“I was too much the farmer’s daughter, in a sense. You know, that marvelous dirt out there that gets turned over with a plow and getting my hands dirty was the thing that turned me on.”
Betty Feves: The Earth Itself presents loaned and promised works by significant yet under-recognized artist Betty Whiteman Feves (1918–1985). Feves belongs to a generation of groundbreaking artists who expanded the use of clay in art. Featuring a wide-range of art from across Feves’ career, the exhibition will include early figurative and architectural forms, functional wares, bonfire pots, and large-scale sculpture. An advocate for living locally throughout her lifetime, Feves was committed to relentless experimentation with regionally-sourced materials. She created her own clay bodies and glazes from her immediate environment and the geology of the Columbia Basin provided a lifelong reservoir of inspiration. Her work continues to be exhibited nationally and internationally, and set the stage for clay to become the expressive medium it is today. » More …
The purpose of the permanent collection is to preserve and make accessible an artistic legacy of the 20th and 21st centuries. The goal is to provide a foundation of key styles that represent the ever-changing face of art for our students, visitors and scholars, in part as a context for approaching new forms we can only begin to imagine today.
Making selected works from the permanent collection accessible through open storage solutions, this new gallery has become the museum’s intersection for academic research, scholarly exchange, interdisciplinary collaborations, academic courses, student research and professional training. This gallery provides researchers, students, faculty, staff, and our community access to the teaching collection of the museum, while protecting and preserving each item kept for the public trust, in an open, viewable vault environment. » More …
2020 | QARTHIAN MASTER OF FINE ARTS THESIS STATEMENT
You Can’t Hot Glue Your Cat Back Together
“In 2015, we moved to Sonoma County. I was content to play in the dry creek bed for a time, but eventually, I longed to wander in the bay forest. I got lost. It was assumed that I had been trampled by wild pigs. And I was left behind.
I’ve been walking North ever since. I’m trying to get back to my home. I’m a very old tuxedo cat, now. And even if I reach my home, I know I can never return to the past I long for.”
2020 | HARRY MESTYANEK MASTER OF FINE ARTS THESIS STATEMENT
I begin by creating space and making time for the participant; to slow down, to pause, to touch, to hold. I establish equity, a sense of balance, a sense of harmony. We have something in common, something shared, a point of exchange. The participant can engage my work in a tangible way; they may choose to take part visually, physically, or both. The viewer then becomes a translator and can inhabit the work.
Minimalism and repetition enable my work to be visually accessible. Blending the time-honored practice of ceramics with contemporary digital technology is the cornerstone of my practice. » More …
2020 | MOHSEN BCHIR MASTER OF FINE ARTS THESIS STATEMENT
Microbiota: Evidence Of Symbiosis
In this work, I re-examine the long-existing relationship between humans and nature by focusing on our symbiotic connections through touches and their traces.
I use petri dishes as a tool to reveal the myriad micro and macro interactions, that we are continuously having with our surroundings. Therefore, I consider them an extension of what defines the contemporary human portrait.
“What is it to be human?”
In the juxtaposition of arts and sciences, this work highlights interdisciplinary and collaboration as key factors to blur the rigid boundaries separating scientific methodology and art aesthetics. » More …
2020 | KELSEY BAKER MASTER OF FINE ARTS THESIS STATEMENT
Call of the Void
L’appel du vide is a French idiom that literally translates to “the call of the Void,” but more poetically describes intrusive thoughts related to one’s immediate surroundings—the presence of circumstances with mortal potential.
This body of work presents multiple thresholds that offer imaginary access to Void-like spaces, and bodily experiences of these spaces that are felt rather than lived. The paintings are not portals, as such, but invite the viewer to experience a thinning of the veil; brush up against the edge of the unknown, containing everything and nothing. The projection and entryway offer suggestions for what these undefined, liminal spaces may hold.
2020 | AZZAH SULTAN MASTER OF FINE ARTS THESIS STATEMENT
Growing up in Malaysia, our culture and customs are significant areas of familial focus. It is important to not lose touch of who we are; the rite of passage to transfer knowledge is traditionally passed from one generation to the next. “Anak Dara” is a Malay term that translates to ‘a young and unmarried child.’ It is a term of endearment my mother often uses.
In this body of work, “Anak Dara” is an ode to the diaspora of leaving home and the journey to recover what was lost through materiality, performance, and the power of my mother’s voice. » More …
2020 | CHADCHOM CHESKHUN MASTER OF FINE ARTS THESIS STATEMENT
The Ephemeral Nature of Memory follows a concept in three stages: Stage I: Pure Memory, Stage II: Remained, and Stage III: There is No There. Each stage includes a body of work, which represents a stage of memory. The intention is for the viewer to look beyond the subject of the images, to the process, which reveals something altogether new in form and perception.
Polaroid photographs are central to each stage. Polaroid film evokes feelings of privacy, preciousness, nostalgia, and realization the image is unique and non-reproducible. Thus, evoking private memories and feelings. » More …
ABOUT | Follow the Sun: The Holland and Orton Collections is drawn from the Collection Study Center at the Jordan Schnitzer Museum of Art WSU. Formed in 1973, the museum’s permanent collection began from such founding collections of 19th and 20th century American art. The Holland and Orton Collections contain a fascinating array of artistic themes and approaches from the romanticism of the Hudson River School to the social concerns of American Realism and American Scene Painting. The largest areas of focus, however, are works of American Impressionism illustrating a dynamic evolution of influence from Europe to America to the Pacific Northwest. Throughout it all, the landscape endured as a favorite subject representing ideal beauty as well as westward ambition and migration. Relatedly, depictions of indigenous lands must be considered in light of land seizure and settler colonization. » More …