SGN June 22, 2018 - Pride - Section 4

Seattle Gay News

Issue 25, Volume 46, June 22, 2018

Pride Special

SEATTLE ART MUSEUM COVER STORY

SJIMA PAGE 12

BARD ON THE BEACH PAGE 14

FRYE ART MUSEUM CENTRAL LIBRARY WHATCOM MUSEUM PAGE 20 PAGE 22 PAGE 26

“Double Exposure”

Major Seattle Art Museum exhibition explores legacy of photographer Edward S. Curtis from 21st-century perspectives “Double Exposure: Edward S. Curtis, Marianne Nicolson, Tracy Rector, Will Wilson” presents historic Curtis photographs alongside work by three contemporary indigenous artists Installation view of “Double Exposure” – Photo courtesy of Seattle Art Museum.

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“Double Exposure”

The Wedding Party, Qagyuhl, 1914, Edward S. Curtis, American, 1868-1952, photogravure, 13 7/8 x 16 13/16 in., All Rights Reserved.

SAM

continued from cover The Seattle Art Museum presents “Double Exposure: Edward S. Curtis, Marianne Nicolson, Tracy Rector, Will Wilson” (June 14-September 9, 2018), featuring iconic early 20th-century photographs by American photographer Edward S. Curtis (1868-1952) alongside contemporary works – including photography, video, and installation – by indigenous artists Marianne Nicolson, Tracy Rector, and Will Wilson. Held in commemoration of the 150th anniversary of Curtis’s birth, the exhibition explores the legacy of his historic portraits of Native Americans from 21st-century perspectives, focusing attention on Native and First Nations voices.

Edward S. Curtis is one of the most well-known photographers of Native people and the American West. Establishing a photography studio in Seattle in 1891, he made his first portrait of a Native American in 1895 of Princess Angeline (Kikisoblu), daughter of Chief Sealth (Seattle). In 1906, funded by financier JP Morgan, he embarked on a decades-long project to photograph and document Native Americans and their traditional lifeways, resulting in The North American Indian, 20 volumes published between 1907 and 1930.

“Double Exposure” features over 150 iconic photographs by Edward S. Curtis, including famed portraits of historical figures such as Chief Joseph, Geronimo, and Princess Angeline. On view are rarely seen examples of his photos across many media: sepia-toned photogravures, platinum prints, silver gelatin prints, cyanotypes, and orotones (goldtones), a process perfected

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by Curtis. The exhibition also includes one of Curtis’s cameras, lantern slides he used in multimedia lectures promoting his project, audio field recordings of languages and songs made on wax cylinders, and a projection of his docu-drama feature length film made in British Columbia, In the Land of the Head Hunters (1914).

Threaded throughout the galleries of Curtis works are multimedia installations by three contemporary indigenous artists: Marianne Nicolson, Tracy Rector, and Will Wilson. Their work provides a crucial framework for a critical reassessment and understanding of Curtis’s representations of Native peoples and the complex response that Natives and others have to those representations today.

In the exhibition, Dzawada’enuxw First Nations artist Marianne Nicolson creates an immersive, light-based installation about the significance of the Columbia River to First Nations people – traditionally a source of sustenance and spirituality – and the modern challenges resulting from the transfer from indigenous to colonial jurisdiction.

Seminole and Choctaw filmmaker/artist Tracy Rector presents a new video work of “microstories” derived from the life experiences of Natives today who are creatively reinvigorating and adapting language and traditions. In addition, Rector’s installation creates a “Native space” for viewing the videos and related art works. Will Wilson, a Diné photographer who spent his formative years living in the Navajo Nation, presents large-scale images derived from tintypes he makes of Native sitters.

These works – featuring lawmakers, artists, educators, and more from the Washington area – purposefully reference Curtis’s 19th-century photographic processes. Using

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the augmented reality Layar app, Wilson activates the sitters, who perform dance, song, or spoken word about their ancestors depicted in the Curtis images. Wilson’s work offers an antidote to Curtis’s stoically posed portraits by showing the vibrancy of the contemporary Native experience.

“The historical significance of Curtis’s project is well-established,” says Barbara Brotherton, SAM’s Curator of Native American Art. “In many cases, his photographs and texts provide important records of Native culture. However, it’s time for a reevaluation of his work. His methodology perpetuated the problematic myth of Native people as a ‘vanishing race.’ This exhibition reflects a collaboration among SAM, the artists, and an advisory committee comprising Native leaders to make space for a reckoning with Curtis’s legacy.”

The Artists Edward S. Curtis American photographer Edward Sheriff Curtis (1868-1952) established a studio in Seattle in 1891 and is most known for his photographs of American Indians of the West. From 1907 until 1930, he visited more than 80 tribes in a mistaken effort to “salvage” aspects of their culture and customs before they forever disappeared.

The images and written texts, as well as language and songs transcribed from wax cylinders, formed the 20-volume The North American Indian, in part financed by J. P. Morgan. This ambitious, life-long project produced 40,000 images, thousands of pages of ethnographic text, scores of audio recordings, and a feature-length film. Curtis’s work is often lauded for its artistry, especially the sensitive portraits, but also

criticized for using methods that erased any evidence of the strategies that Native peoples were using to survive and maintain their culture. In 1970, his glass plates and unbound books and images were discovered in the basement of a Boston book dealer, thus inspiring a resurgence of interest in his work.

