November 22, 2016, 9:13am
We all know there is power in looking. What we should be looking at, right now, are the truths that are difficult to face. The truths of what it means to be an “Other” in America. What it means to be a black American or a Mexican American or a female American. What it means to live in a culture that labels you as “different.” The exhibition “30 Americans” at Tacoma Art Museum offers just such an opportunity for looking. – Lauren Gallow, Seattle Contributor
November 23, 2015, 9:18am
When I walked into Brenna Youngblood’s (NAP #103) abstracted realities, at the Seattle Art Museum, I thought this would be a show about its painted subjects. The eight works’ contents—an oversized “x”, a confetti of dollar-bill signs, a dripping map, a Chuck Taylor sole atop a pyramid—held so much depth on their own. Knowing her also to be an artist whose practice extends to mediums rooted in physical objects, including sculpture, collage, assemblage, and photography, objects at first seemed to be the heart of the matters here. — Erin Langner, Seattle Contributor
September 02, 2014, 9:49am
Plastic and its lasting after-effects have been a recurring topic of conversation over the past decade. News about the accumulation of microplastics, the drastic effect of human consumption and waste, and the seemingly permanent lifespan of this man-made material fill our newsfeeds, social media, and minds. I think many of us have been aware with the problem of plastic for a long time (artists too), but it wasn't until I saw Gyre: The Plastic Ocean, curated by Julie Decker, that I really considered the extensive, massive, and exhaustive issues at hand in a more poetic and profound way. – Ellen C. Caldwell, Los Angeles Contributor
“Gyre: The Plastic Ocean,” installation view of Mark Dion’s “Cabinet of Marine Debris” and Andy Hughes’ UFO Plastic Gyre Series Circularity Series at the Anchorage Museum. Photos Courtesy of Ellen C. Caldwell.