Kathryn Glowen
18404 Burn Road
98223 Arlington, Washington
USA (United States)
360 435 5351
http://artistsregister.com/artists/WA880
Kunstart: Malerei
Technik: Mischtechnik
Stil: Gegenständlich
Vita / Lebenslauf:
Kathryn A. Glowen: Artist's Statement
I am a third-generation resident of the coastal Pacific Northwest. The natural world is my surrounding and essential inspiration, yet I am equally as influenced and inspired by the ways that we examine, interact with and investigate that world.
My visual language is derived from the universal (as in the night sky) and the particular (the structure of a leaf or a wasp nest). I am also drawn to the texture of printed language, particularly dictionary pages, maps and paper ephemera such as postcards, stamps and package labels.
I compose my works with a balance of formal and graphic devices mixed with a variety of applied and found textures. I often employ bold iconic shapes derived from geometry and nature.
In addition to the studio works seen here, I have also worked in sculptural and installation modes. A major opus, a museum-scale installation titled PETLAND: One Woman's Century, was created from the personal and business effects of a female proprietor of a pet store in pre-WWII Spokane, Wash. Debuting in 1997, PETLAND was exhibited at 13 museum and university gallery venues most recently in 2006.
I continue to expand my sources of inspiration and influence. Visits to American and European contemporary art events and various travels for business or pleasure enrich my mind and my creativity. At the same time, there is inspiration and insight everywhere around me as I work in my rural studio in Arlington, Washington.
Notes on the work:
overheadunderfoot
The monumental scale of the overhead/underfoot series of native plant leaf silhouette paintings reveals the structure, complexity and grace of botanical specimens common to the Pacific Northwest.
While the leaves and stems in actual size might be tiny and easy to overlook, they are now human scale, invoking a powerful formality and dignity. The silhouettes are filled with minute textural brush strokes that sparkle. Antique blockprint numerals add a spatial counterpoint to the flat surfaces and shapes.
Lunar
Scientists view planets with two distances: close up (our earth) and far away (in the universe). Similarly, our myths, legends, dreams and spiritual urges interpret the planets in terms of both terrestrial and celestial events.
The body of work titled Lunar refers to the celestial sphere. It is a place where we have projected ourselves in myth, spirit and legend (for example, the constellations), and a sphere that influences our daily rhythms and moods. The moon and the night sky continue to cast its quiet mystery upon us.
The circular shapes are evenly distributed fields of minute collaged texture, both visual (rectangular scraps of vintage dictionary pages) and material (tree lichens, wasp-nest paper) to resemble such things as celestial and terrestrial maps, planetary orbs, or microscopic views of a cell.
My interpretation of Lunar is more lyrical than literal. I am perhaps as influenced by Selene, the ancient Greek goddess of the moon, as much as I am influenced by astronomy and natural science.
Wonder/Allotment Gardens
In 2007 my husband Ron and I traveled to Germany and the Czech Republic. The crop circles viewed from the airplane, as well as the widespread practice of gardening in small collective plots (the Schrebergarten), were the inspiration for these works.
The plant material that I have used before has now been industrially processed: vintage printed fabrics, and silk for men's ties. The cloth is gathered in a simple stitching device to make flower-like forms.
Fabric is packed into circles forming a riot of patterns and textures to create the visual feeling of dense and changing outdoor gardens. Ties are usually worn indoors, and their regimental flatness and well-defined knots are associated with business suits and corporate or formal situations. In homage to the traditions of silk, these pieces often include flat strips on patterned silk along with the densely packed circles lending a somewhat Zen-like feel.
Aktivitäten / Ausstellungen:
KATHRYN A. GLOWEN
18404 Burn Road, Arlington, Washington 98223
360-435-5351
e-mail: kaglowen@earthlink.net
EDUCATION
Washington State University, Pullman, Wash.
University of Tulsa, Tulsa, Oklahoma
SELECTED EXHIBITIONS: SOLO
2008 Wonder/Allotment Gardens, Lorinda Knight Gallery, Spokane, Wash.
2006 PETLAND: One Woman's Century, Northwest Museum of Art and Culture, Spokane, Wash.
2006 Lunar, Lorinda Knight Gallery, Spokane, Wash.
2005 Lunar, Francine Seders Gallery, Seattle, Wash. (also terra incognita 2003, overheadunderfoot 2002, Architecture of Language 1999)
