SEATTLE WASHINGTON<br />886.405.4485

 

STONINGTON GALLERY CALENDAR

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Address: 125 South Jackson Street | Seattle, WA | 98104

Telephone: 206.405.4040 | Toll Free: 866.405.4485

Email: art@stoningtongallery.com

Mailing List: To join our mailing list, please send us a message at art@stoningtongallery.com. The mailing list is email only.

Business Hours (PST): Weekdays 10am-6pm | Saturday 10am-5:30pm | Sunday 12pm-5pm

Since 1979, Stonington Gallery has represented the finest contemporary Northwest Coast art. Our artists work in many media, styles and traditions, and are at the forefront of Pacific Northwest culture and art. The gallery offers full framing services and outstanding customer service. Visit us for exhibitions and events, and keep abreast of news here at our website or on Facebook.

Stonington Gallery facilitates many commissions between artists and collectors each year. Please contact the gallery with inquiries about commissioning works for your collection.

        

May 5 - 29, 2016

Courtney Lipson

Tidepools: Life on a Rocky Shore

Opening Reception: First Thursday, May 5th

6-8pm

May brings fresh, fine new jewelry by micro-mosaicist and metal-smith Courtney Lipson (Non-Indigenous/Adopted Tlingit). Tidepools, denizens of the shore, and the little jeweled creatures that live in those safe cracks in the rocks are the artist's inspiration for this year's exhibit, and she's rendering nudibranchs, sea stars, octopuses, and urchins in her signature micro-mosaic. Long-time collectors will remember the past series that Lipson has done with tidepools and sea creatures, but she revisiting the theme with new eyes and a more abstracted feel.

Nudibranchs are the focus of the collection, allowing us a glimpse into the unbelievable variety, colors and kinds that this species has to offer. Nudibranchs are soft-bodied molluscs, and they live at almost any depth of the water column, but the most eye-popping coloration occurs in warm, shallow reefs and tide-lines. Lipson's creations are a mix of her own imagination, and those from reference photos. The wilder the colors, the more genuine it's likely to be. Lipson has gone one step further, interviewing each little nudibranch as it takes form in her studio, and finding out their names and personalities.

 

May 5 - 29, 2016

Denise Wallace

Northern Light

Opening Reception: First Thursday, May 5th

6-8pm

We are thrilled to unveil the first collection of jewelry at Stonington Gallery from legendary jeweler Denise Wallace (Chugach Aleut). Wallace is widely known for her sumptuous silver, gold and fossilized ivory jewelry that combines contemporary elegance and traditional themes. Wallace's unique creations have made her the best-known Alaska Native jeweler of our time. The themes of her pieces are rooted in the rich stories and customs of arctic peoples of Alaska, stories that deal with ideas of healing, growth, nature and transformation. Wallace's work will be highlighted in the main gallery in the month of May, and throughout the spring and summer.  The majority of the works in this collection center around masks, faces and transformation. Those familiar with Yup'ik style masks will recognize those forms in her sterling silver, gold and fossilized ivory creations.

 

June 2 - July 3, 2016

Masters of Disguise II:

Masks of the Pacific Northwest Coast

A Group Exhibit

Opening Reception: First Thursday, June 2nd

6-8pm

 

 

Last year's Masters of Disguise mask group exhibition was a runaway success. And that should be no surprise: few traditional objects are as iconic to the Pacific Northwest Coast as masks, which offer such a rich platform from which to explore the cultural and art history and contemporary issues of our region. While many objects on the Coast combine functions of magnificent utility and aesthetic, the mask holds a place of prominence because of its use in ceremony, theater, healing, and family wealth.

Many masks depict specific characters from mythology. These character masks are each part of a lineage reaching back centuries. These ancient myth beings are defined and recognized by their physical attributes and features which reveal aspects of their personalities, environment, and history. A great Bukwus Mask is instantly recognizable as Bukwus by its classic features: hollow cheeks, high cheekbones, hooked nose. But for a mask to be a true masterwork, those features must congeal into a personality that conveys the wildness, pathos, and isolation that defines the life of the Bukwus. There is the art.

