2018-2019

The Evergreen Art Lecture Series presents a broad range of interdisciplinary approaches to contemporary art issues by artists, writers, activists and scholars.  The emphasis is to introduce the way in which a variety of practices undertake fields of inquiry in the arts. The series provides a lively forum for the exchange of ideas between the speakers, students, faculty and the public. The series will take place in the Purce/Lecture Hall 1 at the Evergreen State College in Olympia, WA. Most of the talks take place on every other Wednesday, on even weeks, during the quarter from 11:30-1:00 pm and are free and open to the public.

WEEK 2 – 10/3 Christopher Paul Jordanpainting and sculpture. Christopher Paul Jordan integrates virtual and physical public space to form infrastructures for dialogue and self-determination among dislocated people. Jordan’s paintings and sculptures are artifacts from his work in community and time-capsules for expanded inquiry.

WEEK 4 – 10/17 Rodrigo Valenzuelaphotography, video, installation. Born in Chile, Valenzuela is a Los Angeles-based artist working in photography, video, painting, and installation. Using autobiographical threads to inform larger universal fields of experience, his work constructs narratives, scenes, and stories that point to the tensions found between the individual and communities. Much of Valenzuela’s work deals with the experience of undocumented immigrants and laborers.  He is an Evergreen alumni and assistant professor in the Art Department at UCLA.

WEEK 6 – 10/31  Susanna Bluhm,  painting. “My paintings are usually related in some way to my physical environments and experience of them. Source material I draw from when I’m painting often includes photographs I’ve taken of places I’ve been. Also, the paintings are experiments in creating new environments. An individual painting can become a new place in itself, with sensations of things that might happen in a place, such as weather, touch, landscape, temperature, sex or noise. Abstract marks interact with more recognizable shapes, and a kind of narrative ensues.”

WEEK 8 – 11/14   Tradition and Innovation in the Work of Indigenous Basket Makers!  Gail Tremblay, who has come out of retirement to teach the first ever class in Evergreen’s new Fiber Arts Studio, has assembled a panel of weavers to wow you!  Joe Feddersen, Jeremy Frey, Terrol Dew Johnson, and Lisa Telford are joining Gail to allow students in the arts and students who are interested in learning more about the lives of contemporary Native American artists to study how those artists shape and maintain culture and support people in their communities. It will also help them to understand and value the way Indigenous American Artists represent their cultures to people so participants can learn to value and understand the meaning of Indigenous artwork.

 

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Week 8 – Gail Tremblay’s panel of Indigenous Basket Makers

Out of retirement to teach the first ever class from the new Fiber Arts Studio, Gail Tremblay has assembled a brilliant group of master weavers  for you!

GAIL TREMBLAY

Writer, teacher, and mixed media artist Gail Tremblay (Onondaga and Mi’kmaq),was born in 1945 in Buffalo, New York.   Tremblay taught English, Native American Studies, Art, and Art History at Evergreen State College in Olympia, Washington, where she joined the faculty in 1981.  As an educator, she has influenced more than a generation of Native and non-Native students and has been instrumental in building Evergreen’s focus on Native arts and Native Studies.

In the 1980s, while she was teaching a Third World and Feminist Film Theory class, Tremblay began weaving baskets out of scrap 16mm film, old movie trailers, and outdated educational films. In perfect postmodern irony, Tremblay, who has been making baskets since childhood, utilized materials from a medium that often originated and propagated stereotypes of Indigenous people in order to create “traditional” baskets that critique those same stereotypes. Her titles often allude to the film source, which is frequently obscured by the weaving.

JOE FEDDERSEN…former Greener faculty member!

Joe Feddersen, who is Okanagan from the Colville Confederated Tribes, lives on the reservation in Omak, Washington.   He taught art programs, from the early 1990’s until he retired, at the Evergreen State College. His work includes a suite of what he calls his Urban Indian baskets that use designs from things like car and truck tire tracks, electrical towers, parking lot designations, and other forms, objects, and structures that have moved from urban America onto American Indian reservations during the 20th and 21st centuries.  Many non-Indian viewers often perceive his basket as having traditional Indigenous designs until they read the basket titles and come to see what he is saying about contemporary experiences in the Indigenous

JEREMY FREY

Jeremy Frey started weaving in his 20s, learning to make baskets from his mother Gal Frey. Gal taught him, drawing on what she had learned from her teacher Sylvia Gabriel. Sylvia was renowned for her basketry, especially her porcupine curlwork.  Jeremy learned all aspects of the tradition from selecting brown ash to pounding and preparing basket stuff. His work fuses traditional shapes with the innovative use of both traditional and non traditional materials, as well as unique signature designs.

