Calendar

Chief Seattle Club is excited to announce our inaugural exhibition at ʔálʔal Café featuring artwork by Paige Pettibon!

Paige Pettibon is a Tacoma-based artist who incorporates her Indigenous and Black culture in her work. She has identified as a painter from an early age, but has added sewing, creative writing, digital art, and jewelry making into her repertoire. Pettibon’s studio practice centers around building community within culture and identity in various art forms. She believes we can create social change through creative expression by sharing our narratives. Inspired by the summer season, the artworks in her show at ʔálʔal celebrate Indigenous joy.

See her work in our gallery June 13-September 8 during the café’s regular hours, Tuesday-Friday from 7am-3pm. Original artworks and prints are available for purchase, with proceeds benefiting the artist and Chief Seattle Club programs that support our unhoused Native relatives.

A regional juried exhibition featuring works on the themes of community, identity, and social justice, In Solidarity will be open in Gallery II of the Fine Arts Center on the WSU Pullman campus from August 11, 2023, through September 14, 2023. A closing reception will be held on the last day of the exhibition.

Dive deep into the stories and science that surround the magnificent orca, apex predator of all oceans.
Follow the currents of ecological activism, popular culture, and Indigenous beliefs to gain a new appreciation of these sophisticated animals, long feared in Western cultures as “Killer Whales.”
Orcas: Our Shared Future includes more than 100 original artifacts and specimens, featuring life-size Orca replicas, fossils, films, objects from popular culture, and original artwork from the Indigenous peoples of the North American west coast.
Discover the complex social structure of orca society and reflect on the surprising consequences of captivity. Learn which orca populations are thriving and which are at risk, and resurface with a new understanding of how orcas and humans are inextricably connected.

For many Native communities throughout the High Desert, what constitutes art spans beyond the walls of a gallery or a museum. Objects are alive, tied to purpose and intrinsic to thriving communities. Art is at once utilitarian and ceremonial, as well as part of the continuation of Native traditions.

Opening on January 28, 2023, Creations of Spirit will immerse High Desert Museum visitors in the Indigenous Plateau worldview, reflecting knowledge systems of tribes along the Columbia River and its tributaries.

Six Native artists commissioned for this new, original exhibition are creating artwork that will be used in Native communities before arriving at the Museum. A seventh artist is creating an interactive piece for the center of the gallery. Creations of Spirit will be a one-of-a-kind, celebratory experience featuring the stories of these living works of art. Videos, audio and large projections will immerse visitors in the landscapes and communities in which these objects are used, highlighting the theme of artwork as alive, full of stories and created for specific purposes and people. The original works will be supplemented with nine cultural items on loan from the Smithsonian’s National Museum of the American Indian in Washington, D.C.

The signing of Executive Order 9066 by President Franklin Roosevelt and the resulting mass incarceration of Japanese American families living on the West Coast is among the single most traumatic events in the history of Asian America, but many history books present an incomplete view of the full story. The truth is that this event did not happen in a vacuum nor did the people who lived this event do so quietly.
The exhibit leads visitors through a historical narrative beginning with the experience of Japanese American incarcerees in the 1940s and the complicated feelings of shame, anger, fear, and varied faces of resistance from within the community. Through the following decades, the story illustrates the generational trauma and cultural aftershocks of incarceration, while highlighting the lingering sense of injustice and awakening to justice movements at home and abroad. Fast forward to 2001 and beyond, the exhibit draws parallels between the stigmatization of Japanese Americans and modern-day anti-Muslim, anti-Arab, anti-Indigenous, anti-Black, and anti-immigrant policies. Visitors leave with a final prompt to consider: In the pursuit of justice, how will you show solidarity for movements today and into the future?
Through art, first-person accounts, historical material, and artifacts, this exhibit connects Japanese American resistance movements during the WWII era to modern BIPOC justice movements and activism today.

Explore the second run of this past exhibit with stories sourced from the local Burmese / Myanmar community. With the original exhibit run cut short due to our closure during the pandemic, we’ve taken the opportunity to update the exhibit to include new content covering the military coup that happened in February 2021.

SAM presents American Art: The Stories We Carry, a transformation of its American art galleries, created through a wide-ranging collaboration among SAM curators and staff, artists, and advisors from the Seattle community. Funded primarily by a $1 million grant from The Mellon Foundation and a $75,000 grant from the Terra Foundation for American Art, the project features work from SAM’s collection and new works and curation by contemporary artists, and it deepens the museum’s commitment to inclusive exhibition-planning practices with a shared-authorship model that reflects and responds to community knowledge.

Each new generation of artists responds to and builds on the art of earlier periods. Bringing together artworks that bridge decades, Reverberations seeks to spark a hum between historical works and those by artists working today. Organized in thematic groups, Reverberations introduces a different topic in each gallery, ranging from landscape and lyrical abstraction to the use of the body in addressing psychological, social, and political concerns. As you move through the modern and contemporary galleries, you will encounter harmonies and dissonance as younger artists stake their claim. In turn, works from earlier decades will acquire new meaning and new layers of relevance.

This installation draws from SAM’s growing collection and incorporates many works acquired in recent years, by artists including Margarita Cabrera, Dana Claxton, Senga Nengudi, Rashid Johnson, Woody De Othello, Jenny Saville, Sarah Sze, and Naama Tsabar. Many works are on view for the first time. Among the modern classics, viewers will find works by Francis Bacon, Alberto Giacometti, Franz Kline, Joan Mitchell, Mark Rothko, and David Smith on view. The museum’s ongoing commitment to building a collection with equity and diverse points of view can be seen when perusing the galleries.

Guillermo del Toro: Crafting Pinocchio is a celebration and exploration of the inventiveness, passion and artistic cooperation that goes into making a cinematic vision come to life. Now streaming on Netflix, the movie Guillermo del Toro’s Pinocchio was ten years in the making and conceived for international audiences of all ages. The film highlights the importance of nonconformity and the love and understanding passed between parents and children—and above all, showcases the incredible passion that del Toro, co-director Mark Gustafson, and their team bring to the art of stop-motion animation.

The Portland Art Museum’s presentation of Guillermo del Toro: Crafting Pinocchio will expand on the richness of the local stop-motion animation community by giving visitors a look inside the artists’ process. The exhibition and programs will give special attention to the talent and creative collaboration of the local cinematic animation artists at Shadow Machine—a renowned stop-motion animation studio based in Portland, Oregon.

Featuring the work of the Guma’ Gela’, a queer CHamoru art collective made up of members from the Marianas and in the diaspora. The exhibit explores their motto “part land, part sea, all ancestry” through a broad spectrum of media, including sculpture, soundscape, writing, printmaking, weaving, costume design, adornments, and more, to build a connection with CHamoru life, history, and traditions.

Do you ever wonder how Bruce Lee developed the philosophy behind his most iconic quote?

This incredible interactive exhibit invites viewers to step into the mind, body, and spirit of Bruce Lee to see how his unquenchable pursuit of knowledge informed his philosophy and life.

Follow Bruce’s path beginning with his revelations on water, through the wealth of knowledge found in his 2,800-book personal library, to his philosophy on self-understanding and self-expression.

The exhibition’s interactive technology interweaves beautiful imagery with Bruce’s personal objects and books to bring his journey to life.

Soul of Black Folks is the debut solo museum exhibition for Ghanaian artist Amoako Boafo (b. 1984), one of the most influential artistic voices of his generation. Working primarily in portraiture, Boafo is known for his vibrant use of color and thick, improvisational gestures created by his finger painting technique. His work is actively centered on Black subjectivity, Black joy, the Black gaze, and radical care as a foundational framework for his artistic practice. The exhibition presents over 30 works created by the artist between 2016 and 2022.

Amoako Boafo: Soul of Black Folks is presented in partnership between Contemporary Arts Museum Houston and the Museum of the African Diaspora, San Francisco. The exhibition is curated by Larry Ossei-Mensah.

What do late 18th- to 19th-century Edo (present-day Tokyo) and late 19th-century Paris have in common? This exhibition, which can only be seen in Seattle, uncovers the shared renegade spirit that characterized the graphic arts and social cultures of these two dynamic cities. On view are over 90 Japanese ukiyo-e woodblock prints and paintings from SAM’s Japanese collection alongside private loans of works by Henri de Toulouse-Lautrec (1864–1901).

In addition to the intriguing formal and thematic parallels between these two collections of graphic arts, the exhibition reveals the social impulses behind their burgeoning art production. As both cities faced challenges to the status quo from the rising middle classes, subversive impulses gave rise to vibrant cultures of theatregoing, pleasure seeking, and new forms of visual art.

On view March 21, 2023 through Spring 2024
Art of the North Galleries, Third Floor, East Wing

Good Medicine brings together Indigenous healers and medicine people to collectively create, share knowledge, and practice in community. Unfolding over the course of a year with the work of different Alaska Native healers, this multi-disciplinary exhibition offers diverse opportunities for gathering and exchange.

Colonialism has attacked and suppressed medicine people and Indigenous knowledge systems for hundreds of years. This exhibition addresses harmful legacies and shows how the revitalization of healing practices and traditions provides ways of being in alignment with oneself, with community, and with our planet.

Curated by Tlingit traditional healer Meda DeWitt, Good Medicine emphasizes spiritual renewal, cultural renascence, and the importance of co-creating futures where nature can thrive.

Frank S. Matsura: Portraits from the Borderland features studio images by Washington-based Japanese photographer Frank Sakae Matsura (1873-1913) alongside period-specific American Indian regalia from the Columbia Plateau. Exploring Indigenous representation through a multi-dimensional lens, the photographs and objects on view detail some of Matsura’s most culturally significant work against a backdrop of regional transformation.

I paint from historical photographs of people; the majority of them had no name, no bio, no story left. Nothing. I feel they are kind of lost souls, spirit-ghosts. My painting is a memorial site for them.
—Hung Liu

Groundbreaking Chinese American artist Hung Liu (1948–2021) made highly narrative images that foregrounded workers, immigrants, refugees, women, children, and soldiers in haunting, incandescent portraits that mingle Chinese and Western artistic traditions. Liu was born in Changchun, China, and her childhood and youth coincided with one of the most tumultuous periods in Chinese history. After her arrival in San Diego, California, in 1984, Liu became one of the first Chinese artists to establish a career in the United States. Decades later, she would be justly celebrated for establishing novel frameworks for understanding visual art’s relationship to history by focusing on communities misrepresented and marginalized by official narratives.

Liu experienced political revolution, exile, and displacement before immigrating to the United States. She came of age during Mao Zedong’s Cultural Revolution (1966–76) and was consequently forced to labor in the fields in her early twenties. After studying art in Beijing, she left China to attend graduate school at the University of California, San Diego. There, the experimental tendencies of the students and faculty, most notably those of performance artist Allan Kaprow (1927–2006) and art historian Moira Roth (1933–2021), helped cultivate her conceptual approach to portraiture.

Featuring highly experimental painting, printing, and weaving techniques, Liu’s challenging yet accessible oeuvre has been aptly characterized by her husband, the art critic Jeff Kelley, as a species of “weeping realism.” Titled A Question of Hu, after China scholar Jonathan Spence’s 1988 book The Question of Hu, the exhibition reintroduces Liu’s remarkable art to the Pacific Northwest, while demonstrating—as few artistic oeuvres can—an expanded view of citizenship in an era of seismic change that is also fundamentally marked by evolving ideas of artistic solidarity and collaboration.

Snotty Nose Rez Kids Hot Planet Tour Dates and Locations.

Attention Halloween lovers!! Need some Spooky art? Nepantla Cultural Arts Gallery is proud to present their 1st Halloween themed art show!

Exhibition runs September 2nd-24th.
Gallery Hours: Thu-Sun 12pm-6pm

An anchor event for Converge 45’s citywide 2023 biennial, Social Forms: Art As Global Citizenship, the exhibition WE ARE THE REVOLUTION plumbs the depth of commitment of Jordan Schnitzer to the art of his time, while tapping into a living history of social expression through art in diverse media—from monumental paintings to free-standing sculpture to works on paper. Designed in part to explore ways in which the art of the past meets and affects the art of the present, the exhibition gives voice to art as both aesthetic experimentation and social commentary from the 1960s to today. Driven by the conviction that history is constructed through both continuity and discontinuity, the exhibition strives to establish unexpected juxtapositions and revealing connections among historical and contemporary artists and artworks.

Chief Seattle Club is excited to announce our inaugural exhibition at ʔálʔal Café featuring artwork by Paige Pettibon!

Paige Pettibon is a Tacoma-based artist who incorporates her Indigenous and Black culture in her work. She has identified as a painter from an early age, but has added sewing, creative writing, digital art, and jewelry making into her repertoire. Pettibon’s studio practice centers around building community within culture and identity in various art forms. She believes we can create social change through creative expression by sharing our narratives. Inspired by the summer season, the artworks in her show at ʔálʔal celebrate Indigenous joy.

See her work in our gallery June 13-September 8 during the café’s regular hours, Tuesday-Friday from 7am-3pm. Original artworks and prints are available for purchase, with proceeds benefiting the artist and Chief Seattle Club programs that support our unhoused Native relatives.

A regional juried exhibition featuring works on the themes of community, identity, and social justice, In Solidarity will be open in Gallery II of the Fine Arts Center on the WSU Pullman campus from August 11, 2023, through September 14, 2023. A closing reception will be held on the last day of the exhibition.

Dive deep into the stories and science that surround the magnificent orca, apex predator of all oceans.
Follow the currents of ecological activism, popular culture, and Indigenous beliefs to gain a new appreciation of these sophisticated animals, long feared in Western cultures as “Killer Whales.”
Orcas: Our Shared Future includes more than 100 original artifacts and specimens, featuring life-size Orca replicas, fossils, films, objects from popular culture, and original artwork from the Indigenous peoples of the North American west coast.
Discover the complex social structure of orca society and reflect on the surprising consequences of captivity. Learn which orca populations are thriving and which are at risk, and resurface with a new understanding of how orcas and humans are inextricably connected.

For many Native communities throughout the High Desert, what constitutes art spans beyond the walls of a gallery or a museum. Objects are alive, tied to purpose and intrinsic to thriving communities. Art is at once utilitarian and ceremonial, as well as part of the continuation of Native traditions.

Opening on January 28, 2023, Creations of Spirit will immerse High Desert Museum visitors in the Indigenous Plateau worldview, reflecting knowledge systems of tribes along the Columbia River and its tributaries.

Six Native artists commissioned for this new, original exhibition are creating artwork that will be used in Native communities before arriving at the Museum. A seventh artist is creating an interactive piece for the center of the gallery. Creations of Spirit will be a one-of-a-kind, celebratory experience featuring the stories of these living works of art. Videos, audio and large projections will immerse visitors in the landscapes and communities in which these objects are used, highlighting the theme of artwork as alive, full of stories and created for specific purposes and people. The original works will be supplemented with nine cultural items on loan from the Smithsonian’s National Museum of the American Indian in Washington, D.C.

The signing of Executive Order 9066 by President Franklin Roosevelt and the resulting mass incarceration of Japanese American families living on the West Coast is among the single most traumatic events in the history of Asian America, but many history books present an incomplete view of the full story. The truth is that this event did not happen in a vacuum nor did the people who lived this event do so quietly.
The exhibit leads visitors through a historical narrative beginning with the experience of Japanese American incarcerees in the 1940s and the complicated feelings of shame, anger, fear, and varied faces of resistance from within the community. Through the following decades, the story illustrates the generational trauma and cultural aftershocks of incarceration, while highlighting the lingering sense of injustice and awakening to justice movements at home and abroad. Fast forward to 2001 and beyond, the exhibit draws parallels between the stigmatization of Japanese Americans and modern-day anti-Muslim, anti-Arab, anti-Indigenous, anti-Black, and anti-immigrant policies. Visitors leave with a final prompt to consider: In the pursuit of justice, how will you show solidarity for movements today and into the future?
Through art, first-person accounts, historical material, and artifacts, this exhibit connects Japanese American resistance movements during the WWII era to modern BIPOC justice movements and activism today.

Explore the second run of this past exhibit with stories sourced from the local Burmese / Myanmar community. With the original exhibit run cut short due to our closure during the pandemic, we’ve taken the opportunity to update the exhibit to include new content covering the military coup that happened in February 2021.

SAM presents American Art: The Stories We Carry, a transformation of its American art galleries, created through a wide-ranging collaboration among SAM curators and staff, artists, and advisors from the Seattle community. Funded primarily by a $1 million grant from The Mellon Foundation and a $75,000 grant from the Terra Foundation for American Art, the project features work from SAM’s collection and new works and curation by contemporary artists, and it deepens the museum’s commitment to inclusive exhibition-planning practices with a shared-authorship model that reflects and responds to community knowledge.

Each new generation of artists responds to and builds on the art of earlier periods. Bringing together artworks that bridge decades, Reverberations seeks to spark a hum between historical works and those by artists working today. Organized in thematic groups, Reverberations introduces a different topic in each gallery, ranging from landscape and lyrical abstraction to the use of the body in addressing psychological, social, and political concerns. As you move through the modern and contemporary galleries, you will encounter harmonies and dissonance as younger artists stake their claim. In turn, works from earlier decades will acquire new meaning and new layers of relevance.

This installation draws from SAM’s growing collection and incorporates many works acquired in recent years, by artists including Margarita Cabrera, Dana Claxton, Senga Nengudi, Rashid Johnson, Woody De Othello, Jenny Saville, Sarah Sze, and Naama Tsabar. Many works are on view for the first time. Among the modern classics, viewers will find works by Francis Bacon, Alberto Giacometti, Franz Kline, Joan Mitchell, Mark Rothko, and David Smith on view. The museum’s ongoing commitment to building a collection with equity and diverse points of view can be seen when perusing the galleries.

Guillermo del Toro: Crafting Pinocchio is a celebration and exploration of the inventiveness, passion and artistic cooperation that goes into making a cinematic vision come to life. Now streaming on Netflix, the movie Guillermo del Toro’s Pinocchio was ten years in the making and conceived for international audiences of all ages. The film highlights the importance of nonconformity and the love and understanding passed between parents and children—and above all, showcases the incredible passion that del Toro, co-director Mark Gustafson, and their team bring to the art of stop-motion animation.

The Portland Art Museum’s presentation of Guillermo del Toro: Crafting Pinocchio will expand on the richness of the local stop-motion animation community by giving visitors a look inside the artists’ process. The exhibition and programs will give special attention to the talent and creative collaboration of the local cinematic animation artists at Shadow Machine—a renowned stop-motion animation studio based in Portland, Oregon.

Featuring the work of the Guma’ Gela’, a queer CHamoru art collective made up of members from the Marianas and in the diaspora. The exhibit explores their motto “part land, part sea, all ancestry” through a broad spectrum of media, including sculpture, soundscape, writing, printmaking, weaving, costume design, adornments, and more, to build a connection with CHamoru life, history, and traditions.

Do you ever wonder how Bruce Lee developed the philosophy behind his most iconic quote?

This incredible interactive exhibit invites viewers to step into the mind, body, and spirit of Bruce Lee to see how his unquenchable pursuit of knowledge informed his philosophy and life.

Follow Bruce’s path beginning with his revelations on water, through the wealth of knowledge found in his 2,800-book personal library, to his philosophy on self-understanding and self-expression.

The exhibition’s interactive technology interweaves beautiful imagery with Bruce’s personal objects and books to bring his journey to life.

Soul of Black Folks is the debut solo museum exhibition for Ghanaian artist Amoako Boafo (b. 1984), one of the most influential artistic voices of his generation. Working primarily in portraiture, Boafo is known for his vibrant use of color and thick, improvisational gestures created by his finger painting technique. His work is actively centered on Black subjectivity, Black joy, the Black gaze, and radical care as a foundational framework for his artistic practice. The exhibition presents over 30 works created by the artist between 2016 and 2022.

Amoako Boafo: Soul of Black Folks is presented in partnership between Contemporary Arts Museum Houston and the Museum of the African Diaspora, San Francisco. The exhibition is curated by Larry Ossei-Mensah.

What do late 18th- to 19th-century Edo (present-day Tokyo) and late 19th-century Paris have in common? This exhibition, which can only be seen in Seattle, uncovers the shared renegade spirit that characterized the graphic arts and social cultures of these two dynamic cities. On view are over 90 Japanese ukiyo-e woodblock prints and paintings from SAM’s Japanese collection alongside private loans of works by Henri de Toulouse-Lautrec (1864–1901).

In addition to the intriguing formal and thematic parallels between these two collections of graphic arts, the exhibition reveals the social impulses behind their burgeoning art production. As both cities faced challenges to the status quo from the rising middle classes, subversive impulses gave rise to vibrant cultures of theatregoing, pleasure seeking, and new forms of visual art.

On view March 21, 2023 through Spring 2024
Art of the North Galleries, Third Floor, East Wing

Good Medicine brings together Indigenous healers and medicine people to collectively create, share knowledge, and practice in community. Unfolding over the course of a year with the work of different Alaska Native healers, this multi-disciplinary exhibition offers diverse opportunities for gathering and exchange.

Colonialism has attacked and suppressed medicine people and Indigenous knowledge systems for hundreds of years. This exhibition addresses harmful legacies and shows how the revitalization of healing practices and traditions provides ways of being in alignment with oneself, with community, and with our planet.

Curated by Tlingit traditional healer Meda DeWitt, Good Medicine emphasizes spiritual renewal, cultural renascence, and the importance of co-creating futures where nature can thrive.

Frank S. Matsura: Portraits from the Borderland features studio images by Washington-based Japanese photographer Frank Sakae Matsura (1873-1913) alongside period-specific American Indian regalia from the Columbia Plateau. Exploring Indigenous representation through a multi-dimensional lens, the photographs and objects on view detail some of Matsura’s most culturally significant work against a backdrop of regional transformation.

I paint from historical photographs of people; the majority of them had no name, no bio, no story left. Nothing. I feel they are kind of lost souls, spirit-ghosts. My painting is a memorial site for them.
—Hung Liu

Groundbreaking Chinese American artist Hung Liu (1948–2021) made highly narrative images that foregrounded workers, immigrants, refugees, women, children, and soldiers in haunting, incandescent portraits that mingle Chinese and Western artistic traditions. Liu was born in Changchun, China, and her childhood and youth coincided with one of the most tumultuous periods in Chinese history. After her arrival in San Diego, California, in 1984, Liu became one of the first Chinese artists to establish a career in the United States. Decades later, she would be justly celebrated for establishing novel frameworks for understanding visual art’s relationship to history by focusing on communities misrepresented and marginalized by official narratives.

