At various locations throughout the 10th Northwest Biennial at Tacoma Art Museum, there are small stacks of neatly folded pants. Take a pair, give a pair. Pants Exchange is an artwork by Portland’s Abraham Ingle. His other piece in the exhibition is called Fake Up, a salon with a beautician and a photographer where people line up to get makeovers with products incarcerated women adapt for makeup: coffee grounds, Skittles, Crystal Light.
Susie Lee’s allegorical portraits of elderly men and women fall on the more static end of the exhibition’s spectrum—which is not static at all. The portraits preside over the show the way CEO portraits might loom over boardrooms: highly staged, tightly framed, and formal as hell. But these are not CEOs, and electrical cords extend down from the frames. These are video screens hung vertically, and the costumed subjects have been instructed to sit as motionless as possible for an impossible 30 minutes at a time.
Standing in one corner of the gallery, Paul Kuniholm Pauper’s arcade game Cardboard Commandments solicits your quarter. When you pop it in the slot, you’re rewarded with a slide show on the screen of pictures of handwritten panhandlers’ signs asking for money. Across the gallery in another corner—and the activation of corners is itself worth noting—is a sculpture by Jeff Jahn. It’s high up on the wall, a faux forest canopy made of jagged pieces of plywood that create a small, localized environment of green-tinted shadows where you can hide out to think.
On a TV monitor on the floor is a video of Jin-me Yoon prostrating herself on a board with wheels that she uses to crawl her way through Seoul, South Korea, the city where she was born. The video of her passing by a Gucci retail outlet or throngs of pedestrians who ignore her—occasionally, someone looks at her askance—is paired with a photograph in which her two grown children hold her body aloft in a leafy area of Vancouver, BC, where she now lives and where her children were born.
There are only 29 artists and artist teams in this biennial. It’s a short list compared to years past, and it’s juicy with opinion—it feels a little like a religious experience. Vancouver, BC, is included in the region for the first time—hallelujah. Of the stand-alone artists, 13 are women and 15 are men—amen. At least eight of the artists are people of color—can I get a witness? Six of the artists have positions at area colleges and universities—each one, teach one. Oh, and the museum is about to be full of queers: The biennial is smaller than usual because the museum is leaving room for Hide/Seek, the exhibition of American portraits of same-sex desire that drew fire from the Catholic League when it opened in Washington, DC—the one that was censored and whose only other tour stop is Brooklyn. When it comes to interdisciplinarity, multiculturalism, and risk taking, Tacoma Art Museum is putting into action what most museums only talk about doing.
The biggest influences on this biennial are the twin forces of internationalism from Vancouver, BC, and Portland’s emphasis on social art practices, led by Harrell Fletcher’s Portland State University program. Fletcher’s contribution is Assignment for Tacoma Art Museum: The museum chose an environmental organization and a group of landscape artists. The artists made paintings and photographs of sites identified by the environmental group; somehow, the environmental group is going to follow up with actions that benefit art and artists, says Rock Hushka, curator of TAM.
Hushka, who’s worked on four consecutive biennials, invited Brazilian-born, BC-based independent curator Renato Rodrigues da Silva to co-curate. Their choices form the argument that interesting connections have yet to be made about artists who work between mediums and persons who live between cultures—pairing the ideas of interdisciplinarity and multiculturalism.
Henry Tsang’s installation includes three channels of video, text, and a wine bar that will actually serve wine occasionally in the gallery. The video features interviews about the Napa-like explosion of the wine industry in the Okanagan Valley, where small farmers struggle to make ends meet behind the scenes of luxury condos and hot tubs. An Osoyoos elder describes where the native language has expanded to include concepts—like “hot tub”—that never needed words before.
Which is not to say that artists dealing with the crossing of cultures are confining themselves to the crossing of mediums: Matika Wilbur’s strong new photographs are classic black-and-white, small format. And Matt McCormick crosses time periods as well as mediums in The Great Northwest (which is, coincidentally, showing at New York’s Museum of Modern Art next month), but with a sense of uncanny continuity. It’s surprising to see how much hasn’t changed in his re-creation—in video and photographs—of a Northwest road trip taken by two adorable women whose scrapbook he discovered in a thrift store.