A great mask leaves an impression of having met someone or something. A great mask exudes an energy beyond its material manifestation to convey a life force, humanity, and persona that is palatable to both the viewer and the wearer. In Masters of Disguise I to walk through the room was to start a dozen conversations with a dozen different spirits, animals, creatures, and people, each  with a sense of connection to different cultures, places, and times. From traditional characters, to hybrids, to completely new forays, our artists brought us villains and terrors, ethereal spirits, denizens of deep forest, modern musings on myth, and friendly faces. We look forward to another round of conversations we could have nowhere else this coming June.

Further information regarding participating artists is pending.

 

July 7 - 31

Hib Sabin

 

Solo Exhibit

 

Opening Reception: First Thursday, July 7

6-8pm

 

We are proud to present a solo exhibition of new work by sculptor Hib Sabin (Non-Indigenous) in July, featured works in juniper, bronze and glass. Sabin continues his exploration of human nature by way of animal forms, embodying our best and worst qualities in cackling ravens, haughty owls, and dignified bears. Complex tableaus with multiple creatures interacting--such as "Ship of Fools"--show us the folly of letting the blind and proud navigate treacherous waters. Sabin also debuts new collaborative pieces made with glass-blower Peter Wright.

 

 

August 4 - 28, 2016

Raven Skyriver

PACIFIC

Opening Reception: First Thursday, August 4th

6-8pm

 

 

 

September 1 - 30

Alaska: Past & Present

Musée Boulogne-sur-Mer

Kadyaq (Seagull) Mask by Perry Eaton (Alutiiq)

 

A Companion Exhibit

 

Opening Reception: First Thursday, Sept 1

6-8pm

A landmark exhibition of contemporary Alaskan art is coming to the Musée Boulogne-sur-Mer in France in June 2016. Organized by Alutiiq artist Perry Eaton, a large selection of original works by Alaskan Native artists will enter the collection of the 13th century castle museum, and will join the largest collection of Sugpiaq / Alutiiq art and artifacts in the world.

The antique collection, acquired from Alaska in the 1870s by amateur French anthropologist Alphonse Pinart, includes almost 90 ceremonial masks, which were displayed in Paris to wide acclaim, and then housed permanently in the Musée Boulogne-sur-Mer. In the intervening time, virtually all knowledge of traditional Sugpiaq culture disappeared. Then, in the 1990s, the collection was found by Helen Simeonoff, a Sugpiaq researcher from Kodiak, AK, who stopped into the museum for a lecture and found more tangible evidence of her culture than anyone had seen in a century.

"I saw a beaded headdress from my mother's village of Old Afognak," said Simeonoff in 2008 Anchorage Daily News article. "And I thought, 'It could have been one of my ancestors who made that.' Hundreds of items. Bowls, spears, bidarkas. And what may be the largest collection in existence of aged dance masks, witnesses to the era before Russian hunters claimed the area for the czar and Sugpiaq ways began to fade. Her mind reeled as she stood among the artifacts, she said, the first Sugpiaq to view them in more than a century.

Simeonoff brought photographs of the collection to many contacts in Alaska, and they lit a fire particularly under artist Perry Eaton. He visited the collection in France, and has been working ever since researching the masks, carving works based on them, and finding ways to bring the ancient masks to Alaska. They finally did, in 2008's "Giinaquq (Like a Face): Sugpiaq Masks of the Kodiak Archipelago," a show of selected pieces from the Musée that traveled to the Anchorage Museum.

Now, the transfer is moving the other way, and Eaton is bringing a host of contemporary artwork to the Musée, by artists including Larry Ahvakana, Alvin and Lena Amason, Drew Michael, Allie High, Phil Charette, Jerry Laktonen, Sonya Kelliher-Combs, John Hoover, Clarissa Rizal, Preston Singletary and Thomas Stream.

Stonington Gallery is proud to present a companion exhibition to the one in France here at the gallery in September, a celebration of this huge achievement in cultural exchange, and will feature a number of the artists from the Musée exhibit. More info to come.