Liu experienced political revolution, exile, and displacement before immigrating to the United States. She came of age during Mao Zedong’s Cultural Revolution (1966–76) and was consequently forced to labor in the fields in her early twenties. After studying art in Beijing, she left China to attend graduate school at the University of California, San Diego. There, the experimental tendencies of the students and faculty, most notably those of performance artist Allan Kaprow (1927–2006) and art historian Moira Roth (1933–2021), helped cultivate her conceptual approach to portraiture.

Featuring highly experimental painting, printing, and weaving techniques, Liu’s challenging yet accessible oeuvre has been aptly characterized by her husband, the art critic Jeff Kelley, as a species of “weeping realism.” Titled A Question of Hu, after China scholar Jonathan Spence’s 1988 book The Question of Hu, the exhibition reintroduces Liu’s remarkable art to the Pacific Northwest, while demonstrating—as few artistic oeuvres can—an expanded view of citizenship in an era of seismic change that is also fundamentally marked by evolving ideas of artistic solidarity and collaboration.

Snotty Nose Rez Kids Hot Planet Tour Dates and Locations.

Attention Halloween lovers!! Need some Spooky art? Nepantla Cultural Arts Gallery is proud to present their 1st Halloween themed art show!

Exhibition runs September 2nd-24th.
Gallery Hours: Thu-Sun 12pm-6pm

An anchor event for Converge 45’s citywide 2023 biennial, Social Forms: Art As Global Citizenship, the exhibition WE ARE THE REVOLUTION plumbs the depth of commitment of Jordan Schnitzer to the art of his time, while tapping into a living history of social expression through art in diverse media—from monumental paintings to free-standing sculpture to works on paper. Designed in part to explore ways in which the art of the past meets and affects the art of the present, the exhibition gives voice to art as both aesthetic experimentation and social commentary from the 1960s to today. Driven by the conviction that history is constructed through both continuity and discontinuity, the exhibition strives to establish unexpected juxtapositions and revealing connections among historical and contemporary artists and artworks.

Chief Seattle Club is excited to announce our inaugural exhibition at ʔálʔal Café featuring artwork by Paige Pettibon!

Paige Pettibon is a Tacoma-based artist who incorporates her Indigenous and Black culture in her work. She has identified as a painter from an early age, but has added sewing, creative writing, digital art, and jewelry making into her repertoire. Pettibon’s studio practice centers around building community within culture and identity in various art forms. She believes we can create social change through creative expression by sharing our narratives. Inspired by the summer season, the artworks in her show at ʔálʔal celebrate Indigenous joy.

See her work in our gallery June 13-September 8 during the café’s regular hours, Tuesday-Friday from 7am-3pm. Original artworks and prints are available for purchase, with proceeds benefiting the artist and Chief Seattle Club programs that support our unhoused Native relatives.

A regional juried exhibition featuring works on the themes of community, identity, and social justice, In Solidarity will be open in Gallery II of the Fine Arts Center on the WSU Pullman campus from August 11, 2023, through September 14, 2023. A closing reception will be held on the last day of the exhibition.

Dive deep into the stories and science that surround the magnificent orca, apex predator of all oceans.
Follow the currents of ecological activism, popular culture, and Indigenous beliefs to gain a new appreciation of these sophisticated animals, long feared in Western cultures as “Killer Whales.”
Orcas: Our Shared Future includes more than 100 original artifacts and specimens, featuring life-size Orca replicas, fossils, films, objects from popular culture, and original artwork from the Indigenous peoples of the North American west coast.
Discover the complex social structure of orca society and reflect on the surprising consequences of captivity. Learn which orca populations are thriving and which are at risk, and resurface with a new understanding of how orcas and humans are inextricably connected.

For many Native communities throughout the High Desert, what constitutes art spans beyond the walls of a gallery or a museum. Objects are alive, tied to purpose and intrinsic to thriving communities. Art is at once utilitarian and ceremonial, as well as part of the continuation of Native traditions.

Opening on January 28, 2023, Creations of Spirit will immerse High Desert Museum visitors in the Indigenous Plateau worldview, reflecting knowledge systems of tribes along the Columbia River and its tributaries.

Six Native artists commissioned for this new, original exhibition are creating artwork that will be used in Native communities before arriving at the Museum. A seventh artist is creating an interactive piece for the center of the gallery. Creations of Spirit will be a one-of-a-kind, celebratory experience featuring the stories of these living works of art. Videos, audio and large projections will immerse visitors in the landscapes and communities in which these objects are used, highlighting the theme of artwork as alive, full of stories and created for specific purposes and people. The original works will be supplemented with nine cultural items on loan from the Smithsonian’s National Museum of the American Indian in Washington, D.C.

The signing of Executive Order 9066 by President Franklin Roosevelt and the resulting mass incarceration of Japanese American families living on the West Coast is among the single most traumatic events in the history of Asian America, but many history books present an incomplete view of the full story. The truth is that this event did not happen in a vacuum nor did the people who lived this event do so quietly.
The exhibit leads visitors through a historical narrative beginning with the experience of Japanese American incarcerees in the 1940s and the complicated feelings of shame, anger, fear, and varied faces of resistance from within the community. Through the following decades, the story illustrates the generational trauma and cultural aftershocks of incarceration, while highlighting the lingering sense of injustice and awakening to justice movements at home and abroad. Fast forward to 2001 and beyond, the exhibit draws parallels between the stigmatization of Japanese Americans and modern-day anti-Muslim, anti-Arab, anti-Indigenous, anti-Black, and anti-immigrant policies. Visitors leave with a final prompt to consider: In the pursuit of justice, how will you show solidarity for movements today and into the future?
Through art, first-person accounts, historical material, and artifacts, this exhibit connects Japanese American resistance movements during the WWII era to modern BIPOC justice movements and activism today.

Explore the second run of this past exhibit with stories sourced from the local Burmese / Myanmar community. With the original exhibit run cut short due to our closure during the pandemic, we’ve taken the opportunity to update the exhibit to include new content covering the military coup that happened in February 2021.

SAM presents American Art: The Stories We Carry, a transformation of its American art galleries, created through a wide-ranging collaboration among SAM curators and staff, artists, and advisors from the Seattle community. Funded primarily by a $1 million grant from The Mellon Foundation and a $75,000 grant from the Terra Foundation for American Art, the project features work from SAM’s collection and new works and curation by contemporary artists, and it deepens the museum’s commitment to inclusive exhibition-planning practices with a shared-authorship model that reflects and responds to community knowledge.

Each new generation of artists responds to and builds on the art of earlier periods. Bringing together artworks that bridge decades, Reverberations seeks to spark a hum between historical works and those by artists working today. Organized in thematic groups, Reverberations introduces a different topic in each gallery, ranging from landscape and lyrical abstraction to the use of the body in addressing psychological, social, and political concerns. As you move through the modern and contemporary galleries, you will encounter harmonies and dissonance as younger artists stake their claim. In turn, works from earlier decades will acquire new meaning and new layers of relevance.

This installation draws from SAM’s growing collection and incorporates many works acquired in recent years, by artists including Margarita Cabrera, Dana Claxton, Senga Nengudi, Rashid Johnson, Woody De Othello, Jenny Saville, Sarah Sze, and Naama Tsabar. Many works are on view for the first time. Among the modern classics, viewers will find works by Francis Bacon, Alberto Giacometti, Franz Kline, Joan Mitchell, Mark Rothko, and David Smith on view. The museum’s ongoing commitment to building a collection with equity and diverse points of view can be seen when perusing the galleries.

Guillermo del Toro: Crafting Pinocchio is a celebration and exploration of the inventiveness, passion and artistic cooperation that goes into making a cinematic vision come to life. Now streaming on Netflix, the movie Guillermo del Toro’s Pinocchio was ten years in the making and conceived for international audiences of all ages. The film highlights the importance of nonconformity and the love and understanding passed between parents and children—and above all, showcases the incredible passion that del Toro, co-director Mark Gustafson, and their team bring to the art of stop-motion animation.

The Portland Art Museum’s presentation of Guillermo del Toro: Crafting Pinocchio will expand on the richness of the local stop-motion animation community by giving visitors a look inside the artists’ process. The exhibition and programs will give special attention to the talent and creative collaboration of the local cinematic animation artists at Shadow Machine—a renowned stop-motion animation studio based in Portland, Oregon.

Featuring the work of the Guma’ Gela’, a queer CHamoru art collective made up of members from the Marianas and in the diaspora. The exhibit explores their motto “part land, part sea, all ancestry” through a broad spectrum of media, including sculpture, soundscape, writing, printmaking, weaving, costume design, adornments, and more, to build a connection with CHamoru life, history, and traditions.

Do you ever wonder how Bruce Lee developed the philosophy behind his most iconic quote?

This incredible interactive exhibit invites viewers to step into the mind, body, and spirit of Bruce Lee to see how his unquenchable pursuit of knowledge informed his philosophy and life.

Follow Bruce’s path beginning with his revelations on water, through the wealth of knowledge found in his 2,800-book personal library, to his philosophy on self-understanding and self-expression.

The exhibition’s interactive technology interweaves beautiful imagery with Bruce’s personal objects and books to bring his journey to life.

Soul of Black Folks is the debut solo museum exhibition for Ghanaian artist Amoako Boafo (b. 1984), one of the most influential artistic voices of his generation. Working primarily in portraiture, Boafo is known for his vibrant use of color and thick, improvisational gestures created by his finger painting technique. His work is actively centered on Black subjectivity, Black joy, the Black gaze, and radical care as a foundational framework for his artistic practice. The exhibition presents over 30 works created by the artist between 2016 and 2022.

Amoako Boafo: Soul of Black Folks is presented in partnership between Contemporary Arts Museum Houston and the Museum of the African Diaspora, San Francisco. The exhibition is curated by Larry Ossei-Mensah.

What do late 18th- to 19th-century Edo (present-day Tokyo) and late 19th-century Paris have in common? This exhibition, which can only be seen in Seattle, uncovers the shared renegade spirit that characterized the graphic arts and social cultures of these two dynamic cities. On view are over 90 Japanese ukiyo-e woodblock prints and paintings from SAM’s Japanese collection alongside private loans of works by Henri de Toulouse-Lautrec (1864–1901).

In addition to the intriguing formal and thematic parallels between these two collections of graphic arts, the exhibition reveals the social impulses behind their burgeoning art production. As both cities faced challenges to the status quo from the rising middle classes, subversive impulses gave rise to vibrant cultures of theatregoing, pleasure seeking, and new forms of visual art.

Alaska World Arts is a meeting place for worldwide artists and audiences of all ages to share culture and ideas with Alaskans and the rest of the world through a variety of art forms reminding all of us of our capacity for love and generosity.
We offer live and virtual performances, workshops, classes, films, and discussions by artists from Alaska and around the world.
Thank you for being a part of our 2023 Alaska World Arts Festival.

On view March 21, 2023 through Spring 2024
Art of the North Galleries, Third Floor, East Wing

Good Medicine brings together Indigenous healers and medicine people to collectively create, share knowledge, and practice in community. Unfolding over the course of a year with the work of different Alaska Native healers, this multi-disciplinary exhibition offers diverse opportunities for gathering and exchange.

Colonialism has attacked and suppressed medicine people and Indigenous knowledge systems for hundreds of years. This exhibition addresses harmful legacies and shows how the revitalization of healing practices and traditions provides ways of being in alignment with oneself, with community, and with our planet.

Curated by Tlingit traditional healer Meda DeWitt, Good Medicine emphasizes spiritual renewal, cultural renascence, and the importance of co-creating futures where nature can thrive.

Frank S. Matsura: Portraits from the Borderland features studio images by Washington-based Japanese photographer Frank Sakae Matsura (1873-1913) alongside period-specific American Indian regalia from the Columbia Plateau. Exploring Indigenous representation through a multi-dimensional lens, the photographs and objects on view detail some of Matsura’s most culturally significant work against a backdrop of regional transformation.

I paint from historical photographs of people; the majority of them had no name, no bio, no story left. Nothing. I feel they are kind of lost souls, spirit-ghosts. My painting is a memorial site for them.
—Hung Liu

Groundbreaking Chinese American artist Hung Liu (1948–2021) made highly narrative images that foregrounded workers, immigrants, refugees, women, children, and soldiers in haunting, incandescent portraits that mingle Chinese and Western artistic traditions. Liu was born in Changchun, China, and her childhood and youth coincided with one of the most tumultuous periods in Chinese history. After her arrival in San Diego, California, in 1984, Liu became one of the first Chinese artists to establish a career in the United States. Decades later, she would be justly celebrated for establishing novel frameworks for understanding visual art’s relationship to history by focusing on communities misrepresented and marginalized by official narratives.

Liu experienced political revolution, exile, and displacement before immigrating to the United States. She came of age during Mao Zedong’s Cultural Revolution (1966–76) and was consequently forced to labor in the fields in her early twenties. After studying art in Beijing, she left China to attend graduate school at the University of California, San Diego. There, the experimental tendencies of the students and faculty, most notably those of performance artist Allan Kaprow (1927–2006) and art historian Moira Roth (1933–2021), helped cultivate her conceptual approach to portraiture.

Featuring highly experimental painting, printing, and weaving techniques, Liu’s challenging yet accessible oeuvre has been aptly characterized by her husband, the art critic Jeff Kelley, as a species of “weeping realism.” Titled A Question of Hu, after China scholar Jonathan Spence’s 1988 book The Question of Hu, the exhibition reintroduces Liu’s remarkable art to the Pacific Northwest, while demonstrating—as few artistic oeuvres can—an expanded view of citizenship in an era of seismic change that is also fundamentally marked by evolving ideas of artistic solidarity and collaboration.

Snotty Nose Rez Kids Hot Planet Tour Dates and Locations.

Attention Halloween lovers!! Need some Spooky art? Nepantla Cultural Arts Gallery is proud to present their 1st Halloween themed art show!

Exhibition runs September 2nd-24th.
Gallery Hours: Thu-Sun 12pm-6pm

An anchor event for Converge 45’s citywide 2023 biennial, Social Forms: Art As Global Citizenship, the exhibition WE ARE THE REVOLUTION plumbs the depth of commitment of Jordan Schnitzer to the art of his time, while tapping into a living history of social expression through art in diverse media—from monumental paintings to free-standing sculpture to works on paper. Designed in part to explore ways in which the art of the past meets and affects the art of the present, the exhibition gives voice to art as both aesthetic experimentation and social commentary from the 1960s to today. Driven by the conviction that history is constructed through both continuity and discontinuity, the exhibition strives to establish unexpected juxtapositions and revealing connections among historical and contemporary artists and artworks.

We are excited to partner for Late Nites and Bites with neighborhood food trucks and local vendors and businesses. Explore the Northwest African American Museum until 7pm, grab some snacks, and make new friends. At 6PM join us for a 21+ Play Time Game Show. Audience members will volunteer to participate in rounds of games such as dancing, improv, trivia and more.

Register for the Play Time Game Show here: https://www.eventbrite.com/e/late-nite-play-time-at-naam-tickets-706761832667?aff=oddtdtcreator

Join us for a special writing workshop with poet, Sunu P. Chandy, to benefit Community Building Art Works programs for veterans, service members, military families, and health care workers. This workshop is free for Veterans, Service Members, and Healthcare Workers.

As author Oliver Burkeman writes, most of us get 4000 weeks in this life if we are lucky. Given this reality, it is particularly important that amidst our struggles for social justice that we take time to celebrate our wins together and cultivate joy. How we make time to rest, courageously work towards our most desired goals, fight for equality, and support each other through our hardest times are questions of a lifetime, and ones we will explore during this 90-minute generative writing workshop. These questions will be examined through reading poems together, including by Aracelis Girmay and Naomi Shihab Nye, responding to writing prompts, sharing our collective wisdom, and building each other up.

Through our partnership with Bookshop, we’re pleased to announce a special added value for those who register for this workshop: A coupon code for a 10% discount on your purchase of My Dear Comrades by Sunu P. Chandy. This coupon will be issued to registrants via email.

Sunu P. Chandy (she/her) is a social justice activist through her work as a poet and a civil rights attorney. She’s a queer woman of color and lives in Washington, D.C. with her family. Sunu is the daughter of immigrants from Kerala, India. Her collection of poems, My Dear Comrades, was selected for the 2021 Terry J. Cox Prize, and published by Regal House in March 2023. Sunu’s work can also be found in publications including Asian American Literary Review, Beltway Poetry Quarterly, Poets on Adoption, Split this Rock’s online social justice database, The Quarry, and in anthologies including The Penguin Book of Indian Poets, The Long Devotion: Poets Writing Motherhood and This Bridge We Call Home: Radical Visions for Transformation. Sunu earned her B.A. in Peace and Global Studies/Women’s Studies from Earlham College, her law degree from Northeastern University School of Law and later, her MFA in Creative Writing (Poetry) from Queens College/The City University of New York. Sunu is a board member of Transgender Law Center, and was included as one the 2021 Queer Women of Washington and one of Go Magazine’s100 Women We Love: Class Of 2019. Sunu is delighted to celebrate her first collection of poetry, My Dear Comrades, with all of you and with the book’s fabulous cover artist, Ragni Agarwal.

Twitter: @SunuChandy | Instagram: @SunuChandy | FB: @SunuChandy

*This workshop will be recorded and a link will be emailed to those who registered.

Make time for play time with the “Play Time” game show, where we create art together. Play Time participants will enjoy team challenges, trivia questions, art games, and community art projects while learning the history and stories of ancestral and living artists.
Play Time was developed to pay homage to the vast contributions made by artists and creatives from the African Diaspora and to create space for our communities to play and learn at the same time.

we are now trying out ramen outside for just meet ups! everyone is still welcome to self-organize a ride from your neighborhood via discord.

DATE: thurs sept 7th

TIME: 6pm or come whenever you can!

LOCATION: jimi hendrix park (2400 S Massachusetts St, Seattle, WA 98144)

“Jimi Hendrix Park is located next to the Northwest African American Museum in Seattle’s vibrant Central District, a thriving multi-cultural community near where Jimi Hendrix grew up.”

WHAT TO BRING: water, noodles, toppings to share, stoves, utensils, lights, and extra warm layers for when the sun sets! if you don’t have a stove, there are usually plenty of hot water and food to go around, so please bring either a cup noodle/utensil and/or a bowl to eat out of.

looking forward to hanging w everyone soon!

*this is open to all bipoc and multi-racial identities

Join Native Action Network at 55 Bell Street for community, snacks, Native art, and more. Native Action Network Board Members and staff look forward to meeting you!

Chief Seattle Club is excited to announce our inaugural exhibition at ʔálʔal Café featuring artwork by Paige Pettibon!

Paige Pettibon is a Tacoma-based artist who incorporates her Indigenous and Black culture in her work. She has identified as a painter from an early age, but has added sewing, creative writing, digital art, and jewelry making into her repertoire. Pettibon’s studio practice centers around building community within culture and identity in various art forms. She believes we can create social change through creative expression by sharing our narratives. Inspired by the summer season, the artworks in her show at ʔálʔal celebrate Indigenous joy.

See her work in our gallery June 13-September 8 during the café’s regular hours, Tuesday-Friday from 7am-3pm. Original artworks and prints are available for purchase, with proceeds benefiting the artist and Chief Seattle Club programs that support our unhoused Native relatives.

A regional juried exhibition featuring works on the themes of community, identity, and social justice, In Solidarity will be open in Gallery II of the Fine Arts Center on the WSU Pullman campus from August 11, 2023, through September 14, 2023. A closing reception will be held on the last day of the exhibition.

Dive deep into the stories and science that surround the magnificent orca, apex predator of all oceans.
Follow the currents of ecological activism, popular culture, and Indigenous beliefs to gain a new appreciation of these sophisticated animals, long feared in Western cultures as “Killer Whales.”
Orcas: Our Shared Future includes more than 100 original artifacts and specimens, featuring life-size Orca replicas, fossils, films, objects from popular culture, and original artwork from the Indigenous peoples of the North American west coast.
Discover the complex social structure of orca society and reflect on the surprising consequences of captivity. Learn which orca populations are thriving and which are at risk, and resurface with a new understanding of how orcas and humans are inextricably connected.

For many Native communities throughout the High Desert, what constitutes art spans beyond the walls of a gallery or a museum. Objects are alive, tied to purpose and intrinsic to thriving communities. Art is at once utilitarian and ceremonial, as well as part of the continuation of Native traditions.

Opening on January 28, 2023, Creations of Spirit will immerse High Desert Museum visitors in the Indigenous Plateau worldview, reflecting knowledge systems of tribes along the Columbia River and its tributaries.

Six Native artists commissioned for this new, original exhibition are creating artwork that will be used in Native communities before arriving at the Museum. A seventh artist is creating an interactive piece for the center of the gallery. Creations of Spirit will be a one-of-a-kind, celebratory experience featuring the stories of these living works of art. Videos, audio and large projections will immerse visitors in the landscapes and communities in which these objects are used, highlighting the theme of artwork as alive, full of stories and created for specific purposes and people. The original works will be supplemented with nine cultural items on loan from the Smithsonian’s National Museum of the American Indian in Washington, D.C.

The signing of Executive Order 9066 by President Franklin Roosevelt and the resulting mass incarceration of Japanese American families living on the West Coast is among the single most traumatic events in the history of Asian America, but many history books present an incomplete view of the full story. The truth is that this event did not happen in a vacuum nor did the people who lived this event do so quietly.
The exhibit leads visitors through a historical narrative beginning with the experience of Japanese American incarcerees in the 1940s and the complicated feelings of shame, anger, fear, and varied faces of resistance from within the community. Through the following decades, the story illustrates the generational trauma and cultural aftershocks of incarceration, while highlighting the lingering sense of injustice and awakening to justice movements at home and abroad. Fast forward to 2001 and beyond, the exhibit draws parallels between the stigmatization of Japanese Americans and modern-day anti-Muslim, anti-Arab, anti-Indigenous, anti-Black, and anti-immigrant policies. Visitors leave with a final prompt to consider: In the pursuit of justice, how will you show solidarity for movements today and into the future?
Through art, first-person accounts, historical material, and artifacts, this exhibit connects Japanese American resistance movements during the WWII era to modern BIPOC justice movements and activism today.

Explore the second run of this past exhibit with stories sourced from the local Burmese / Myanmar community. With the original exhibit run cut short due to our closure during the pandemic, we’ve taken the opportunity to update the exhibit to include new content covering the military coup that happened in February 2021.

SAM presents American Art: The Stories We Carry, a transformation of its American art galleries, created through a wide-ranging collaboration among SAM curators and staff, artists, and advisors from the Seattle community. Funded primarily by a $1 million grant from The Mellon Foundation and a $75,000 grant from the Terra Foundation for American Art, the project features work from SAM’s collection and new works and curation by contemporary artists, and it deepens the museum’s commitment to inclusive exhibition-planning practices with a shared-authorship model that reflects and responds to community knowledge.

