Friday, January 28, 2011

Artist Talk with Tyler Starr

I spent a good day with Tokyo artist Tyler Starr today, showing him some of the architecture and history of Seattle's neighborhoods.  I also had a chance to preview some of the images he will use to illustrate his talk at the gallery tomorrow afternoon.  Looks to be a very interesting presentation.  Please join us at Cullom Gallery tomorrow, 1/29, at 1 pm for this rare chance to meet Tyler and hear more about his observations of historic and contemporary events in Tokyo that shape his work.  

Artist Talk with Tyler Starr
Saturday, January 29, 2011, 1 pm
Cullom Gallery
603 S Main Street
Seattle, WA  98104
map
This is a free event and open to the public.

Tyler Starr at Fishermen's Terminal, Seattle

Tyler Starr at Kerry Park, Seattle

Tuesday, January 25, 2011

Opening with Richard Heisler

Some photos of Opening night of Richard Heisler | Tyler Starr: Tokyo Paintings & Mixed Media Works.  We had a great turn out, though by the time I thought to grab the camera, things had mellowed to a nice hum.  Thanks to everyone who came out to make it a special night! 

Mark your calendars for this Saturday, January 29th, at 1 pm, when Cullom Gallery will also host an artist talk with Tokyo-based artist, Tyler Starr.  Starr will be in Seattle to talk about his work hanging in the current show from the series, Attempted Fixes and the Wallowing Series, as well as recent work from his doctoral program final exhibition at Tokyo University of Fine Arts. This is a free event and open to the public.  I hope to see you at the gallery on Saturday!

Richard with Ginza # 5 from 100 Views of Tokyo



Richard and Mom


Cullom Gallery Opening Night


Ginza #3 (left) & Akihabara #2 (right)
 

Friday, January 21, 2011

Richard Heisler | Tyler Star Opens Tonight, 6 to 8 pm

Top: Tyler Starr.  Attempted Fix: Phantom Recovery.  Mixed media with ganpi paper, gouache, and pencil on paper.  Bottom: Richard Heisler.  Roppongi #1.  Mixed media on panel.
 If you are in Seattle tonight, stop by the gallery from 6 to 8 pm for the opening party and reception for the new exhibit: Richard Heisler | Tyler Starr: Tokyo Paintings & Mixed Media Works.  Below is the press release for the show.  I hope to see you tonight!


Richard Heisler | Tyler Starr: Tokyo Paintings & Mixed Media Works
January 21 - February 26, 2011
Opening Reception with Richard Heisler, Friday, January 21, 6 to 8 pm
Artist Talk with Tyler Starr, Saturday, January 29, 1 pmBoth events are free and open to the public.

Two American artists consider contemporary views and events within Tokyo's urban neighborhoods.  Seattle artist, Richard Heisler's photorealist paintings from his ongoing series, One Hundred Views of Tokyo, quietly reference the landmark 19th century woodblock prints, One Hundred Famous Views of Edo, by Utagawa Hiroshige (1797-1858).  Selections from two of Tokyo artist, Tyler Starr's mixed media series, The Wallowing Series and Attempted Fixes, look at political, military, and municipal constructions and events in present-day Tokyo.

Heisler's dense paintings contrast with the vast empty spaces of Starr's mixed media works, yet the meticulous requirements of both artists' chosen technical approaches lead to a similar close focus on their subject. Heisler's precisely chosen layers of color and perfect lines are carefully laid in over many months; Starr applies intricatly cut layers of thin, decoupaged ganpi paper, gouache paint, and tight graphite details.  The artists' labor-intensive media draw the colors, angles, and real events of Tokyo into a sharper focus.