 

 

October 6 - 30

20 Years of Weaving by

Dr. Susan Pavel


 

In Connection with the Exhibition at Suquamish Museum

 

Opening Reception: First Thursday, October 6

6-8pm

 

In October we present an exhibition of new Coast Salish-style weavings by one of the contemporary masters of the art, Dr. Susan Pavel (sa'hLamitSa). Coast Salish weaving is a specific genre and technique unto itself. The art was retained by a few master weavers, including the latesubiyay Bruce Miller, a Skokomish spiritual leader, who chose Pavel as an apprentice in the mid-1990s. Pavel, who is not Native, was chosen to carry on the technique by Miller, and has herself now taught over 500 students. 

Pavel says, "We started as just two. Now, there are hundreds. My students have taught other students. Now I know that this will not die with me when I go. The journey has been and continues to be remarkable. The essence of weaving is fulfilled because ... I am obedient to the call."

In summer 2016 she will have a major retrospective exhibition at the Suquamish Museum of her weavings--both new and from her archive. The new works will be available in her exhibition at Stonington Gallery in October.

One of Pavel's greatest achievements was the task of making the first new mountain goat hair blanket that has been woven in 100 years.  

“One of the great acts of survival is to adapt Salish weaving that had waned for quite a period of time,” said Michael Pavel, Pavel's husband and subiyay Bruce Miller’s nephew.  Michael spent 12 years gathering the wool for the blanket, tuft by tuft. It took Pavel about six months to weave it. The blanket entered the Seattle Art Museum's permanent collection in 2007. There was much fanfare, including the presentation of the blanket to Lummi elder and weaver Fran James (shown above).

"The blanket is a triumph of an ongoing quiet renaissance in Coast Salish weaving carried on by Indian and non-Indian weavers from Vancouver Island to Puget Sound and the Washington coast," wrote the Seattle Times in 2007.

Traditionally, Salish blankets/clothing are woven using a variety of animal and plant fibers including mountain goat wool, canine hair, hemp, fireweed, milkweed, cattail, cotton grass, and yellow and red cedar bark. Various plants were used to create the colors used in dying the wool. Bark from Oregon grape, stinging nettles, various lichens, and alder bark were some of these plants.
 

There are three types of techniques used in Coast Salish weaving: twill, twining, and plain. The diagonals are created by the twill weave, where the weft travels under and over the warp. Twining uses two weft yarns twisting around the warp. The plain weave is a simple over and under warp and weft.
 
Amongst Coast Salish people, blankets made from mountain goat wool are a symbol of wealth and status. During ceremonial occasions objects of wealth are given as gifts, thus leaving the donor in a place of honor and prestige. Woven blankets are distributed during weddings, memorials, naming ceremonies, and as payment to shamans for their services.

 

 

October 6 - 30

Allie High

 

New Works

 

Opening Reception: First Thursday, Oct 6th

6-8pm

 

In October we invite Alaska-based contemporary artist Allie High (Aleut/Haida/Ts'msyen) to debut new prints and painted drums at the gallery, as well as possible works in silver and glass. High's print series are well-loved by collectors, who fall for her prints of animals rendered in flowing formline, and her boldly painted drums. In the past, she has contributed works in ceramic, wood and hand-carved sterling silver to our exhibitions, and we eagerly look forward to seeing what emerges from her studio for this show. 

Allie High was born in 1952 in Ketchikan, Alaska. Allie is Aleut and a Ts'msyen Raven Killerwhale crest Haida from Massett, B.C. Her great grandparents were among the first to follow Father Duncan to establish New Metlakatla in the Alaska territory. She has a Master's degree in interdisciplinary studies (art, theater, and sociology) from the University of Texas in Tyler, Texas. She also has a bachelor's degree in art education from the University of Oregon. She has taught art in public schools in Alaska and Texas as well as University courses in Alaska and Louisiana. Ms. High has been an artist in residence and lecturer in museums and other cultural venues.

 

 

 

 

 

 

 

 

 

All images copyright © Stonington Gallery or ZensPhoto.