Each new generation of artists responds to and builds on the art of earlier periods. Bringing together artworks that bridge decades, Reverberations seeks to spark a hum between historical works and those by artists working today. Organized in thematic groups, Reverberations introduces a different topic in each gallery, ranging from landscape and lyrical abstraction to the use of the body in addressing psychological, social, and political concerns. As you move through the modern and contemporary galleries, you will encounter harmonies and dissonance as younger artists stake their claim. In turn, works from earlier decades will acquire new meaning and new layers of relevance.

This installation draws from SAM’s growing collection and incorporates many works acquired in recent years, by artists including Margarita Cabrera, Dana Claxton, Senga Nengudi, Rashid Johnson, Woody De Othello, Jenny Saville, Sarah Sze, and Naama Tsabar. Many works are on view for the first time. Among the modern classics, viewers will find works by Francis Bacon, Alberto Giacometti, Franz Kline, Joan Mitchell, Mark Rothko, and David Smith on view. The museum’s ongoing commitment to building a collection with equity and diverse points of view can be seen when perusing the galleries.

Guillermo del Toro: Crafting Pinocchio is a celebration and exploration of the inventiveness, passion and artistic cooperation that goes into making a cinematic vision come to life. Now streaming on Netflix, the movie Guillermo del Toro’s Pinocchio was ten years in the making and conceived for international audiences of all ages. The film highlights the importance of nonconformity and the love and understanding passed between parents and children—and above all, showcases the incredible passion that del Toro, co-director Mark Gustafson, and their team bring to the art of stop-motion animation.

The Portland Art Museum’s presentation of Guillermo del Toro: Crafting Pinocchio will expand on the richness of the local stop-motion animation community by giving visitors a look inside the artists’ process. The exhibition and programs will give special attention to the talent and creative collaboration of the local cinematic animation artists at Shadow Machine—a renowned stop-motion animation studio based in Portland, Oregon.

Featuring the work of the Guma’ Gela’, a queer CHamoru art collective made up of members from the Marianas and in the diaspora. The exhibit explores their motto “part land, part sea, all ancestry” through a broad spectrum of media, including sculpture, soundscape, writing, printmaking, weaving, costume design, adornments, and more, to build a connection with CHamoru life, history, and traditions.

Do you ever wonder how Bruce Lee developed the philosophy behind his most iconic quote?

This incredible interactive exhibit invites viewers to step into the mind, body, and spirit of Bruce Lee to see how his unquenchable pursuit of knowledge informed his philosophy and life.

Follow Bruce’s path beginning with his revelations on water, through the wealth of knowledge found in his 2,800-book personal library, to his philosophy on self-understanding and self-expression.

The exhibition’s interactive technology interweaves beautiful imagery with Bruce’s personal objects and books to bring his journey to life.

Soul of Black Folks is the debut solo museum exhibition for Ghanaian artist Amoako Boafo (b. 1984), one of the most influential artistic voices of his generation. Working primarily in portraiture, Boafo is known for his vibrant use of color and thick, improvisational gestures created by his finger painting technique. His work is actively centered on Black subjectivity, Black joy, the Black gaze, and radical care as a foundational framework for his artistic practice. The exhibition presents over 30 works created by the artist between 2016 and 2022.

Amoako Boafo: Soul of Black Folks is presented in partnership between Contemporary Arts Museum Houston and the Museum of the African Diaspora, San Francisco. The exhibition is curated by Larry Ossei-Mensah.

What do late 18th- to 19th-century Edo (present-day Tokyo) and late 19th-century Paris have in common? This exhibition, which can only be seen in Seattle, uncovers the shared renegade spirit that characterized the graphic arts and social cultures of these two dynamic cities. On view are over 90 Japanese ukiyo-e woodblock prints and paintings from SAM’s Japanese collection alongside private loans of works by Henri de Toulouse-Lautrec (1864–1901).

In addition to the intriguing formal and thematic parallels between these two collections of graphic arts, the exhibition reveals the social impulses behind their burgeoning art production. As both cities faced challenges to the status quo from the rising middle classes, subversive impulses gave rise to vibrant cultures of theatregoing, pleasure seeking, and new forms of visual art.

Festival Schedule

Friday September 8th: 6:00 pm – 10:00 pm
Saturday September 9th: 10:00 am – 10:00 pm
Sunday September 10th: 11:00 am – 4:00 pm

Mark your calendars for the BEST Italian Street Fair in Seattle! There will be vendors with food and Italian wares for sale, beer and wine garden, children’s activities, and a stage with Italian music or music performed by Italians!

ADMISSION IS FREE AND FAMILY FRIENDLY!

Alaska World Arts is a meeting place for worldwide artists and audiences of all ages to share culture and ideas with Alaskans and the rest of the world through a variety of art forms reminding all of us of our capacity for love and generosity.
We offer live and virtual performances, workshops, classes, films, and discussions by artists from Alaska and around the world.
Thank you for being a part of our 2023 Alaska World Arts Festival.

On view March 21, 2023 through Spring 2024
Art of the North Galleries, Third Floor, East Wing

Good Medicine brings together Indigenous healers and medicine people to collectively create, share knowledge, and practice in community. Unfolding over the course of a year with the work of different Alaska Native healers, this multi-disciplinary exhibition offers diverse opportunities for gathering and exchange.

Colonialism has attacked and suppressed medicine people and Indigenous knowledge systems for hundreds of years. This exhibition addresses harmful legacies and shows how the revitalization of healing practices and traditions provides ways of being in alignment with oneself, with community, and with our planet.

Curated by Tlingit traditional healer Meda DeWitt, Good Medicine emphasizes spiritual renewal, cultural renascence, and the importance of co-creating futures where nature can thrive.

Frank S. Matsura: Portraits from the Borderland features studio images by Washington-based Japanese photographer Frank Sakae Matsura (1873-1913) alongside period-specific American Indian regalia from the Columbia Plateau. Exploring Indigenous representation through a multi-dimensional lens, the photographs and objects on view detail some of Matsura’s most culturally significant work against a backdrop of regional transformation.

Festival Schedule

Friday, September 8: 5:30pm – 10:15pm
Saturday, September 9: 11:00am – 9:00 pm
Sunday, September 10: 9:30am – 5:00pm

The Boise Pride Festival returns to downtown Boise and Cecil D. Andrus Park this Friday, September 8 through Sunday, September 10. Join the City of Boise as they celebrate the contributions of ALL members of our community while creating a city for everyone. Attendance is free and here’s a quick look at the event schedule:

🏳️‍🌈 Friday 9/8 – Festivities start at 5:30 p.m. with live music and then fireworks at 10 p.m.
🏳️‍🌈 Saturday, 9/9 – There’s a pride rally at 11 a.m. followed by music from the Boise choruses and dance performances, music and more until 9 p.m.
🏳️‍🌈 Sunday, 9/10 – Walk in the Fred Meyer Pride Parade at 9:30 a.m. then enjoy more performances until the festival closes at 5 p.m.

I paint from historical photographs of people; the majority of them had no name, no bio, no story left. Nothing. I feel they are kind of lost souls, spirit-ghosts. My painting is a memorial site for them.
—Hung Liu

Groundbreaking Chinese American artist Hung Liu (1948–2021) made highly narrative images that foregrounded workers, immigrants, refugees, women, children, and soldiers in haunting, incandescent portraits that mingle Chinese and Western artistic traditions. Liu was born in Changchun, China, and her childhood and youth coincided with one of the most tumultuous periods in Chinese history. After her arrival in San Diego, California, in 1984, Liu became one of the first Chinese artists to establish a career in the United States. Decades later, she would be justly celebrated for establishing novel frameworks for understanding visual art’s relationship to history by focusing on communities misrepresented and marginalized by official narratives.

Liu experienced political revolution, exile, and displacement before immigrating to the United States. She came of age during Mao Zedong’s Cultural Revolution (1966–76) and was consequently forced to labor in the fields in her early twenties. After studying art in Beijing, she left China to attend graduate school at the University of California, San Diego. There, the experimental tendencies of the students and faculty, most notably those of performance artist Allan Kaprow (1927–2006) and art historian Moira Roth (1933–2021), helped cultivate her conceptual approach to portraiture.

Featuring highly experimental painting, printing, and weaving techniques, Liu’s challenging yet accessible oeuvre has been aptly characterized by her husband, the art critic Jeff Kelley, as a species of “weeping realism.” Titled A Question of Hu, after China scholar Jonathan Spence’s 1988 book The Question of Hu, the exhibition reintroduces Liu’s remarkable art to the Pacific Northwest, while demonstrating—as few artistic oeuvres can—an expanded view of citizenship in an era of seismic change that is also fundamentally marked by evolving ideas of artistic solidarity and collaboration.

Enjoy local craft vendors, food vendors, entertainment from across the Pacific Northwest, and so much more. Doors open at 11:30am with entertainment beginning at noon.
Proceeds from this event will go directly to ʻĀina Momona to help Maui families affected by the wild fires.

Snotty Nose Rez Kids Hot Planet Tour Dates and Locations.

Attention Halloween lovers!! Need some Spooky art? Nepantla Cultural Arts Gallery is proud to present their 1st Halloween themed art show!

Exhibition runs September 2nd-24th.
Gallery Hours: Thu-Sun 12pm-6pm

An anchor event for Converge 45’s citywide 2023 biennial, Social Forms: Art As Global Citizenship, the exhibition WE ARE THE REVOLUTION plumbs the depth of commitment of Jordan Schnitzer to the art of his time, while tapping into a living history of social expression through art in diverse media—from monumental paintings to free-standing sculpture to works on paper. Designed in part to explore ways in which the art of the past meets and affects the art of the present, the exhibition gives voice to art as both aesthetic experimentation and social commentary from the 1960s to today. Driven by the conviction that history is constructed through both continuity and discontinuity, the exhibition strives to establish unexpected juxtapositions and revealing connections among historical and contemporary artists and artworks.

Day Two – 9/8/2023
Learn how to measure the upper body. We’ll learn how to create your top pattern by reading off your measurements. We’ll sew the patterns together as I teach you on how to sew in the zipper of your Puletasi top as our finish touch. Creating a plain style simple Puletasi top to go with your Puletasi skirt we made in our first sewing class.

More About Traditional Puletassi Ensembles:

The puletasi, a delightful ensemble, consists of a skirt and a top cleverly paired together. These two pieces may come in matching fabric, or one can opt for a solid-colored skirt combined with a patterned top. The skirt is typically a wrap skirt or ‘ie lavalava, thoughtfully designed with ties that gracefully wrap around the waist, ensuring a perfect fit. To add an elegant touch for formal events or performances, adornments made from tapa cloth, woven flax, or other exquisite materials may be layered around the waist, enhancing the overall look. In recent times, this traditional attire has seen exciting innovations, featuring diverse styles and creative improvisations to suit individual tastes and preferences.

Join us as we highlight Latin artists and musicians during our monthly art walk event. We will have music with DJ Gold Chisme and special guests

Featured Artists:

-GOLD CHISME
-LIL PINCHE
-CHICLE DE UVA
-TIENDA BANDIDA
-DAN ORTIZ
-ERES CANDELA
-RITA WIRKALA
-RAÚL SÁNCHEZ
-ABLINA CABRERA
-CCSTENCIL
-DJ EDDEL
-MARCE SOTO RAMÍREZ
-VAL GONZÁLEZ

$5 empanadas & churros from ¡That’s-a-Molè!

Tabling from the Consulate of México

Kolors Studios and the MEXAM NW Festival curated by the Consulate of Mexico in Seattle invite you to the ribbon-cutting ceremony and presentation of the event, MEXART, marking the beginning of the celebrations for Hispanic Heritage Month.

Let’s enjoy the authentic Mexican flavors and raise a toast with friends and members of the Mexican community. The night will be filled with opportunities to connect, share, and celebrate together.

The event will take place at Kolors Studios, a Mexican-owned media agency located in Seattle’s

Native Action Network is proud to present the exhibition One With the Waters featuring artwork by Sarah Folden. A member of the Cowlitz Tribe, Sarah creates contemporary Coast Salish art inspired by her connection to place. Her work celebrates the vitality of Cowlitz people, their bold and colorful spirits, ancestral waters, animal relatives and all connected in nature. Cowlitz people are water-going people who refused to sign treaties with the federal government. This has created a diverse population. Over time many have traveled from their ancestral waters, some even across oceans, but much like our salmon relatives, there is an instinctive drive that calls Native people home. Sarah Folden’s artwork is created in honor of those still here, those who have made that voyage and those who are awakening to their internal calling to return.

A regional juried exhibition featuring works on the themes of community, identity, and social justice, In Solidarity will be open in Gallery II of the Fine Arts Center on the WSU Pullman campus from August 11, 2023, through September 14, 2023. A closing reception will be held on the last day of the exhibition.

We have 300 vendor spaces every weekend, and we accept ALL types of vendors 🤟🏽 we are currently seeking out sellers of:
•oddities and curiosities (taxidermy, preserved bugs, dolls, tarot, etc) 🪲
•indigenous arts n crafts 🪶
•woodwork crafts 🪚
•vintage items (clothing, decor, furniture, houseware) 📷
•plants 🪴
•food vendors who sell Asian, Ethiopian, Indian, vegan, Hawaiian, etc. 🍽️
Keep in mind, this isn’t ALL we’re looking for- it’s just at the top of our list! We are first come, first serve but if you’d like to learn more- just head on over to our website 🙂 and if you know anybody who’d be interested, share this with them- we’d greatly appreciate your help!

Dive deep into the stories and science that surround the magnificent orca, apex predator of all oceans.
Follow the currents of ecological activism, popular culture, and Indigenous beliefs to gain a new appreciation of these sophisticated animals, long feared in Western cultures as “Killer Whales.”
Orcas: Our Shared Future includes more than 100 original artifacts and specimens, featuring life-size Orca replicas, fossils, films, objects from popular culture, and original artwork from the Indigenous peoples of the North American west coast.
Discover the complex social structure of orca society and reflect on the surprising consequences of captivity. Learn which orca populations are thriving and which are at risk, and resurface with a new understanding of how orcas and humans are inextricably connected.

For many Native communities throughout the High Desert, what constitutes art spans beyond the walls of a gallery or a museum. Objects are alive, tied to purpose and intrinsic to thriving communities. Art is at once utilitarian and ceremonial, as well as part of the continuation of Native traditions.

Opening on January 28, 2023, Creations of Spirit will immerse High Desert Museum visitors in the Indigenous Plateau worldview, reflecting knowledge systems of tribes along the Columbia River and its tributaries.

Six Native artists commissioned for this new, original exhibition are creating artwork that will be used in Native communities before arriving at the Museum. A seventh artist is creating an interactive piece for the center of the gallery. Creations of Spirit will be a one-of-a-kind, celebratory experience featuring the stories of these living works of art. Videos, audio and large projections will immerse visitors in the landscapes and communities in which these objects are used, highlighting the theme of artwork as alive, full of stories and created for specific purposes and people. The original works will be supplemented with nine cultural items on loan from the Smithsonian’s National Museum of the American Indian in Washington, D.C.

The signing of Executive Order 9066 by President Franklin Roosevelt and the resulting mass incarceration of Japanese American families living on the West Coast is among the single most traumatic events in the history of Asian America, but many history books present an incomplete view of the full story. The truth is that this event did not happen in a vacuum nor did the people who lived this event do so quietly.
The exhibit leads visitors through a historical narrative beginning with the experience of Japanese American incarcerees in the 1940s and the complicated feelings of shame, anger, fear, and varied faces of resistance from within the community. Through the following decades, the story illustrates the generational trauma and cultural aftershocks of incarceration, while highlighting the lingering sense of injustice and awakening to justice movements at home and abroad. Fast forward to 2001 and beyond, the exhibit draws parallels between the stigmatization of Japanese Americans and modern-day anti-Muslim, anti-Arab, anti-Indigenous, anti-Black, and anti-immigrant policies. Visitors leave with a final prompt to consider: In the pursuit of justice, how will you show solidarity for movements today and into the future?
Through art, first-person accounts, historical material, and artifacts, this exhibit connects Japanese American resistance movements during the WWII era to modern BIPOC justice movements and activism today.

Explore the second run of this past exhibit with stories sourced from the local Burmese / Myanmar community. With the original exhibit run cut short due to our closure during the pandemic, we’ve taken the opportunity to update the exhibit to include new content covering the military coup that happened in February 2021.

SAM presents American Art: The Stories We Carry, a transformation of its American art galleries, created through a wide-ranging collaboration among SAM curators and staff, artists, and advisors from the Seattle community. Funded primarily by a $1 million grant from The Mellon Foundation and a $75,000 grant from the Terra Foundation for American Art, the project features work from SAM’s collection and new works and curation by contemporary artists, and it deepens the museum’s commitment to inclusive exhibition-planning practices with a shared-authorship model that reflects and responds to community knowledge.

Each new generation of artists responds to and builds on the art of earlier periods. Bringing together artworks that bridge decades, Reverberations seeks to spark a hum between historical works and those by artists working today. Organized in thematic groups, Reverberations introduces a different topic in each gallery, ranging from landscape and lyrical abstraction to the use of the body in addressing psychological, social, and political concerns. As you move through the modern and contemporary galleries, you will encounter harmonies and dissonance as younger artists stake their claim. In turn, works from earlier decades will acquire new meaning and new layers of relevance.

This installation draws from SAM’s growing collection and incorporates many works acquired in recent years, by artists including Margarita Cabrera, Dana Claxton, Senga Nengudi, Rashid Johnson, Woody De Othello, Jenny Saville, Sarah Sze, and Naama Tsabar. Many works are on view for the first time. Among the modern classics, viewers will find works by Francis Bacon, Alberto Giacometti, Franz Kline, Joan Mitchell, Mark Rothko, and David Smith on view. The museum’s ongoing commitment to building a collection with equity and diverse points of view can be seen when perusing the galleries.

Guillermo del Toro: Crafting Pinocchio is a celebration and exploration of the inventiveness, passion and artistic cooperation that goes into making a cinematic vision come to life. Now streaming on Netflix, the movie Guillermo del Toro’s Pinocchio was ten years in the making and conceived for international audiences of all ages. The film highlights the importance of nonconformity and the love and understanding passed between parents and children—and above all, showcases the incredible passion that del Toro, co-director Mark Gustafson, and their team bring to the art of stop-motion animation.

The Portland Art Museum’s presentation of Guillermo del Toro: Crafting Pinocchio will expand on the richness of the local stop-motion animation community by giving visitors a look inside the artists’ process. The exhibition and programs will give special attention to the talent and creative collaboration of the local cinematic animation artists at Shadow Machine—a renowned stop-motion animation studio based in Portland, Oregon.

Featuring the work of the Guma’ Gela’, a queer CHamoru art collective made up of members from the Marianas and in the diaspora. The exhibit explores their motto “part land, part sea, all ancestry” through a broad spectrum of media, including sculpture, soundscape, writing, printmaking, weaving, costume design, adornments, and more, to build a connection with CHamoru life, history, and traditions.

Do you ever wonder how Bruce Lee developed the philosophy behind his most iconic quote?

This incredible interactive exhibit invites viewers to step into the mind, body, and spirit of Bruce Lee to see how his unquenchable pursuit of knowledge informed his philosophy and life.

Follow Bruce’s path beginning with his revelations on water, through the wealth of knowledge found in his 2,800-book personal library, to his philosophy on self-understanding and self-expression.

The exhibition’s interactive technology interweaves beautiful imagery with Bruce’s personal objects and books to bring his journey to life.

Soul of Black Folks is the debut solo museum exhibition for Ghanaian artist Amoako Boafo (b. 1984), one of the most influential artistic voices of his generation. Working primarily in portraiture, Boafo is known for his vibrant use of color and thick, improvisational gestures created by his finger painting technique. His work is actively centered on Black subjectivity, Black joy, the Black gaze, and radical care as a foundational framework for his artistic practice. The exhibition presents over 30 works created by the artist between 2016 and 2022.

Amoako Boafo: Soul of Black Folks is presented in partnership between Contemporary Arts Museum Houston and the Museum of the African Diaspora, San Francisco. The exhibition is curated by Larry Ossei-Mensah.

What do late 18th- to 19th-century Edo (present-day Tokyo) and late 19th-century Paris have in common? This exhibition, which can only be seen in Seattle, uncovers the shared renegade spirit that characterized the graphic arts and social cultures of these two dynamic cities. On view are over 90 Japanese ukiyo-e woodblock prints and paintings from SAM’s Japanese collection alongside private loans of works by Henri de Toulouse-Lautrec (1864–1901).

In addition to the intriguing formal and thematic parallels between these two collections of graphic arts, the exhibition reveals the social impulses behind their burgeoning art production. As both cities faced challenges to the status quo from the rising middle classes, subversive impulses gave rise to vibrant cultures of theatregoing, pleasure seeking, and new forms of visual art.

Festival Schedule

Friday September 8th: 6:00 pm – 10:00 pm
Saturday September 9th: 10:00 am – 10:00 pm
Sunday September 10th: 11:00 am – 4:00 pm

Mark your calendars for the BEST Italian Street Fair in Seattle! There will be vendors with food and Italian wares for sale, beer and wine garden, children’s activities, and a stage with Italian music or music performed by Italians!

ADMISSION IS FREE AND FAMILY FRIENDLY!

Alaska World Arts is a meeting place for worldwide artists and audiences of all ages to share culture and ideas with Alaskans and the rest of the world through a variety of art forms reminding all of us of our capacity for love and generosity.
We offer live and virtual performances, workshops, classes, films, and discussions by artists from Alaska and around the world.
Thank you for being a part of our 2023 Alaska World Arts Festival.

Please mark your calendars and join us in celebration on September 9, 2023 for the annual NorthWest Ukrainian International Festival 2023! Stay tuned

Considering both the presence and absence of Black artists is critical to understanding the breadth of Black artistic production in Oregon—even in the midst of historic exclusion—as well as how the impact of that history affects our understanding of American art history and the history of the Pacific Northwest. This exhibition serves to deepen our awareness of the talented artists who have shaped and inspired artists regionally and nationally, and it will be the first of its kind to consider the work of Black artists collectively in Oregon.

Beginning in the 1880s and spanning through today, Black Artists of Oregon captures the Black diasporic experiences particular to the Pacific Northwest with 67 artists and over 200 objects. Artists represented in the exhibition will include Thelma Johnson Streat, Al Goldsby, Charlotte Lewis, Isaka Shamsud-Din, Ralph Chessé, Charles Tatum, Arvie Smith, Shedrich Williames, Harrison Branch, Bobby Fouther, and Carrie Mae Weems, among others. The exhibition and programming will also include the works of contemporary and younger artists working now, functioning as bright threads and offering intergenerational conversation throughout the exhibition, including sidony o’neal, Jeremy Okai Davis, damali ayo, Sharita Towne, Melanie Stevens, Lisa Jarrett, Tristan Irving, Ebin Lee, and Jaleesa Johnston.