Marianne Nicolson (Dzawada’enuxw) Marianne Nicolson is an artist/activist of Musgamakw Dzawada’enuxw First Nations – part of the Kwakwaka’wakw (Kwak’wala-speaking peoples) of the Pacific Northwest Coast – and Scottish descent. She is trained in traditional Kwakwaka’wakw forms and culture as well as contemporary gallery and museumbased practice. She holds a Bachelor of Fine Arts from the Emily Carr University of Art and Design, a Master of Fine Arts from the University of Victoria, and a Master of Arts and PhD in Linguistics and Anthropology from the University of Victoria. Nicolson works as a cultural researcher and historian for the Kwakwaka’wakw, as well as an advocate for Indigenous land rights. Her multi-disciplinary practice encompasses photography, painting, carving, video, installation, monumental public art, writing, and speaking. Exhibitions include the 17th Biennale of Sydney, Australia; The Vancouver Art Gallery; The National Museum of the American Indian in New York; Nuit Blanche in Toronto, Ontario; and many others. Major monumental public artworks are situated in Vancouver International Airport; the Canadian Embassy in Amman, Jordan; and the Canadian Embassy in Paris, France.

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Ǩanǩagawi (The Seam of Heaven), 2018, Marianne Nicolson, Dzawada'enuxw First Nation, b. 1969, site-specific installation, Seattle Art Museum, 2018 Commission, Courtesy of the artist

Tracy Rector (Seminole/Choctaw) Raised in Seattle and Albuquerque, Tracy Rector is a mixed-race filmmaker, curator, community organizer, and cofounder of Longhouse Media. She has made over 400 short films. Rector is co-producer of the award-winning film Teachings of the Tree People, producer of March Point, co-director of Clearwater, and director of Ch’aak’ S’aagi. Her work has been featured on “Independent Lens,” at the Cannes Film Festival, imagineNATIVE Film & Media Arts Festival, National Geographic’s All Roads Film Project, Toronto International Film Festival, the Seattle Art Museum, and the Smithsonian’s Museum of the American Indian. Recent exhibitions including “RE:DEFINITION” at the Paramount Theatre Gallery, “YOU ARE ON INDIGENOUS LAND” at Core Gallery, “Women On the Brink” at Vermillion Gallery, and “BLOODLINES” at Bridge Productions.

As a Native Education specialist, Rector

has facilitated work with over 3,000 youth, worked as a consultant with the Seattle Art Museum, and served as a Native Naturalist for SAM’s Olympic Sculpture Park. Tracy has received the National Association for Media Literacy award for outstanding contributions made in the field of media education. She is currently a Firelight Media Fellow, a WGBH Producer Fellow, Sundance Institute Lab Fellow, Tribeca All Access Grantee, and City of Seattle Arts Commissioner. She received the Horace Mann Award for her work in utilizing media for social justice.

Talking Tintype, Timothy White Eagle, White Mountain Apache, 2018, from the series Critical Indigenous Photographic Exchange: dᶻidᶻəlalič, Will Wilson, Diné, b. 1969, exhibition print, 50 x 40 in., Seattle Art Museum, 2018 Commission, Courtesy of the artist

Talking Tintype, Madrienne Salgado, Jingle Dress Dancer/Government and Public Relations Manager for the Muckleshoot Indian Tribe, Citizen of the Muckleshoot Nation, 2018, from the series Critical Indigenous Photographic Exchange: dᶻidᶻəlalič, Will Wilson, Diné, b. 1969, exhibition print, 50 x 40 in., Seattle Art Museum, 2018 Commission, Courtesy of the artist

Will Wilson (Diné) Diné photographer and trans-customary artist Will Wilson spent his formative years living on the Navajo Nation. He studied photography, sculpture, and art history at the University of New Mexico (MFA, Photography, 2002) and Oberlin College (BA, Studio Art and Art History, 1993). He is

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Ch’aak’ S’aagí (Eagle Bone), 2018, Tracy Rector, Seminole/Choctaw, b. 1972., video, Seattle Art Museum, 2018 Commission, Courtesy of the artist

the recipient of the Native American Fine Art Fellowship from the Eiteljorg Museum, the Joan Mitchell Foundation Award for Sculpture, and a Pollock-Krasner Foundation Grant for Photography. He has held visiting professorships at the Institute of American Indian Arts, Oberlin College, and the University of Arizona. From 2009 to 2011, Wilson managed the National Vision Project; a Ford Foundation initiative focused on contemporary Indigenous art at the Museum of Contemporary Native Arts in Santa Fe, and helped to coordinate the “NM Arts: Temporary Installations Made for the Environment” program on the Navajo Nation. Wilson is part of the Science and Arts Research Collaborative, which brings together artists and collaborators from Los Alamos National Laboratory. His work, “eyeDazzler,” a Diné textile comprised of 78,050, 4 mm glass beads, QR codes, and web-based video was featured at the International Symposium on Electronic

Arts in 2012. In 2017, Wilson received the New Mexico Governor’s Award for Excellence in the Arts and his solo exhibition, “PHOTO/SYNTHESIS,” was presented at the Fred Jones Jr. Museum, in Norman, OK. Wilson is Program Head of Photography, Santa Fe Community College.

Talking Tintype, John McCoy, Washington State Senator, Citizen of the Tulalip Nation, 2018, from the series Critical Indigenous Photographic Exchange: dᶻidᶻəlalič, Will Wilson, Diné, b. 1969, exhibition print, 50 x 40 in., Seattle Art Museum, 2018 Commission, Courtesy of the artist

Talking Tintype, Andy Everson, Artist, Citizen of the K’ómoks First Nation, 2018, from the series Critical Indigenous Photographic Exchange: dᶻidᶻəlalič, Will Wilson, Diné, b. 1969, exhibition print, 50 x 40 in., Seattle Art Museum, 2018 Commission, Courtesy of the artist

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Exhibition Catalogue In conjunction with the exhibition, the Seattle Art Museum will publish a 40-page, full-color exhibition catalogue, also titled “Double Exposure: Edward S. Curtis, Marianne Nicolson, Tracy Rector, Will Wilson.” It will feature essays by Barbara Brotherton; Lydia Sigo, curator/ archivist at the Suquamish Museum; and Christy Christodoulides, Curtis expert and proprietor of Duwamps Fine Art & Antique Appraisal.