In an interview, Hushka described the identity of this region in terms of “how our edges always shift—the way people keep coming from other places, the way we’re never satisfied with the definition of who we are.” (This seems, ironically, like an American thing to say, and it’s worth remembering that the “Northwest” of this 10th Northwest Biennial is geographically backward if you’re in Canada.) To this end, the edges of the exhibition are made blurry: A barely visible mural on the wall leading into the main gallery by Laura Hughes is in super-pale iridescent paint, opposite a bank of windows, so that it looks like a shadow cast by the windows on the wall.
In an election year, and a year of Occupy activism, the biennial rightly raises the specter of politics and includes artists who invite viewers into action. Ariana Jacob, a student of Fletcher’s in Portland, set up a tent in the gallery that looks like an American flag with question marks where stars would go. She’ll sit under the tent and talk to people. “Idealist with socialist leanings and a tendency to question myself seeking conservative and libertarian people for conversation about our country” is her ad, printed on a placard. It’s a good stretch for the museum to accommodate such living, breathing works; there’s also a can’t-we-all-just-get-along feeling that’s disturbing.
A subtler example of interaction between artist and viewer is Samovar by Reza Michael Safavi. A video of a beach on a sunny late afternoon, with a Persian rug spread out for a beach towel, is projected on the wall, with a Persian rug in front of it on the floor. On both carpets sits a samovar, a curved metal container that heats tea.
A series of cushions on the carpet invite you to sit. As you watch the video, the artist emerges in the distance from underwater, wearing a wet suit and wading to shore, where he walks out and sits down on the rug, facing the same direction as you, toward the sun. He pours and drinks tea, and “magical” things happen: A dog runs across the beach pushing a giant doughnut, the teapot lifts and hovers in the air. The artist does not respond. When he finishes his tea, he disappears again into the water, leaving you there alone with your impressions. 
This article has been updated since its original publication.
“Postmodernism is an academic theory, originating in academia with an academic elite, not in the world of women and men, where feminist theory is rooted.”
~Catharine MacKinnon
Its great to see these works. Despite there being less artists, there is still too much work for the tiny room. One hopes that they can open up another space for this important exhibit. I find it odd that you would call out Jacob’s good doer-ness, yet let Susie Lee’s exploitative portraits off the hook. These two seem to generate an interesting conversion together, despite the difference of themes. How do we cope with death and political differences today? Are you saying it notable to point out Jeff Jahn’s work since why and heck is this shlock in the exhibit? The fellow needs an editor for his blog and to be taught the finer points of using a jigsaw, especially since he tries to place himself in the camp of Judd and Kelly. You did not mention Paul Rucker’s works, which have some interesting things going on, but suffer from the cramp-ness of the space.
Ah the mud slinging and false assumptions start. It pays to read the wall text BMoe-ner. Canopy II uses less than ideal, very janky waste wood from architecturally significant buildings that neither Judd nor Kelly would ever use for their projects. This is done for conceptual, not craft reasons. Also, I have worked with the people who make Judd and Kelly’s work. If I wanted I could have them fabricate the work but I’m interested in avoiding the rabbit hole of perfection. It is a distraction. In other words my work is a left turn away from Judd and Kelly. It is more like stagecraft than craft.
Let’s just say I am a fan of Hendrix, not Kenny Wayne Shepherd’s style of execution. It is about the effect, not the so-called perfection of every note. I believe that 21st century work isn’t just about the boat but the wake. Getting hung up on craft for work that is anti-craft is a futile argument. Look, apparently you have an axe to grind with me but you forgot your handle and your blade is very dull.
“To live is to war with trolls.” – Henrik Ibsen
If TAM wants to raise money to mount an invitational for academics and their friends or to have a show devoted to Canadians who do conceptual work, they need to get out there and raise the funds for it the old fashioned way–honestly.
