things that helped me—that was my passion.”

His father’s store opened up a fertile avenue of artistic inspiration by providing Yeager contact with Native American traders from Western Washington and Vancouver Island. Although New Mexico sparked the artist’s interpretive series of aboriginal people, Bellingham provided the seed. He eventually looked outside of Whatcom County for a cultural center with an established art school. After graduating high school, he moved to California and attended the California College of Arts and Crafts where he studied with renowned painters Elmer Bischoff (1916-1991), Richard Diebenkorn (1922-1993), and Nathan Oliveira (1928-2010).

Yeager’s artwork reflects his love of travel, which began in the 1960s. He lived in Italy, Morocco and Greece, explored France and Spain, and has traveled extensively to other countries where he interpreted landscapes and culture. After living in New York City, Yeager returned to San Francisco in the early 1980s and has lived in the Napa Valley since 1990, where wine country landscapes have influenced his work.

Returning Home includes the artist’s luminous Napa Valley Vineyards, playful interpretations of baroque and rococo masters, and the series titled Indian Paintings that occupied him for forty years. From the verdant valleys of Napa where California’s finest winery grapes are grown to the eighteenth century French courtly painters, Yeager draws inspiration from both reality and fantasy. Add to this mixture the artist’s unceasing wanderlust and a touch of the exotic, and the result is a prolific body of work composed of many chapters in the artist’s stylistic evolution.

Returning Home: Six Decades of Art by Ira Yeager runs February 6 – May 15, 2016 in the Lightcatcher building, 250 Flora Street. The artist will lead a gallery tour of his exhibition on Sat., Feb. 6 at 2pm in the Lightcatcher building. The tour is free with admission/Museum members free. For more information about the exhibition or gallery tour visit www.whatcommuseum.org.



WHATCOM MUSEUM EXHIBITION TO FEATURE COLOR PRINTS OF NORMA BASSETT HALL

FOR IMMEDIATE RELEASE: Bellingham, WA, September 30, 2015—Opening at the Whatcom Museum’s Lightcatcher building on October 24, 2015, is the traveling exhibition, Chipping the Block, Painting the Silk: The Color Prints of Norma Bassett Hall. Guest curated by Joby Patterson, scholar and author of Norma Bassett Hall: Catalogue Raisonné of the Block Prints and Serigraphs, the exhibition presents a spectrum of the Oregon-born Hall’s twenty-five year career as a printmaker. The exhibition will be showing through February 14, 2016.

Hall, who was born in Halsey, Oregon, in 1888, was a watercolorist and oil painter, but her greatest love was color printmaking. After studying at the Portland Art Association School and graduating from the Art Institute of Chicago, she spent two years in Europe, where she learned the skills of block printmaking. She returned to live in Kansas, where she was a charter member of the Prairie Print Makers, and later New Mexico, where she became part of the pioneer movement in the development of serigraphy.

Hall was educated in early twentieth century America, when the Arts and Crafts movement was all the rage. This training is revealed not only in the carving of woodblocks as a form of craft, but in the Japanese-influenced style and interpretation of her subjects. As was typical of an Arts and Crafts artist, Hall found inspiration in the diverse landscapes that she encountered in her extensive travels through Oregon, New Mexico, France, and England.

This is the first solo exhibition of Hall’s artwork since her death in 1957, the first time that more than sixty of her prints have been gathered for exhibition, and likely the first time prints by the artist have been exhibited in the Pacific Northwest since a 1930 group retrospective at the Portland Art Association. Exhibited for the first time will be a cherry woodblock and a portfolio of color block prints depicting the Oregon coast, jointly made by Hall and her husband, artist Arthur William Hall (American, 1889-1981), on the occasion of their marriage in 1922.

Guest curator Joby Patterson has been involved with fine prints for more than thirty years. After research in black and white intaglio prints for the book Bertha E. Jaques and the Chicago Society of Etchers, Dr. Patterson’s new interests turned to color. Her most recent book, Norma Bassett Hall: Catalogue Raisonné of the Block Prints and Serigraphs, traces the adventurous and creative life of Hall and her spouse.

Patterson says she “hopes that visitors who enjoyed the Museum’s Elizabeth Colborne exhibition, [which showed at the Lightcatcher in 2011], will also enjoy Hall’s work, and that the exhibition will contribute to the appreciation and knowledge of color block print artists, especially from the Pacific Northwest.”

Patterson will share her adventures in uncovering Hall’s life and work during a tour of the exhibition on Sat., Oct. 24, 2pm. A book signing will follow the gallery tour. Museum members can attend a preview reception on Fri., Oct. 23, 5-7pm. All events will take place in the Lightcatcher building, 250 Flora Street.



UNHINGED: BOOK ART ON THE CUTTING EDGE FOCUSES ON THE LIMITLESS POTENTIAL OF BOOKS FOR ARTISTIC INSPIRATION

FOR IMMEDIATE RELEASE: Bellingham, WA, Wednesday, September 9, 2015–Unhinged: Book Art on the Cutting Edge surveys recent directions in book art through 73 diverse works by 63 prominent artists in the field from across the US, and including Australia, Canada, and Great Britain. Opening in the Whatcom Museum’s Lightcatcher Building on September 27, 2015 and showing through January 3, 2016, the exhibition explores the limitless potential of the book as an independent, creative medium through both intimately-scaled pieces and large installations.