Jeremy was born in 1978 and raised in Indian Township. His work has received national recognition with the 2011 Best of Show award at the Heard Museum Guild Indian Fair and Market and the Santa Fe Indian Market. He was the recipient of a $50,000 United States Artists grant.

TERROL DEW JOHNSON

Terrol Dew Johnson started basketry weaving at the age of ten. He soon learned that he was a born natural and found that it was one of the few things in life that he found intrinsically effortless.

Johnson is a member of the Tohono O’odham nation of southern Arizona. The Tohono O’odham have a long history of basket weaving using a whole variety of techniques using natural materials and dyes. These are all used in order to tie the basketry in with the local landscape colours and flora, making the baskets part of the community and of the larger landscape.

The traditional basketry weaving techniques that Johnson learnt at such an early age, have allowed him to expand into the world of contemporary fine art basketry, while still keeping hold of his traditions, which he uses as a foundation or anchor point for his subsequent career as an artist.

LISA TELFORD

Lisa Telford (Everett) was born in Ketchikan, Alaska, in 1957. As a Gawa Git’ans Git’anee Haida weaver she comes from a long line of weavers including her grandmother, mother, aunt, cousins and daughter. Lisa harvests and prepares her own material, using red and yellow cedar bark and spruce root. The gathering of materials takes her hundreds of miles from home and hours of preparation that vary depending on the final product. Bark is traditionally stored for one year and then must be processed further. Her baskets may be seen in the collections of The Oregon Historical Society, Hallie Ford Museum of Art, The Smithsonian National Museum of the American Indian, The Heard Museum, The Portland Art Museum, and The Burke Museum.

Lisa also received a 2000 GAP.

 

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Week 6: Susanna Bluhm Wednesday, October 31st 11:30-1pm in Lecture Hall 1

from Susanna

My paintings are usually related in some way to my physical environments and experience of them. Source material I draw from when I’m painting often includes photographs I’ve taken of places I’ve been. Also, the paintings are experiments in creating new environments. An individual painting can become a new place in itself, with sensations of things that might happen in a place, such as weather, touch, landscape, temperature, sex or noise. Abstract marks interact with more recognizable shapes, and a kind of narrative ensues.

When talking or writing about my work, I stray from defining the narratives in a literal way. Instead, I try to describe them as I see them, both as the person that made them and decided they make sense, and also as a witness to the end result.

Semi-abstract “characters” show up in the paintings and suggest meanings with their repetition and associations with each other. For example, a chunk of green and white stripes has its origins in the green and white striped pajama bottoms from Suzanne Valadon’s The Blue Room, 1923. To me, this “character” feels like a queer, feminist reclaiming of the history of painting. A pink fir tree is an odd, out-of-place Pacific Northwestern interloper and solo eloper in the big city.

Making these semi-abstract landscape-based paintings with a personal narrative running underneath is a three-pronged effort. I am looking at my agency in the landscape. I am trying to spend more time in the place by painting it. I’m using paint to make physical contact again. In this intimate way, the paintings explore landscape as a lover and loved one, enmeshed with the paint, and without the safe distance usually afforded by the Sublime in traditional Western landscape painting.

I think of both painting and looking as pleasureful experiences.

Susanna Bluhm 2018

BIO:

Susanna Bluhm is an artist based in Seattle, WA. After growing up in a suburb of Los Angeles, she earned her BA in Studio Art from California State University Humboldt and her MFA in Painting from the University of Illinois at Urbana-Champaign. She has been an Artist-in-Residence at the Irish Museum of Modern Art in Dublin and at the Karl Hofer Gesellschaft in Berlin. Bluhm was a member of SOIL artist-run gallery (Seattle) for five years, and was the 2014 recipient of the Neddy Artist Award in Painting. She lives with her wife and ten-year-old son in Seattle.

 

 

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Week 4: Rodrigo Valenzuela Wendesday, October 17th 11:30-1pm in Lecture Hall 1

from Rodrigo

I construct narratives, scenes, and stories which point to the tensions found between the individual and communities. I utilize autobiographical threads to inform larger universal fields of experience. Gestures of alienation and displacement are both the aesthetic and subject of much of my work. Often using landscapes and tableaus with day laborers or myself, I explore the way an image is inhabited, and the way that spaces, objects and people are translated into images. My work serves as an expressive and intimate point of contact between the broader realms of subjectivity and political contingency. Through my videos and photographs, I make images that feel at the same time familiar yet distant. I engage the viewer in questions concerning the ways in which the formation and experience of each work is situated—how they exist in and out of place.