2003 Shoreline Community College, Shoreline, Wash.
2002 Eastern Washington University Gallery of Art, Cheney, Wash. (also 1989)
2002 PETLAND: One Woman's Century, Art Gallery IV, The Evergreen State College, Olympia, Wash.
2002 Kittredge Gallery, University of Puget Sound, Tacoma, Wash.
2001 PETLAND: One Woman's Century, ARCO Gallery, Whatcom Museum of History and Art, Bellingham, Wash.
2000 PETLAND: One Woman's Century, Fort Wayne Museum of Art, Fort Wayne, Indiana
1999 PETLAND: One Woman's Century, Hallie Ford Museum of Art, Willamette University, Salem, Oregon
1998 PETLAND: One Woman's Century, Marylhurst University, Lake Oswego, Oregon
1998 PETLAND: One Woman's Century, Tacoma Art Museum, Tacoma, Wash.
1997 PETLAND: One Woman's Century, Museum of Art, Washington State University, Pullman, Wash.
1997 Seattle Art Museum Gallery Art Sales and Rental Gallery (also 1995)
1996 Art and Soul Gallery, Ketchum, Idaho
1996 PTLD (Petland Abbreviated), Kirkland Art Center, Kirkland, Wash.
1994 MIA Gallery, Seattle, Wash. (also 1992, 1990)
1992 Michael Himovitz Gallery, Sacramento, Calif.
1991 Gallery II, Washington State University Department of Art, Pullman, Wash. (also 1983)
1988 Art Center Gallery, Seattle Pacific University, Seattle, Wash.
1986 Skagit Valley College, Mount Vernon, Wash.
1984 Whatcom Museum of History and Art, Bellingham, Wash.
EXHIBITIONS: CURATED/GROUP
2008 Paper Politics, Corpus Christi (TX) Art Museum; SUNY-Cortland (NY) Dowd Gallery
2006 Building Traditions: Northwest Art in the Permanent Collection of the Tacoma Art Museum, Whatcom Museum of History and Art, Bellingham, Wash.
2005 Paper Politics, 5by5 Gallery, Brooklyn, NY; Portland State University, OR
2005 Oklahoma Centerfold: 12th Biennial National Juried Print Show, Leslie Powell Gallery, Lawton, Ok.
2005 Seattle Print Arts exhibition, Shenzhen Art Institute, Shenzhen, China
2005 Zen Momentum: Works from the Permanent Collection, Museum of Art, Wash. State University, Pullman
2005 Paper Politics-West: Politically and Socially Engaged Printmaking, Phinney Center Gallery, Seattle, Wash. (currently traveling nationally)
2004 Building Traditions: Northwest Art in the Permanent Collection, Tacoma Art Museum, Tacoma, Wash.
2004 Mark My Word: Text, Code and Literary Allusion, Museum of Northwest Art, LaConner, Wash.
1999 Mount Rainier/Mount Fuji, Citizen's Cultural Center, Fujinomiya, Japan
1999 Visual Poetry: The Word as Abstraction, Bush Barn Art Center, Salem, Oregon
1998 The View From Here: Marking the Centennial of Mount Rainier National Park, Bank of America Gallery, Seattle, Wash. (catalog); also Museum of Northwest Art, LaConner, Wash.
1995 Kunstkabinett, Center on Contemporary Art, Seattle, Wash.
1995 Folie a Deux, Center on Contemporary Art, Seattle, Wash.
1995 The Land, Tacoma Art Museum, Tacoma, Wash.
195 Ex Libris: Book Art, Fisher Gallery, Cornish College of the Arts, Seattle, Wash.
1995 Mystery of the Magic Box, Anchorage Museum of History and Art, Anchorage, Alaska
1994 Telling Stories: Narrative Art, Seattle Arts Commission Public Art Exhibition Series
1994 Michael Himovitz Gallery, Sacramento, Calif.
1994 A World of Maps, Anchorage Museum of History and Art, Anchorage, Alaska
1993 Washington: Voices in Contemporary Sculpture, Bellevue Art Museum, Bellevue, Wash.
1992 Art Discussing Life, Pritchard Gallery, University of Idaho, Moscow. Traveled to Paris Gibson Square Art Center, Great Falls, Montana; and Brigham Young University Art Gallery, Provo, Utah