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“Double Exposure”

Installation view of “Double Exposure” – Photos courtesy of Seattle Art Museum.

SAM

Special exhibitions at SAM are made possible by donors to the Jeffrey and Susan Brotman Fund for Special Exhibitions.

Related Programs and Events Art Beyond Sight and docent tours, as well as programs for educators, will be offered in conjunction with the exhibition in addition to a series of public programs to be announced.

“Double Exposure” is part of a community-wide commemoration of the 150th anniversary of Edward S. Curtis’s birth, including exhibitions, lectures, and performances through the end of 2018. Find out more at beyondtheframe.org.

Supporting Sponsors 4Culture; Ellen Ferguson; The Hugh and Jane Ferguson Foundation; Muckleshoot Indian Tribe; Suquamish Clearwater Casino Resort and Port Madison Enterprises

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Exhibition Organization and Support “Double Exposure: Edward S. Curtis, Marianne Nicolson, Tracy Rector, Will Wilson” is organized by the Seattle Art Museum.

Additional Support Contributors to the SAM Fund About Seattle Art Museum As the leading visual art institution in the Pacific Northwest, SAM draws on its global collections, powerful exhibitions, and dynamic programs to provide unique educational resources benefiting the Seattle region, the Pacific Northwest, and beyond.

SAM is located at 1300 First Ave. The

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museum is open Monday 10am-5pm; closed Tuesday; open Wednesday-Sunday 10am-5pm; Thursday 10am-9pm. Call (206) 654-3100 or visit www.seattleartmuseum.org for more information. Tickets to “Double Exposure” are $24.95 general admission; senior and military with ID $22.95; student with ID and teens $14.95; children 12 & under free.

SAM was founded in 1933 with a focus on Asian art. By the late 1980s the museum had outgrown its original home, and in 1991 a new 155,000-square-foot downtown building, designed by Venturi, Scott Brown & Associates, opened to the public. The 1933 building was renovated and reopened as the Asian Art Museum in 1994. SAM’s desire to further serve its community was realized in 2007 with the opening of two stunning new facilities: the nine-acre Olympic Sculpture Park (designed by

Weiss/Manfredi Architects) – a “museum without walls,” free and open to all – and the Allied Works Architecture designed 118,000-square-foot expansion of its main, downtown location, including 232,000 square feet of additional space built for future expansion. The Olympic Sculpture Park and SAM’s downtown expansion celebrated their tenth anniversary in 2017.

From a strong foundation of Asian art to noteworthy collections of African and Oceanic art, Northwest Coast Native American art, European and American art, and modern and contemporary art, the strength of SAM’s collection of approximately 25,000 objects lies in its diversity of media, cultures, and time periods.

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Courtesy of Seattle Art Museum

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Art San Juan Islands Museum of Art presents “Conversations with Gee’s Bend”

Photo courtesy of SJIMA

San Juan Islands Museum of Arts presents “Conversations with Gee’s Bend” May 25 - Sept. 3, 2018. Fifteen years ago an astounding exhibit of quilts made by women of Gee’s Bend, Alabama toured the country. Everywhere, people responded in awe to the quilts, their improvisational designs, their bold colors and the narrative they told.

The rural Alabama community had been left alone, geographically, and from outside influences and judgment, to hand down their traditions, quilt by quilt, generation by generation. The women were not considered

artists by society’s standards, their materials were often nothing more than worn out clothes. But the women of Gee’s Bend succeeded in creating masterpieces of art, telling their stories of great poverty, civil rights, their faith and pride in their African American heritage. Quilts made out of necessity, from nothing, became something enduring and beautiful.

Many of those in awe of the Gee’s Bend quilts were working artists. Our exhibit poses questions, how are contemporary artists in conversation with the Gee’s Bend

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quilts? One artist is a hurricane survivor who uses salvaged building materials to create wooden textiles. Another artist uses clothes to create a textile full of grief and healing. Electric filaments woven into fabric to create an electronic light animation into her work is another example of an artist’s expression. Our contemporary artists work across a variety of media, some traditional, some unconventional. What they all have in common is a particular aesthetic, a direct response to the quilts, where artists inspire artists. The women of Gee’s Bend have

inspired artists across the country to speak through their work, a visual dialog, a “Conversation with Gee’s Bend.”

The San Juan Islands Museum of Art is located at 540 Spring St., Friday Harbor, San Juan Island. Summer hours (May 1-September 30) the museum is open Thursday-Monday 11am-5pm. Admission: $10 general; 18 & under free. Mondays are pay-what-youcan. The island is only accessible by ferry, private boat or plane. For more information, phone (360) 370-5050 or visit sjima.org.

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Mary Maxtion, Alabama. Railroad Quilt, on loan Birmingham Museum of Art, Robert & Helen Cargo Collection

STATEMENTS FROM SOME OF THE PARTICIPATING ARTISTS Jylian Gustlin: Jylian Gustlin is a native Californian and grew up in the San Francisco Bay area. She has been shaped by the technology explosion of Silicon Valley and her art reflects her indepth knowledge of technology.

“I knew that if I finished, I would never make art,” is how Jylian Gustlin explains leaving college one semester short of a degree in computer science and mathematics to attend the Academy of Art College, San Francisco. After completing her BFA, Jylian fused her understanding of computers and her passion for art to become a graphics programmer for Apple Computer, Inc. Now, Jylian uniquely combines the effects of modern technology with traditional techniques. While painting in acrylic and oil paints, her artwork often conveys the same complex layered effects possible in computer programs such as Adobe Photoshop and Illustrator. Just as she challenged the creative limitations of the latest computer software, Gustlin experiments with a variety of materials to discover their effects. Working with two-part epoxy resin, oil and acrylic paints, charcoal, wax, gold leaf, pastel and graphite on board, Gustlin draws, paints, scratches on her surfaces.