At least when the Whitney Museum of American Art mounts the much reviled Whitney Biennale, they do not stoop to duping a struggling class of people out their rent money under the guise of an “entrance fee” for a “competition” when they have virtually no chance of inclusion.
Someone at TAM needs to learn that the community does not serve the Curator, but it is the Curator that serves the community–especially in these hard times.
Hurrah, the Bi is open. I continue to be so grateful for TAM and its leaders. Too bad it’s not in Seattle. The show is always a must see regardless of controversy or quality. I’ll restrain my opinions of the works here.
GO SEE IT!!!
@3: Hey man, don’t be messin’ with Kenny Wayne, you can’t touch that shit!
@Hitchcock, there has never been an entrance fee to submit to the Northwest Biennial. There are quarters at the admissions desk to activate my piece, the money goes to The Nelson And Winnie Mandela House, a Tacoma charity.
SIncerely,
Paul Kuniholm Pauper
bit.ly/paulkuniholmpauper
Jen, why does this exhibition unfortunately seem ho hum and like yesterdays news? It seems such a waste of a wonderful opportunity and with the addition of not only another region but a new point of view to offset Hushkas usually precious and tortured approach it could be a real home run. Instead the show ended up looking like a corpse that had the life drained from it. Does it also appear quite possibly that TAM and Hushka are not really involved in the local art community enough and really seeking out the dynamic things happening around us that could inform a really great Biennial? TAM tends to suffer from a dead atmosphere with their presentations and environment and often feels like someone should open up the window and let a fresh breeze blow on thru. Thanks.
Congratulations on your participation in the show. My commenting was not on museum admission, but inless TAM has changed their admission policy, the only way one can enter the museum to see the Biennale is by paying admission at the desk or by buying an annual membership.
1-The entrance fee I refer to is the fee that ARTISTS PAY to have their work CONSIDERED for show
2-there has always been a fee to be considered for the show although the artists who were invited by the curator this year possibly may not have been charged the fee.
I take issue only with the process that was used to handle this. I look forward to seeing your piece.
irony |ˈīrənē, ˈiərnē|
noun ( pl. ironies )
• a state of affairs or an event that seems deliberately contrary to what one expects and is often amusing as a result.
@9
There is a third Thursday free admission for all!
A trip there can be enhanced by going another 25 miles down I5 to take a walk on the trails of the wonderful Nisqually delta to see the birds and think about the Northwest Coastal Native who originally lived there. A wonderful experience where the land meets the sea at the mouth of a River fed by Mt. Rainier. A few more miles gets you a meal in Olympia.
http://nisquallydeltarestoration.org/
@9
There is a third Thursday free admission for all!
A trip there can be enhanced by going another 25 miles down I5 to take a walk on the trails of the wonderful Nisqually delta to see the birds and think about the Northwest Coastal Natives who originally lived there. A wonderful experience where the land meets the sea at the mouth of a River fed by Mt. Rainier. A few more miles gets you a meal in Olympia.
http://nisquallydeltarestoration.org/
Of course it stands to reason and certainly didn’t affect Miss Jen’s “good judgement” in her choice of mentioning Susie Lee’s work with a call out since-well-SHE IS one of the subjects!! (SO LAME!) It’s also questionable (after polling 7 gay people first for their take on this-just to be fair) if your ‘sloppy-snarky’ toss in of “full of Queers” is not just plain offensive and wrong. Not one thought it was okay and you should not have used it! Savage, well maybe-you NO WAY! After commending the good work of Rock Hushka and TAM by bravely featuring HIDE AND SEEK and respectfully referring to “people of color” in the exhibition you sling that shit. No thanks and shame on you. Let’s not forget the awkward and ugly “Jencident” when you so wrongly stuck your big ol’ UGG moccasin in your mouth with the “store front-first nations” debacle!!! ugh, remember that one, Jen???
find below the Urban Dictionary definition:
queer: Originally pejorative for gay, now being reclaimed by some gay men, lesbians, bisexuals and transgendered persons as a self-affirming umbrella term. Caution: still extremely offensive when used as an epithet.