Through the narrative flow of the exhibition, visitors will experience work by Black artists across decades and generations. Particular attention is given to the works of Black artists who were producing work during the Black Arts Movement of the late 1960s, ’70s, and early ’80s, such as Portland-based painter Isaka Shamsud-Din. The exhibition will also mark regional artistic connections with global movements for Black liberation, as seen in the work of Charlotte Lewis alongside Portlanders Organized for Southern African Freedom and artists like Sadé DuBoise, whose “Resistance” poster series contributed to Portland’s 2020 George Floyd protests. Without chronological constraints, the exhibition is grounded by the work of elder artists, intergenerational conversations, and live activation in the exhibition galleries.

Black Artists of Oregon builds upon exhibition curator Intisar Abioto’s original research since 2018 exploring the lineage and legacy of Black artists in Oregon. The exhibition will continue Abioto’s research, which is grounded in Black American practices of listening, keeping, and passing on each others’ stories.

“Far from isolated or ancillary, Black arts and cultural production in Oregon has been in conversation and interchange with the world, and a part of its arts and cultural movements, all this time,” says Abioto. “Black Artists of Oregon is a heralding of Black presence, interchange, influence, and impact.”

On view March 21, 2023 through Spring 2024
Art of the North Galleries, Third Floor, East Wing

Good Medicine brings together Indigenous healers and medicine people to collectively create, share knowledge, and practice in community. Unfolding over the course of a year with the work of different Alaska Native healers, this multi-disciplinary exhibition offers diverse opportunities for gathering and exchange.

Colonialism has attacked and suppressed medicine people and Indigenous knowledge systems for hundreds of years. This exhibition addresses harmful legacies and shows how the revitalization of healing practices and traditions provides ways of being in alignment with oneself, with community, and with our planet.

Curated by Tlingit traditional healer Meda DeWitt, Good Medicine emphasizes spiritual renewal, cultural renascence, and the importance of co-creating futures where nature can thrive.

Frank S. Matsura: Portraits from the Borderland features studio images by Washington-based Japanese photographer Frank Sakae Matsura (1873-1913) alongside period-specific American Indian regalia from the Columbia Plateau. Exploring Indigenous representation through a multi-dimensional lens, the photographs and objects on view detail some of Matsura’s most culturally significant work against a backdrop of regional transformation.

Festival Schedule

Friday, September 8: 5:30pm – 10:15pm
Saturday, September 9: 11:00am – 9:00 pm
Sunday, September 10: 9:30am – 5:00pm

The Boise Pride Festival returns to downtown Boise and Cecil D. Andrus Park this Friday, September 8 through Sunday, September 10. Join the City of Boise as they celebrate the contributions of ALL members of our community while creating a city for everyone. Attendance is free and here’s a quick look at the event schedule:

🏳️‍🌈 Friday 9/8 – Festivities start at 5:30 p.m. with live music and then fireworks at 10 p.m.
🏳️‍🌈 Saturday, 9/9 – There’s a pride rally at 11 a.m. followed by music from the Boise choruses and dance performances, music and more until 9 p.m.
🏳️‍🌈 Sunday, 9/10 – Walk in the Fred Meyer Pride Parade at 9:30 a.m. then enjoy more performances until the festival closes at 5 p.m.

Mukai Farm & Garden’s 6th annual Vashon Japan Festival returns on Saturday, September 9th from 11-6pm. Come celebrate Vashon’s rich Japanese American history and enjoy cultural programming including Seattle Kokon Taiko drummers, Kendo Kai martial arts demonstration and our always popular nominoichi Japanese flea market.

Bring the family and enjoy delicious Japanese food and drink, drop by the Children’s Village and decorate koinobori ‘carp streamers’, dance the Soran Bushi and Bon Odori, and sing karaoke

Enjoy workshops including bonsai, haiku, calligraphy, taiko and kitsuke, the art of wearing the kimono. Join Vashon printmaker Annette Messitt of Old Dockton Press and create your own signature block print commemorating Japan Festival 2023.

Cap the day off with our final Ghiblifest screening of the summer, Miyazaki’s beautiful 2008 adaptation of Hans Christian Andersen’s “The Little Mermaid” – Ponyo. And don’t forget to bring your koinobori!

I paint from historical photographs of people; the majority of them had no name, no bio, no story left. Nothing. I feel they are kind of lost souls, spirit-ghosts. My painting is a memorial site for them.
—Hung Liu

Groundbreaking Chinese American artist Hung Liu (1948–2021) made highly narrative images that foregrounded workers, immigrants, refugees, women, children, and soldiers in haunting, incandescent portraits that mingle Chinese and Western artistic traditions. Liu was born in Changchun, China, and her childhood and youth coincided with one of the most tumultuous periods in Chinese history. After her arrival in San Diego, California, in 1984, Liu became one of the first Chinese artists to establish a career in the United States. Decades later, she would be justly celebrated for establishing novel frameworks for understanding visual art’s relationship to history by focusing on communities misrepresented and marginalized by official narratives.

Liu experienced political revolution, exile, and displacement before immigrating to the United States. She came of age during Mao Zedong’s Cultural Revolution (1966–76) and was consequently forced to labor in the fields in her early twenties. After studying art in Beijing, she left China to attend graduate school at the University of California, San Diego. There, the experimental tendencies of the students and faculty, most notably those of performance artist Allan Kaprow (1927–2006) and art historian Moira Roth (1933–2021), helped cultivate her conceptual approach to portraiture.

Featuring highly experimental painting, printing, and weaving techniques, Liu’s challenging yet accessible oeuvre has been aptly characterized by her husband, the art critic Jeff Kelley, as a species of “weeping realism.” Titled A Question of Hu, after China scholar Jonathan Spence’s 1988 book The Question of Hu, the exhibition reintroduces Liu’s remarkable art to the Pacific Northwest, while demonstrating—as few artistic oeuvres can—an expanded view of citizenship in an era of seismic change that is also fundamentally marked by evolving ideas of artistic solidarity and collaboration.

Snotty Nose Rez Kids Hot Planet Tour Dates and Locations.

Attention Halloween lovers!! Need some Spooky art? Nepantla Cultural Arts Gallery is proud to present their 1st Halloween themed art show!

Exhibition runs September 2nd-24th.
Gallery Hours: Thu-Sun 12pm-6pm

Games / Bouncy House / Food / Music / Resources

City of Lakewood invites you to the Fiesta de la Familia on Saturday Sept. 9 from 12-7 p.m. for an event fun for people of all ages. The event is free. Join us to celebrate and learn about Hispanic culture. There will be live music, dancing, performances, food vendors, a car show, art displays, kids activities and more. The event is at Fort Steilacoom Park, a beautiful 360-acre park located in the City of Lakewood.

An anchor event for Converge 45’s citywide 2023 biennial, Social Forms: Art As Global Citizenship, the exhibition WE ARE THE REVOLUTION plumbs the depth of commitment of Jordan Schnitzer to the art of his time, while tapping into a living history of social expression through art in diverse media—from monumental paintings to free-standing sculpture to works on paper. Designed in part to explore ways in which the art of the past meets and affects the art of the present, the exhibition gives voice to art as both aesthetic experimentation and social commentary from the 1960s to today. Driven by the conviction that history is constructed through both continuity and discontinuity, the exhibition strives to establish unexpected juxtapositions and revealing connections among historical and contemporary artists and artworks.

The 11th Annual Tacoma Moon Festival is a live festival featuring dancers and musicians, artists and craftspeople and hands on activities for kids and the young at heart. Food vendors and the Wine and Beer Garden will feature local food and drink. Visitors can go to the popular teahouse tent to sample varieties of tea. Docents will be on site to lead tours of the park, explaining the tragic expulsion of the Chinese community in 1885 and the City’s commitment to build the park as a place of contemplation and renewal.

Next Saturday! Music by Day Soul Exquisite and food and poetry to feed your soul. No sign up beforehand required for our open mic, just come to move and groove.

La palabra “Xopantla” significa en tiempos de verdor y “Tianquiztli” se refiere a un mercado al aire libre, ambas palabras provienen del náhuatl, lengua indígena hablada por los aztecas.

Creemos que los mercados callejeros son restos fascinantes de la era prehispánica y siguen siendo muy importantes para el intercambio comercial de la mayoría de las comunidades y también una excelente manera de comunicar ideas y abogar por la comunidad.

Están todos invitados a aprender, celebrar y experimentar la belleza y la riqueza del arte y la cultura tradicional mexicana a través de un mercado público que destaca artistas y vendedores locales de la región. Mientras admira a los artistas, puede comprar, saborear la comida mexicana al estilo de la calle, beber y disfrutar de bebidas inspiradas en el tequila y a emocionarse con lo que sucederá durante el día.

El evento es ideal para familias y encontraran actividades que todas las edades pueden disfrutar.

Xopantla Tianquiztli se presenta en colaboración con el Comité del Festival del Día de Muertos, dedicado a preservar la cultura y las tradiciones.

The word “Xopantla” means in verdant times, and “Tianquiztli” refers to an open-air market, which both words come from Nahuatl, an indigenous language spoken by the Aztecs.

We believe that street markets are fascinating remains of the pre-Hispanic era and are still very important for the commercial exchange of most communities and also a great way to communicate ideas and advocate for the community.

You’re all invited to learn, celebrate, and experience the beauty and richness of traditional Mexican arts and culture through a public market highlighting artists and local vendors from the region. As you admire the performers, you can shop, savor street-style Mexican food, sip and enjoy tequila-inspired concoctions, and be moved by what happens throughout the day.

The event is family-friendly, and you’ll find activities that all ages can enjoy.

Xopantla Tianquiztli (XŌPAN, -TLAH TIĀNQUIZ-TLI) is presented in partnership with the Dia de Muertos Festival Committee, dedicated to preserving culture and traditions.

All My Rolling Relations is a free and family-friendly event for Indigenous youth, skaters, and relatives to share the joy of skateboarding and community. BIPOC skaters can perform at our pop up ramps, or beginners can take free lessons and pick up gear. This event will be held alongside Tacomas Native Art Market, featuring vendors, music, and arts activities for all ages.All My Rolling Relations is being organized by Lakota and Samoan skateboarder Spirit Miska, in collaboration with yəhaw̓ Indigenous Creatives Collective, ALMA, Tacoma Native Art Market, and Alchemy Skateboarding.This event is open to all audiences, with a pop up skate park and prizes for BIPOC skaters.We are so thankful to have received funding support for this event from the Puyallup Tribe!

Centering elders’ voices, Keepers of OurStory is a panel discussion facilitated by Black Artists of Oregon curator, Intisar Abioto, with featured artists Adriene Cruz, Bobby Fouther, Richard Brown, and Isaka Shamsud-Din. This program is a deep dive into the practices and established work of Black elders as shapers of the arts in Oregon and the foundation for current and future generations of Black creators. As an opening program, Keepers of OurStory looks to elders’ stories as the roots of the Black Artists of Oregon exhibition. The title references photographer Richard Brown’s 1988 Keepers of OurStory, a photo series that documented and listened to the stories of Black Portland elders.

The P-Patch Community Gardening Program turns 50 🎉 Congratulations on this milestone, friends!

Since 1973, this program has brought people together in community through a network of 90 gardens. It grew out of a larger movement focused on growing food for folks in need. Now, 50 years later, the program continues to support low-income and historically underserved community members through priority placement, financial assistance, and giving programs.

Celebrate P-Patching in Seattle on September 9 from 3-6pm at the Magnuson Community Garden. The fun includes live music, children’s activities, snacks, free cover crop seeds, and contests!

Native Action Network is proud to present the exhibition One With the Waters featuring artwork by Sarah Folden. A member of the Cowlitz Tribe, Sarah creates contemporary Coast Salish art inspired by her connection to place. Her work celebrates the vitality of Cowlitz people, their bold and colorful spirits, ancestral waters, animal relatives and all connected in nature. Cowlitz people are water-going people who refused to sign treaties with the federal government. This has created a diverse population. Over time many have traveled from their ancestral waters, some even across oceans, but much like our salmon relatives, there is an instinctive drive that calls Native people home. Sarah Folden’s artwork is created in honor of those still here, those who have made that voyage and those who are awakening to their internal calling to return.

Weaving Spirits Festival of Two-Spirit Performance features local and national Native American artists whose offerings range from traditional music to experimental performance and drag.

With local Seattle artists raktachu Echo Hawk and Timothy White Eagle, we’re excited to offer a 1-night show Saturday September 9 at On The Boards Theater.

And don’t miss the afternoon community gathering with drum, film screening and frybread!

We are… Weaving the ways of the past into the loom of the present… Embracing sexuality and our full selves in performance… creating our own visibility!

ASL Interpretation will be provided at the evening show.

The venue is wheelchair accessible. And restrooms will be gender neutral.

Our festival day will include a free afternoon Community Gathering with two-spirit drum, workshop, dialogue and free food!

This is the ticket link for our evening show, to RSVP for the afternoon gathering see our gathering rsvp link.

Artist Lineup

Brush Arbor Gurlz (Landa Lakes, Uphoria, Samantha Richards)

Timothy White Eagle

raktahcu (Howie) Echo Hawk

Baby

Javier Stell-Fresquez

DuckHunt

Mukai Farm & Garden is proud to present our first annual Studio Ghibli Festival! Last summer, Mukai Anime Club held several public screenings of Studio Ghibli films at the Vashon Theatre with great success. This year, we have organized four Studio Ghibli films to play at the Vashon Theatre, one per month, over the course of the summer. Ghiblifest will culminate with our final movie Ponyo to be shown immediately after Mukai Japan Festival on Saturday, September 9th. Ghiblifest is free and open to the public with a suggested donation of $5 per person at the door. The theatre fills up quickly, so be sure to arrive early for good seats and to avoid long lines at concessions.

A regional juried exhibition featuring works on the themes of community, identity, and social justice, In Solidarity will be open in Gallery II of the Fine Arts Center on the WSU Pullman campus from August 11, 2023, through September 14, 2023. A closing reception will be held on the last day of the exhibition.

Sea Mar, Community Clinics, and El Rey 1360 AM invite the general community to the “First Family Race, El Rey 1360,” which will take place on September 10, 2023, in the South Park neighborhood.

Our motto is “For Health and Sporst.” We consider this an event of Participation, Not Competition; therefore, we invite you to support this initiative and join us by registering to run or walk.

Register by phone: (253) 905-1151 and (206) 436-7851. Runners should be present at 7:00 AM.

We have 300 vendor spaces every weekend, and we accept ALL types of vendors 🤟🏽 we are currently seeking out sellers of:
•oddities and curiosities (taxidermy, preserved bugs, dolls, tarot, etc) 🪲
•indigenous arts n crafts 🪶
•woodwork crafts 🪚
•vintage items (clothing, decor, furniture, houseware) 📷
•plants 🪴
•food vendors who sell Asian, Ethiopian, Indian, vegan, Hawaiian, etc. 🍽️
Keep in mind, this isn’t ALL we’re looking for- it’s just at the top of our list! We are first come, first serve but if you’d like to learn more- just head on over to our website 🙂 and if you know anybody who’d be interested, share this with them- we’d greatly appreciate your help!

Dive deep into the stories and science that surround the magnificent orca, apex predator of all oceans.
Follow the currents of ecological activism, popular culture, and Indigenous beliefs to gain a new appreciation of these sophisticated animals, long feared in Western cultures as “Killer Whales.”
Orcas: Our Shared Future includes more than 100 original artifacts and specimens, featuring life-size Orca replicas, fossils, films, objects from popular culture, and original artwork from the Indigenous peoples of the North American west coast.
Discover the complex social structure of orca society and reflect on the surprising consequences of captivity. Learn which orca populations are thriving and which are at risk, and resurface with a new understanding of how orcas and humans are inextricably connected.

For many Native communities throughout the High Desert, what constitutes art spans beyond the walls of a gallery or a museum. Objects are alive, tied to purpose and intrinsic to thriving communities. Art is at once utilitarian and ceremonial, as well as part of the continuation of Native traditions.

Opening on January 28, 2023, Creations of Spirit will immerse High Desert Museum visitors in the Indigenous Plateau worldview, reflecting knowledge systems of tribes along the Columbia River and its tributaries.

Six Native artists commissioned for this new, original exhibition are creating artwork that will be used in Native communities before arriving at the Museum. A seventh artist is creating an interactive piece for the center of the gallery. Creations of Spirit will be a one-of-a-kind, celebratory experience featuring the stories of these living works of art. Videos, audio and large projections will immerse visitors in the landscapes and communities in which these objects are used, highlighting the theme of artwork as alive, full of stories and created for specific purposes and people. The original works will be supplemented with nine cultural items on loan from the Smithsonian’s National Museum of the American Indian in Washington, D.C.

The signing of Executive Order 9066 by President Franklin Roosevelt and the resulting mass incarceration of Japanese American families living on the West Coast is among the single most traumatic events in the history of Asian America, but many history books present an incomplete view of the full story. The truth is that this event did not happen in a vacuum nor did the people who lived this event do so quietly.
The exhibit leads visitors through a historical narrative beginning with the experience of Japanese American incarcerees in the 1940s and the complicated feelings of shame, anger, fear, and varied faces of resistance from within the community. Through the following decades, the story illustrates the generational trauma and cultural aftershocks of incarceration, while highlighting the lingering sense of injustice and awakening to justice movements at home and abroad. Fast forward to 2001 and beyond, the exhibit draws parallels between the stigmatization of Japanese Americans and modern-day anti-Muslim, anti-Arab, anti-Indigenous, anti-Black, and anti-immigrant policies. Visitors leave with a final prompt to consider: In the pursuit of justice, how will you show solidarity for movements today and into the future?
Through art, first-person accounts, historical material, and artifacts, this exhibit connects Japanese American resistance movements during the WWII era to modern BIPOC justice movements and activism today.

Explore the second run of this past exhibit with stories sourced from the local Burmese / Myanmar community. With the original exhibit run cut short due to our closure during the pandemic, we’ve taken the opportunity to update the exhibit to include new content covering the military coup that happened in February 2021.

SAM presents American Art: The Stories We Carry, a transformation of its American art galleries, created through a wide-ranging collaboration among SAM curators and staff, artists, and advisors from the Seattle community. Funded primarily by a $1 million grant from The Mellon Foundation and a $75,000 grant from the Terra Foundation for American Art, the project features work from SAM’s collection and new works and curation by contemporary artists, and it deepens the museum’s commitment to inclusive exhibition-planning practices with a shared-authorship model that reflects and responds to community knowledge.

Each new generation of artists responds to and builds on the art of earlier periods. Bringing together artworks that bridge decades, Reverberations seeks to spark a hum between historical works and those by artists working today. Organized in thematic groups, Reverberations introduces a different topic in each gallery, ranging from landscape and lyrical abstraction to the use of the body in addressing psychological, social, and political concerns. As you move through the modern and contemporary galleries, you will encounter harmonies and dissonance as younger artists stake their claim. In turn, works from earlier decades will acquire new meaning and new layers of relevance.

This installation draws from SAM’s growing collection and incorporates many works acquired in recent years, by artists including Margarita Cabrera, Dana Claxton, Senga Nengudi, Rashid Johnson, Woody De Othello, Jenny Saville, Sarah Sze, and Naama Tsabar. Many works are on view for the first time. Among the modern classics, viewers will find works by Francis Bacon, Alberto Giacometti, Franz Kline, Joan Mitchell, Mark Rothko, and David Smith on view. The museum’s ongoing commitment to building a collection with equity and diverse points of view can be seen when perusing the galleries.

Guillermo del Toro: Crafting Pinocchio is a celebration and exploration of the inventiveness, passion and artistic cooperation that goes into making a cinematic vision come to life. Now streaming on Netflix, the movie Guillermo del Toro’s Pinocchio was ten years in the making and conceived for international audiences of all ages. The film highlights the importance of nonconformity and the love and understanding passed between parents and children—and above all, showcases the incredible passion that del Toro, co-director Mark Gustafson, and their team bring to the art of stop-motion animation.

The Portland Art Museum’s presentation of Guillermo del Toro: Crafting Pinocchio will expand on the richness of the local stop-motion animation community by giving visitors a look inside the artists’ process. The exhibition and programs will give special attention to the talent and creative collaboration of the local cinematic animation artists at Shadow Machine—a renowned stop-motion animation studio based in Portland, Oregon.

Featuring the work of the Guma’ Gela’, a queer CHamoru art collective made up of members from the Marianas and in the diaspora. The exhibit explores their motto “part land, part sea, all ancestry” through a broad spectrum of media, including sculpture, soundscape, writing, printmaking, weaving, costume design, adornments, and more, to build a connection with CHamoru life, history, and traditions.

Do you ever wonder how Bruce Lee developed the philosophy behind his most iconic quote?

This incredible interactive exhibit invites viewers to step into the mind, body, and spirit of Bruce Lee to see how his unquenchable pursuit of knowledge informed his philosophy and life.

Follow Bruce’s path beginning with his revelations on water, through the wealth of knowledge found in his 2,800-book personal library, to his philosophy on self-understanding and self-expression.

The exhibition’s interactive technology interweaves beautiful imagery with Bruce’s personal objects and books to bring his journey to life.

Soul of Black Folks is the debut solo museum exhibition for Ghanaian artist Amoako Boafo (b. 1984), one of the most influential artistic voices of his generation. Working primarily in portraiture, Boafo is known for his vibrant use of color and thick, improvisational gestures created by his finger painting technique. His work is actively centered on Black subjectivity, Black joy, the Black gaze, and radical care as a foundational framework for his artistic practice. The exhibition presents over 30 works created by the artist between 2016 and 2022.

Amoako Boafo: Soul of Black Folks is presented in partnership between Contemporary Arts Museum Houston and the Museum of the African Diaspora, San Francisco. The exhibition is curated by Larry Ossei-Mensah.

What do late 18th- to 19th-century Edo (present-day Tokyo) and late 19th-century Paris have in common? This exhibition, which can only be seen in Seattle, uncovers the shared renegade spirit that characterized the graphic arts and social cultures of these two dynamic cities. On view are over 90 Japanese ukiyo-e woodblock prints and paintings from SAM’s Japanese collection alongside private loans of works by Henri de Toulouse-Lautrec (1864–1901).

In addition to the intriguing formal and thematic parallels between these two collections of graphic arts, the exhibition reveals the social impulses behind their burgeoning art production. As both cities faced challenges to the status quo from the rising middle classes, subversive impulses gave rise to vibrant cultures of theatregoing, pleasure seeking, and new forms of visual art.