For the last several years, Jylian has been working on a series of paintings, both abstract and representational, that are based on the Fibonacci mathematical theories. She continues to explore science and mathematics and how it intersects with the arts. http://www.jyliangustlin.com/ Melissa Alverinos: “The denim in this quilt is from my brother Michael’s work jeans, which I rescued from the dumpster after his suicide in 2009. I’m OK talking about it and it’s important to do so. There is still such a stigma around suicide and depression so I try to do my part to make it approachable and not scary. I didn’t intend for the quilt to be

a statement. I am just open about stuff and it would have been weird to not say where the jeans were from. I don’t think all quilts, or all modern quilts, need to have a story to be beautiful or powerful, but when they do intrinsically have a story, why not tell it?

“Instead of choosing the ‘good’ parts of the jeans, I was more drawn to the stained and the torn parts. I’m a lifelong artist and maker so I come to sewing with a different background from many quilters. I use fabric, thread and a sewing machine like I use any other medium. I work from my heart and see what happens. When I paint, I don’t draw it out first – I just dive in with my colors and brushes and see what comes up. I quilt the same way. I love improv piecing, it’s the only kind I do. Following a pattern is not fun for me. I’m in it for the process of figuring out how to make it as I go and seeing what happens naturally. We all quilt for different reasons and they are all valid. We should make the quilts we want to make, and respect other quilters for doing the same.

“I improvisationally pieced the crosses, which resemble a variation on the traditional nine patch. Grid quilting creates echoes of the cross motif, as well as references my brother’s work as a tile installer. This quilt was a joy to work on, as I love worn materials and find beauty in forgotten and discarded things.

“As with my paintings, I’m not concerned with perfection – which is why it never occurred to me that I would win any quilting awards.”

Melissa’s quilt, “My Brother’s Jeans” was honored as Best in Show at QuiltCon 2016. http://www.melissaaverinos.com Mary Lee Bendolph: “I can walk outside and look around in the yard and see ideas all around the front and back of my house. ” The seventh of sixteen children, Mary Lee Bendolph has spent her entire life in Gee’s Bend. She learned how to quilt from her mother, Aolar. Bendolph gave birth to her first child at age fourteen, which prevented her from attending school beyond sixth grade. She married Rubin Bendolph in

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Nora Ezell, Alabama. Migration Quilt, on loan, Birmingham Museum of Art

1955 and their family grew to include eight children. Over the years, she has worked in a variety of textile-related jobs, mostly making army uniforms. Since retiring in 1992, Bendolph has found more time to quilt. She gathers design ideas by looking at the world around her. Anything—from people’s clothes at church, to her barn, to quilts hanging on clotheslines in front yards, to how the land looks when she’s high above it in an airplane—can inspire her. For her materials, she prefers fabric cut from used clothing because it avoids wastefulness and because she appreciates the “love and spirit” in old cloth.

Loretta P. Bennett: “I came to realize that my mother, her mother, my aunts, and all the others from Gee’s Bend had sewn the foundation, and all I had to do now was thread my own needle and piece a quilt together. ” Loretta P. Bennett is the great-great-granddaughter of Dinah Miller, a woman who was brought to Alabama from Africa as a slave in 1859.

As a child, Bennett picked cotton and other crops. She attended school in Gee’s Bend until seventh grade, when she was bused to high schools that were a two-hour drive away. Bennett was introduced to sewing around age five by her mother, Quinnie, who worked at the Freedom Quilting Bee, a sewing cooperative established in 1966 in the nearby neighborhood of Rehoboth.

Louisiana Bendolph: Until she was sixteen, Louisiana Bendolph worked in the fields from sunup to sundown every day of the week except Sunday, when she went to church with her family. She and her husband Albert (whose mother is Mary Lee Bendolph) moved from Gee’s Bend to Mobile, Alabama, in 1980, though she considers Gee’s Bend her home.

She made quilts intermittently throughout her life, at times using patterns from books.

However, she had not quilted for many years when she went to the 2002 opening of The Quilts of Gee’s Bend exhibition at the Museum of Fine Arts, Houston. The exhibition inspired her to return to quilt-mak-

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ing. She said, “When I was coming back from Houston…I started having visions of quilts…So I got a pencil and a piece of paper and drew them out. Finally I decided that I would get some fabric and make a quilt…The images wouldn’t go away…And I’ve kept on doing it because those images won’t leave me alone.”

Laura Petrovich-Cheney: “After Hurricane Sandy devastated the New Jersey coastline, I began collecting remains left behind in its wake, floorboards, window frames, cabinets, furniture, exterior siding, anything that I could find that evoked life before the storm.”

Laura’s art continues to be inspired by quilt designs, designs that are familiar and comforting. She creates new relationships between color, proportions and textures, and does not interfere with original surfaces. She says, “The faded colors and tattered wood are glimpses into the past.”

Laura’s webpage: http://www.lauracheney.com/Artist.asp?A rtistID=34613&Akey=R457VCH7&ajx=1 RECOGNITION OF CWGB SPONSORS: Dave and Nancy Honeywell Charitable Trust, Town of Friday Harbor, Elizabeth Firestone Graham Foundation, Maryanne Tagney Jones Family Fund, Peg Gerlock and Phil Johnson, Kim Miller ADDITIONAL SPONSORS: Kenmore Air, Tom and Barbara Cable, Margaret Greene, David and Valerie Kelley F/V Arrow, Bill and Susan Potts, Funk and Junk Antiques, Greg Kucera Gallery, Printonyx, Harbor Rental, Café Demeter, Sharon Lannon, Christine Leiren Mower, Margaret and Scotty Green, Cindy Pigott, Deirdre Morris, Mike’s Wine Bar and Café Courtesy of San Juan Islands Museum of Art

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Theater

Bard on the Beach Shakespeare Festival launched its 29th Season June 6 with a lineup of four exciting play productions and a range of entertaining special events performed in modern theatre tents in the spectacular waterfront setting of Vanier Park (1000 Chestnut St., Vancouver, BC – www.greatervancouverparks.com/Vanier01.html). Tickets for all performances and special events are now on sale at https://bardonthebeach.org/. The festival runs through September 22.