*Jen, last time I checked you were neither “gay men, lesbians, bisexuals and transgendered” but heterosexual and engaged to a man. It is used here as an epithet.
Y’all figured out by now that Jen Graves IS Northwest Mystic, right?
About northwest mystic,
WHERE’S THE BEEF? Have you been able to tell the difference between ordinary beef and ANGUS beef?
I’ve had a strange sense of who northwest mystic might be for some time. There have been some things to counter this but still I can imagine it. There is a northwest art critic who did pretty well for a time. This critic’s initials are MK. One of the names initialed rhymes with “ANGUS.”
I don’t think of nm being crazy as some suggest, but an extremely angry or hurt person or friend or group of artists who feel they have been seriously wronged by the main column writer here. Enough to carry on a sustained assault on that writer. The writing of nm is not up to the standard of MK but one who knows the inside story of the clash of the local critics over recent years can imagine MK still being livid in the face and countenance. Evidence is MK is rather sensitive to the use of the term “Queer.” I can imagine nm with a drained bottle of Jim Beam lashing out in barely recognizable blather. The writing is kind of like WUI (writing under the influence). nm erupts like a small atomic bomb and doesn’t take prisoners. In this recent post (#13), nm, offers nm’s proof of a possible awkward moment for Graves producing a pleasurable efflux from nm. My God, an 88 comment Slog article.
http://slog.thestranger.com/slog/archive…
An article in which it’s possible to accuse Graves of many things but difficult to look to her careful writing for actual clues. At least one thing’s clear, nm appears to be an avid reader of Jen Graves.
MK is too smart to use the handle Northwest Mystic. Whoever is using that handle is intentionally trying to build up negative feelings towards the old school group of artists called The Northwest Mystics. I would be surprised if MK even bothers to read this column. Get a clue.
About GFinholt,
Not only is your accusatory rant unbelievably inappropriate and insanely foolish-as in “you’ve crossed the line cuckoo”-your obsession with ‘all things Jen’ and your effette cheerleading of the whole scene is obnoxious on several fronts. Word of advice-GBaby…
GET…..A…..LIFE!!
There is little, if anything, that links Jen Graves and Mathew Kangas as anything other than two people residing in the same city with a Seattle art world presence. To say that MK would feel at all threatened or challenged by JG in anyway professionally or journalistically is laughable( let alone act like that). JG is a hipster, ‘of the people kinda sideshow’ with a title of art critic. MK is a well educated and erudite scholar of Art History with a long admirable career who you owe an apology to, GFinholt.
“Frack you later, Frankenpuss.” ~Mr. Furious
@17
High ya, nw mystical person,
Another eruption, eh? You’ve managed to skirt my pointing out that a little earlier how your rant about what you characterize as Jen’s store window error is not supported in her text. You were clearly wrong even though Jen may make mistakes. This time you’re completely wrong, factually, again saying there’s no connection between you’re Matthew and Jen but for them living in the same city. I didn’t mention any names but you’re the one who puts one on the screen for everyone to see. Don’t you ever admit to your mistakes? Below is an article that shows a serious connection between them and raises possible serious behavior on his part.
http://www.thestranger.com/seattle/Conte…
So, can you say “I made a booboo or are you going to erupt again? “ You describe your Matthew as kind of hopelessly vain and snooty. You say he would never read Jen so why would comments about him affect him? Both Jen and I believe your Matthew is quite a guy and we do very much appreciate his skills and positive contributions. I sort of sense your Matthew appreciates a larger frame of things and has quite a sense of humor. I found it amazing that he called the local painter Larry Heald the last of the northwest mystics but then added that so much of the local painting continued mystical qualities. Heald did some wonderful crazy stuff.
Affectionately yours,
GFinholt
@14 and 15. Theory: White, male, based in Portland, writes, initials JJ.
Jen, I was wondering why you are willing to talk about the work of Sean Johnson when you are exploring issues of race, but make no mention whatsoever of his inclusion in the biennial? What’s up with that? Does he have to be part of some group or consortium to get recognition?
Wrong nancy, J is a decent person and has a thing for Donald Judd not cuckoo for Jen.