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Week 2: Christopher Paul Jordan Wednesday October 3rd 11:30-1pm in Lecture Hall 1

from Christopher

As an artist and community organizer, I construct immersive, interactive installations to connect diaspora communities. I’m interested in media infrastructure and its role in shaping what is knowable. I create portals for displaced peoples to reintegrate our stories across dimensions, devising passageways for us to connect, hear from, and care for one another. I generate art objects as time-capsules to vault these experiences, questions, and memories in the future. My practice deals with continuance, analog internets, rites of passage, the production of history, and the construction of satellites. Painting and sculpture are my prayer language; laced with vestiges of mediation and hearsay; embedded with questions for another time and place.

BIO
(b. 1990) Christopher Paul Jordan integrates virtual and physical public space to form infrastructures for dialogue and self-determination among dislocated people. Jordan’s paintings and sculptures are time-capsules from his work in community. His 7000 sqft panoramic mural from #COLORED2017 is now buried into the walls of the Carpenter’s Union Building in Tacoma where it can only be rediscovered through demolition.

Jordan’s installations and public projects have been implemented internationally including Trinidad and Tobago, Taiwan, and Mexico. His work has been recognized by the Neddy Artist Award in painting, the James W Ray Venture Project Award, the Jon Imber Fellowship, the GTCF Foundation of Art Award, and the Artist Trust Fellowship.

Based in Tacoma, WA, USA

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Week 8 – Molly Zuckerman-Hartung, former Greener ! Wednesday, May 23rd 11:30-1:00pm in the Recital Hall, COM Building

Molly Zuckerman-Hartung is a painter, writer and teacher who grew up in Olympia, Washington (attended TESC), and participated in Riot Grrl in her formative years (the 1990s.) Now she is working and grocery shopping and taking walks in Connecticut with her girlfriend and dog. She is an autodidact who is opening her attention to pattern and repetition, difference, learning, feedback loops, nostalgia, dolls, Victorian collage and textiles, John Coltrane and Miles Davis, Gees Bend quilts, the effects of soul lag on humans, high theory, low theory, kitsch, Modernism, affect theory, coloring crayons, tissue paper, the parergon, tactility, Elizabeth Bishop, the color of the light in the bare woods, and the emotional landscapes of students, friends, colleagues and strangers alongside whom she lives.

Also, she is a full time Lecturer in Yale School of Art, Department of Painting and Printmaking. She has shown at the Museum of Contemporary Art in Chicago, The Walker Art Center in Minneapolis, The 2014 Whitney Biennial, The Program at ReMap in Athens, Greece, Kadel Willborn in Karlsruhe, Germany and many many others. In 2013, she received a Louis Comfort Tiffany Award. She is a frequent guest lecturer at many schools across the country, including, in the past year, Princeton University, The University of Texas at Austin, University of Indiana at Bloomington, University of Alabama, the School of the Art Institute of Chicago Low Residency Program, and Columbia University, She is represented by Corbett vs Dempsey in Chicago and Rachel Uffner Gallery in NYC.

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Week 7 – Anca Cristofovici & Michael Mejia – Wednesday, May 16th 11:30-1:00pm in the Recital Hall, COM Building

Michael Mejia is the author of the novels TOKYO and Forgetfulness, and his writing has been published in many journals and anthologies. A recipient of fellowships from the National Endowment for the Arts and the Ludwig Vogelstein Foundation, Mejia is editor-in-chief of Western Humanities Review , co-founding editor of Ninebark Press, and a professor of creative writing at the University of Utah.

Book signing/sales available after the talk.

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Week 6 Fionn Meade, former Greener! Wednesday, May 9th 11:30-1:00pm in the Recital Hall, COM Building

An independent curator based in New York and Seattle, Meade has served as Artistic Director (2015-17) and Senior Curator, Cross-Disciplinary Platforms (2014-15), at The Walker Art Center, Minneapolis, where he headed the Visual Arts Department. He has been a faculty member at the Center for Curatorial Studies, Bard College (2009-2014), and in the MFA Program for Visual Arts, Columbia University (2009-2014).

Exhibitions at the Walker Art Center included the retrospective survey Merce Cunningham: Common Time, curated for the Walker and the Museum of Contemporary Art Chicago, group exhibitions Question the Wall ItselfLess Than One, the first U.S. solo exhibition of German artist Andrea Büttner and the Walker Art Center’s presentation of Radical Presence: Black Performance in Contemporary Art, featuring work from the 1960s to the present.