Richard Heisler was born in New Brunswick, New Jersey in 1973.  He was a student at Seattle Central Community College and Cornish College of the Arts, Seattle, WA.  Heisler is represented by Cullom Gallery as well as Anthony Brunelli Fine Arts, Binghamton, NY; MA Doran Gallery, Tulsa OK; and Galerie Persterer, Zurich, Switzerland.  His paintings have been shown in numerous solo and jurried group exhibits including the 2008 Biennial National Exhibiton, La Grange Museum of Art, LaGrange, GA; the 2008 Biennial Exhibition of Contemporary American Realism, Ft. Wayne Museum of Art, Ft. Wayne, IN; the CPSA Explore This 5 Exhibition, where he received the Award for Excellence; and solo exhibits at Anthony Brunelli Gallery, Binghamton, NY.  Heisler's paintings have also been featured multiple times in Southwest Art Magazine.

Tyler Starr was born in 1974 and lived in Connetiticut, Rhode Island, and Minnesota before moving to Tokyo several years ago.  In 1999, Starr was awarded a Fulbright Scholarship to study at the Academy of Fine Arts, Krakow, Poland.  He received his Bachelor of Fine Arts from the University of Connecticut, Storrs, CT, and a Master of Fine Arts from the University of Minnesota, Minneapolis, MN.  He is currently a PHD candidate at the Tokyo National Univerisity of Fine Arts, Ueno, Japan.  His work has been featured in numerous solo exhibits and jurried biennials, most recently, the International Biennial of Contemporary Prints, Museum of Modern and Contemporary Art of Liège, Belgium; the 2nd Bangkok Triennale International Print and Drawing Exhibition, Excellence Prize,PSG Art Gallery, Silpakorn University, Bangkok Thailand; and Tokyo Wonderwall 2009, Museum of Contemporary Art, Tokyo Japan.  His work is in the permanant collections of the Corcoran Museum, Washington, DC; Univerisity of Connecticut; and Pozan Museum of Fine Arts, Poland.

For more information please contact Beth Cullom, Cullom Gallery, 206-340-8000, info@cullomgallery.com.

Thursday, January 6, 2011

Yoshitoshi Tonight

If you are in Seattle tonight, Cullom Gallery is open late for the First Thursday Gallery Walk.  The exhibit Yoshitoshi Monogatari: Tales of a Grand Past & Uncertain Future is up through January 15th. 

The word and concept of monogatari in Japanese literature is fairly commonplace, though it's not a word tossed around much in the West.  Some may be familiar with it as part of the title of the famous and original novel, Genji Monogatari, or The Tales of Genji, written by the great Heian Period poet and novelist, Lady Murasaki (c. 973–c. 1014 or 1025).  A monogatari is basically a literary form for fictionalized versions of epic Japanese stories.  My use in the title for this show, I hope, serves to frame the historical and mythical woodblock prints of Japan's last great ukiyo-e artist, Tsukioka Yoshitoshi (1839-1892), as the artist's own artistic spin on the legends and tales of Japan's grand past, which as a body of work produced at it's particular time, also served as a cultural tether for a nation embroiled in the upheaval of the rapidly changing and culturally unsettling Meiji Period (1868-1912).



Lunacy, from One Hundred Aspects of the Moon, 1889
Yoshitoshi's short life of fifty-three years coincided with five decades of the most dramatic and raid cultural change theretofore experienced by Japan and its people.  A young man in the waning years of the Edo Period (1615-1868) Yoshitoshi witnessed the fall of his government's self-enforced period of isolation, and by all accounts, anxiously considered the flood of Western invention, ideas, and institutions that made quick inroads into Japanese society with the transfer of power from the dynastic Tokugawa Shogunate to the pro-west Emperor Meiji.  For Yoshitoshi this official drive to modernize and westernize threatened the very fiber of his nation's identity.  He responded with ukiyo-e designs that on the surface recount ancient folktales, heroic legends, and epic battles, but on a deeper level, are a cultural touchstone for a nation, he felt, in danger of forgetting its past. 

