Anida Yoeu Ali , "RedChador." Studio Revolt, Washington, D.C., Photograph. Photo courtesy of the artist
Anida Yoeu Ali , "RedChador." Studio Revolt, Washington, D.C., Photograph. Photo courtesy of the artist

BorderLands

King Street Station Gallery

BorderLands

August 3 - October 29, 2017

This summer the Seattle Office of Arts & Culture's exhibition BorderLands explores the ideas of belonging and resistance. Immersive installations will include artworks by Anida Yoeu Ali & Studio Revolt, Ryan Feddersen, Satpreet Kahlon, Pedro Lasch, Henry Luke, Ries Niemi, Crystal Schenk, Carina A. del Rosario, and Inye Wokoma. In addition 2D- and 3D artworks from the City's collection will be on display in the installation And She Persisted: Voices of Women Artists, featuring 38 women artists who challenge assumptions, take risks, and break barriers while creating objects of beauty and depth.

BorderLands is accompanied by a range of related programming including lectures, performances, and engagement activities on Saturdays through the run of the show. Admission is free. 

Location

King Street Station
303 S. Jackson St., Top Floor
Seattle, WA 98104
Get Directions

Gallery Hours

Opening reception: Thursday, August 3, 6:30 - 10 pm
Friday, August 4; Saturday, Aug 5, 11 a.m. - 7 p.m.
Sunday, August 6, 12 - 6 p.m.

August 11- October 29
Fridays: 11 a.m. - 2 p.m.
Saturdays: 12 - 6 p.m.
Sundays: 11 a.m. - 2 p.m.
1st Thursdays, Sept 7; Oct 5, 5 - 8 p.m. 
Information
Blake Haygood
Curator & Collections Manager
Deborah Paine

Exhibition schedule

B O R D E R L A N D S

How does nationalism create a sense of belonging? Of alienation?

How does our clothing identify us and isolate us?  Are symbols of our cultures liberating or do they imprison us?

How can we belong if we are deprived of home? How can we belong if we have been separated from our land?

How do Americans, a nation of immigrants, belong to a land - of indigenous peoples - that we occupy and colonize?

How do disparate voices join together to build resistance?

At this moment, when Americans are experiencing challenges to our democracy and threats to the fabric of an open, inclusive society, the Office of Arts & Culture collaborated with artists to creatively confront injustice, to resist boundaries and build new frameworks to engender belonging.

The exhibition BorderLands is a lesson in the visionary strength of artists to confront current issues and inspire us to be the change. Nine installations along with And She Persisted: Voice of Women Artists, an exhibition of artworks by women, explore the contradictions inherent in identity, nationalism, allegiance, and cultural symbols as both the heart of belonging and the source of resistance. In emphasizing the strength of identity, both individual and societal, the artists offer a path to resistance. Resistance to borders that separate us, resistance to structures that oppress us and constrain our freedoms.

Organized by the Seattle Office of Arts & Culture's Public Art Program staff, BorderLands expands public experience through visual art and engages our community in a civic dialogue activated by artists.

Our city's commitment to race and social justice, to dismantling structural oppression, guides this exhibition that raises the voices of artists of color, of women, of allies. With this group of installations and the artwork in the city's portable works collection, we share a mutual consciousness of being and belonging and resisting.

Installation Artists:

Anida Yoeu Ali & Studio Revolt/Carina del Rosario/Ryan Feddersen/Satpreet Kahlon/Pedro Lasch/Henry Luke/Ries Niemi/Crystal Schenk/Inye Wokoma

Portable works from collection of the city of Seattle

And She Persisted: Voices of Women Artists

Throughout history, women have been depicted as keepers of hearth and home, creating a sense of family and belonging wherever they are. In most cultures worldwide, women are portrayed as nurturers, quietly conveying life's lessons to children and loved ones, as conduits for the transfer of generations of cultural knowledge. 

The work of women as artists, however, often moves well beyond these limited boundaries of identity. The artworks in this exhibition demonstrate that women, working as artists in a vast range of media, continue to refine and interpret traditions from their homelands of origin, while at the same time putting their art in service of action. The artists featured here are challenging assumptions, taking risks, and breaking barriers while creating objects of incredible beauty and depth.

In my final exhibition for the Office of Arts & Culture, I have selected works by 38 women artists who demonstrate outsized courage in bringing their ideas before the public. Some have faced incomprehensible adversity, not only to make their art, but literally to survive. Others have boldly confronted the issues of the day: violence, chauvinism, racism, and the complexity of the divide between rich and poor. These artists - in some cases, retaining the fine stitch or the nod towards matriarchal lineage-  voice strong resistance to the oppressions that limit women and men.  They set their own terms and establish their own identities, breaking rules and sometimes risking it all to present their interpretation of life in their personal, and sometimes universal, BorderLands.  

--Deborah Paine, curator, Seattle Office of Arts & Culture

Artist Bios

Ries Niemi describes himself as a Post-Industrial Craftsman, trained in traditional art techniques, but inspired by the industrial and consumer products which led him to a mastery of industrial tools. Metal, woods, plastics, and fabrics are all part of his repertoire and he has become known for his humorous and ironic sculptures, prints, clothing, and other unclassifiable objects. Niemi has been working in the public art field since the 1970s and lives in Edison, Washington and Buenos Aires, Argentina.