Unhinged highlights a myriad of styles and processes. Many artists carve old volumes or twist their pages into unique, sculptural configurations. Others make their own books and experiment with a multitude of different formats: accordion, concertina, pop-up, tunnel, among others. Some artists reconfigure ancient book forms, such as the scroll or codex, to create unique artworks. Books are often combined with other materials, both manufactured and natural, such as plastic, crystals, and twigs, to astonishing effects.

The exhibition also presents artists’ personal experiences, including messages about identity, human justice issues, and environmental concerns. From political statements to metaphysical ideas, book artists interpret their medium through expressive and sometimes humorous constructions.

Curator of art Barbara Matilsky notes, “As many people are not familiar with books used in art, Unhinged will open viewers’ eyes to the beauty, complexity, and cultural significance of the book. With digital media quickly surpassing books as a means of communication, the idea that artists can infuse new life into this traditional object underscores the continued importance of the tome in daily life. Once again, books have become vitally relevant as artists expand the physical boundaries of text and volume to express a wide range of ideas.”

The exhibition features artists who revolutionized the field, including Doug Beube, Julie Chen, Timothy Ely, Ann Hamilton, Buzz Spector, and Richard Minsky, as well as younger artists who have become internationally renowned, such as Long-Bin Chen, Brian Dettmer, Andrea Deszö, and Guy Laramée. Unhinged also includes many artists from Washington State: Casey Curran, Donald Glaister, Morse Clary, Marie Eckstein Gower, Deborah Greenwood, James Koss, Jessica Spring, Elsi Vasdall Ellis, Thomas Wood, Suze Woolf, and Ellen Ziegler.

The exhibition will feature a hands-on display created by Hedi Kyle, one of the pioneers of book art, showcasing a variety of styles and formats. Visitors will be able to handle these volumes, which will convey the intimacy and kinetic component of many works exhibited in the show.

Matilsky believes that, “after visiting this exhibition, viewers will never look at a book in the same way again.”

The Whatcom Museum will host a variety of programs and events in conjunction with the exhibition throughout the fall. The museum is also partnering with regional artists and organizations, offering concurrent exhibits and workshops. Visit www.whatcommuseum.org for a list of programs that highlight this exhibition.



SEATTLE AUTHOR AND PHOTOGRAPHER PAUL BANNICK SHARES STRIKING NEW IMAGES AND STORIES ABOUT OWLS AND WOODPECKERS

FOR IMMEDIATE RELEASE: Bellingham, WA, Tuesday, July 28, 2015–The Whatcom Museum, North Cascades Institute and North Cascades Audubon Society present author and photographer Paul Bannick for a slideshow and lecture in the Rotunda Room of Old City Hall on Tues., Aug. 11, 7pm for “The Owl & the Woodpecker Revisited.” Bannick brings the inter-relationships between these two birds into fresh focus with dozens of new images and stories, including many never presented before.

Bannick will share striking new images, videos and stories that provide fresh illumination to the themes of his book and the exhibit. Find out the latest discoveries since the release of his highly acclaimed book, as well as information from his newest title, Woodpeckers of North America. Doors open at 5:30pm, so come early to see Bannick’s exhibition by the same name on display in Old City Hall. The exhibition features 25-large format color photographs, exhibiting some of the most important species of owls and woodpeckers in North America. Books will be available for sale at the event. This event is co-sponsored by the North Cascades Institute and the North Cascades Audubon Society.

Tickets are $10 General admission/$5 Museum members and are on sale through August 10 at BrownPaperTickets.com (event # 1381965) or by calling (800) 838-3006 ext. 1. You may also purchase tickets directly at Whatcom Museum reception desks. All seats are general seating. Space is limited, so purchase your tickets soon, as Paul’s previous events at the museum have been sold out, standing-room-only! Come early to get the seat of your choice; doors open at 5:30pm.



MUSEUM SEEKS NEW DOCENTS TO LEAD EXHIBITION TOURS

FOR IMMEDIATE RELEASE: Tuesday, July 28, 2015; Bellingham, WA — The Whatcom Museum is looking for new docents to lead tours of exhibitions, beginning this fall. Docents are volunteer educators and ambassadors for the museum, leading 50 minute tours for museum visitors in the Lightcatcher galleries. Docents research and develop informative, interactive tours to engage adult audiences in a conversation about the art on exhibit.

“Our volunteer docents contribute many hours of their time and knowledge to provide this important service to museum patrons,” said Marilyn Burns, Docent Educator. “Without their valuable skills and research, the museum would not be able to provide community members with such a personal experience.”

Museum docents study all aspects of art, from individual artists to artistic styles to elements and principles of art. They also conduct research, master the art of tour development, and hone their public speaking skills. Docents must commit to at least one year of service to the museum, and will prepare and lead between 10 to 20 public and private tours annually. Initial training takes about three months with once a week sessions lasting from 9 to 11:30am. Additional workshops precede each new exhibition.

In return, docents enjoy the intellectual challenge of researching and developing tours, exercising their public speaking skills, providing a valuable service to the community, and associating with a stimulating group of people who appreciate art too.

Fall training begins September 10 and concludes November 17.  New docents will begin touring the exhibition, Chipping the Block, Painting the Silk: The Color Prints of Norma Bassett Hall after Christmas. For more information on how to apply to become a docent, contact Marilyn Burns by August 14th at 360-778-8938 or via email.