Ushiwaka (Yoshitsune) and Benkei duelling on Gojo Bridge, 1881
Okubo Tadanori rescuing Tokugawa Ieyasu on the battlefield, from Twenty-four accomplishments in Imperial Japan, 1881
Chang Fei on Chohan Bridge glares back at the multitude of soldiers, from Romance of the Three Kingdoms, 1885

I also wonder, though I have not teased out proof it it, if the  historic themes in the prints of the later part of his life also contain Yoshitoshi's own veiled commentary on the political events of the Meiji Period, rife with its own power struggles and insurrections.  For me, considered en masse, Yoshitoshi's historic ukiyo-e read like a visual monogatari, telling a Meiji-era rendition of Japan's ancient beginnings.  This exhibit includes 19 single sheet prints, diptychs, and triptychs from some of the artist's best-known series, including Yoshitoshi's Courageous Warriors, New Selections of Eastern Brocade Pictures, Mirror of Famous Commanders of Great Japan, Twenty-Four Accomplishments in Imperial Japan, New Forms of Thirty-six Ghosts.  I hope to see many of you here.





Friday, December 31, 2010

Year End Wrap Up 2010

I have been hibernating this week between Christmas and the New Year, spending time reviewing the business end of the past year, and thinking about goals for the coming 12 months.  There were a number of gallery highlights for 2010, one of the biggest being the successful move and reopening in our larger, ground floor location in Japantown.  I am humbled by the history and peaceful beauty of my new home.  The 100-year old fir floors, the old steam pipes that pop and groan, the sound of the piano through my shared wall with the Panama Hotel Teahouse, and my many new neighbors (some of whom I am getting to know by name and others only by sight and a wave while passing by the window),  all of it feels very right.  I cross my fingers and think of the hard work still ahead that is required to ensure that I remain a part of Nihonmachi going forward into the next decade.  

I am also proud of the strong exhibit schedule we offered through the summer and fall.  The gallery's second exhibit of Ryohei Tanaka's awesome papercuts was followed by our second show of German moku hanga artist, Eva Pietzcker's atmospheric landscape prints, and Annie Bissett's suite of Japanese woodblock prints of the American Pilgrims was also the gallery's second exhibit of the work of this rising talent.  Right now, though January 15, 2011, we have on view a great group of prints by Japan's last great ukiyo-e artist, Tsukioka Yoshitoshi (1839-1892).  As the economy improves, I hope to increase our exhibits of ukiyo-e and 20th century hanga, which still remain a vital interest of mine, not only for their fascinating beauty, but also as links to the work of artists working in Japanese print & paper media today.  In the coming months we will also be introducing through exhibits and adding to the gallery's growing stable, the work of several new artists whose work encompasses drawing, painting, paper cutting, collage, and Japanese woodblock printmaking. 

My deep thanks to all of you for your support this year.  I have felt it in many and very real ways over these months.  I hope that Cullom Gallery can hold your interest in the coming year as we continue to refine and stretch the edges of the Gallery's focus.  

With my best wishes for your Year of the Rabbit,

Beth Cullom
Cullom Gallery



Tuesday, November 23, 2010

Snow Day - Gallery Closed

I am sorry to anyone who braved the icy sidewalks downtown to visit the gallery today.  I am home with Julia whose school was closed for the day, along with all Seattle Public Schools and most neighboring districts due to snow and ice.  I am planning to be open tomorrow from 12 noon to 5 pm.  See the complete list of holiday hours below.

If you are in Seattle, have a happy safe day in the snow!

Weather & Holiday Closure Days
TUES 11/23, Closed due to local weather conditions
WED 11/24, Open 12 noon to 5 pm
THURS 11/25 & FRI 11/26, Closed. Happy Thanksgiving!
SAT 11/27, Open 12 noon to 5 pm.  Last day to see We Are Pilgrims!