The Festival launched on the BMO Mainstage with a powerhouse classical production of Macbeth, directed by Chris Abraham. Macbeth plays in repertory with the delightful romantic comedy As You Like It, set in Vancouver in the ’60s, with over 20 classic Beatles songs performed by the cast; direction is by Daryl Cloran (Love’s Labour’s Lost, Bard 2015). Following are some of the details: Macbeth This production of Macbeth is directed

by Crow’s Theatre (Toronto) Artistic Director Chris Abraham in his directorial debut at Bard on the Beach.

This year’s production of Macbeth features celebrated Canadian actors Ben Carlson as Macbeth and Moya O’Connell as Lady Macbeth. Carlson has been a featured player at the Stratford and Shaw Festivals in Ontario for over two decades and O’Connell returns to Bard on the Beach after spending the last ten seasons at the Shaw Festival.

“Macbeth is a masterpiece, and the roles of Macbeth and Lady Macbeth are two of the most terrifying and devastating tragic figures imagined by Shakespeare,” explains Abraham. “At times chillingly amoral, and at others superhumanly sublime in their suffering, the two characters together are Shakespeare’s most finely drawn portrait of marriage. It’s my great privilege to be working with two of the country’s most accomplished classical actors on this incredible contemporary meditation on power, patriarchy, fate and free will.”

Joining the cast alongside Carlson and O’Connell are Lindsey Angell, Scott Bellis, Kate Besworth, Nicco Del Rio, Austin Eckert, Ben Elliott, Jeff Gladstone, Kayvon Khoshkam, Craig Erickson, Nadeem Phillip, Harveen Sandhu, Emma Slipp and Andrew Wheeler.

“Bard on the Beach has assembled an incredible ensemble with deep bench strength,” adds Abraham. “As a team, we are working hard to illuminate the grandeur of this play. I feel very fortunate to be working in a community I’ve admired from afar for so long.”

As You Like It This high-spirited, music-filled staging is directed by Daryl Cloran, the Artistic Director of the Citadel Theatre. Cloran directed Bard on the Beach’s 2015 hit musical production of Love’s Labour’s Lost.

“For me, setting As You Like It in 1960s Vancouver felt like the perfect fit for Bard on the Beach,” Cloran says. “When I think of that time period, I feel an immense connection between The Beatles’ early music and the storyline of the play. The 25 Beatles songs we’ve chosen lend themselves perfectly to this romantic and spiritual story.

The transition of The Beatles through the ’60s is reminiscent of the free-spirited journey of the play’s main characters and the social and cultural evolution of Vancouver during that time. I was also inspired by memories of “All-Star Wrestling” in the heart of Vancouver – and I realized we could incorporate the laid-back environment of the Okanagan in the ’60s to represent Shakespeare’s Forest of Arden.”

As You Like It cast members include Lindsey Angell, Scott Bellis, Ben Carlson, Sharon Crandall, Nicco Del Rio, Austin Eckert, Ben Elliott, Jeff Gladstone, Luisa Jojic, Kayvon Khoshkam, Craig Erickson, Nadeem Phillip, Harveen Sandhu, Emma Slipp and Andrew Wheeler.

“We have an incredibly talented group of performers who are putting all of their skills to use throughout this production, whether

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Vancouver, BC’s Bard on the Beach Shakespeare Festival presents classic and modern productions

Macbeth, As You Like It, Timon of Athens, and Aristophanes’ Lysistrata in repertory Photo courtesy of Bard on the Beach

it’s singing, dancing, playing in the band or wrestling,” says Cloran. “We’re working with talented choreographer and fight director Jonathan Purvis to literally bring audiences ringside, with an homage to the excitement of “All-Star Wrestling” in the ’60s in Vancouver; then we transform the stage into the forest of the Okanagan. I can almost guarantee that audiences will be leaving the theatre this summer with joy in their hearts after experiencing this blending of Beatles music and Shakespeare’s words.”

On the Howard Family Stage, it’s Timon of Athens, a provocative study of greed and false friends, directed by Meg Roe (The Tempest, Bard 2014). Timon alternates with a new adaptation by Jennifer Wise and Lois Anderson of Lysistrata, the 411 BC play about the first-ever women’s strike; Lois Anderson (Pericles, Bard 2016) directs this world premiere.

Timon of Athens Colleen Wheeler portrays Timon, a privileged woman and a member of the one per cent, in a modern-day city very much like Vancouver. Her generosity has no limits, but when she loses her entire fortune, will her community stand by her?

“We live in a time where all our bills are pending – spiritually, economically, environmentally, and societally – and the bills are piling up,” explains Roe. “Timon of Athens makes us consider who we might want to be when those bills come due. We are certainly in a time of interrogation, of reflection, of examination of our part in society and how it works, how it works on us. I think of Timon as a parable, but it’s up to you to fill in the moral at the end.” Roe also enthuses about the strength of the cast, a mix of Bard veterans and talented newcomers to the Festival, led by award-winning theatre actor Colleen Wheeler.