1992 Some Seattle Materialists, International Gallery, Anchorage, Alaska
1991 Chicago International New Art Forms Expo: Mia Gallery (also 1988)
1990 Three Universes in the Atomic Cafe, IDEA Gallery, Sacramento, Calif. (catalog)
1990 Seattle Sculpture, University of Washington Medical Center, Seattle, Wash.
1990 Summer Arts, California State University at Long Beach (catalog)
1989 Reese Bullen Gallery, California State University Humboldt, Arcata, Calif.
1989 Not Vegetable, Not Mineral, Port Angeles Fine Art Center, Port Angeles, Wash.
1987 Bellevue Art Museum, Bellevue, Wash. (also 1986)
1987 Just for Fun, Liberty Gallery, Liberty National Bank, Louisville, Kentucky
1986 Beyond the Real, Pritchard Gallery, University of Idaho, Moscow
1985 In(2) Parts: Seeing Double, Seattle Arts Festival Bumbershoot
1984 Country of Origin: USA, Textile Museum, Washington, D.C. Traveled to six South American countries
1984 Images of Eclectic Energy, Cheney Cowles Museum, Spokane, Wash.
1982 Reno-Seattle Exchange, University of Nevada Gallery, Reno, Nev. and Seattle Pacific University Gallery
1981 The Farm Project: Environmental Artworks in a Rural Environment, Arlington, Wash.
PUBLIC, CORPORATE, MUSEUM COLLECTIONS and COMMISSIONS:
Northwest Museum of Art and Culture, Spokane, Wash.
Tacoma Art Museum, Tacoma, Wash.
Museum of Art, Washington State University, Pullman, Wash.
Museum of Northwest Art, LaConner, Wash.
Hallie Ford Museum of Art, Willamette University, Salem, Oregon
Anchorage Museum of History and Art, Anchorage, Alaska
King County International Airport, Seattle, Wash.
King County Justice Center, Seattle, Wash.
Everett Transit Station Permanent Artwork Collection, Everett, Wash. (Everett Cultural Commission/Sound Transit)
Seattle Arts Commission Portable Works Collection, Seattle, Wash.
Sound Transit Auburn Station, Auburn, Wash.
Group Health Hospital, Bellevue, Wash.
Nordstrom Patient Care Tower, Swedish Medical Center, Seattle, Wash.
Safeco Corporation, Seattle, Wash.
Andersen Window Corporation, Bayview, Minnesota
Icon Grill, Seattle, Wash.
Pigs on Parade, Pike Place Market Foundation, Seattle, Wash.
Zevenbergen Capital Investment Corporation, Seattle, Wash.
Frontier Bank, Everett, Wash.
Washington State Arts Commission (multiple works and locations)
City of Arlington, Wash.
Evergreen Hospice Care Center, Kirkland, Wash.
United Way of King County, Seattle, Wash.
AWARDS and GRANTS:
2000 Nomination, Best Show at Museum or Gallery Outside New York, American Section-International Association of Art Critics
1996 Sahlin Foundation, Spokane, Wash.
1996 MacEachern Foundation, Seattle, Wash.
1998 GAP Grant, Artist Trust, Seattle, Wash.
1996 Art Matters, Inc. Individual Artist Grant, New York, NY
EXHIBITION PUBLICATIONS:
2005 Paper Politics, Seattle Print Arts
2003 Building Tradition: Gifts in Honor of the Northwest Collection, Tacoma Art Museum, Tacoma, Wash.
1998 PETLAND: An Installation by Kathryn Glowen, Tacoma Art Museum
1997 PETLAND: An Installation by Kathryn Glowen, Museum of Art, Washington State University, Pullman, Wash. Essay: When Life Becomes Art by Deborah Haynes
1995 Mystery of the Magic Box, Anchorage Museum of History and Art, Anchorage, Alaska
1985 Contemporary American Women Sculptors (Phoenix: Oryx Press)
1984 Country of Origin: USA, Textile Museum, Washington, D.C.
RESIDENCIES and CURATING:
2000 Artist in Residence and Lecturer, Fort Wayne Museum of Art, Fort Wayne, Indiana
1997 Artist in Residence and Lecturer, Washington State University Art Department, Pullman, Wash.
1995 Curatorial advisor, Mystery of the Magic Box, Anchorage Museum of History and Art, Anchorage, Alaska
1991 Co-Curator, Come to Your Senses, Bellevue Art Museum, Bellevue, Wash.
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wonder/allotment series:Floating Night Garden
Malerei
Mischtechnik
79 x 58 x 1 cm
2008
Preis: 1.350 Euro
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wonder/allotment series: Floating Mauve Garden
Malerei
Mischtechnik
79 x 120 x 1 cm
2008
Preis: 2.850 Euro
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Sea of Language
Malerei
Acryl
80 x 120 cm
2004
Preis: 2.900 Euro
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