Saturday, November 20, 2010

Last Week for We Are Pilgrims

There are just three more days left to see Annie Bissett's woodblock print series, We Are Pilgrims.  Stop by Cullom Gallery (603 S Main Street, Seattle map) next Tuesday or Wednesday, Nov. 23 & 24, or the show's final day, Saturday, Nov. 27, and see this strong suite of Japanese woodblock prints that dig much, much deeper than the grade school myths of black hats and buckle shoes.  Bissett's series explores the real hopes, anxieties, mistakes, irrevocable impact, and real life personages of the American Pilgrims from many different angles.

John Alden, 1621 & Priscilla Mullins, 1621.

Annie recently shared with me a lay-sermon she delivered earlier this year at her own Congregational Church, an old Pilgrim church, close to her home in Northampton.  Here is a passage that I think gets at some of her kernel thoughts. (bold is mine, not Annie's).

They Looked Behind.
 for two years I studied everything I could find about the first Europeans who settled here in New England, especially in those first 50 years, when nothing was certain. I read about them, I thought about them, I tried to imagine this land as they encountered it, and I made these 15 woodblock prints about the stories that most intrigued me.  I discovered many surprising things in my research. Did you know that of the 102 passengers on the Mayflower, only 37 were members of the separatist congregation coming from Holland? They called themselves not "Pilgrims," but "Saints" and they called the other 65 "Strangers." Did you know that the first brick building on the Harvard campus was a school for native American students? Or that the first Bible printed in North America was an Algonquin Indian translation? Or that two homosexual men were tried in court in Plymouth colony way back in 1637? Some of the stories amazed me, but what was even more amazing to me was that many of the things we're grappling with today were there right at the beginning: the role of religion in government, the question of who belongs in society and who doesn't, the role and rules of family life and marriage, and always a spirit of seeking, a pilgrimage to find home.

Honey, I'm Worried About the Kids.
 
Caleb & Joel Wend to Harvard.

As a child of the Pacific Northwest, the story of the Mayflower was a distant, self-contained, and contrived tale that resonated little with me. It was covered as a requisite part of third grade then pushed to the back of my mind with the rest of the lore of early America.  The complicated, rich, proud, and later tragic history of Northwest coastal and Great Northern Plains tribes, their great pre-contact societies, and their violent snuffing-out at the hands of European Americans, this was the real, dirty story or my ancestors' interaction with the native people of North America.  Growing up in Puyallup, WA, I also witnessed the abject poverty and the effects of ghetto/reservation life on the original Puyallup people.  In my mind it was arrogant at best and worse, dangerously retro-revisionist to accept the notion of shivering Pilgrims taken into the warm embrace of the wise Indian, never mind what we Europeans did to them once we got our strength back.  That is all to say that through my own engagement with Bissett's prints and her words of discovery, I have made a slow but profound turn-around in my understanding of the relevance the Pilgrims' experience as an American creation story, a story that we are it seems inexorably tied to.  As Annie points out the same hopes, tragic misunderstandings, and steadfast (some would say intractable) beliefs first manifested by the Pilgrims are the same issues we wrestle with today.  Sometime this summer Annie mentioned
that Nathaniel Philbrick's book, Mayflower: a Story of Courage Community and War, had been a valuable resource for her while researching her series.  I wish I had started this book earlier, but finally did only this week.  Here is a passage from the preface: The Two Voyages.
Vast Unpeopled Lands.

...the Pilgrims (I thought) were the stuff of holiday parades and bad Victorian poetry.  Nothing could be more removed from the ambiguities of modern-day America, I thought, than the Pilgrims and the Mayflower.

But, as I have since discovered, the story of the Pilgrims does not end with the First Thanksgiving.  When we look to how the Pilgrims and their children maintained more than fifty years of peace with the Wampanoags and how that peace suddenly erupted into one of the deadliest wars ever fought on American soil, the history of Plymouth Colony becomes something altogether new, rich, troubling, and complex.  Instead of the story we already know, it becomes the story we need to know.
I certainly needed to know.  I see now that I must spend some time engaged with this story of the origin of our country, and I am guessing that it's especially those magical 50 years -- before the fighting and division tore our country apart for the first time -- that have a lot to teach us about how to be American today.