I don’t quite know what to make of Juan Alonso’s minimal, dark, nearly colorless new abstractions, a puzzling change in direction for an artist whose work has always been linked with the sunny, sensual South. Perhaps the artist himself is hedging his bets; his new exhibition ...
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Arts critic Matthew Kangas offers this new round-up of the Whatcom Museum's Spring-Summer exhibition "Show of Hands: Northwest Women Artists 1880-2010" which closed recently in mid-August. "Canon Building and the Difference Between Historians and Art Critics" explores the Whatcom exhibit curated b...
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Artists find their inspiration in distinctive ways. What Van Gogh discovered in the Japanese print, or Picasso in the African mask, Whiting Tennis sees in the cobbled-together backyard sheds, chicken coops, and homemade furnishings of the rural Northwest. While Van Gogh’s w...
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Artdish contributor Matthew Kangas in his essay "Dusting Off the Family Jewels" describes how the Henry Art Gallery is offering the exhibit "Vortexhibition Polyphonica: Opus I and II" featuring the Henry's substantial and varied art collection. In a period of economic pressures where museums and gal...
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There are two sort of women in Patti Warashina’s large, all-girl exhibition at Howard House this month: the Frazzled, and the Beatific. The artist gets credit for attempting to deal with such a range of experience and response, but it is clearly the sculptured, smiling women on pedestals, rath...
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