Henry Luke is a painter, muralist, and community organizer from the occupied Duwamish territory known as Seattle. Without formal arts education, Luke began their public arts career going door-to-door offering to paint murals for businesses. Their work is now visible on walls from South Seattle, to Mexico, to the Philippines. Their work centers human dignity and celebrates those surviving and resisting the violence of capitalism. Direct participation in grassroots peoples' liberation movements has shaped their artistic practice, making their work intertwined with present struggles for emancipation.

Born in the Philippines, Carina A. del Rosario immigrated to the United States at age six. She earned her B.A. from Santa Clara University. Her visual artwork is exhibited in galleries and museums, and mounted as public installations in Washington and Arizona. Her work is included in collections of 4Culture, the Seattle Office of Arts & Culture, and Kent Arts Commission. In addition to her creative and documentary projects focusing on cultural communities and social issues, she teaches young people to use art to explore their communities, advocate for what matters for them, and express their own experiences.

Anida Yoeu Ali is an artist whose works span performance, installation, new media, public encounters, and political agitation. Using an interdisciplinary approach to artmaking, the artists investigates, through her installation and performance works, the artistic, spiritual and political collisions of a hybrid transnational identity. Ali is the winner of the 2014-2015 Sovereign Asian Art Prize for her series The Buddhist Bug, a multidisciplinary work that looks at displacement and identity through humor, absurdity, and performance. Ali has performed and exhibited internationally including at the Palais de Tokyo, Musée d'art contemporain de Lyon, Smithsonian Asian Pacific American Center, Malay Heritage Centre, Fukuoka Asian Art Museum, and Queensland Art Gallery.

Ryan Elizabeth Feddersen, Confederated Tribes of the Colville Reservation (Okanogan / Arrow Lakes) is a mixed media installation artist residing in Seattle, WA. She received a Bachelor of Fine Arts from Cornish College of the Arts with concentrations in painting, print art, drawing and sculpture. Her work uses tongue in cheek humor accompanied by interactivity to invite the viewer to engage with the irrationalities and hypocrisies of contemporary American culture. She has created several large-scale interactive installations including pieces for the Tacoma Art Museum, Spokane Arts, Bumbershoot, and the Henry Gala. Feddersen has been awarded residency opportunities designed to bring Native artists together and support their work, such as Emerging Indigenous Voices, Kua'ainaa Association in San Francisco, CA and the American Indian Artist Residency at the Montana Artist Refuge.

Pedro Lasch (US/Mexico/Germany) is a visual artist, Duke professor, and an organizer with the 16 Beaver Group. He is also director of the Franklin Humanities Institute Social Practice Lab at Duke. Solo exhibitions and presentations include Open Routines (Queens Museum of Art), Black Mirror (Nasher Museum of Art), Abstract Nationalism (Phillips Collection) and Art of the MOOC (Creative Time); group exhibitions include MoMA PS1, MASS MoCA (USA); Centro Nacional de las Artes, El Museo Universitario Arte Contemporáneo, National Palace Gallery (Mexico); Prospect 4 Biennial New Orleans (2017), Gwangju Biennial (2006), Havana Biennial (2015), and 56th Venice Biennale (2015). Lasch is the author of three books; Lasch has appeared in October Magazine, Saber Ver, Art Forum, ARTnews, Cultural Studies, Rethinking Marxism, The New York Times, and La Jornada.

Crystal Schenk received an MFA from Portland State University in 2007, and BFA from the School of the Art Institute of Chicago in 1999. Schenk primarily makes sculpture and sculptural installations, although she also dabbles in video, drawing and knitting. Her sculptures range in media from stained glass to magnets to expanding foam. She has a very labor-intensive and detail-oriented way of working, in which craftsmanship and material choices play a large role. Schenk's sculptures address issues of physical and mental health/illness, memory, class structure, and social interaction. Much of her subject matter is drawn from her family history.  She lives and works in Portland, Oregon, where she is an adjunct professor at Pacific Northwest College of Art and Portland State University.

Inye Wokoma completed a degree in journalism and filmmaking from Clark Atlanta University before establishing Ijo Arts Media Group in Seattle. His work for corporate and non-profit clients has appeared in USA Today, ColorsNW, Washington Law and Politics, and Chicago Wilderness, among others. Wokoma received a Telly Award in 2012, and he has been honoredat the Colorado Environmental Film Festival, the Society of Professional Journalists Western Washington Chapter, and the National Council on Crime and Delinquency. For over two decades, Wokoma has created and exhibited visual art that engages the diverse communities in which he lives and works.

Satpreet Kahlon is a multidisciplinary artist who is based in Seattle, WA. Born in Punjab, India and raised in the Midwest, she is interested in creating visual language to express and explore intersectional experiences as well as the structural systems of inequity that dictate their boundaries. In addition to her studio practice, she curates with a philosophy of embedded equity at The Alice Gallery in Seattle, is the founder of Deep Space Gallery, and works as a teaching artist at the Seattle Art Museum. She received a full fellowship to pursue her MFA in Sculpture at the Rhode Island School of Design in Fall 2017.

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