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 hosting the second Bellingham National Juried Art Exhibitions and Awards. Hundreds of artists from around the country submitted artworks in the theme of drawing to be considered for this exhibition. The top three artists will receive cash awards and the exhibition will include a popular choice award. The artwork selected will represent a variety of mediums interpreting the theme of drawing. Artwork will feature modern ideas of language, writing, notation, mapping, movement, dance, performance, as well as connections to space and architecture.
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.
About the Juror:
Catharina Manchanda joined the Seattle Art Museum in 2011 as the Jon and Mary Shirley Curator of Modern and Contemporary Art. A native of Germany, she received her undergraduate degree from the University of Stuttgart and her Ph.D. from the City University Graduate Center in New York. Recent exhibitions at the Seattle Art Museum include Pop Departures, Miró: the Experience of Seeing, and Big Picture: Art after 1945. She also mounted a series of contemporary projects and site-specific installations by John Luther Adams, Moyra Davey, Harun Farocki, Victoria Haven, Martha Rosler, Guido van der Werve, and others. Prior to her time in Seattle, she worked at the Wexner Center for the Arts in Columbus, the Mildred Lane Kemper Art Museum in St. Louis, and the Museum of Modern Art in New York.
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.