He also oversaw commissions of public artworks for the Minneapolis Sculpture Garden and Walker campus by Theaster Gates, Nairy Baghramian, and Philippe Parreno. He has previously been a curator at the Henry Art Gallery, Seattle, WA, and at SculptureCenter, New York, where exhibitions included Scene, Hold, Ballast with David Maljkovic and Lucy Skaer, and the group exhibitions Time Again and Knight’s Move, a survey of new sculpture in New York, among others.

He served as Director of Grant Programs at Artist Trust, Seattle (2003-2006), as a writing instructor and consultant for Richard Hugo House, Seattle (2001-06), and as a lecturer at the University of Washington. The recipient of an Arts Writer Grant from Creative Capital (2009) and the Andy Warhol Foundation Curatorial Fellowship (Fall 2014), he holds a M.F.A. in Poetry from Columbia University (1999) and an M.A. in Curatorial Studies from CCS Bard (2009), and received his B.F.A from Evergreen State College.

 

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Week 4 – Rob Rhee – Wednesday, April 25th, 11:30-1pm, in the Recital Hall, COM Building

Credit: KELLY O / THE STRANGER

Robert Rhee is a collector of accidents, a rubbernecker. He is an interdisciplinary artist, writer, and organizer of collaborative artist projects. He teaches in the interdisciplinary Foundations Program at Cornish College of the Arts.

In his work he pursues situations which are on the precipice of formlessness, where a system is engaged but not controlled. His studio work and writing shape each other as parallel practices. He uses time (duration) to move ideas back and forth between modes: a sculpture conceived like a story, a poem worked on with power tools.

He has exhibited his work nationally and internationally. A selected list includes the Ilmin Museum of Art in Seoul, the Ferdinand Van Dieten Gallery in the Netherlands, the Arario Gallery, Dorsky Gallery for Curatorial Projects, Fisher-Landau Center for the Arts, and White Columns in New York.

His blog, robottree.com, was shortlisted for Creative Capital’s Arts Writers Grant and his writing has been published in art magazines and literary journals such as Art in America, Arcade, Monday: The Journal of the Jacob Lawrence Gallery at the University of Washington, Heck, and La Norda, and Columbia: A Journal of Arts and Letters.

 

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Week 2, Eirik Steinhoff: Wednesday, April 11, 11:30-1:00 pm, in the Recital Hall, COM Building

Eirik Steinhoff teaches and co-teaches interdisciplinary programs with titles like “How to do things with words,” “Imperialisms,” “Forensics,” “A New Middle East,” “Literary Arts Toolkit,” “Words/Woods,” and “Gateways for Incarcerated Youth” at The Evergreen State College, where he has been a Visiting Member of the Faculty since 2013.  

He has also taught courses on Shakespeare, Early Modern Poetry, critical theory, rhetoric, poetry, and poetics at the University of Chicago (where he got his Ph.D. in English), Bard College (where he got his B.A.), and Mills College. 

In the early 21st century he was the editor of Chicago Review, and in 2009 his translations from Petrarch’s Rime Sparse appeared as Fourteen Sonnets from Albion Books (San Francisco). 

In 2010 he taught at Green Haven Correctional Facility in NY state under the auspices of the Bard Prison Initiative, and in 2014 he co-facilitated a seminar with faculty at Al-Quds University in Palestine. 

He co-edits Black Box: A Record of the Catastrophe, and he works with students and teachers behind bars in Washington state under the auspices of the Black Prisoner Caucus’s T.E.A.C.H. program (“Taking Education and Creating History”). 

The bulk of his study in the classroom and beyond revolves around two questions: “What needs to be the case for things to be otherwise?,” and “How do we make our knowledge common?”

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Week 8, Evergreen’s own Bob Leverich! Wednesday, February 28th, 11:30-1:00PM, in the Recital Hall, COM Building

Bob Leverich is an architect, sculptor, and craftsman, and a faculty member at The Evergreen State College, where he teaches visual art, craft, and sustainable design. He has building projects, sculpture, and furniture works in public and private collections across the country and in Canada.  His architectural experience includes commercial, public, residential, and religious projects, as well as preservation of historic structures.

His sculpture and craft works have addressed expressive and functional themes in a variety of materials.  His recent sculpture has focused on carved stone and wood, using iconic landscape and body forms, and includes large, site specific, multi-part public art works in Maine and Washington State. Bob regards drawing as a foundational tool in his working process, and he sees architecture, sculpture, and craft as connected by their substantiality and character as kinesthetic experiences, both in making and in use. Meaning gained through making is fundamental to his work and to his teaching.

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