In training for an Art Marathon

Getting down to the wire this weekend, as I prep for my first (art) marathon.

Friends of mine have participated before in this fundraiser for the Center on Contemporary Art (CoCA Seattle), but they have lots more experience creating work in front of a live audience. Me, on the other hand… I’m usually holed up in the studio muttering to myself as I work. So it’s a bit of a personal challenge. I’m honored to be working alongside 19 other artists, including painters Braden Duncan and Jazz Brown as well as kinetic sculptor Casey Curran.

But wait — there’s more! You’re invited to stop by and watch the paint fly on September 20th. This way, you get a special preview of the brand-new artworks to be auctioned off at the gala on September 22nd.

I’ve sketched out ideas, but details always change in the process — come see!

Next step for my "Evolution"

When a Good Thing happens in my life, sometimes I like to hug it close for a day or two before I share it. That's why I took a day to savor this news: one of my collages is going to live in a Seattle city art collection!

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"Waterfront Evolution" was purchased for the Seattle Public Utilities Collection, through a program of the city's Office of Arts & Culture. The collage joins a collection that includes work by emerging and established artists like Mary Ann Peters, Kara Walker, Barbara Earl Thomas and Dale Chihuly.

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Artworks in this collection are portable so they can rotate throughout municipal buildings. So there's a good chance you'll see my giraffes in a waiting room, or while you're paying a bill, or in a meeting room. Not sure yet where the collage will go first, but I figure there must be a calendar or tracking system that'll tell me. And that bit of info I'll share right away!

The serious business of play (dates)

I call them "play dates" but I'm serious about experiencing art with my artist friends.

  Artist Rachel Setzer, shown in profile with "Naida, the Proud Princess" by Edward S. Curtis

Artist Rachel Setzer, shown in profile with "Naida, the Proud Princess" by Edward S. Curtis

Rachel Setzer and I took in "Double Exposure" at the Seattle Art Museum recently. She understands my love of tintypes, daguerreotypes and other old-fashioned photo technology, so Will Wilson's prints were a big draw for both of us.

You can see the cooperation between photographer and portrait sitter, which has a different vibe compared to Edward S. Curtis' documents of a 'vanishing' people. However, the Curtis photos far outnumber the contemporary work.

  Will Wilson, "Talking Tintype, Andy Everson, Artist, Citizen of the K'  ómoks   First Nation"

Will Wilson, "Talking Tintype, Andy Everson, Artist, Citizen of the K'ómoks First Nation"

The exhibit is more of a Curtis survey with a few living, Northwest Native artists added for local color (pun intended). I think Rachel and I found the exhibit aesthetically pleasing, but still a let-down. Fortunately, Amy Sherald's work is just around the corner.

  Amy Sherald, "Saint Woman"

Amy Sherald, "Saint Woman"

It's on view as part of "In This Imperfect Present Moment," an exhibit of 15 contemporary artists whose work local art collectors are lending to SAM. Valencia Carroll and I visited the show for some in-person inspiration. After gawping over Amy Sherald's painting, I also found another favorite by Lawrence Lemoana. His banner prompted me to see a disturbingly familiar parallel between Dave Meinert in Seattle and Jacob Zuma of South Africa.

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Bottom line: if I'm going to venture out of the studio...

  Genevieve Gaignard, "Trailblazer (A Dream Deferred)"

Genevieve Gaignard, "Trailblazer (A Dream Deferred)"

geeking out over Genevieve Gaignard's photography with friends makes it worth the effort.

Wish you were here: postcards as art

Just for kicks, I've started sending out postcards to my friends every so often. I've finally gotten around to framing a few for myself.

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The Husband gave me a set of these postcards as a gift; they're reproductions of classic Penguin paperback book covers. When I rearranged some of them, they made me laugh out loud.

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But I couldn't fill in the center space for the second trio until a few days ago, when I rediscovered this postcard: "Portrait of a Black Woman" by Marie-Guillemine Benoist.

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I love this image for many reasons, but most of all because of this woman's pro-level side-eye. Apparently her very existence, like that of so many black women, gets people all riled up. So now she's the demigoddess of my nightstand.

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Put together with the other postcards, it makes for a lovely vignette that also warns people to Let Me SLEEP.