The Timon of Athens cast includes Patti Allan, Kate Besworth, Michelle Fisk, Marci T. House, Ming Hudson, Jennifer Lines, Moya O’Connell, Adele Noronha, Quelemia Sparrow, Sebastien Archibald and Joel D. Montgrand.

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Lysistrata In this adaptation, Aristophanes’ classic tale of the first-ever female strike is staged by a company of Bard actresses in response to a development project that threatens Vanier Park. A bawdy romp, the play investigates how humour and art can take their place in the political arena.

“When it was written in 411 BC it would have been a hilarious scenario for an Athenian audience to witness housewives participating in politics,” explained Anderson. “Aristophanes wrote Lysistrata in the midst of a long, drawn-out war that was ravaging Greece. I was impressed that his action was to respond as an artist; to write a play, to stage a comedic glance at the state of affairs. Citizens were expected to attend the theatre in ancient Athens – it was a place where questions were staged and democracy was put under the lens. The theatre functioned in part as a public forum.”

Adds Anderson, “So, here we are in the summer of 2018 in Vancouver, and as we wrangle down this ancient Greek play, we consider our relationship with activism, land and the theatre – today.”

The Lysistrata ensemble cast includes Sharon Crandall, Michelle Fisk, Marci T. House, Ming Hudson, Luisa Jojic, Jennifer Lines, Adele Noronha, Quelemia Sparrow, Colleen Wheeler, Joel D. Montgrand, and Sebastien Archibald.

Notable returning special events for the Festival include Bard-B-Q & Fireworks – https://bardonthebeach.org/bard-b-qfireworks/, Family Nights, Talkback Tuesdays, Wine Wednesdays and the Exploring Shakespeare Talks (one for each of the four plays). On August 27, Bard hosts Forum: Gender and Shakespeare in 2018. Musical performances return to the BMO Mainstage, including Chor Leoni: Mane Event as well as Opera & Arias: Bold and Beautiful with the UBC Opera Ensemble and the Vancouver Opera Orchestra. Bard will also present two VocalEye performances and one Relaxed Performance, increasing the Festival’s accessibility.

Ticket prices for all regular play per-

formances start at $24 CAD. Early booking is recommended for best seat selection, as many performances sell out in advance.

The full performance schedule, site information and play and special events details are on the Bard website at https://bardonthebeach.org/. To book tickets, order online through the Bard website or call the Bard Box Office at 604-739-0559 or (toll free) 1-877-739-0559.

Acknowledgements Bard on the Beach gratefully acknowledges the corporate sponsors who help to support the Festival and its programs. 2018 sponsors include season sponsor Goldcorp; production sponsors RE/MAX, Lawson Lundell, Lonetree Cider and BlueShore Financial; media sponsors the Vancouver Sun and the Georgia Straight, as well as other valued sponsors and supporters. Bard also thanks the City of Vancouver Cultural Services Department, the Vancouver Parks Board, the Province of British Columbia, the B.C. Arts Council, and the Canada Council for the Arts for their continuing support.

About Bard on the Beach Shakespeare Festival Bard on the Beach is one of Canada’s largest not-for-profit, professional Shakespeare festivals. Established in 1990, the annual summer festival’s mission is to perform, explore and celebrate the genius of William Shakespeare, surrounded by the natural beauty of Vancouver, British Columbia. Bard also offers year-round education and training programs for youth, adults and theatre professionals in its administrative home at the BMO Theatre Centre in Olympic Village as well as in schools and community facilities throughout the Lower Mainland of British Columbia.

Courtesy of Bard on the Beach

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Art

The Frye Art Museum presents

Towards Impressionism: Landscape Painting from Corot to Monet Installation view of Towards Impressionism – Photo by Jonathan Vanderweit

Towards Impressionism traces the development of French landscape painting from the schools of Barbizon and Honfleur up to Impressionism, featuring over forty works from the extraordinary collection of the Musée des Beaux-Arts, Reims. The Frye Art Museum is one of only two venues in the United States to host the exhibition and selections from the Museum’s own holdings will be incorporated into the show, making this a unique opportunity to situate masterpieces from the collection within their original context. The exhibition runs through August 5.

The Reims museum has one of the world’s foremost collections of landscape paintings by artists associated with the Barbizon colony – artists like Théodore Rousseau, Charles-François Daubigny, JeanFrançois Millet, and Constant Troyon who gathered in the village of Barbizon between 1830 and 1855 to paint in and around the nearby Forest of Fontainebleau. Fascinated by the mysteries of the forest and rural tradition, the Barbizon artists rejected urban life and the teachings of the French Academy. Where previously landscape had served only as backdrop for allegorical or historical tableaux, the Barbizonists painted landscape for its own sake, working from observation but often infusing their subjects with an emotionality reminiscent of Romanticism.

One of the most significant artists to frequent Fontainebleau, Camille Corot, is a particular focus of the exhibition. Corot’s long life (1796-1875) coincided with the period in which idealized, classicallyinflected views of foreign lands like Italy – executed in the artist’s studio and composed according to Academic principles – gave way to native French landscapes painted out-of-doors in direct response to the scenery. Corot also traveled frequently to the Normandy coast, painting in the seaside environs of Honfleur. Later, from about 1850 onwards, a circle of artists would converge in the village around Eugène Boudin, whose preoccupation with light, reflection, and “instantaneity” – most often applied to nautical scenes painted entirely en plein air – would influence the work of visitors like Gustave Courbet and Claude Monet.

Tracing the development of French plein air painting through these seminal figures and their favorite locales, Towards Impressionism witnesses the century-long cultural shift away from the Academy that legitimated landscape as a subject, elevated the subjective experience of the artist, and ultimately gave rise to Modernism.

