Earlier this year, I was thinking to myself that I really wanted to do something meaningful to help swing the 2020 election in the direction of good and away from the direction of dictatorship. Because of our goofy electoral college system, my “blue state” vote alone isn’t worth much, and neither is knocking on doors, as far as the presidential election is concerned. I had heard about an organization, Movement Voter Project, that raises funds in states like mine and gives the money to grassroots groups in swing states who fight voter suppression and get out the vote. I convinced my co-curator, Dara Solliday, to add a benefit for MVP to our annual “100 under $100” show, scheduled to happen in June.

Of course, the big group shows we loved to create, our hall crowded with people vying for affordable art—obviously couldn’t happen. (Neither could knocking on doors.) In May I reconvened my dream team (via Zoom) of artists with multiple skill-sets in marketing, art installation, press relations, etc. and we decided to make the benefit happen anyway. After all, with a disastrously mishandled killer pandemic, racist tweets, federal troops invading the next town to beat up protesters, voter rights under even more vicious attack—you get the idea—our motivation to make a change was all the more urgent.

So we organized the thing as an online gallery and auction. We collected the physical art from the 50 artists, hung it in the upstairs gallery, and posted it online, along with a donation link to Movement Voter Project dedicated to our event. Donors of $100 or more can pick out a piece of art (while supplies last!) and pick it up* in September, when we may be able to open the gallery to the public to see the whole show before the work goes to its new homes.

The artist who created each piece will remain anonymous until the work is selected, so I can’t post mine yet. However, a complete list of the illustrious names of the artists I persuaded to donate is on the ’57 Biscayne website.

GO TO THE SQUARE DEAL SITE & GET SOME DEMOCRACY & ART.

*I’ll ship!

Last month I had a nice chat with Jeffrey D. Shulman, a professor at the Foster School of Business at the University of Washington, on his Seattle Growth Podcast. In Season 6, he’s focusing on how people find and build community in a changing city. We mostly talked about ’57 Biscayne in 2011 and the Good Arts Building, and how those interlocking communities were formed and what I learned along the way. Of course, he also asks the inevitable “how has Seattle changed?” I’ve been here almost thirty years, but since I am rather ornery, I talked instead about what’s managed to stay the same. There are two interviews in the episode; the first one is interesting, but if you want to skip to mine, it starts at 33:44.

I also was a guest on the show a few years ago, along with my Good Arts partners Ali Ghambari and Greg Smith. We described how we came together from very different perspectives to create the wonder that is the Good Arts Building. Jeff had interviewed us separately and used the interview with Greg in one episode. He was about to scrap the rest, when the 2016 election happened. He felt like he really, really needed a heart-warming story of people setting aside their differences to work together to do good in the world—that’s us!—so he produced a Very Special Episode out of the outtakes.

PLEASE JOIN US FOR A CLOSING PARTY AND INDUSTRY NIGHT ON WEDNESDAY, JULY 17 FROM 5-7 PM!

For the sixth year in a row, my colleague Dara Solliday and I will be organizing and curating the 100 under $100 show at ’57 Biscayne. I love doing this. We gather art from a whole bunch of artists we know, and usually a few that we don’t, all of it priced under $100 (as the name would imply) and wrestle it into a surprisingly coherent show. The first year we put  it on, it was kind of thrown together at the last minute (we frantically raided a lot of our neighbors studios to get to 100 pieces) but nevertheless went pretty well. There are collectors from that first event who still come back year after year. We’ve got it down to a system now: The work has to be ready to hang; the artists have to drop it off at prescribed times and enter their own information into a form (I spent several evenings sliding down the hall with my laptop on a chair with casters as Dara fished out post-its and tried to match them to artworks); and we’ve gotten really good at herding a big fat mishmash of art into aestheically pleasing groupings that make their own kind of sense. In other words, it’s a real show now. And until the day we hang it (with some help from other Biscaynitos), we really have no idea what it’s going to look like.

One of the many pleasures of this show is giving some newer artists the opportunity to show their work and actually sell it. However, many established artists look forward to it as well because it’s a chance to do something outside of their known style or medium, to play around a little bit.  We can take risks with something brand-new, or conversely, dig up something old. I’ll be doing the latter this year. I found some oil studies for paintings from the turn of the century—studies that were actually done after the works themselves were in progress. The paintings have long since left my life and gone to good homes, and the studies are like memories of them. They’re also fresher and looser and less precious, from a time before I learned to be loose in my “real” work.

Sleek shiny cars, gleaming ribbons of freeway, convenient modern handheld devices like TV remotes and light meters—we’re all nostalgic for the future that never happened.

My show of recent paintings on vintage fabrics, remixing images of mid-century car ads and real estate porn into dissections of the American unconscious, is up through this Friday, April 26 at Atelier Drome Architecture + Design, 112 Prefontaine Ave. S in Pioneer Square. Hours are 8AM- 5PM Monday through Friday.

Recommended by The Stranger as one of the top shows to see this spring.

Update: Join me for Industry Night on Wednesday, October 24, 5-7 PM. There’s still some great work left in the show, and I’m also offering a rare sneak peek at the Salon Rue de Cerise, a creative project I’ve been working on that supports artists in Pioneer Square.

For the fifth year in a row, Dara Solliday and I are presenting “100 under $100” at ’57 Biscayne Studios. Each year, we gather work from numerous artists of our acquaintance and curate a show of 100 pieces of art that go for less than $100 a pop. Some of the artists work here in the building; others show with us frequently; some are established in their careers; others are just starting out. This year they range in age from 9 to 94. It’s a great community event and despite being a lot of work, one of the highlights of my year. I love seeing people become collectors for the first time, and empower themselves to like something, acquire it, and support (and usually meet) the person who made it. And they can take it home that night.

It’s happening this Thursday, October 4, from 5:30-9 PM at ’57 Biscayne Studios, 110 Cherry Street in Pioneer Square.

It’s also a chance for artists to clean out their closets, and show work that doesn’t fit in anywhere else: I’ll have some weird demonstration paintings from classes I’ve taught, some old pattern experiments, an artists’ proof from an etching series (above), and other odd bits. In my studio, I’ll have more recent smaller paintings, watercolor sketches, and some studies that may offer a sneak peak at future paintings.

I have just finished curating, organizing, and hanging a new show with Annie Brule, artist, book designer, and cartographer extraordinaire. Artists love maps. We invited a bunch of them to create artwork using maps & mapping as a jumping-off point, and they jumped. The result is You Are Here Too, a wide-ranging and totally fun exhibit of paintings, works on paper, assemblage, ceramic bowls, crochet, and embroidery.

It starts at the Good Arts Gallery, inside Cherry Street Coffee House (my downstairs neighbor in the Good Arts Building), and winds upstairs to ’57 Biscayne Studios at 110 Cherry Street on the second and third floors. The show, and the studios, open Thursday May 3, with a big, building-wide open house during Pioneer Square Artwalk. The fun starts at 5 PM; perennial favorite Victor Janusz will serenade us on the piano from 7-9 in the second floor lobby.

Above: Detail, Les Demoiselles d’Illinois (in progress), maps, ink, glue, paper