Festival Schedule

Friday September 8th: 6:00 pm – 10:00 pm
Saturday September 9th: 10:00 am – 10:00 pm
Sunday September 10th: 11:00 am – 4:00 pm

Mark your calendars for the BEST Italian Street Fair in Seattle! There will be vendors with food and Italian wares for sale, beer and wine garden, children’s activities, and a stage with Italian music or music performed by Italians!

ADMISSION IS FREE AND FAMILY FRIENDLY!

Alaska World Arts is a meeting place for worldwide artists and audiences of all ages to share culture and ideas with Alaskans and the rest of the world through a variety of art forms reminding all of us of our capacity for love and generosity.
We offer live and virtual performances, workshops, classes, films, and discussions by artists from Alaska and around the world.
Thank you for being a part of our 2023 Alaska World Arts Festival.

Considering both the presence and absence of Black artists is critical to understanding the breadth of Black artistic production in Oregon—even in the midst of historic exclusion—as well as how the impact of that history affects our understanding of American art history and the history of the Pacific Northwest. This exhibition serves to deepen our awareness of the talented artists who have shaped and inspired artists regionally and nationally, and it will be the first of its kind to consider the work of Black artists collectively in Oregon.

Beginning in the 1880s and spanning through today, Black Artists of Oregon captures the Black diasporic experiences particular to the Pacific Northwest with 67 artists and over 200 objects. Artists represented in the exhibition will include Thelma Johnson Streat, Al Goldsby, Charlotte Lewis, Isaka Shamsud-Din, Ralph Chessé, Charles Tatum, Arvie Smith, Shedrich Williames, Harrison Branch, Bobby Fouther, and Carrie Mae Weems, among others. The exhibition and programming will also include the works of contemporary and younger artists working now, functioning as bright threads and offering intergenerational conversation throughout the exhibition, including sidony o’neal, Jeremy Okai Davis, damali ayo, Sharita Towne, Melanie Stevens, Lisa Jarrett, Tristan Irving, Ebin Lee, and Jaleesa Johnston.

Through the narrative flow of the exhibition, visitors will experience work by Black artists across decades and generations. Particular attention is given to the works of Black artists who were producing work during the Black Arts Movement of the late 1960s, ’70s, and early ’80s, such as Portland-based painter Isaka Shamsud-Din. The exhibition will also mark regional artistic connections with global movements for Black liberation, as seen in the work of Charlotte Lewis alongside Portlanders Organized for Southern African Freedom and artists like Sadé DuBoise, whose “Resistance” poster series contributed to Portland’s 2020 George Floyd protests. Without chronological constraints, the exhibition is grounded by the work of elder artists, intergenerational conversations, and live activation in the exhibition galleries.

Black Artists of Oregon builds upon exhibition curator Intisar Abioto’s original research since 2018 exploring the lineage and legacy of Black artists in Oregon. The exhibition will continue Abioto’s research, which is grounded in Black American practices of listening, keeping, and passing on each others’ stories.

“Far from isolated or ancillary, Black arts and cultural production in Oregon has been in conversation and interchange with the world, and a part of its arts and cultural movements, all this time,” says Abioto. “Black Artists of Oregon is a heralding of Black presence, interchange, influence, and impact.”

On view March 21, 2023 through Spring 2024
Art of the North Galleries, Third Floor, East Wing

Good Medicine brings together Indigenous healers and medicine people to collectively create, share knowledge, and practice in community. Unfolding over the course of a year with the work of different Alaska Native healers, this multi-disciplinary exhibition offers diverse opportunities for gathering and exchange.

Colonialism has attacked and suppressed medicine people and Indigenous knowledge systems for hundreds of years. This exhibition addresses harmful legacies and shows how the revitalization of healing practices and traditions provides ways of being in alignment with oneself, with community, and with our planet.

Curated by Tlingit traditional healer Meda DeWitt, Good Medicine emphasizes spiritual renewal, cultural renascence, and the importance of co-creating futures where nature can thrive.

Frank S. Matsura: Portraits from the Borderland features studio images by Washington-based Japanese photographer Frank Sakae Matsura (1873-1913) alongside period-specific American Indian regalia from the Columbia Plateau. Exploring Indigenous representation through a multi-dimensional lens, the photographs and objects on view detail some of Matsura’s most culturally significant work against a backdrop of regional transformation.

Festival Schedule

Friday, September 8: 5:30pm – 10:15pm
Saturday, September 9: 11:00am – 9:00 pm
Sunday, September 10: 9:30am – 5:00pm

The Boise Pride Festival returns to downtown Boise and Cecil D. Andrus Park this Friday, September 8 through Sunday, September 10. Join the City of Boise as they celebrate the contributions of ALL members of our community while creating a city for everyone. Attendance is free and here’s a quick look at the event schedule:

🏳️‍🌈 Friday 9/8 – Festivities start at 5:30 p.m. with live music and then fireworks at 10 p.m.
🏳️‍🌈 Saturday, 9/9 – There’s a pride rally at 11 a.m. followed by music from the Boise choruses and dance performances, music and more until 9 p.m.
🏳️‍🌈 Sunday, 9/10 – Walk in the Fred Meyer Pride Parade at 9:30 a.m. then enjoy more performances until the festival closes at 5 p.m.

Chido TV and Oxygen Media invite you to one of the largest celebrations of Mexico’s Independence in the Northwest area. An event that promotes Mexican culture, folklore, and cuisine, it will be a diverse and entertaining celebration featuring folk dances, live music, bands, dancing horses, mariachi bands, food, and a little bit of everything.

There will also be a civic ceremony where the Consul General of Mexico, Héctor Godoy, will deliver the traditional “Grito” of Independence. A free and family-friendly event, don’t miss out!

​​The Live Aloha Hawaiian Cultural Festival serves to promote and perpetuate the Hawaiian culture in the Pacific Northwest by enriching and strengthening the community and celebrating the arts and culture of Hawai’i. This free, family-oriented cultural event is a great opportunity for the community to experience Hawai’i right here in the Pacific Northwest.

I paint from historical photographs of people; the majority of them had no name, no bio, no story left. Nothing. I feel they are kind of lost souls, spirit-ghosts. My painting is a memorial site for them.
—Hung Liu

Groundbreaking Chinese American artist Hung Liu (1948–2021) made highly narrative images that foregrounded workers, immigrants, refugees, women, children, and soldiers in haunting, incandescent portraits that mingle Chinese and Western artistic traditions. Liu was born in Changchun, China, and her childhood and youth coincided with one of the most tumultuous periods in Chinese history. After her arrival in San Diego, California, in 1984, Liu became one of the first Chinese artists to establish a career in the United States. Decades later, she would be justly celebrated for establishing novel frameworks for understanding visual art’s relationship to history by focusing on communities misrepresented and marginalized by official narratives.

Liu experienced political revolution, exile, and displacement before immigrating to the United States. She came of age during Mao Zedong’s Cultural Revolution (1966–76) and was consequently forced to labor in the fields in her early twenties. After studying art in Beijing, she left China to attend graduate school at the University of California, San Diego. There, the experimental tendencies of the students and faculty, most notably those of performance artist Allan Kaprow (1927–2006) and art historian Moira Roth (1933–2021), helped cultivate her conceptual approach to portraiture.

Featuring highly experimental painting, printing, and weaving techniques, Liu’s challenging yet accessible oeuvre has been aptly characterized by her husband, the art critic Jeff Kelley, as a species of “weeping realism.” Titled A Question of Hu, after China scholar Jonathan Spence’s 1988 book The Question of Hu, the exhibition reintroduces Liu’s remarkable art to the Pacific Northwest, while demonstrating—as few artistic oeuvres can—an expanded view of citizenship in an era of seismic change that is also fundamentally marked by evolving ideas of artistic solidarity and collaboration.

Snotty Nose Rez Kids Hot Planet Tour Dates and Locations.

Attention Halloween lovers!! Need some Spooky art? Nepantla Cultural Arts Gallery is proud to present their 1st Halloween themed art show!

Exhibition runs September 2nd-24th.
Gallery Hours: Thu-Sun 12pm-6pm

An anchor event for Converge 45’s citywide 2023 biennial, Social Forms: Art As Global Citizenship, the exhibition WE ARE THE REVOLUTION plumbs the depth of commitment of Jordan Schnitzer to the art of his time, while tapping into a living history of social expression through art in diverse media—from monumental paintings to free-standing sculpture to works on paper. Designed in part to explore ways in which the art of the past meets and affects the art of the present, the exhibition gives voice to art as both aesthetic experimentation and social commentary from the 1960s to today. Driven by the conviction that history is constructed through both continuity and discontinuity, the exhibition strives to establish unexpected juxtapositions and revealing connections among historical and contemporary artists and artworks.

In honor of Grandparent’s Day, join us at the museum or virtually on YouTube for a reading of “When I am Old With You” by Angela Johnson and illustrated by David Soman.

The story follows a child who imagines being old with his Grandaddy and joining him in such activities as playing cards all day, visiting the ocean, and eating bacon on the porch.The Interactive Story Time will go live on our official YouTube channel at 1PM. Ring the bell on our Youtube page to be notified about all upcoming Interactive Story Time releases.

In partnership with the Mayor’s Council on African American Elders and sponsored by AARP, join NAAM on Grandparents Day for a special celebration honoring our grandparents and the African American Elders in our community. The celebration will include the induction of four elders into the Elders Circle:

Dr. Mona Lake Jones – Educator, author and poet
Lyle Quasim- Leader of The Black Collective
Kibibi Monie – Storyteller and Director of NuBlack Arts West
Claude Burfect – Civic and union leader.
The event will also include a KIP Book giveaway, spoken word performances, a live interactive story time reading, free food, live music, and more. Complimentary admission for seniors. Other attendees will pay the standard museum admission fee of $10.

Native Action Network is proud to present the exhibition One With the Waters featuring artwork by Sarah Folden. A member of the Cowlitz Tribe, Sarah creates contemporary Coast Salish art inspired by her connection to place. Her work celebrates the vitality of Cowlitz people, their bold and colorful spirits, ancestral waters, animal relatives and all connected in nature. Cowlitz people are water-going people who refused to sign treaties with the federal government. This has created a diverse population. Over time many have traveled from their ancestral waters, some even across oceans, but much like our salmon relatives, there is an instinctive drive that calls Native people home. Sarah Folden’s artwork is created in honor of those still here, those who have made that voyage and those who are awakening to their internal calling to return.

A regional juried exhibition featuring works on the themes of community, identity, and social justice, In Solidarity will be open in Gallery II of the Fine Arts Center on the WSU Pullman campus from August 11, 2023, through September 14, 2023. A closing reception will be held on the last day of the exhibition.

Dive deep into the stories and science that surround the magnificent orca, apex predator of all oceans.
Follow the currents of ecological activism, popular culture, and Indigenous beliefs to gain a new appreciation of these sophisticated animals, long feared in Western cultures as “Killer Whales.”
Orcas: Our Shared Future includes more than 100 original artifacts and specimens, featuring life-size Orca replicas, fossils, films, objects from popular culture, and original artwork from the Indigenous peoples of the North American west coast.
Discover the complex social structure of orca society and reflect on the surprising consequences of captivity. Learn which orca populations are thriving and which are at risk, and resurface with a new understanding of how orcas and humans are inextricably connected.

For many Native communities throughout the High Desert, what constitutes art spans beyond the walls of a gallery or a museum. Objects are alive, tied to purpose and intrinsic to thriving communities. Art is at once utilitarian and ceremonial, as well as part of the continuation of Native traditions.

Opening on January 28, 2023, Creations of Spirit will immerse High Desert Museum visitors in the Indigenous Plateau worldview, reflecting knowledge systems of tribes along the Columbia River and its tributaries.

Six Native artists commissioned for this new, original exhibition are creating artwork that will be used in Native communities before arriving at the Museum. A seventh artist is creating an interactive piece for the center of the gallery. Creations of Spirit will be a one-of-a-kind, celebratory experience featuring the stories of these living works of art. Videos, audio and large projections will immerse visitors in the landscapes and communities in which these objects are used, highlighting the theme of artwork as alive, full of stories and created for specific purposes and people. The original works will be supplemented with nine cultural items on loan from the Smithsonian’s National Museum of the American Indian in Washington, D.C.

The signing of Executive Order 9066 by President Franklin Roosevelt and the resulting mass incarceration of Japanese American families living on the West Coast is among the single most traumatic events in the history of Asian America, but many history books present an incomplete view of the full story. The truth is that this event did not happen in a vacuum nor did the people who lived this event do so quietly.
The exhibit leads visitors through a historical narrative beginning with the experience of Japanese American incarcerees in the 1940s and the complicated feelings of shame, anger, fear, and varied faces of resistance from within the community. Through the following decades, the story illustrates the generational trauma and cultural aftershocks of incarceration, while highlighting the lingering sense of injustice and awakening to justice movements at home and abroad. Fast forward to 2001 and beyond, the exhibit draws parallels between the stigmatization of Japanese Americans and modern-day anti-Muslim, anti-Arab, anti-Indigenous, anti-Black, and anti-immigrant policies. Visitors leave with a final prompt to consider: In the pursuit of justice, how will you show solidarity for movements today and into the future?
Through art, first-person accounts, historical material, and artifacts, this exhibit connects Japanese American resistance movements during the WWII era to modern BIPOC justice movements and activism today.

Explore the second run of this past exhibit with stories sourced from the local Burmese / Myanmar community. With the original exhibit run cut short due to our closure during the pandemic, we’ve taken the opportunity to update the exhibit to include new content covering the military coup that happened in February 2021.

SAM presents American Art: The Stories We Carry, a transformation of its American art galleries, created through a wide-ranging collaboration among SAM curators and staff, artists, and advisors from the Seattle community. Funded primarily by a $1 million grant from The Mellon Foundation and a $75,000 grant from the Terra Foundation for American Art, the project features work from SAM’s collection and new works and curation by contemporary artists, and it deepens the museum’s commitment to inclusive exhibition-planning practices with a shared-authorship model that reflects and responds to community knowledge.

Each new generation of artists responds to and builds on the art of earlier periods. Bringing together artworks that bridge decades, Reverberations seeks to spark a hum between historical works and those by artists working today. Organized in thematic groups, Reverberations introduces a different topic in each gallery, ranging from landscape and lyrical abstraction to the use of the body in addressing psychological, social, and political concerns. As you move through the modern and contemporary galleries, you will encounter harmonies and dissonance as younger artists stake their claim. In turn, works from earlier decades will acquire new meaning and new layers of relevance.

This installation draws from SAM’s growing collection and incorporates many works acquired in recent years, by artists including Margarita Cabrera, Dana Claxton, Senga Nengudi, Rashid Johnson, Woody De Othello, Jenny Saville, Sarah Sze, and Naama Tsabar. Many works are on view for the first time. Among the modern classics, viewers will find works by Francis Bacon, Alberto Giacometti, Franz Kline, Joan Mitchell, Mark Rothko, and David Smith on view. The museum’s ongoing commitment to building a collection with equity and diverse points of view can be seen when perusing the galleries.

Guillermo del Toro: Crafting Pinocchio is a celebration and exploration of the inventiveness, passion and artistic cooperation that goes into making a cinematic vision come to life. Now streaming on Netflix, the movie Guillermo del Toro’s Pinocchio was ten years in the making and conceived for international audiences of all ages. The film highlights the importance of nonconformity and the love and understanding passed between parents and children—and above all, showcases the incredible passion that del Toro, co-director Mark Gustafson, and their team bring to the art of stop-motion animation.

The Portland Art Museum’s presentation of Guillermo del Toro: Crafting Pinocchio will expand on the richness of the local stop-motion animation community by giving visitors a look inside the artists’ process. The exhibition and programs will give special attention to the talent and creative collaboration of the local cinematic animation artists at Shadow Machine—a renowned stop-motion animation studio based in Portland, Oregon.

Featuring the work of the Guma’ Gela’, a queer CHamoru art collective made up of members from the Marianas and in the diaspora. The exhibit explores their motto “part land, part sea, all ancestry” through a broad spectrum of media, including sculpture, soundscape, writing, printmaking, weaving, costume design, adornments, and more, to build a connection with CHamoru life, history, and traditions.

Do you ever wonder how Bruce Lee developed the philosophy behind his most iconic quote?

This incredible interactive exhibit invites viewers to step into the mind, body, and spirit of Bruce Lee to see how his unquenchable pursuit of knowledge informed his philosophy and life.

Follow Bruce’s path beginning with his revelations on water, through the wealth of knowledge found in his 2,800-book personal library, to his philosophy on self-understanding and self-expression.

The exhibition’s interactive technology interweaves beautiful imagery with Bruce’s personal objects and books to bring his journey to life.

What do late 18th- to 19th-century Edo (present-day Tokyo) and late 19th-century Paris have in common? This exhibition, which can only be seen in Seattle, uncovers the shared renegade spirit that characterized the graphic arts and social cultures of these two dynamic cities. On view are over 90 Japanese ukiyo-e woodblock prints and paintings from SAM’s Japanese collection alongside private loans of works by Henri de Toulouse-Lautrec (1864–1901).

In addition to the intriguing formal and thematic parallels between these two collections of graphic arts, the exhibition reveals the social impulses behind their burgeoning art production. As both cities faced challenges to the status quo from the rising middle classes, subversive impulses gave rise to vibrant cultures of theatregoing, pleasure seeking, and new forms of visual art.

Alaska World Arts is a meeting place for worldwide artists and audiences of all ages to share culture and ideas with Alaskans and the rest of the world through a variety of art forms reminding all of us of our capacity for love and generosity.
We offer live and virtual performances, workshops, classes, films, and discussions by artists from Alaska and around the world.
Thank you for being a part of our 2023 Alaska World Arts Festival.

Considering both the presence and absence of Black artists is critical to understanding the breadth of Black artistic production in Oregon—even in the midst of historic exclusion—as well as how the impact of that history affects our understanding of American art history and the history of the Pacific Northwest. This exhibition serves to deepen our awareness of the talented artists who have shaped and inspired artists regionally and nationally, and it will be the first of its kind to consider the work of Black artists collectively in Oregon.

Beginning in the 1880s and spanning through today, Black Artists of Oregon captures the Black diasporic experiences particular to the Pacific Northwest with 67 artists and over 200 objects. Artists represented in the exhibition will include Thelma Johnson Streat, Al Goldsby, Charlotte Lewis, Isaka Shamsud-Din, Ralph Chessé, Charles Tatum, Arvie Smith, Shedrich Williames, Harrison Branch, Bobby Fouther, and Carrie Mae Weems, among others. The exhibition and programming will also include the works of contemporary and younger artists working now, functioning as bright threads and offering intergenerational conversation throughout the exhibition, including sidony o’neal, Jeremy Okai Davis, damali ayo, Sharita Towne, Melanie Stevens, Lisa Jarrett, Tristan Irving, Ebin Lee, and Jaleesa Johnston.

Through the narrative flow of the exhibition, visitors will experience work by Black artists across decades and generations. Particular attention is given to the works of Black artists who were producing work during the Black Arts Movement of the late 1960s, ’70s, and early ’80s, such as Portland-based painter Isaka Shamsud-Din. The exhibition will also mark regional artistic connections with global movements for Black liberation, as seen in the work of Charlotte Lewis alongside Portlanders Organized for Southern African Freedom and artists like Sadé DuBoise, whose “Resistance” poster series contributed to Portland’s 2020 George Floyd protests. Without chronological constraints, the exhibition is grounded by the work of elder artists, intergenerational conversations, and live activation in the exhibition galleries.

Black Artists of Oregon builds upon exhibition curator Intisar Abioto’s original research since 2018 exploring the lineage and legacy of Black artists in Oregon. The exhibition will continue Abioto’s research, which is grounded in Black American practices of listening, keeping, and passing on each others’ stories.

“Far from isolated or ancillary, Black arts and cultural production in Oregon has been in conversation and interchange with the world, and a part of its arts and cultural movements, all this time,” says Abioto. “Black Artists of Oregon is a heralding of Black presence, interchange, influence, and impact.”

On view March 21, 2023 through Spring 2024
Art of the North Galleries, Third Floor, East Wing

Good Medicine brings together Indigenous healers and medicine people to collectively create, share knowledge, and practice in community. Unfolding over the course of a year with the work of different Alaska Native healers, this multi-disciplinary exhibition offers diverse opportunities for gathering and exchange.

Colonialism has attacked and suppressed medicine people and Indigenous knowledge systems for hundreds of years. This exhibition addresses harmful legacies and shows how the revitalization of healing practices and traditions provides ways of being in alignment with oneself, with community, and with our planet.

Curated by Tlingit traditional healer Meda DeWitt, Good Medicine emphasizes spiritual renewal, cultural renascence, and the importance of co-creating futures where nature can thrive.

Frank S. Matsura: Portraits from the Borderland features studio images by Washington-based Japanese photographer Frank Sakae Matsura (1873-1913) alongside period-specific American Indian regalia from the Columbia Plateau. Exploring Indigenous representation through a multi-dimensional lens, the photographs and objects on view detail some of Matsura’s most culturally significant work against a backdrop of regional transformation.

I paint from historical photographs of people; the majority of them had no name, no bio, no story left. Nothing. I feel they are kind of lost souls, spirit-ghosts. My painting is a memorial site for them.
—Hung Liu

Groundbreaking Chinese American artist Hung Liu (1948–2021) made highly narrative images that foregrounded workers, immigrants, refugees, women, children, and soldiers in haunting, incandescent portraits that mingle Chinese and Western artistic traditions. Liu was born in Changchun, China, and her childhood and youth coincided with one of the most tumultuous periods in Chinese history. After her arrival in San Diego, California, in 1984, Liu became one of the first Chinese artists to establish a career in the United States. Decades later, she would be justly celebrated for establishing novel frameworks for understanding visual art’s relationship to history by focusing on communities misrepresented and marginalized by official narratives.

Liu experienced political revolution, exile, and displacement before immigrating to the United States. She came of age during Mao Zedong’s Cultural Revolution (1966–76) and was consequently forced to labor in the fields in her early twenties. After studying art in Beijing, she left China to attend graduate school at the University of California, San Diego. There, the experimental tendencies of the students and faculty, most notably those of performance artist Allan Kaprow (1927–2006) and art historian Moira Roth (1933–2021), helped cultivate her conceptual approach to portraiture.

Featuring highly experimental painting, printing, and weaving techniques, Liu’s challenging yet accessible oeuvre has been aptly characterized by her husband, the art critic Jeff Kelley, as a species of “weeping realism.” Titled A Question of Hu, after China scholar Jonathan Spence’s 1988 book The Question of Hu, the exhibition reintroduces Liu’s remarkable art to the Pacific Northwest, while demonstrating—as few artistic oeuvres can—an expanded view of citizenship in an era of seismic change that is also fundamentally marked by evolving ideas of artistic solidarity and collaboration.