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Artists: Antoine-Louis Barye, Jean-Victor Bertin, Eugène Boudin, Jean-Baptiste Camille Corot, Gustave Courbet, Gustave Caillebotte*, Charles-François Daubigny, Narcisse Virgile Diaz de la Pena, Jules Dupré, Henri Joseph Harpignies, Charles Jacque, Stanislas Lépine, Georges Michel, Jean- François Millet, Claude Monet, Camille Pissarro, Auguste-François Ravier, Pierre-Auguste Renoir, Théodore Rousseau, Alfred Sisley*, Constant Troyon, and Félix Ziem. (*Represented by works from the Frye collection only.)

Towards Impressionism: Landscape Painting from Corot to Monet is curated by Suzanne Greub and managed by her team at Art Centre Basel in collaboration with the Musée des Beaux-Arts, Reims and the City of Reims, France.

The installation at the Frye Art Museum is overseen by Amanda Donnan, curator, and David Strand, head of exhibitions and publications. Generous support is provided

by Meriwether Advisors LLC, The Danforth, Murano Senior Living, Bonhams, Clark Nuber, USI, and the Frye Foundation.

News media sponsorship is provided by The Seattle Times. Broadcast media sponsorship is provided by KCTS 9 and Classical KING FM 98.1.

Jean-Baptiste Camille Corot. Monte Cavo, ca. 1825–28. Oil on cardboard. © Musée des Beaux-Arts, Reims, Legacy Paul Jamot. Photo: C. Devleeschauwer.

The Frye Art Museum is located at 704 Terry Ave. and is open Tuesday-Saturday 11am-5pm; Thursday 11am-7pm; closed Monday. Admission is always FREE. (206) 622-9250; fryemuseum.org.

Courtesy of the Frye Art Museum

Pierre-Auguste Renoir. Marine (Seascape), undated. Oil on canvas. © Musée des Beaux-Arts, Reims, Legacy Henry Vasnier. Photo: C. Devleeschauwer.

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Claude Monet. Les rochers de Belle-Île (Rocks at Belle-Île),1886. Oil on canvas. © Musée des Beaux-Arts, Reims, Legacy Henry Vasnier. Photo: C. Devleeschauwer.

Théodore Rousseau. La mare (The Pond), 1842–43. Oil on canvas. © Musée des Beaux-Arts, Reims, Legacy Henry Vasnier. Photo: C. Devleeschauwer.

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Art

“Protecting the x̌ ʷəlč: Indigenous Stewardship of the Salish Sea” exhibit at Seattle Public Library June 15 - August 30

Photo by Rika Manabe

X̌ʷəlč is “Salish Sea, saltwater” in Lushootseed. The “Protecting the x̌ʷəlč: Indigenous Stewardship of the Salish Sea” exhibit illuminates how water is intertwined in every aspect of living. At the exhibit, you’ll see how Northwest Washington’s tribal communities have lived on and with the region’s waterways and their resources.

Exhibit highlights include: Edward S. Curtis images, photographs taken by and of Native people, waterway restoration projects, maps, narrative and poetry.

The exhibit will be on display from Friday, June 15 to Thursday, Aug. 30 at the Central Library, 1000 Fourth Ave., Level 8 Gallery. The Level 8 Gallery is open Monday-Thursday, 10am-8pm; Friday-Sun, 10am-6pm. FREE admission. For more information visit www.spl.org or call (206) 386-4636.

Northwest Washington’s tribal communities have long recognized the importance of water and water-based resources in

sustaining life in this region. Come explore how the sea and the rivers, and the wealth of resources in them – the salmon, whales, tule and shellfish – are important to the region’s tribes and the work they are doing to protect those resources for future generations.

The exhibit is curated by Shannon Kopelva (Hopi/Hualapai/Fort McDermitt Paiute Shoshone) and Jennifer Ott. Kopelva earned her M.A. in Museology from the University of Washington and is currently project coordinator for the “Beyond the Frame – To Be Native” initiative. Ott is the assistant director of HistoryLink.org and an environmental historian who has explored how people have shaped and been shaped by landscapes across the Northwest.

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Exhibit programming “Salmon and the Salish Sea: Stories and Sovereignty” – Tuesday, August 14, 6:30pm to 8pm at the Central Library, 1000 Fourth Ave, Level 1, Microsoft Auditorium. Come

to the Library’s Level 8 Gallery at 6:30pm to explore the exhibit, where exhibit curators will be on hand to answer questions and share insights. The program in the Microsoft Auditorium starts at 7pm. This panel discussion merges storytelling with a discussion of current issues to examine the role of salmon in the lives of Coast Salish peoples. Panel members will include: • Dr. Charlotte Cote (Tseshaht/Nuuchah-nulth First Nation) • Valerie Segrest (Muckleshoot) • Susan Balbas (Cherokee and Yaqui Nations) • Roger Fernandes (Lower Elwha Band S’Klallam)

initiative revisiting the photographs of Edward S. Curtis and sparking conversations on Native identity, race and resilience, art and culture. https://www.beyondtheframe.org Sponsors and support This exhibit is supported by The Seattle Public Library Foundation and Gary Kunis.

For more information, call the Library at (206) 386-4636 or visit www.spl.org/ stewardship. For ADA accommodations, please contact: leap@spl.org.

Courtesy of Seattle Public Library

More information Library events and exhibits are free and everyone is welcome. Tickets and reservations are not required to visit the exhibit.

This exhibit is part of “Beyond the Frame – To Be Native,” a community-wide

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Art Two different, unique exhibitions at the Whatcom Museum highlight California artist Diebenkorn and Native printmakers

Whatcom Museum – Photo by Benjamin Benschneider

The Whatcom Museum in Bellingham is pleased to host two traveling exhibitions that feature distinct styles from renowned artists. “The Intimate Diebenkorn: Works on Paper, 1949-1992,” organized by the Richard Diebenkorn Foundation, features drawings and paintings on paper by this important modernist who lived from 19221993. “Crow’s Shadow Institute of the Arts at 25,” organized by the Hallie Ford Museum of Art in partnership with the Crow’s Shadow Institute of the Arts, chronicles the history of one of the most important Native printmaking ateliers in the country. Both exhibitions will be on display at the Museum’s Lightcatcher building (250 Flora St., Bellingham) May 19-August 19, 2018.

