Barbara Robertson presents "Architectonic"

Witness Architectonic, Barbara Robertson's new site-specific art installation at Oxbow. It debuts Saturday, November 11, in association with Georgetown Art Attack.

Barbara Robertson fuses current events with art history, exploring the topic of Seattle's rapid expansion through the lens of Constructivism, a WWI-era art philosophy. Architectonic consists of three projected animations and an original sound score by Johanna Melamed, enveloping the viewer in the work. This project is ongoing, and will continue to expand through the end of its exhibition. 

Architectonic is on view through January 6. The gallery is open weekly—Thursdays, Fridays, and Saturdays from 4pm–7pm. (Oxbow will be closed November 23 through 25.) 

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Chris McMullen: "Infrastructure"

Experience Chris McMullen's striking new installation, Infrastructure, at its Oxbow opening this Saturday, September 9. The reception will take place from 6pm–9pm alongside the Georgetown Art Attack and Van Haven III.

Infrastructure is on view through October 14. The gallery is open weekly—Tuesdays, Thursdays, and Saturdays from 10am–2pm.

Chris McMullen creates kinetic, participatory sculptures that evoke the complexities of modern life. Infrastructure is the latest in a series of artist residencies at Oxbow, each resulting in a site specific installation.

Infrastructure installed in Oxbow.

Infrastructure installed in Oxbow.

About Infrastructure:
The global economy has driven us to invent ways and means to move people and products around the world. Although most transactions take place in the virtual world of the internet, when it comes to delivering the product, it happens in the real, physical world, in real time.

This physical world of shipping and transportation is massive, requiring huge amounts of space and infrastructure. When our cities were first built, they were formed around these hubs of transport. It was part of a city’s appeal to have access to new goods and access to travel to other places. In some instances, a port or rail depot gave a town its reason for being.

This made way for cities to build housing complexes, shopping districts, and restaurants. As new social structures grow, they start to compete with the original infrastructure of transport. There is a back and forth, between the concerns of the metropolis and the industry that feeds it.

This work represents the massive infrastructure that has been built and is required to move people and products back and forth, and works as a metaphor for the push-pull of interests constantly trying to get their way.

For more information about the artist, visit:
http://www.chrismcmullenproductions.com/

Dan Webb's "The Visitor," Exhibit Opening

Join artist Dan Webb as he presents "The Visitor"—opening Thursday, June 29 from 6pm–9pm at Oxbow. This exhibition is the latest in a series of artist residencies featuring site-specific installations.

The Visitor (Carved Face), Dan Webb, 2016.

The Visitor (Carved Face), Dan Webb, 2016.

“I’m not an artist because of all the contemporary art I saw as a kid—I was inspired by a lot of other things that didn’t bother to call themselves art at all. And while I’m not even sure what art is exactly, it seems unlikely that it only exists in certain rooms, in certain buildings, in certain cities. It’s everywhere, if you look hard enough.

That means art is free of a permanent address. At best it’s just a visitor, showing up in surprising places at surprising times.

What I’m trying to do is just extend an invitation.

My show ‘The Visitor’ will really only have one sculpture in it. The other objects are a set of chairs, a table with cups, bowls and plates, and a carved sign out front. The relative lack of objects makes for less of a gallery experience, and more of a living room experience. Everything in the show is usable – have a drink, sit down in the chairs, touch the sculpture. Talk to me if you want, because I’ll keep regular hours during the run of the show.

In addition, on a semi-regular basis, I will give a lecture/introduction about what I mean by calling the show ‘The Visitor.’ The lecture is not a traditional artist lecture, where the work is described and explicated. It’s more of an invitation to participate in what the show is about: inclusion, conversation, relationships."
–Dan Webb

Learn more about Dan Webb's work on his website:
http://danwebb.squarespace.com/

For more information, contact him via email: danwebb1@me.com

The Visitor (Smooth Face Out), Dan Webb, 2016.

The Visitor (Smooth Face Out), Dan Webb, 2016.

Commentary on Commodification: Michelle de la Vega's Sugar Project

The Sugar Project explores the countless expressions and experiences of women’s commodification in contemporary culture. Artist Michelle de la Vega employs sugar throughout her work as a metaphor for society’s expectations and ultimate consumption of women—to be sweet, pleasant, and deferential above all else.

Michelle’s method deeply integrates community into the generative processes and exhibitions of her cross-disciplinary installations. Her work includes sculpture, environmental design, video, collage, photography, choreography, text, and partnership-building through project based community engagement.

Pieces of Places: A Solo Exhibition by Saul Becker

PIECES OF PLACES
A Solo Exhibition by Saul Becker

Oxbow (6118 12th Ave S, Seattle)
February 16 - March 24, 2017

// Opening Reception: Thursday, February 16th, 5 - 9 PM
// Mutuus Sponsored Event + Talk: Friday, March 3rd, 5 - 9 PM
// Georgetown Art Attack: Saturday, March 11th

“In Pieces of Places, my recent paintings take inspiration from the grandeur and mystery of landscapes encountered on my travels to the Arctic on an ice-class schooner. Like early explorers of the world who could only bring back abstract impressions of their experiences to the masses, I do not attempt to deliver precise visual accounts of my travels to the viewer, instead I create composite landscapes from both photographic and mental image sources. My pictures are pieces of places, an amalgam that I conflate, rearrange, and manipulate. These places in their preternatural glow, seem as real to me as any. While historically landscape painting has aimed to exalt the beauty of the natural world, and therefore underline our place in it, my works seek to present a disquieting sense of uncertainty. Our place in nature is not as simple as it once was.” — Saul Becker

www.mutuus-studio.com

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Mary Ann Peters' Residency and Site-Specific Installations at Oxbow

OPEN HOUSE! Sunday, January 15, 12pm-4pm.
"impossible monument (nothing but the memory)"

See the final additions to Mary Ann's installation in Oxbow's gallery space—Mary Ann will be present to discuss her process and motivations behind her latest works

Oxbow's gallery space will also be open on Saturday, January 14, 6pm-9pm for Georgetown's Art Attack.

Sketch that describes Mary Ann Peters' concepts for "impossible monument (nothing but the memory)"

Sketch that describes Mary Ann Peters' concepts for "impossible monument (nothing but the memory)"

 

From December 16 (Earlier Post):

Oxbow's artist-in-residence Mary Ann Peters recently presented her first in a series of installations at Oxbow. Stay tuned for additional programming...

Artist’s Opening Reception: Saturday, 12/10, 4-7pm

In association with Georgetown’s Art Attack.
The artist is represented by James Harris Gallery in Seattle.
http://www.maryann-peters.com/

Artist Mary Ann Peters working in the gallery, during her residency at Oxbow.

Artist Mary Ann Peters working in the gallery, during her residency at Oxbow.