Snotty Nose Rez Kids Hot Planet Tour Dates and Locations.

Attention Halloween lovers!! Need some Spooky art? Nepantla Cultural Arts Gallery is proud to present their 1st Halloween themed art show!

Exhibition runs September 2nd-24th.
Gallery Hours: Thu-Sun 12pm-6pm

An anchor event for Converge 45’s citywide 2023 biennial, Social Forms: Art As Global Citizenship, the exhibition WE ARE THE REVOLUTION plumbs the depth of commitment of Jordan Schnitzer to the art of his time, while tapping into a living history of social expression through art in diverse media—from monumental paintings to free-standing sculpture to works on paper. Designed in part to explore ways in which the art of the past meets and affects the art of the present, the exhibition gives voice to art as both aesthetic experimentation and social commentary from the 1960s to today. Driven by the conviction that history is constructed through both continuity and discontinuity, the exhibition strives to establish unexpected juxtapositions and revealing connections among historical and contemporary artists and artworks.

Bring your friends and family to Feriton Spur Gardens (431 6th St South, Kirkland, WA) on Sept. 11th at 4pm as we celebrate #welcomingweek2023 in partnership with @eastsideforall.

We’ll unveil a dynamic temporary art installation as part of our work to bring more cross-cultural art to the Eastrail.

Welcoming Week is an annual campaign and celebration to showcase the movement of communities striving to be more welcoming places for all, including immigrants.

Artists from across the Eastside have been creating beautiful pieces they’ll share with our community throughout Welcoming Week.

If you can’t make it on the 11th, stop by Feriton Spur Park anytime after the unveiling and keep following us for information on when more art pieces will be unveiled.

See the link in our bio to learn more about Welcoming Week.

Our bi-monthly membership meeting is on Monday, September 11 from 6 PM to 8. If you’re interested in becoming a member or hearing about QTL has to offer we’ll save you a seat!

Native Action Network is proud to present the exhibition One With the Waters featuring artwork by Sarah Folden. A member of the Cowlitz Tribe, Sarah creates contemporary Coast Salish art inspired by her connection to place. Her work celebrates the vitality of Cowlitz people, their bold and colorful spirits, ancestral waters, animal relatives and all connected in nature. Cowlitz people are water-going people who refused to sign treaties with the federal government. This has created a diverse population. Over time many have traveled from their ancestral waters, some even across oceans, but much like our salmon relatives, there is an instinctive drive that calls Native people home. Sarah Folden’s artwork is created in honor of those still here, those who have made that voyage and those who are awakening to their internal calling to return.

Chief Seattle Club is proud to present the fall exhibition in ʔálʔal Café featuring artwork by Naomi Parker. Naomi comes from the Makah, Yakama, and Chippewa/Cree people. Drawing on her intertribal ancestry, she uses oil paint on canvas to create scenes of far flung Native relations coming together at pow wow grounds and campsites. Through images of friendly faces and joyfully clasped hands, Naomi shows the power we have to create community wherever we gather.

A regional juried exhibition featuring works on the themes of community, identity, and social justice, In Solidarity will be open in Gallery II of the Fine Arts Center on the WSU Pullman campus from August 11, 2023, through September 14, 2023. A closing reception will be held on the last day of the exhibition.

Dive deep into the stories and science that surround the magnificent orca, apex predator of all oceans.
Follow the currents of ecological activism, popular culture, and Indigenous beliefs to gain a new appreciation of these sophisticated animals, long feared in Western cultures as “Killer Whales.”
Orcas: Our Shared Future includes more than 100 original artifacts and specimens, featuring life-size Orca replicas, fossils, films, objects from popular culture, and original artwork from the Indigenous peoples of the North American west coast.
Discover the complex social structure of orca society and reflect on the surprising consequences of captivity. Learn which orca populations are thriving and which are at risk, and resurface with a new understanding of how orcas and humans are inextricably connected.

For many Native communities throughout the High Desert, what constitutes art spans beyond the walls of a gallery or a museum. Objects are alive, tied to purpose and intrinsic to thriving communities. Art is at once utilitarian and ceremonial, as well as part of the continuation of Native traditions.

Opening on January 28, 2023, Creations of Spirit will immerse High Desert Museum visitors in the Indigenous Plateau worldview, reflecting knowledge systems of tribes along the Columbia River and its tributaries.

Six Native artists commissioned for this new, original exhibition are creating artwork that will be used in Native communities before arriving at the Museum. A seventh artist is creating an interactive piece for the center of the gallery. Creations of Spirit will be a one-of-a-kind, celebratory experience featuring the stories of these living works of art. Videos, audio and large projections will immerse visitors in the landscapes and communities in which these objects are used, highlighting the theme of artwork as alive, full of stories and created for specific purposes and people. The original works will be supplemented with nine cultural items on loan from the Smithsonian’s National Museum of the American Indian in Washington, D.C.

The signing of Executive Order 9066 by President Franklin Roosevelt and the resulting mass incarceration of Japanese American families living on the West Coast is among the single most traumatic events in the history of Asian America, but many history books present an incomplete view of the full story. The truth is that this event did not happen in a vacuum nor did the people who lived this event do so quietly.
The exhibit leads visitors through a historical narrative beginning with the experience of Japanese American incarcerees in the 1940s and the complicated feelings of shame, anger, fear, and varied faces of resistance from within the community. Through the following decades, the story illustrates the generational trauma and cultural aftershocks of incarceration, while highlighting the lingering sense of injustice and awakening to justice movements at home and abroad. Fast forward to 2001 and beyond, the exhibit draws parallels between the stigmatization of Japanese Americans and modern-day anti-Muslim, anti-Arab, anti-Indigenous, anti-Black, and anti-immigrant policies. Visitors leave with a final prompt to consider: In the pursuit of justice, how will you show solidarity for movements today and into the future?
Through art, first-person accounts, historical material, and artifacts, this exhibit connects Japanese American resistance movements during the WWII era to modern BIPOC justice movements and activism today.

Explore the second run of this past exhibit with stories sourced from the local Burmese / Myanmar community. With the original exhibit run cut short due to our closure during the pandemic, we’ve taken the opportunity to update the exhibit to include new content covering the military coup that happened in February 2021.

SAM presents American Art: The Stories We Carry, a transformation of its American art galleries, created through a wide-ranging collaboration among SAM curators and staff, artists, and advisors from the Seattle community. Funded primarily by a $1 million grant from The Mellon Foundation and a $75,000 grant from the Terra Foundation for American Art, the project features work from SAM’s collection and new works and curation by contemporary artists, and it deepens the museum’s commitment to inclusive exhibition-planning practices with a shared-authorship model that reflects and responds to community knowledge.

Each new generation of artists responds to and builds on the art of earlier periods. Bringing together artworks that bridge decades, Reverberations seeks to spark a hum between historical works and those by artists working today. Organized in thematic groups, Reverberations introduces a different topic in each gallery, ranging from landscape and lyrical abstraction to the use of the body in addressing psychological, social, and political concerns. As you move through the modern and contemporary galleries, you will encounter harmonies and dissonance as younger artists stake their claim. In turn, works from earlier decades will acquire new meaning and new layers of relevance.

This installation draws from SAM’s growing collection and incorporates many works acquired in recent years, by artists including Margarita Cabrera, Dana Claxton, Senga Nengudi, Rashid Johnson, Woody De Othello, Jenny Saville, Sarah Sze, and Naama Tsabar. Many works are on view for the first time. Among the modern classics, viewers will find works by Francis Bacon, Alberto Giacometti, Franz Kline, Joan Mitchell, Mark Rothko, and David Smith on view. The museum’s ongoing commitment to building a collection with equity and diverse points of view can be seen when perusing the galleries.

Guillermo del Toro: Crafting Pinocchio is a celebration and exploration of the inventiveness, passion and artistic cooperation that goes into making a cinematic vision come to life. Now streaming on Netflix, the movie Guillermo del Toro’s Pinocchio was ten years in the making and conceived for international audiences of all ages. The film highlights the importance of nonconformity and the love and understanding passed between parents and children—and above all, showcases the incredible passion that del Toro, co-director Mark Gustafson, and their team bring to the art of stop-motion animation.

The Portland Art Museum’s presentation of Guillermo del Toro: Crafting Pinocchio will expand on the richness of the local stop-motion animation community by giving visitors a look inside the artists’ process. The exhibition and programs will give special attention to the talent and creative collaboration of the local cinematic animation artists at Shadow Machine—a renowned stop-motion animation studio based in Portland, Oregon.

Featuring the work of the Guma’ Gela’, a queer CHamoru art collective made up of members from the Marianas and in the diaspora. The exhibit explores their motto “part land, part sea, all ancestry” through a broad spectrum of media, including sculpture, soundscape, writing, printmaking, weaving, costume design, adornments, and more, to build a connection with CHamoru life, history, and traditions.

Do you ever wonder how Bruce Lee developed the philosophy behind his most iconic quote?

This incredible interactive exhibit invites viewers to step into the mind, body, and spirit of Bruce Lee to see how his unquenchable pursuit of knowledge informed his philosophy and life.

Follow Bruce’s path beginning with his revelations on water, through the wealth of knowledge found in his 2,800-book personal library, to his philosophy on self-understanding and self-expression.

The exhibition’s interactive technology interweaves beautiful imagery with Bruce’s personal objects and books to bring his journey to life.

What do late 18th- to 19th-century Edo (present-day Tokyo) and late 19th-century Paris have in common? This exhibition, which can only be seen in Seattle, uncovers the shared renegade spirit that characterized the graphic arts and social cultures of these two dynamic cities. On view are over 90 Japanese ukiyo-e woodblock prints and paintings from SAM’s Japanese collection alongside private loans of works by Henri de Toulouse-Lautrec (1864–1901).

In addition to the intriguing formal and thematic parallels between these two collections of graphic arts, the exhibition reveals the social impulses behind their burgeoning art production. As both cities faced challenges to the status quo from the rising middle classes, subversive impulses gave rise to vibrant cultures of theatregoing, pleasure seeking, and new forms of visual art.

Alaska World Arts is a meeting place for worldwide artists and audiences of all ages to share culture and ideas with Alaskans and the rest of the world through a variety of art forms reminding all of us of our capacity for love and generosity.
We offer live and virtual performances, workshops, classes, films, and discussions by artists from Alaska and around the world.
Thank you for being a part of our 2023 Alaska World Arts Festival.

Considering both the presence and absence of Black artists is critical to understanding the breadth of Black artistic production in Oregon—even in the midst of historic exclusion—as well as how the impact of that history affects our understanding of American art history and the history of the Pacific Northwest. This exhibition serves to deepen our awareness of the talented artists who have shaped and inspired artists regionally and nationally, and it will be the first of its kind to consider the work of Black artists collectively in Oregon.

Beginning in the 1880s and spanning through today, Black Artists of Oregon captures the Black diasporic experiences particular to the Pacific Northwest with 67 artists and over 200 objects. Artists represented in the exhibition will include Thelma Johnson Streat, Al Goldsby, Charlotte Lewis, Isaka Shamsud-Din, Ralph Chessé, Charles Tatum, Arvie Smith, Shedrich Williames, Harrison Branch, Bobby Fouther, and Carrie Mae Weems, among others. The exhibition and programming will also include the works of contemporary and younger artists working now, functioning as bright threads and offering intergenerational conversation throughout the exhibition, including sidony o’neal, Jeremy Okai Davis, damali ayo, Sharita Towne, Melanie Stevens, Lisa Jarrett, Tristan Irving, Ebin Lee, and Jaleesa Johnston.

Through the narrative flow of the exhibition, visitors will experience work by Black artists across decades and generations. Particular attention is given to the works of Black artists who were producing work during the Black Arts Movement of the late 1960s, ’70s, and early ’80s, such as Portland-based painter Isaka Shamsud-Din. The exhibition will also mark regional artistic connections with global movements for Black liberation, as seen in the work of Charlotte Lewis alongside Portlanders Organized for Southern African Freedom and artists like Sadé DuBoise, whose “Resistance” poster series contributed to Portland’s 2020 George Floyd protests. Without chronological constraints, the exhibition is grounded by the work of elder artists, intergenerational conversations, and live activation in the exhibition galleries.

Black Artists of Oregon builds upon exhibition curator Intisar Abioto’s original research since 2018 exploring the lineage and legacy of Black artists in Oregon. The exhibition will continue Abioto’s research, which is grounded in Black American practices of listening, keeping, and passing on each others’ stories.

“Far from isolated or ancillary, Black arts and cultural production in Oregon has been in conversation and interchange with the world, and a part of its arts and cultural movements, all this time,” says Abioto. “Black Artists of Oregon is a heralding of Black presence, interchange, influence, and impact.”

On view March 21, 2023 through Spring 2024
Art of the North Galleries, Third Floor, East Wing

Good Medicine brings together Indigenous healers and medicine people to collectively create, share knowledge, and practice in community. Unfolding over the course of a year with the work of different Alaska Native healers, this multi-disciplinary exhibition offers diverse opportunities for gathering and exchange.

Colonialism has attacked and suppressed medicine people and Indigenous knowledge systems for hundreds of years. This exhibition addresses harmful legacies and shows how the revitalization of healing practices and traditions provides ways of being in alignment with oneself, with community, and with our planet.

Curated by Tlingit traditional healer Meda DeWitt, Good Medicine emphasizes spiritual renewal, cultural renascence, and the importance of co-creating futures where nature can thrive.

Frank S. Matsura: Portraits from the Borderland features studio images by Washington-based Japanese photographer Frank Sakae Matsura (1873-1913) alongside period-specific American Indian regalia from the Columbia Plateau. Exploring Indigenous representation through a multi-dimensional lens, the photographs and objects on view detail some of Matsura’s most culturally significant work against a backdrop of regional transformation.

I paint from historical photographs of people; the majority of them had no name, no bio, no story left. Nothing. I feel they are kind of lost souls, spirit-ghosts. My painting is a memorial site for them.
—Hung Liu

Groundbreaking Chinese American artist Hung Liu (1948–2021) made highly narrative images that foregrounded workers, immigrants, refugees, women, children, and soldiers in haunting, incandescent portraits that mingle Chinese and Western artistic traditions. Liu was born in Changchun, China, and her childhood and youth coincided with one of the most tumultuous periods in Chinese history. After her arrival in San Diego, California, in 1984, Liu became one of the first Chinese artists to establish a career in the United States. Decades later, she would be justly celebrated for establishing novel frameworks for understanding visual art’s relationship to history by focusing on communities misrepresented and marginalized by official narratives.

Liu experienced political revolution, exile, and displacement before immigrating to the United States. She came of age during Mao Zedong’s Cultural Revolution (1966–76) and was consequently forced to labor in the fields in her early twenties. After studying art in Beijing, she left China to attend graduate school at the University of California, San Diego. There, the experimental tendencies of the students and faculty, most notably those of performance artist Allan Kaprow (1927–2006) and art historian Moira Roth (1933–2021), helped cultivate her conceptual approach to portraiture.

Featuring highly experimental painting, printing, and weaving techniques, Liu’s challenging yet accessible oeuvre has been aptly characterized by her husband, the art critic Jeff Kelley, as a species of “weeping realism.” Titled A Question of Hu, after China scholar Jonathan Spence’s 1988 book The Question of Hu, the exhibition reintroduces Liu’s remarkable art to the Pacific Northwest, while demonstrating—as few artistic oeuvres can—an expanded view of citizenship in an era of seismic change that is also fundamentally marked by evolving ideas of artistic solidarity and collaboration.

Snotty Nose Rez Kids Hot Planet Tour Dates and Locations.

Attention Halloween lovers!! Need some Spooky art? Nepantla Cultural Arts Gallery is proud to present their 1st Halloween themed art show!

Exhibition runs September 2nd-24th.
Gallery Hours: Thu-Sun 12pm-6pm

An anchor event for Converge 45’s citywide 2023 biennial, Social Forms: Art As Global Citizenship, the exhibition WE ARE THE REVOLUTION plumbs the depth of commitment of Jordan Schnitzer to the art of his time, while tapping into a living history of social expression through art in diverse media—from monumental paintings to free-standing sculpture to works on paper. Designed in part to explore ways in which the art of the past meets and affects the art of the present, the exhibition gives voice to art as both aesthetic experimentation and social commentary from the 1960s to today. Driven by the conviction that history is constructed through both continuity and discontinuity, the exhibition strives to establish unexpected juxtapositions and revealing connections among historical and contemporary artists and artworks.

ABOUT THE EVENT

Join us at Black Futures Farm for an evening of storytelling. Through a panel discussion participants will hear from Black Futures Farm co-directors and founders, Mirabai Collins and Malcolm Hoover. The workshop will be followed by an opportunity to ask questions and connect directly over dinner.

This workshop is made available to the public as part of the East Multnomah Soil and Water Conservation District (EMSWCD)and is for attendees who identify as Black, Indigenous, and People of Color.

ABOUT THE SPEAKERS

Mirabai Collins works for the Black Food Sovereignty Coalition and is a co-founder and (former) lead farmer at Black Futures Farm in Portland, Oregon. She has also taught and grown food in prisons throughout the state, mentored emerging food systems leaders, and is currently teaching while pursuing a master’s degree in environmental studies at the University of Oregon, where her two focal departments are English and Indigenous, Race, and Ethnic Studies (IRES).

Her interests include Black ecocritical thought, Black ecofeminisms, food systems justice, and the communication of ideas about race and nature in literary, artistic, and experiential contexts.

Malcolm Hoover is a father, grandfather, and third generation community organizer. He is the co-director of Black Futures Farms, in SE Portland, and a member of the BFSC leadership team.

His many jobs include assembly line worker making Doppler radar rigs, journalist, tech writer, High School and Elementary School teacher, counselor, US Navy Weatherman, video game tester, and book peddler. Malcolm’s first book, “144 Poems and Essays for God, Love, Truth, Justice, Peace and Hip Hop,” was published in 2015 by Tayen Lane Press.

This workshop will be held outdoors at a farm and will include walking a fair distance on uneven ground. Please come prepared with appropriate sun protection, and comfortable walking shoes.

Light bites will be provided, first come first served.

If you have any of the following items, please bring them to the event (we will provide the items for those who don’t have them):

Reusable container for drinking water
Camp chair or blanket
Face mask (due to COVID-19) – optional, highly encouraged
Brief schedule of events:

5- 5:30 PM Arrival / Light Bites

5:30-6:30 PM Storytelling Panel / Q&A / Farm Tour

6:30-7 PM Closing Out

Location: Black Futures Farm is located at the Learning Gardens Lab site, 6745 SE 60th Ave, between Duke and Flavel.

Directions:

BY BUS – Trimet bus lines 19 and 70 will take you about 2 blocks from the farm; here is a link to TriMet schedules and maps.

BY CAR – If you are driving to the farm, it’s best to park on the street because the lot belongs to PPS and closes. Your vehicle will be locked in if that happens.

Native Action Network is proud to present the exhibition One With the Waters featuring artwork by Sarah Folden. A member of the Cowlitz Tribe, Sarah creates contemporary Coast Salish art inspired by her connection to place. Her work celebrates the vitality of Cowlitz people, their bold and colorful spirits, ancestral waters, animal relatives and all connected in nature. Cowlitz people are water-going people who refused to sign treaties with the federal government. This has created a diverse population. Over time many have traveled from their ancestral waters, some even across oceans, but much like our salmon relatives, there is an instinctive drive that calls Native people home. Sarah Folden’s artwork is created in honor of those still here, those who have made that voyage and those who are awakening to their internal calling to return.

Chief Seattle Club is proud to present the fall exhibition in ʔálʔal Café featuring artwork by Naomi Parker. Naomi comes from the Makah, Yakama, and Chippewa/Cree people. Drawing on her intertribal ancestry, she uses oil paint on canvas to create scenes of far flung Native relations coming together at pow wow grounds and campsites. Through images of friendly faces and joyfully clasped hands, Naomi shows the power we have to create community wherever we gather.

A regional juried exhibition featuring works on the themes of community, identity, and social justice, In Solidarity will be open in Gallery II of the Fine Arts Center on the WSU Pullman campus from August 11, 2023, through September 14, 2023. A closing reception will be held on the last day of the exhibition.

Dive deep into the stories and science that surround the magnificent orca, apex predator of all oceans.
Follow the currents of ecological activism, popular culture, and Indigenous beliefs to gain a new appreciation of these sophisticated animals, long feared in Western cultures as “Killer Whales.”
Orcas: Our Shared Future includes more than 100 original artifacts and specimens, featuring life-size Orca replicas, fossils, films, objects from popular culture, and original artwork from the Indigenous peoples of the North American west coast.
Discover the complex social structure of orca society and reflect on the surprising consequences of captivity. Learn which orca populations are thriving and which are at risk, and resurface with a new understanding of how orcas and humans are inextricably connected.

For many Native communities throughout the High Desert, what constitutes art spans beyond the walls of a gallery or a museum. Objects are alive, tied to purpose and intrinsic to thriving communities. Art is at once utilitarian and ceremonial, as well as part of the continuation of Native traditions.

Opening on January 28, 2023, Creations of Spirit will immerse High Desert Museum visitors in the Indigenous Plateau worldview, reflecting knowledge systems of tribes along the Columbia River and its tributaries.

Six Native artists commissioned for this new, original exhibition are creating artwork that will be used in Native communities before arriving at the Museum. A seventh artist is creating an interactive piece for the center of the gallery. Creations of Spirit will be a one-of-a-kind, celebratory experience featuring the stories of these living works of art. Videos, audio and large projections will immerse visitors in the landscapes and communities in which these objects are used, highlighting the theme of artwork as alive, full of stories and created for specific purposes and people. The original works will be supplemented with nine cultural items on loan from the Smithsonian’s National Museum of the American Indian in Washington, D.C.

The signing of Executive Order 9066 by President Franklin Roosevelt and the resulting mass incarceration of Japanese American families living on the West Coast is among the single most traumatic events in the history of Asian America, but many history books present an incomplete view of the full story. The truth is that this event did not happen in a vacuum nor did the people who lived this event do so quietly.
The exhibit leads visitors through a historical narrative beginning with the experience of Japanese American incarcerees in the 1940s and the complicated feelings of shame, anger, fear, and varied faces of resistance from within the community. Through the following decades, the story illustrates the generational trauma and cultural aftershocks of incarceration, while highlighting the lingering sense of injustice and awakening to justice movements at home and abroad. Fast forward to 2001 and beyond, the exhibit draws parallels between the stigmatization of Japanese Americans and modern-day anti-Muslim, anti-Arab, anti-Indigenous, anti-Black, and anti-immigrant policies. Visitors leave with a final prompt to consider: In the pursuit of justice, how will you show solidarity for movements today and into the future?
Through art, first-person accounts, historical material, and artifacts, this exhibit connects Japanese American resistance movements during the WWII era to modern BIPOC justice movements and activism today.

