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Tavares Strachan at Frye Art Museum - February 2018

2/15/2018

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Artist Tavares Strachan’s show at Frye packed with subversive drama - Published in Seattle Times, February 6, 2018
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Tavares Strachan, “I Belong Here,” 2011. White neon, transformers. (Tavares Strachan)
Labor-intensive, visually compelling works by the Bahamian artist seem to challenge outworn heroes and cultural assumptions of the Western canon, yet some of Strachan’s simplest pieces may be his most pleasing.

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Mary Ann Peters' "slipstream" at James Harris Gallery  - October 2017

10/25/2017

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Seattle artist Mary Ann Peters explores the migration crisis - published in Seattle Times, October 25, 2017
In "slipstream," an exhibition of Mary Ann Peters' works at the James Harris Gallery, this longtime presence on the Seattle art scene turns her energestic imagination to the migration crisis.
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(left) “impossible monument (tell tale)” (2017), watercolor, survival blanket, aluminum, sailcloth; (right) “storyboard 6” (2017), watercolor/gouache on clayboard (photo by Rafael Soldi)

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Cable Griffith & Robert C. Jones at G. Gibson Gallery - September 2017

9/22/2017

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Two very different painters show that abstractionism isn’t dead yet - published in Seattle Times, September 19, 2017
Robert C. Jones and Cable Griffith both offer works with an optimistic outlook at G. Gibson Gallery.
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(Fig 1) Cable Griffiths, “Plein@ir 1.4 (Wenatchee)"  and  (Fig 2) Robert C. Jones, “Midsummer.”  

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Zhi Lin’s “In Search of the Lost History of Chinese Migrants and the Transcontinental Railroad” at Tacoma Art Museum - August 2017

8/1/2017

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​Plight of immigrants brought to light in ambitious Tacoma Art Museum show - published in Seattle Times, July 28, 2017
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Zhi Lin’s “‘Chinaman’s Chance’ on Promontory Summit: Golden Spike Celebration, 12:30 pm, 10th May 1869.”
​(Courtesy of the artist and Koplin Del Rio Gallery, Seattle) 

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"Bellingham National Juried Art Exhibition" at Whatcom Museum (Lightcatcher) - June, 2017

6/27/2017

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Diverse notions of drawing at the Whatcom Museum - published in Seattle Times, June 27, 2017
The 29 artists selected by Seattle Art Museum curator Catharina Manchanda for the Bellingham National present media as diverse as photography, video, audio and sculpture as well as more traditional works on paper.
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Christopher Patton optically transformed close-ups of his handwriting into a series of abstract images, made into a video loop.

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"Color & Pattern" at Pivot Gallery - May 2017

5/23/2017

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Who knew? Paul Allen Collection does abstraction at Pivot Art + Culture - published in Seattle Times, May 22, 2017
The Seattle gallery’s show “Color and Pattern” is a big departure from other, realism-dominated shows from Allen’s trove of artworks. You’ll see masters of the form, though, like Damien Hirst, Wassily Kandinsky and Frank Stella.
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Pivot Art + Culture is currently exhibiting “Color and Pattern” in its South Lake Union space. The show includes works by such nonrepresentational-art greats as Wassily Kandinsky, David Hockney and Agnes Martin,

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'We' at MadArt Space, April 2017

4/12/2017

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Is ‘WE’ installation deep? No. Is it fun? Definitely - Published in Seattle Times, April 12, 2017.
The artist trio LET’S has created a room-size carnival-like exhibition at the MadArt Space in South Lake Union, in which visitors can collaborate on the soundtrack and light show. "
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'Seeing Nature' at Seattle Art Museum, February 2017

2/21/2017

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At Seattle Art Museum, a peek at Paul Allen’s landscapes - Published in Seattle Times, February 21, 2017
​“Seeing Nature: Landscape Masterworks from the Paul G. Allen Family Collection” is an interesting mix, including the outlier Klimt landscape “Birch Forest” and the Cezanne post-Impressionist masterpiece “Mont Sainte-Victoire.”
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At Seattle Art Museum, Wendy Saffel stands in stark contrast to the April Gornik painting “Lake Light” (2008). The painting is one of the nearly 40 works in the “Seeing Nature: Landscape Masterworks from the Paul G. Allen Family Collection” now on view at SAM. (Steve Ringman/The Seattle Times)

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"A Closer Look" at Pivot Art + Culture, December 2016

12/8/2016

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‘A Closer Look’ at more of Paul Allen’s art collection at Pivot - published in Seattle Times, December 8, 2016
A review of “A Closer Look: Portraits from the Paul G. Allen Family Collection” at Pivot Art + Culture in Seattle, which hangs photos and paintings together by such artists and photographers as John Coplans, David Hockney and Guy Tillim.
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One of the portraits in Guy Tillim’s series depicting child soldiers in the Democratic Republic of the Congo.
The real showstopper among the 70-odd pictures in Pivot Art + Culture Gallery’s just-opened portrait exhibition is a group of John Coplans’ close-up photographs of his own hands. The four enormous prints focus on the interlacing of the artist’s hairy, wrinkled fingers, which here become stand-ins for all manner of fleshly couplings. The images call into question the conventional canons of portraiture: Does the artist identify so closely with his hands? Is he celebrating, or bemoaning, their lumpy physicality?

​Truth to tell, there are not many surprises in the enjoyable, but unexceptional, “A Closer Look,” entirely composed of art on loan from software mogul and arts patron, Paul Allen. The depth of Allen’s holdings is such that another show of his art will come to town while the Pivot exhibit is still hanging, and that exhibit is on another level entirely. The selection of Allen’s landscape paintings coming to SAM in early 2017 is a stellar grouping of signature works by artists ranging from Breughel (the Younger) to Magritte, any of which SAM would love to be given.​

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"Matched Makers" at Museum of Northwest Art - October 2016

10/18/2016

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'Matched Makers' is about being married to your work - Published in Seattle Times, October 18, 2016.
​The show at the Museum of Northwest Art features works by 28 artist couples, including Jacob Lawrence and Gwendolyn Knight, Sheila Klein and Ries Niemi, and Michael Bray and Anya Kivarkis.
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“Vigilante,” 1977 lithograph by Jacob Lawrence (1917-2000), who was married to fellow artist Gwendolyn Knight.
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 “Mask,” 1964 lithograph by Gwendolyn Knight.
​Cops who marry cops, like cinema stars who couple with other stars, often make the case that only another member of their profession can fully understand and sympathize with the peculiarities of their job. A similar sentiment is expressed by artist Michael Bray, who says his conceptual jeweler partner Anya Kivarkis “understands the risks and lack of rewards for the risks” in what he does.

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    FAIGIN ART REVIEWS
    ​​A collection of reviews, featuring mostly NW artists, galleries and museums, on KUOW Radio from 2000 to 2012, in the Seattle Times from 2014 to present, and in other publications, as noted, beginning in 1993.

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