“The Intimate Diebenkorn” presents drawings, watercolors, oils, and gouaches on paper, showing the artist’s stylistic evolution through more than 40 years of his work. Richard Diebenkorn was an internationally-acclaimed California artist whose work is associated with Abstract Expressionism and the Bay Area Figurative Movement. He earned a reputation for creating ethereal, large-scale abstractions, though he returned to smaller formats in his final years. The artist interpreted landscapes and human figures in a unique way, creating a delicate balance between abstraction and representation.

“We are very excited to be bringing this exhibition from the Richard Diebenkorn Foundation, especially at a time when a larger, more extensive traveling exhibition of his work is making its way around the country,” said Patricia Leach, Executive Director of the Whatcom Museum.

“Although Richard Diebenkorn is mainly recognized as a California artist, he was born in Portland, Ore., so it is nice that we can claim him as a Pacific Northwest artist, too!” [EDITOR’S NOTE: Portland Art Museum is currently presenting the traveling exhibition “Richard Diebenkorn: Beginnings, 1942-1955” through September 23. https://portlandartmuseum.org/ exhibitions/richard-diebenkorn/.]

Diebenkorn’s artwork, created during periods living and teaching in New Mexico and California, “are the works of a modern master,” notes Chester Arnold, Sonomabased painter and curator of “The Intimate Diebenkorn.” His personal experiences, especially the California landscape, shaped his style, perspective, and career.

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“Crow’s Shadow Institute of the Arts at 25” features 75 prints drawn from the Crow’s Shadow Print Archive. Crow’s Shadow Institute of the Arts is a nationally recognized printmaking studio, and the only studio located on a reservation community in the United States. Sited on

the Confederated Tribes of the Umatilla Indian Reservation near Pendleton, Oregon, the studio brings together Native and non-Native artists from around the world to make prints under the guidance and direction of master printmaker Frank Janzen.

“The Whatcom Museum is both pleased and proud to be bringing works from this well-established press,” said Leach. “Many of the artists represented are recognized contemporary Native American and Indigenous Artists.”

The artwork in “Crow’s Shadow” focuses on themes of abstraction, landscape, media and process, portraiture, and words and image. The exhibition includes text panels, chat panels, and a video that highlights the history and location of the studio. Featured artists include Rick Bartow (Wiyot), Pat Boas (US), Joe Feddersen (Colville Confederated Tribes), Edgar Heap of Birds (Cheyenne), Brenda Mallory (Cherokee), Wendy Red Star (Apsáalooke), and Marie Watt (Seneca), among others.

“The Intimate Diebenkorn: Works on Paper, 1949-1992” is organized by the Richard Diebenkorn Foundation, Berkeley, California, with additional support provided by the Whatcom Museum Advocates, the Whatcom Museum Foundation, and the City of Bellingham. “Crow’s Shadow Institute of the Arts at 25” is organized by

the Hallie Ford Museum of Art in partnership with the Crow’s Shadow Institute of the Arts, with additional support provided by the Whatcom Museum Advocates, the Whatcom Museum Foundation, and the City of Bellingham. Both exhibitions will be on view through August 19, 2018 at the Whatcom Museum’s Lightcatcher building (250 Flora St., Bellingham) WednesdaySunday, noon-5pm. Visit whatcommuseum. org/exhibitions/upcoming-exhibitions/ for more information.

About the Whatcom Museum The Whatcom Museum in Bellingham, Wash., offers a variety of exhibitions, programs, tours, and activities about art, nature, and Northwest history for all ages.

Its multi-building campus is located in the heart of Bellingham’s downtown arts district. The Lightcatcher building (250 Flora St., Bellingham) and Old City Hall (121 Prospect St., Bellingham) are open Wednesday-Sunday, noon-5pm. Admission is $10 general; $8 senior, military, student with ID; $5 children 2-5. For more information visit www.whatcommuseum.org or phone (360) 778-8930.

Courtesy of the Whatcom Museum

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Richard Diebenkorn; Untitled, 1972, pastel on paper, 11 x 17 in. (27.9 x 43.2 cm).

Catalogue raisonné no. 4094 © Richard Diebenkorn Foundation.

RD136pub.tif: Richard Diebenkorn, Untitled, c. 1958–64, gouache on paper, 11 x 17 in. (27.9 x 43.2 cm). Catalogue raisonné no. 2261 © Richard Diebenkorn Foundation.

Richard Diebenkorn, Untitled, c. 1967, ink and graphite on paper, 22 x 15 in. (55.9 x 38.1 cm).

Catalogue raisonné no. 3795 © Richard Diebenkorn Foundation.

Wendy Red Star (Apsáalooke, b. 1981); enit, ed. 12, 2010; Six-color lithograph on Rives BFK white paper with chine-collé archival pigment ink photographs on Moab Entrada paper, 22.375 x 30 in. Courtesy of Crow’s Shadow Institute of the Arts.

James Lavadour (Walla Walla, b. 1951); Land of Origin, 2015, ed. 18; Suite of four, three-color lithographs on Arches 88 white paper 22.5 x 30.25 in. each.

Courtesy of Crow’s Shadow Institute of the Arts.

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Marie Watt (Seneca, b. 1967); Blankets, 2003, ed. 16; Five-color lithograph on Rives BFK grey paper, 19.75 x 25.75 in.

Courtesy of Crow’s Shadow Institute of the Arts.

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