Explore the second run of this past exhibit with stories sourced from the local Burmese / Myanmar community. With the original exhibit run cut short due to our closure during the pandemic, we’ve taken the opportunity to update the exhibit to include new content covering the military coup that happened in February 2021.

SAM presents American Art: The Stories We Carry, a transformation of its American art galleries, created through a wide-ranging collaboration among SAM curators and staff, artists, and advisors from the Seattle community. Funded primarily by a $1 million grant from The Mellon Foundation and a $75,000 grant from the Terra Foundation for American Art, the project features work from SAM’s collection and new works and curation by contemporary artists, and it deepens the museum’s commitment to inclusive exhibition-planning practices with a shared-authorship model that reflects and responds to community knowledge.

Each new generation of artists responds to and builds on the art of earlier periods. Bringing together artworks that bridge decades, Reverberations seeks to spark a hum between historical works and those by artists working today. Organized in thematic groups, Reverberations introduces a different topic in each gallery, ranging from landscape and lyrical abstraction to the use of the body in addressing psychological, social, and political concerns. As you move through the modern and contemporary galleries, you will encounter harmonies and dissonance as younger artists stake their claim. In turn, works from earlier decades will acquire new meaning and new layers of relevance.

This installation draws from SAM’s growing collection and incorporates many works acquired in recent years, by artists including Margarita Cabrera, Dana Claxton, Senga Nengudi, Rashid Johnson, Woody De Othello, Jenny Saville, Sarah Sze, and Naama Tsabar. Many works are on view for the first time. Among the modern classics, viewers will find works by Francis Bacon, Alberto Giacometti, Franz Kline, Joan Mitchell, Mark Rothko, and David Smith on view. The museum’s ongoing commitment to building a collection with equity and diverse points of view can be seen when perusing the galleries.

Guillermo del Toro: Crafting Pinocchio is a celebration and exploration of the inventiveness, passion and artistic cooperation that goes into making a cinematic vision come to life. Now streaming on Netflix, the movie Guillermo del Toro’s Pinocchio was ten years in the making and conceived for international audiences of all ages. The film highlights the importance of nonconformity and the love and understanding passed between parents and children—and above all, showcases the incredible passion that del Toro, co-director Mark Gustafson, and their team bring to the art of stop-motion animation.

The Portland Art Museum’s presentation of Guillermo del Toro: Crafting Pinocchio will expand on the richness of the local stop-motion animation community by giving visitors a look inside the artists’ process. The exhibition and programs will give special attention to the talent and creative collaboration of the local cinematic animation artists at Shadow Machine—a renowned stop-motion animation studio based in Portland, Oregon.

Featuring the work of the Guma’ Gela’, a queer CHamoru art collective made up of members from the Marianas and in the diaspora. The exhibit explores their motto “part land, part sea, all ancestry” through a broad spectrum of media, including sculpture, soundscape, writing, printmaking, weaving, costume design, adornments, and more, to build a connection with CHamoru life, history, and traditions.

Do you ever wonder how Bruce Lee developed the philosophy behind his most iconic quote?

This incredible interactive exhibit invites viewers to step into the mind, body, and spirit of Bruce Lee to see how his unquenchable pursuit of knowledge informed his philosophy and life.

Follow Bruce’s path beginning with his revelations on water, through the wealth of knowledge found in his 2,800-book personal library, to his philosophy on self-understanding and self-expression.

The exhibition’s interactive technology interweaves beautiful imagery with Bruce’s personal objects and books to bring his journey to life.

What do late 18th- to 19th-century Edo (present-day Tokyo) and late 19th-century Paris have in common? This exhibition, which can only be seen in Seattle, uncovers the shared renegade spirit that characterized the graphic arts and social cultures of these two dynamic cities. On view are over 90 Japanese ukiyo-e woodblock prints and paintings from SAM’s Japanese collection alongside private loans of works by Henri de Toulouse-Lautrec (1864–1901).

In addition to the intriguing formal and thematic parallels between these two collections of graphic arts, the exhibition reveals the social impulses behind their burgeoning art production. As both cities faced challenges to the status quo from the rising middle classes, subversive impulses gave rise to vibrant cultures of theatregoing, pleasure seeking, and new forms of visual art.

Alaska World Arts is a meeting place for worldwide artists and audiences of all ages to share culture and ideas with Alaskans and the rest of the world through a variety of art forms reminding all of us of our capacity for love and generosity.
We offer live and virtual performances, workshops, classes, films, and discussions by artists from Alaska and around the world.
Thank you for being a part of our 2023 Alaska World Arts Festival.

Considering both the presence and absence of Black artists is critical to understanding the breadth of Black artistic production in Oregon—even in the midst of historic exclusion—as well as how the impact of that history affects our understanding of American art history and the history of the Pacific Northwest. This exhibition serves to deepen our awareness of the talented artists who have shaped and inspired artists regionally and nationally, and it will be the first of its kind to consider the work of Black artists collectively in Oregon.

Beginning in the 1880s and spanning through today, Black Artists of Oregon captures the Black diasporic experiences particular to the Pacific Northwest with 67 artists and over 200 objects. Artists represented in the exhibition will include Thelma Johnson Streat, Al Goldsby, Charlotte Lewis, Isaka Shamsud-Din, Ralph Chessé, Charles Tatum, Arvie Smith, Shedrich Williames, Harrison Branch, Bobby Fouther, and Carrie Mae Weems, among others. The exhibition and programming will also include the works of contemporary and younger artists working now, functioning as bright threads and offering intergenerational conversation throughout the exhibition, including sidony o’neal, Jeremy Okai Davis, damali ayo, Sharita Towne, Melanie Stevens, Lisa Jarrett, Tristan Irving, Ebin Lee, and Jaleesa Johnston.

Through the narrative flow of the exhibition, visitors will experience work by Black artists across decades and generations. Particular attention is given to the works of Black artists who were producing work during the Black Arts Movement of the late 1960s, ’70s, and early ’80s, such as Portland-based painter Isaka Shamsud-Din. The exhibition will also mark regional artistic connections with global movements for Black liberation, as seen in the work of Charlotte Lewis alongside Portlanders Organized for Southern African Freedom and artists like Sadé DuBoise, whose “Resistance” poster series contributed to Portland’s 2020 George Floyd protests. Without chronological constraints, the exhibition is grounded by the work of elder artists, intergenerational conversations, and live activation in the exhibition galleries.

Black Artists of Oregon builds upon exhibition curator Intisar Abioto’s original research since 2018 exploring the lineage and legacy of Black artists in Oregon. The exhibition will continue Abioto’s research, which is grounded in Black American practices of listening, keeping, and passing on each others’ stories.

“Far from isolated or ancillary, Black arts and cultural production in Oregon has been in conversation and interchange with the world, and a part of its arts and cultural movements, all this time,” says Abioto. “Black Artists of Oregon is a heralding of Black presence, interchange, influence, and impact.”

On view March 21, 2023 through Spring 2024
Art of the North Galleries, Third Floor, East Wing

Good Medicine brings together Indigenous healers and medicine people to collectively create, share knowledge, and practice in community. Unfolding over the course of a year with the work of different Alaska Native healers, this multi-disciplinary exhibition offers diverse opportunities for gathering and exchange.

Colonialism has attacked and suppressed medicine people and Indigenous knowledge systems for hundreds of years. This exhibition addresses harmful legacies and shows how the revitalization of healing practices and traditions provides ways of being in alignment with oneself, with community, and with our planet.

Curated by Tlingit traditional healer Meda DeWitt, Good Medicine emphasizes spiritual renewal, cultural renascence, and the importance of co-creating futures where nature can thrive.

Frank S. Matsura: Portraits from the Borderland features studio images by Washington-based Japanese photographer Frank Sakae Matsura (1873-1913) alongside period-specific American Indian regalia from the Columbia Plateau. Exploring Indigenous representation through a multi-dimensional lens, the photographs and objects on view detail some of Matsura’s most culturally significant work against a backdrop of regional transformation.

I paint from historical photographs of people; the majority of them had no name, no bio, no story left. Nothing. I feel they are kind of lost souls, spirit-ghosts. My painting is a memorial site for them.
—Hung Liu

Groundbreaking Chinese American artist Hung Liu (1948–2021) made highly narrative images that foregrounded workers, immigrants, refugees, women, children, and soldiers in haunting, incandescent portraits that mingle Chinese and Western artistic traditions. Liu was born in Changchun, China, and her childhood and youth coincided with one of the most tumultuous periods in Chinese history. After her arrival in San Diego, California, in 1984, Liu became one of the first Chinese artists to establish a career in the United States. Decades later, she would be justly celebrated for establishing novel frameworks for understanding visual art’s relationship to history by focusing on communities misrepresented and marginalized by official narratives.

Liu experienced political revolution, exile, and displacement before immigrating to the United States. She came of age during Mao Zedong’s Cultural Revolution (1966–76) and was consequently forced to labor in the fields in her early twenties. After studying art in Beijing, she left China to attend graduate school at the University of California, San Diego. There, the experimental tendencies of the students and faculty, most notably those of performance artist Allan Kaprow (1927–2006) and art historian Moira Roth (1933–2021), helped cultivate her conceptual approach to portraiture.

Featuring highly experimental painting, printing, and weaving techniques, Liu’s challenging yet accessible oeuvre has been aptly characterized by her husband, the art critic Jeff Kelley, as a species of “weeping realism.” Titled A Question of Hu, after China scholar Jonathan Spence’s 1988 book The Question of Hu, the exhibition reintroduces Liu’s remarkable art to the Pacific Northwest, while demonstrating—as few artistic oeuvres can—an expanded view of citizenship in an era of seismic change that is also fundamentally marked by evolving ideas of artistic solidarity and collaboration.

Snotty Nose Rez Kids Hot Planet Tour Dates and Locations.

Attention Halloween lovers!! Need some Spooky art? Nepantla Cultural Arts Gallery is proud to present their 1st Halloween themed art show!

Exhibition runs September 2nd-24th.
Gallery Hours: Thu-Sun 12pm-6pm

An anchor event for Converge 45’s citywide 2023 biennial, Social Forms: Art As Global Citizenship, the exhibition WE ARE THE REVOLUTION plumbs the depth of commitment of Jordan Schnitzer to the art of his time, while tapping into a living history of social expression through art in diverse media—from monumental paintings to free-standing sculpture to works on paper. Designed in part to explore ways in which the art of the past meets and affects the art of the present, the exhibition gives voice to art as both aesthetic experimentation and social commentary from the 1960s to today. Driven by the conviction that history is constructed through both continuity and discontinuity, the exhibition strives to establish unexpected juxtapositions and revealing connections among historical and contemporary artists and artworks.

Native Action Network is proud to present the exhibition One With the Waters featuring artwork by Sarah Folden. A member of the Cowlitz Tribe, Sarah creates contemporary Coast Salish art inspired by her connection to place. Her work celebrates the vitality of Cowlitz people, their bold and colorful spirits, ancestral waters, animal relatives and all connected in nature. Cowlitz people are water-going people who refused to sign treaties with the federal government. This has created a diverse population. Over time many have traveled from their ancestral waters, some even across oceans, but much like our salmon relatives, there is an instinctive drive that calls Native people home. Sarah Folden’s artwork is created in honor of those still here, those who have made that voyage and those who are awakening to their internal calling to return.

Clarion West presents Isabel Cañas discussing “Vampires of El Norte” in conversation with Sadie Hartmann aka Mother Horror.

About the Author

Isabel Cañas is a Mexican-American speculative fiction writer. She holds a doctorate in Near Eastern Languages and Civilizations and writes fiction inspired by her research and her heritage.

Sadie Hartmann, also known as “Mother Horror” online, is the Bram Stoker Award®–nominated editor of Dark Hart Books and co-owner of the horror fiction subscription company Night Worms.

About the Book

As the daughter of a rancher in 1840s Mexico, Nena knows a thing or two about monsters–her home has long been threatened by tensions with Anglo settlers from the north. But something more sinister lurks near the ranch at night, something that drains men of their blood and leaves them for dead. Something that once attacked Nena nine years ago.

Believing Nena dead, Néstor has been on the run from his grief ever since, moving from ranch to ranch working as a vaquero. But no amount of drink can dispel the night terrors of sharp teeth; no woman can erase his childhood sweetheart from his mind.

When the United States invades Mexico in 1846, the two are brought abruptly together on the road to war: Nena as a curandera, a healer striving to prove her worth to her father so that he does not marry her off to a stranger, and Néstor as a member of the auxiliary cavalry of ranchers and vaqueros. But the shock of their reunion–and Nena’s rage at Néstor for seemingly abandoning her long ago–is quickly overshadowed by the appearance of a nightmare made flesh. And unless Nena and Néstor work through their past and face the future together, neither will survive to see the dawn.

Chief Seattle Club is proud to present the fall exhibition in ʔálʔal Café featuring artwork by Naomi Parker. Naomi comes from the Makah, Yakama, and Chippewa/Cree people. Drawing on her intertribal ancestry, she uses oil paint on canvas to create scenes of far flung Native relations coming together at pow wow grounds and campsites. Through images of friendly faces and joyfully clasped hands, Naomi shows the power we have to create community wherever we gather.

A regional juried exhibition featuring works on the themes of community, identity, and social justice, In Solidarity will be open in Gallery II of the Fine Arts Center on the WSU Pullman campus from August 11, 2023, through September 14, 2023. A closing reception will be held on the last day of the exhibition.

The Native Women’s Leadership Forum is an annual event full of workshops, breakout sessions, keynote speakers, and panels. The forum is designed with our mission in mind and encourages participants to make a positive impact in their community. Each year, the forum highlights a new theme, and with it new educational and training opportunities. Feedback tells us that attendees leave feeling empowered, recharged, and renewed. In conjunction with the forum, we host a special luncheon to celebrate our Enduring Spirit Award honorees, a Youth Academy, and other affiliated programs each year. Anyone interested in issues impacting Indian Country and uplifting Native women leaders is welcome to attend. The forum is open to the public, and registrants come from many gender identities, cultural backgrounds, and professional affiliations.
Native Action Network will host our 19th Annual Native Women’s Leadership Forum September 14-15 at The Westin Seattle. Our theme is Champions of Our Future.
The Leadership Forum opens with registration at 8:00 a.m. on September 14, 2023; Workshops begin at 9:00 a.m. and run through 4:00 p.m. There will be a welcome reception and Fashion Show featuring Supernaturals Modeling at 5:00 p.m. for registrants. We’re thrilled to welcome Co-Owners of Supernaturals Modelling, Patrick Shannon and Joleen Mitton! ♥️
Supernaturals Modelling is an Indigenous-owned modeling agency that uplifts and celebrates Indigenous talent and culture in the fashion industry. By providing opportunities for models from Indigenous communities across North America, they’re breaking down barriers and helping redefine how Indigenous peoples are seen in media.
Register today! Your registration includes: NAN swag, Supernaturals Modeling Fashion Show and Reception, two days of workshops, Youth Honoring Breakfast with keynote address provided by Kinsale Drake (Diné) from the NDN Girls Book Club; our Enduring Spirit Honoring luncheon with keynote address provided by Chef Braveheart (Oglala Lakota Nation); 2023 Enduring Spirit Honorees: Mary Wilber (Osoyoos), Jeri-Marie Bennett (Lummi, Suquamish, Duwamish), Binah McCloud (Puyallup), Teresa Iyall Williams (Coeur d’Alene). All attendees will receive Continuing Education Units for attendance.
Take a look at our agenda here.
Are you interested in sponsoring our event? There are many levels of sponsorship to choose from. Review our sponsorship form here.
Please note that our hotel room block is at capacity. Limited rooms at full rates are still available at the Westin Wednesday and Thursday nights. You are encouraged to secure your lodging plans as early as possible.

Dive deep into the stories and science that surround the magnificent orca, apex predator of all oceans.
Follow the currents of ecological activism, popular culture, and Indigenous beliefs to gain a new appreciation of these sophisticated animals, long feared in Western cultures as “Killer Whales.”
Orcas: Our Shared Future includes more than 100 original artifacts and specimens, featuring life-size Orca replicas, fossils, films, objects from popular culture, and original artwork from the Indigenous peoples of the North American west coast.
Discover the complex social structure of orca society and reflect on the surprising consequences of captivity. Learn which orca populations are thriving and which are at risk, and resurface with a new understanding of how orcas and humans are inextricably connected.

For many Native communities throughout the High Desert, what constitutes art spans beyond the walls of a gallery or a museum. Objects are alive, tied to purpose and intrinsic to thriving communities. Art is at once utilitarian and ceremonial, as well as part of the continuation of Native traditions.

Opening on January 28, 2023, Creations of Spirit will immerse High Desert Museum visitors in the Indigenous Plateau worldview, reflecting knowledge systems of tribes along the Columbia River and its tributaries.

Six Native artists commissioned for this new, original exhibition are creating artwork that will be used in Native communities before arriving at the Museum. A seventh artist is creating an interactive piece for the center of the gallery. Creations of Spirit will be a one-of-a-kind, celebratory experience featuring the stories of these living works of art. Videos, audio and large projections will immerse visitors in the landscapes and communities in which these objects are used, highlighting the theme of artwork as alive, full of stories and created for specific purposes and people. The original works will be supplemented with nine cultural items on loan from the Smithsonian’s National Museum of the American Indian in Washington, D.C.

The signing of Executive Order 9066 by President Franklin Roosevelt and the resulting mass incarceration of Japanese American families living on the West Coast is among the single most traumatic events in the history of Asian America, but many history books present an incomplete view of the full story. The truth is that this event did not happen in a vacuum nor did the people who lived this event do so quietly.
The exhibit leads visitors through a historical narrative beginning with the experience of Japanese American incarcerees in the 1940s and the complicated feelings of shame, anger, fear, and varied faces of resistance from within the community. Through the following decades, the story illustrates the generational trauma and cultural aftershocks of incarceration, while highlighting the lingering sense of injustice and awakening to justice movements at home and abroad. Fast forward to 2001 and beyond, the exhibit draws parallels between the stigmatization of Japanese Americans and modern-day anti-Muslim, anti-Arab, anti-Indigenous, anti-Black, and anti-immigrant policies. Visitors leave with a final prompt to consider: In the pursuit of justice, how will you show solidarity for movements today and into the future?
Through art, first-person accounts, historical material, and artifacts, this exhibit connects Japanese American resistance movements during the WWII era to modern BIPOC justice movements and activism today.

Explore the second run of this past exhibit with stories sourced from the local Burmese / Myanmar community. With the original exhibit run cut short due to our closure during the pandemic, we’ve taken the opportunity to update the exhibit to include new content covering the military coup that happened in February 2021.

SAM presents American Art: The Stories We Carry, a transformation of its American art galleries, created through a wide-ranging collaboration among SAM curators and staff, artists, and advisors from the Seattle community. Funded primarily by a $1 million grant from The Mellon Foundation and a $75,000 grant from the Terra Foundation for American Art, the project features work from SAM’s collection and new works and curation by contemporary artists, and it deepens the museum’s commitment to inclusive exhibition-planning practices with a shared-authorship model that reflects and responds to community knowledge.

Each new generation of artists responds to and builds on the art of earlier periods. Bringing together artworks that bridge decades, Reverberations seeks to spark a hum between historical works and those by artists working today. Organized in thematic groups, Reverberations introduces a different topic in each gallery, ranging from landscape and lyrical abstraction to the use of the body in addressing psychological, social, and political concerns. As you move through the modern and contemporary galleries, you will encounter harmonies and dissonance as younger artists stake their claim. In turn, works from earlier decades will acquire new meaning and new layers of relevance.

This installation draws from SAM’s growing collection and incorporates many works acquired in recent years, by artists including Margarita Cabrera, Dana Claxton, Senga Nengudi, Rashid Johnson, Woody De Othello, Jenny Saville, Sarah Sze, and Naama Tsabar. Many works are on view for the first time. Among the modern classics, viewers will find works by Francis Bacon, Alberto Giacometti, Franz Kline, Joan Mitchell, Mark Rothko, and David Smith on view. The museum’s ongoing commitment to building a collection with equity and diverse points of view can be seen when perusing the galleries.

Guillermo del Toro: Crafting Pinocchio is a celebration and exploration of the inventiveness, passion and artistic cooperation that goes into making a cinematic vision come to life. Now streaming on Netflix, the movie Guillermo del Toro’s Pinocchio was ten years in the making and conceived for international audiences of all ages. The film highlights the importance of nonconformity and the love and understanding passed between parents and children—and above all, showcases the incredible passion that del Toro, co-director Mark Gustafson, and their team bring to the art of stop-motion animation.

The Portland Art Museum’s presentation of Guillermo del Toro: Crafting Pinocchio will expand on the richness of the local stop-motion animation community by giving visitors a look inside the artists’ process. The exhibition and programs will give special attention to the talent and creative collaboration of the local cinematic animation artists at Shadow Machine—a renowned stop-motion animation studio based in Portland, Oregon.

Featuring the work of the Guma’ Gela’, a queer CHamoru art collective made up of members from the Marianas and in the diaspora. The exhibit explores their motto “part land, part sea, all ancestry” through a broad spectrum of media, including sculpture, soundscape, writing, printmaking, weaving, costume design, adornments, and more, to build a connection with CHamoru life, history, and traditions.

Do you ever wonder how Bruce Lee developed the philosophy behind his most iconic quote?

This incredible interactive exhibit invites viewers to step into the mind, body, and spirit of Bruce Lee to see how his unquenchable pursuit of knowledge informed his philosophy and life.

Follow Bruce’s path beginning with his revelations on water, through the wealth of knowledge found in his 2,800-book personal library, to his philosophy on self-understanding and self-expression.

The exhibition’s interactive technology interweaves beautiful imagery with Bruce’s personal objects and books to bring his journey to life.

What do late 18th- to 19th-century Edo (present-day Tokyo) and late 19th-century Paris have in common? This exhibition, which can only be seen in Seattle, uncovers the shared renegade spirit that characterized the graphic arts and social cultures of these two dynamic cities. On view are over 90 Japanese ukiyo-e woodblock prints and paintings from SAM’s Japanese collection alongside private loans of works by Henri de Toulouse-Lautrec (1864–1901).

In addition to the intriguing formal and thematic parallels between these two collections of graphic arts, the exhibition reveals the social impulses behind their burgeoning art production. As both cities faced challenges to the status quo from the rising middle classes, subversive impulses gave rise to vibrant cultures of theatregoing, pleasure seeking, and new forms of visual art.

Alaska World Arts is a meeting place for worldwide artists and audiences of all ages to share culture and ideas with Alaskans and the rest of the world through a variety of art forms reminding all of us of our capacity for love and generosity.
We offer live and virtual performances, workshops, classes, films, and discussions by artists from Alaska and around the world.
Thank you for being a part of our 2023 Alaska World Arts Festival.

