February 4 – May 28, 2017, Lightcatcher Building
Curated by Patricia Leach, Executive Director
Sponsored by Heritage Bank
Images of Resilience: Chicana/o Art and its Mexican Roots is an exhibition that explores the development of Chicana/o art, from its beginnings in Mexican art of the early 1900s, to the Chicana/o movement of the 1960s and ’70s, to its relevance today. Images of Resilience reflects how Chicana/o art has been a part of community building, history making, and cultural citizenship for Mexican-Americans and Chicana/os. The exhibition will feature artwork focusing on Mexican art trends in the early twentieth century, as well as artworks that arose from the Chicana/o civil rights movement of the 1960s and ’70s. Post-revolution Mexican art is typified by a shift from European academic styles to what we consider traditional Mexican art today, including illustrations of skeletons, or calaveras.
The exhibition features work from Los Tres Grandes—Diego Rivera, David Alfaro Siquieros, and Jose Clemente Orozco, three internationally prominent artists originally hired by the Mexican government in the 1920s to create identifiably Mexican art. This new style emphasized their cultural roots with a respect for non-Spanish traditions and instilled a patriotic pride in the Mexican people. The Chicana/o movement of the ’60s and ’70s grew from a cultural reclamation and struggle for social justice. Drawing on styles created post-revolution, this era of Chicana/o art deals with rural themes—agriculture, religious holidays, folk heritage—and the new urbanized lives that the Mexican-Americans were living, shown through pop culture, cars, and Hollywood iconography.
PARTY > Members see it first at the member reception! Friday, February 3, 5 – 7 PM at the Lightcatcher building.
ARTIST LECTURE > Featuring Seattle-based artists Cecilia Concepción Alvarez and Alfredo Arreguín, Saturday, February 4, 2pm at Old City Hall.
DOCENT TOURS > Thursdays, Saturdays, and Sundays, 1:30 PM at the Lightcatcher building, beginning February 12, 2017.
FILM SCREENING > The Bellingham Human Rights Film Festival presents Chicano Legacy: 40 Años, Sunday, February 19, 2pm at Old City Hall.
LECTURE > Featuring artist and scholar Amalia Mesa-Bains, Wednesday, March 22, 12:30pm at Old City Hall.
June 10 – September 10, 2017, Lightcatcher
Juror: Catharina Manchanda, Jon and Mary Shirley Curator of Modern and Contemporary Art, Seattle Art Museum
The Whatcom Museum is seeking submissions by artists for whom drawing is an important aspect of their work. Submissions may be connected to traditional uses of drawings, as well as newer ideas of language, writing, notation, mapping, movement, dance, performance, as well as connections to space and architecture. Drawing may involve traditional or non-traditional materials and approaches, and can include time-based and site-specific installations or performances. Deadline for entries February 10, 2017. Apply online at: https://www.callforentry.org/ and search for Bellingham National 2017.
The flood of images disseminated on the internet, and with it the attendant information overload, invite renewed attention to drawing as a comparably “slow” medium. Traditionally tied to the conception and development of ideas, drawing remained the stepchild to the more durable mediums of painting and sculpture well into the 1960s. The subsequent interest in process and fragment rather than the finished product allowed drawing to assume a far more influential position. In our contemporary moment, drawing practices warrant particular attention as they open new avenues for artistic thought and expression, especially vis-à-vis digital modes of communication and information sharing.
Download the Bellingham National 2017 Call to Artists.
February 3 – May 6, 2018, Lightcatcher
Rooted, Revived, Reinvented: Basketry in America chronicles a history of American basketry from its origins in Native American, immigrant, and slave communities to its presence within the contemporary fine art world. Baskets convey meaning through the artists’ selection of materials; the techniques they use; and the colors, designs, patterns, and textures they employ.
Historical baskets were rooted in local landscapes and shaped by cultural traditions. The rise of the industrial revolution and mass production at the end of the nineteenth century led basket makers to create works for new audiences and markets, including tourists, collectors and fine art museums. Today the story continues. Some contemporary artists seek to maintain and revive traditions practiced for centuries. Others combine age-old techniques with nontraditional materials to generate cultural commentary. Still others challenge viewers’ expectations by experimenting with form, materials, and scale. Divided into five sections—Cultural Origins, New Basketry, Living Traditions, Basket as Vessel, and Beyond the Basket—this exhibition of approximately 95 objects has two primary goals: to model how to look at, talk about, and analyze baskets aesthetically, critically and historically; and to contextualize American basketry within art and craft history specifically and American culture generally.
This traveling exhibition is organized by the National Basketry Organization in partnership with the University of Missouri. For more information visit americanbasketry.missouri.edu.