James Harris Gallery
July 13, 2015, 3:50pm
Grounding the City of Angels: Erin Morrison and Tomory Dodge at James Harris Gallery
“One Foot on the Ground is not a themed exhibition.” When I read this on the wall of Seattle’s James Harris Gallery, my impulse was to immediately look for a theme. After scouring the works of the six painters featured in the group show guest-curated by Los Angeles artist Alexander Kroll, I conceded that the claim held true. However, as I stood among Erin Morrison’s (NAP #97) palm tree leaves and the graffiti-like palettes of Tomory Dodge, I was drawn to their ties to the City of Angels. I might have been breaking the rules by clinging to the concrete in a show that insisted it was about abstraction. Or, maybe the show was designed so I would unearth my own themes. Maybe I had fallen into a trap that had been there all along.—Erin Langner, Seattle contributor
Erin Morrison, Black Palm (no. 1), 2015, Ink and wax on hydrocal in maple frame, 35.5” x 37.5”
January 22, 2013, 8:30am
In The Studio: Pairings with Eric Elliott
Eric Elliott's fourth solo exhibit at James Harris Gallery, called Pairings, shows a body of work getting much muckier. And the muck is getting more colorful. Paint, slowly and painstakingly built up in daubs, nearly curls off the canvas like calcified petals, resembling the flora with which he is obsessed. (His botanical illustrations fill notebooks scattered around his studio; dried bouquets languish in vases.) Elliott’s fascination with rendering the representational abstract is consistently apparent in his work: the subject of his paintings is sometimes legible, sometimes it spastically dissolves. Pairings takes this study of abstraction to a dialogic place.
November 30, 2012, 8:30am
Unsolved Collections: The Paintings of Sarah Awad’s Transference and Speculation
Sarah Awad’s orange and white parachute beams broadly like sunshine across the confines of its modest canvas. Sharing the stage with a blue alligator head, a shiny space shuttle and a set of turquoise artillery, bold objects dominate the artist’s new show Transference and Speculation at Seattle’s James Harris Gallery.
July 23, 2012, 8:15am
Unrepresented: The Tabloid Scenes of Noah Davis’s Savage Wilds
The six new paintings comprising Savage Wilds by L.A. artist Noah Davis pop wildly with disparate references, ranging from talk show host Maury Povich to Mondrian. Evocative of flat screens with TV show logos in their corners and caption-like titles, such as Crush on Daughter In-law, this new body of work on view at Seattle’s James Harris Gallery (through August 24th) has the feel of an electronics store with screens on every surface.
June 29, 2012, 8:15am
40 Galleries You Should Know if You Love Paint
It is a simple truth that in any given month, if you added up all of the available space in commercial galleries around the country, the amount dedicated to painting would dwarf that of all other media. The list that I have compiled consists of 40 United States’ based galleries that have a proclivity for painting. That is not to say that painting is the only medium that these galleries show; indeed, most represent artists producing work in a range of media. All of them, however, have shown a particular interest in the medium over an extended period of time, and all have stables of artists that are at least 50% painters.
April 19, 2012, 8:30am
See-Through Fantasies: Mirage at James Harris Gallery
The concept of the mirage is one of intrigue, as evidenced by pop culture’s frequent attempts to define its mystery. A floating desert oasis memorably deceives Daffy Duck into inhaling a mouthful of sand (“Aqua Duck,” 1963), while Steve Wynn’s Mirage casino enchants Las Vegas visitors with its lush terrarium and waterfall-lined swimming pools. Within the context of such widely known references, the question of how the mirage can function within a painting is an interesting one posed by James Harris Gallery’s group show focused on this theme. –Erin Langner, Seattle Contributor
January 19, 2012, 9:09am
The Faces of Our Time: Give Me Head at James Harris Gallery
Give Me Head at Seattle’s James Harris Gallery transpires most literally: as a collection of 21 heads. This group show of paintings and sculptures primarily created within the last five years offers a visual survey of the face. With very limited exceptions, a lack of expression represents the unifying theme of the imagery. Although some eyes meet the viewer dead-on and others gaze outside the confines of their frames, the intimacy affiliated with portraiture is consistently absent among these stoic figures, raising the question: why would the lack of expression define this body of work?
September 09, 2011, 9:30am
The Atmosphere of Painted Spaces: Sarah Awad and Storm Tharp
Playful demystification inhabits the center of Los Angeles artist Sarah Awad’s Instruments of Culture at Seattle’s James Harris Gallery, a series of large, densely painted canvases depicting the statuary and halls of London’s Victoria and Albert Museum. Layered with oil to the point that marble sculptures become ghostlike and courtyards become abstracted spaces of color blocks and sketched lines, this series of work accentuates the absurdities of the object display that represents standard practice in museums.
March 30, 2011, 12:16pm
A Colossal Place of Being: A Q&A with Claire Cowie
Claire Cowie. TOP: Stranded Ship, 2011 | Fabric, foam, gesso, sumi color, asphaltum, 16 x 42 x 42 inches. BOTTOM: (detail) panel 3, Dead Reckoning, 2010 | Gouache, acrylic, watercolor, India ink, and collage on paper, 100 x 90 inches. Courtesy James Harris Gallery, Seattle.
February 08, 2011, 11:33am
Painting as a Mode of Thought: Alexander Kroll speaks to Joey Veltkamp
Alexander Kroll, Untitled, 2010 | Oil on linen over panel, 10 x 10 inches. Courtesy CB1 Gallery, Los Angeles.
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