Considering both the presence and absence of Black artists is critical to understanding the breadth of Black artistic production in Oregon—even in the midst of historic exclusion—as well as how the impact of that history affects our understanding of American art history and the history of the Pacific Northwest. This exhibition serves to deepen our awareness of the talented artists who have shaped and inspired artists regionally and nationally, and it will be the first of its kind to consider the work of Black artists collectively in Oregon.

Beginning in the 1880s and spanning through today, Black Artists of Oregon captures the Black diasporic experiences particular to the Pacific Northwest with 67 artists and over 200 objects. Artists represented in the exhibition will include Thelma Johnson Streat, Al Goldsby, Charlotte Lewis, Isaka Shamsud-Din, Ralph Chessé, Charles Tatum, Arvie Smith, Shedrich Williames, Harrison Branch, Bobby Fouther, and Carrie Mae Weems, among others. The exhibition and programming will also include the works of contemporary and younger artists working now, functioning as bright threads and offering intergenerational conversation throughout the exhibition, including sidony o’neal, Jeremy Okai Davis, damali ayo, Sharita Towne, Melanie Stevens, Lisa Jarrett, Tristan Irving, Ebin Lee, and Jaleesa Johnston.

Through the narrative flow of the exhibition, visitors will experience work by Black artists across decades and generations. Particular attention is given to the works of Black artists who were producing work during the Black Arts Movement of the late 1960s, ’70s, and early ’80s, such as Portland-based painter Isaka Shamsud-Din. The exhibition will also mark regional artistic connections with global movements for Black liberation, as seen in the work of Charlotte Lewis alongside Portlanders Organized for Southern African Freedom and artists like Sadé DuBoise, whose “Resistance” poster series contributed to Portland’s 2020 George Floyd protests. Without chronological constraints, the exhibition is grounded by the work of elder artists, intergenerational conversations, and live activation in the exhibition galleries.

Black Artists of Oregon builds upon exhibition curator Intisar Abioto’s original research since 2018 exploring the lineage and legacy of Black artists in Oregon. The exhibition will continue Abioto’s research, which is grounded in Black American practices of listening, keeping, and passing on each others’ stories.

“Far from isolated or ancillary, Black arts and cultural production in Oregon has been in conversation and interchange with the world, and a part of its arts and cultural movements, all this time,” says Abioto. “Black Artists of Oregon is a heralding of Black presence, interchange, influence, and impact.”

On view March 21, 2023 through Spring 2024
Art of the North Galleries, Third Floor, East Wing

Good Medicine brings together Indigenous healers and medicine people to collectively create, share knowledge, and practice in community. Unfolding over the course of a year with the work of different Alaska Native healers, this multi-disciplinary exhibition offers diverse opportunities for gathering and exchange.

Colonialism has attacked and suppressed medicine people and Indigenous knowledge systems for hundreds of years. This exhibition addresses harmful legacies and shows how the revitalization of healing practices and traditions provides ways of being in alignment with oneself, with community, and with our planet.

Curated by Tlingit traditional healer Meda DeWitt, Good Medicine emphasizes spiritual renewal, cultural renascence, and the importance of co-creating futures where nature can thrive.

Frank S. Matsura: Portraits from the Borderland features studio images by Washington-based Japanese photographer Frank Sakae Matsura (1873-1913) alongside period-specific American Indian regalia from the Columbia Plateau. Exploring Indigenous representation through a multi-dimensional lens, the photographs and objects on view detail some of Matsura’s most culturally significant work against a backdrop of regional transformation.

We are thrilled to announce the return of an in-person Celebration of the Arts Luncheon on Thursday, September 14, 2023 at the Sheraton Grand Seattle. This event will welcome arts patrons, civic and business leaders, and members of our thriving arts community in support of ArtsFund’s mission and core programs. We look forward to celebrating Washington State’s arts and cultural sector with you!

ASL interpretation will be available during the event. For questions about additional accessibility accommodations, please contact Kaitlin Hurley kaitlinhurley@artsfund.org or call 206-788-3045.

Thank you for your interest in the ArtsFund Luncheon. Registration is now closed. Please email Kaitlin Hurley at kaitlinhurley@artsfund.org to place your name on a waitlist.

Run of Show
10:45 A.M. Check in begins

11:30 A.M. Doors open; entertainment by arts partners begins

12:00 P.M. Program begins; keynote by Marc Bamuthi Joseph

1:15 P.M. Program concludes

Keynote Speaker
Marc is a Black man with bald head and a salt and pepper beard. He is smiling in a suit and tie, looking at the camera in front of a gray background.BAMUTHI (Marc Bamuthi Joseph) is a 2017 TED Global Fellow, an inaugural recipient of the Guggenheim Social Practice initiative, and an honoree of the United States Artists Rockefeller Fellowship. Bamuthi’s opera libretto, “We Shall Not Be Moved”, was named one of 2017’s “Best Classical Music Performances” by The New York Times. His evening length work created in collaboration with composer Daniel Bernard Roumain, “The Just and The Blind,” was commissioned by Carnegie Hall and premiered to a sold out house at Carnegie in March 2019. His upcoming opera “Watch Night” is inspired by the forgiveness exhibited by the congregation of Emanuel AME church in Charleston, and will premiere at The Perelman Center in New York in 2023.

While engaging in a deeply fulfilling and successful artistic career, Bamuthi also proudly serves as Vice President and Artistic Director of Social Impact at the John F. Kennedy Center for the Performing Arts in Washington, DC. He is in high demand for his creative approach to organizational design, brand development, and community mediation, and has been enlisted as a strategic partner or consultant for companies ranging from Coca Cola to Carnegie Hall. His TED talk on linking sport to freedom design among immigrant youth has been viewed more than 1 million times, and is a testament to his capacity to distill complex systems into accessible and poetic presentations. Bamuthi’s community development philosophy, called “The Creative Ecosystem”, has been implemented in dozens of cities across the United States and is the subject of several critical writings, including one of the seminal essays in “Cultural Transformations: Youth and Pedagogies of Possibility”, published by Harvard Education Press.

Bamuthi is the founding Program Director of the exemplary non-profit Youth Speaks, and is a co-founder of Life is Living, a national series of one-day festivals which activate under-resourced parks and affirm peaceful urban life. His essays have been published in Harvard Education Press; he has lectured at more than 200 colleges, and has carried adjunct professorships at Stanford and Lehigh, among others. A proud alumnus of Morehouse College, Bamuthi received an Honorary Doctorate of Fine Arts from the California College of Arts in the Spring of 2022.

Volunteer Opportunity
We are seeking a great group of volunteers to support the Luncheon with registration, information, directions, and more! Any questions may be directed to Genevieve Green, Engagement Coordinator at genevieve.green@artsfund.org or 206-203-2255.

I paint from historical photographs of people; the majority of them had no name, no bio, no story left. Nothing. I feel they are kind of lost souls, spirit-ghosts. My painting is a memorial site for them.
—Hung Liu

Groundbreaking Chinese American artist Hung Liu (1948–2021) made highly narrative images that foregrounded workers, immigrants, refugees, women, children, and soldiers in haunting, incandescent portraits that mingle Chinese and Western artistic traditions. Liu was born in Changchun, China, and her childhood and youth coincided with one of the most tumultuous periods in Chinese history. After her arrival in San Diego, California, in 1984, Liu became one of the first Chinese artists to establish a career in the United States. Decades later, she would be justly celebrated for establishing novel frameworks for understanding visual art’s relationship to history by focusing on communities misrepresented and marginalized by official narratives.

Liu experienced political revolution, exile, and displacement before immigrating to the United States. She came of age during Mao Zedong’s Cultural Revolution (1966–76) and was consequently forced to labor in the fields in her early twenties. After studying art in Beijing, she left China to attend graduate school at the University of California, San Diego. There, the experimental tendencies of the students and faculty, most notably those of performance artist Allan Kaprow (1927–2006) and art historian Moira Roth (1933–2021), helped cultivate her conceptual approach to portraiture.

Featuring highly experimental painting, printing, and weaving techniques, Liu’s challenging yet accessible oeuvre has been aptly characterized by her husband, the art critic Jeff Kelley, as a species of “weeping realism.” Titled A Question of Hu, after China scholar Jonathan Spence’s 1988 book The Question of Hu, the exhibition reintroduces Liu’s remarkable art to the Pacific Northwest, while demonstrating—as few artistic oeuvres can—an expanded view of citizenship in an era of seismic change that is also fundamentally marked by evolving ideas of artistic solidarity and collaboration.

Snotty Nose Rez Kids Hot Planet Tour Dates and Locations.

Attention Halloween lovers!! Need some Spooky art? Nepantla Cultural Arts Gallery is proud to present their 1st Halloween themed art show!

Exhibition runs September 2nd-24th.
Gallery Hours: Thu-Sun 12pm-6pm

An anchor event for Converge 45’s citywide 2023 biennial, Social Forms: Art As Global Citizenship, the exhibition WE ARE THE REVOLUTION plumbs the depth of commitment of Jordan Schnitzer to the art of his time, while tapping into a living history of social expression through art in diverse media—from monumental paintings to free-standing sculpture to works on paper. Designed in part to explore ways in which the art of the past meets and affects the art of the present, the exhibition gives voice to art as both aesthetic experimentation and social commentary from the 1960s to today. Driven by the conviction that history is constructed through both continuity and discontinuity, the exhibition strives to establish unexpected juxtapositions and revealing connections among historical and contemporary artists and artworks.

We are happy to announce that the tickets for our Dinner & Gala are now live! Mark this date on your calendar! We hope you join us! Visit wenatcheecafe.org/dinner to get your tickets! Thank you to @pericos.lounge who is generously providing food for this event. This event will be held at Pybus Market in Wenatchee.

The Highline Heritage Museum invites you to discover everything about the history of tacos and the varieties of this delicious typical Mexican dish.

A free and family-friendly event, don’t miss out!

Presentation in English starts at 6 p.m.

Presentation in Spanish starts at 7 p.m.

Native Action Network is proud to present the exhibition One With the Waters featuring artwork by Sarah Folden. A member of the Cowlitz Tribe, Sarah creates contemporary Coast Salish art inspired by her connection to place. Her work celebrates the vitality of Cowlitz people, their bold and colorful spirits, ancestral waters, animal relatives and all connected in nature. Cowlitz people are water-going people who refused to sign treaties with the federal government. This has created a diverse population. Over time many have traveled from their ancestral waters, some even across oceans, but much like our salmon relatives, there is an instinctive drive that calls Native people home. Sarah Folden’s artwork is created in honor of those still here, those who have made that voyage and those who are awakening to their internal calling to return.

Kick off the start of our academic year at The Hugo House Party! We’re serving up bevvies and beats along with an array of activities, plus a speech by Executive Director Diana Delgado, all in celebration of Hugo House’s programs, writing community, legacy, and future!

We’re opening our doors for everyone who loves books and writing—students, teaching artists, and community members will recognize each other and reconnect in the crowd; for those curious or new to our space and offerings, join us to learn all about the Hugo House experience. Expect good vibes and literary surprises!

Throughout the evening, our Salon will host live music featuring the talents of Lucia Flores-Wiseman, Drea Marilyn, and Willow & Wood.

We’re welcoming the return of our in-person open mic series, Works in Progress, with special guest emcee Melany Bell!

Plus, we’re installing literary activity stations throughout The House!

Hugo House teaching artists are encouraged to mix and mingle in the Instructors Lounge.
We’re bringing back a special encore screening of Hugo House Founder Frances McCue’s documentary, Where the House Was.
Spark your imagination with writing prompts provided by Hugo House instructors in our Writing Room!
We’re dusting off the magical mechanics of our old-fashioned typewriters with a room dedicated to micro poetry.
Plus, we’re raffling off goodies and prizes, hosting a crafting station that’s “totes adorbs,” and more!
NEW: Limited Edition Tote for New Members!

Become a Hugo House member between September 5-14 and receive a LIMITED EDITION Hugo House tote bag and a FREE TICKET to the Hugo House Party!*

Pick up your tote at the Hugo House Party where we’ll have a crafting station ready for you to decorate and personalize your bag and answer the question: What do you write at Hugo House?

*Tote bags MUST be picked up at The Hugo House Party, Thursday, September 14. Shipping not available.

**Promo available while supplies last.

Get your tickets NOW! Attendees who purchase an advanced ticket through our website will receive an exclusive discount coupon from our neighbors at Oma Bap.

Admission is offered on a sliding scale: $5, $10, $15, and $25*. Revenue from ticket sales directly supports Hugo House’s mission to provide space for all to read words, hear words, and make their own words better.

*Attendees who purchase a pre-sale ticket at $25 will receive one free drink ticket with admission.

The House bar will be open to serve alcoholic and non-alcoholic beverages.

We invite community to join us in the Fall for workdays on the land, starting 9/15 – 11/19.

These workdays have been great opportunities for us to introduce ourselves to the land and to foster our relationships to it. Volunteers can help in a number of ways, like tending to Native plants, clearing invasive ones like ivy, envisioning futures, and getting the land ready for upcoming gatherings. We also invite you to help by just spending time on this site. Sit and relax by the trees and Mapes Creek, use our art supplies to create, help us collect & save seeds for gifts, or just take a moment from your week and spend time in greenspace.

Open to Native/BIPOC: Fridays, Sept 15 – Nov 19, from 2 – 6pm
Open to All: 1st Saturdays, October & November, from 11am – 3pm

Visit https://bit.ly/3qaL3AR or hit the link in our bio to register.

*Tools, a porta potty, limited drinking water, and light snacks will be provided. All ages and experience levels welcome. Note, our site does not have running water or power, and is unfortunately not yet ADA accessible. We can’t wait to see you on the land!

Chief Seattle Club is proud to present the fall exhibition in ʔálʔal Café featuring artwork by Naomi Parker. Naomi comes from the Makah, Yakama, and Chippewa/Cree people. Drawing on her intertribal ancestry, she uses oil paint on canvas to create scenes of far flung Native relations coming together at pow wow grounds and campsites. Through images of friendly faces and joyfully clasped hands, Naomi shows the power we have to create community wherever we gather.

The Native Women’s Leadership Forum is an annual event full of workshops, breakout sessions, keynote speakers, and panels. The forum is designed with our mission in mind and encourages participants to make a positive impact in their community. Each year, the forum highlights a new theme, and with it new educational and training opportunities. Feedback tells us that attendees leave feeling empowered, recharged, and renewed. In conjunction with the forum, we host a special luncheon to celebrate our Enduring Spirit Award honorees, a Youth Academy, and other affiliated programs each year. Anyone interested in issues impacting Indian Country and uplifting Native women leaders is welcome to attend. The forum is open to the public, and registrants come from many gender identities, cultural backgrounds, and professional affiliations.
Native Action Network will host our 19th Annual Native Women’s Leadership Forum September 14-15 at The Westin Seattle. Our theme is Champions of Our Future.
The Leadership Forum opens with registration at 8:00 a.m. on September 14, 2023; Workshops begin at 9:00 a.m. and run through 4:00 p.m. There will be a welcome reception and Fashion Show featuring Supernaturals Modeling at 5:00 p.m. for registrants. We’re thrilled to welcome Co-Owners of Supernaturals Modelling, Patrick Shannon and Joleen Mitton! ♥️
Supernaturals Modelling is an Indigenous-owned modeling agency that uplifts and celebrates Indigenous talent and culture in the fashion industry. By providing opportunities for models from Indigenous communities across North America, they’re breaking down barriers and helping redefine how Indigenous peoples are seen in media.
Register today! Your registration includes: NAN swag, Supernaturals Modeling Fashion Show and Reception, two days of workshops, Youth Honoring Breakfast with keynote address provided by Kinsale Drake (Diné) from the NDN Girls Book Club; our Enduring Spirit Honoring luncheon with keynote address provided by Chef Braveheart (Oglala Lakota Nation); 2023 Enduring Spirit Honorees: Mary Wilber (Osoyoos), Jeri-Marie Bennett (Lummi, Suquamish, Duwamish), Binah McCloud (Puyallup), Teresa Iyall Williams (Coeur d’Alene). All attendees will receive Continuing Education Units for attendance.
Take a look at our agenda here.
Are you interested in sponsoring our event? There are many levels of sponsorship to choose from. Review our sponsorship form here.
Please note that our hotel room block is at capacity. Limited rooms at full rates are still available at the Westin Wednesday and Thursday nights. You are encouraged to secure your lodging plans as early as possible.

Dive deep into the stories and science that surround the magnificent orca, apex predator of all oceans.
Follow the currents of ecological activism, popular culture, and Indigenous beliefs to gain a new appreciation of these sophisticated animals, long feared in Western cultures as “Killer Whales.”
Orcas: Our Shared Future includes more than 100 original artifacts and specimens, featuring life-size Orca replicas, fossils, films, objects from popular culture, and original artwork from the Indigenous peoples of the North American west coast.
Discover the complex social structure of orca society and reflect on the surprising consequences of captivity. Learn which orca populations are thriving and which are at risk, and resurface with a new understanding of how orcas and humans are inextricably connected.

For many Native communities throughout the High Desert, what constitutes art spans beyond the walls of a gallery or a museum. Objects are alive, tied to purpose and intrinsic to thriving communities. Art is at once utilitarian and ceremonial, as well as part of the continuation of Native traditions.

Opening on January 28, 2023, Creations of Spirit will immerse High Desert Museum visitors in the Indigenous Plateau worldview, reflecting knowledge systems of tribes along the Columbia River and its tributaries.

Six Native artists commissioned for this new, original exhibition are creating artwork that will be used in Native communities before arriving at the Museum. A seventh artist is creating an interactive piece for the center of the gallery. Creations of Spirit will be a one-of-a-kind, celebratory experience featuring the stories of these living works of art. Videos, audio and large projections will immerse visitors in the landscapes and communities in which these objects are used, highlighting the theme of artwork as alive, full of stories and created for specific purposes and people. The original works will be supplemented with nine cultural items on loan from the Smithsonian’s National Museum of the American Indian in Washington, D.C.

The signing of Executive Order 9066 by President Franklin Roosevelt and the resulting mass incarceration of Japanese American families living on the West Coast is among the single most traumatic events in the history of Asian America, but many history books present an incomplete view of the full story. The truth is that this event did not happen in a vacuum nor did the people who lived this event do so quietly.
The exhibit leads visitors through a historical narrative beginning with the experience of Japanese American incarcerees in the 1940s and the complicated feelings of shame, anger, fear, and varied faces of resistance from within the community. Through the following decades, the story illustrates the generational trauma and cultural aftershocks of incarceration, while highlighting the lingering sense of injustice and awakening to justice movements at home and abroad. Fast forward to 2001 and beyond, the exhibit draws parallels between the stigmatization of Japanese Americans and modern-day anti-Muslim, anti-Arab, anti-Indigenous, anti-Black, and anti-immigrant policies. Visitors leave with a final prompt to consider: In the pursuit of justice, how will you show solidarity for movements today and into the future?
Through art, first-person accounts, historical material, and artifacts, this exhibit connects Japanese American resistance movements during the WWII era to modern BIPOC justice movements and activism today.

Explore the second run of this past exhibit with stories sourced from the local Burmese / Myanmar community. With the original exhibit run cut short due to our closure during the pandemic, we’ve taken the opportunity to update the exhibit to include new content covering the military coup that happened in February 2021.

SAM presents American Art: The Stories We Carry, a transformation of its American art galleries, created through a wide-ranging collaboration among SAM curators and staff, artists, and advisors from the Seattle community. Funded primarily by a $1 million grant from The Mellon Foundation and a $75,000 grant from the Terra Foundation for American Art, the project features work from SAM’s collection and new works and curation by contemporary artists, and it deepens the museum’s commitment to inclusive exhibition-planning practices with a shared-authorship model that reflects and responds to community knowledge.

Each new generation of artists responds to and builds on the art of earlier periods. Bringing together artworks that bridge decades, Reverberations seeks to spark a hum between historical works and those by artists working today. Organized in thematic groups, Reverberations introduces a different topic in each gallery, ranging from landscape and lyrical abstraction to the use of the body in addressing psychological, social, and political concerns. As you move through the modern and contemporary galleries, you will encounter harmonies and dissonance as younger artists stake their claim. In turn, works from earlier decades will acquire new meaning and new layers of relevance.

This installation draws from SAM’s growing collection and incorporates many works acquired in recent years, by artists including Margarita Cabrera, Dana Claxton, Senga Nengudi, Rashid Johnson, Woody De Othello, Jenny Saville, Sarah Sze, and Naama Tsabar. Many works are on view for the first time. Among the modern classics, viewers will find works by Francis Bacon, Alberto Giacometti, Franz Kline, Joan Mitchell, Mark Rothko, and David Smith on view. The museum’s ongoing commitment to building a collection with equity and diverse points of view can be seen when perusing the galleries.

Guillermo del Toro: Crafting Pinocchio is a celebration and exploration of the inventiveness, passion and artistic cooperation that goes into making a cinematic vision come to life. Now streaming on Netflix, the movie Guillermo del Toro’s Pinocchio was ten years in the making and conceived for international audiences of all ages. The film highlights the importance of nonconformity and the love and understanding passed between parents and children—and above all, showcases the incredible passion that del Toro, co-director Mark Gustafson, and their team bring to the art of stop-motion animation.

The Portland Art Museum’s presentation of Guillermo del Toro: Crafting Pinocchio will expand on the richness of the local stop-motion animation community by giving visitors a look inside the artists’ process. The exhibition and programs will give special attention to the talent and creative collaboration of the local cinematic animation artists at Shadow Machine—a renowned stop-motion animation studio based in Portland, Oregon.

Featuring the work of the Guma’ Gela’, a queer CHamoru art collective made up of members from the Marianas and in the diaspora. The exhibit explores their motto “part land, part sea, all ancestry” through a broad spectrum of media, including sculpture, soundscape, writing, printmaking, weaving, costume design, adornments, and more, to build a connection with CHamoru life, history, and traditions.

Do you ever wonder how Bruce Lee developed the philosophy behind his most iconic quote?

This incredible interactive exhibit invites viewers to step into the mind, body, and spirit of Bruce Lee to see how his unquenchable pursuit of knowledge informed his philosophy and life.

Follow Bruce’s path beginning with his revelations on water, through the wealth of knowledge found in his 2,800-book personal library, to his philosophy on self-understanding and self-expression.

The exhibition’s interactive technology interweaves beautiful imagery with Bruce’s personal objects and books to bring his journey to life.

What do late 18th- to 19th-century Edo (present-day Tokyo) and late 19th-century Paris have in common? This exhibition, which can only be seen in Seattle, uncovers the shared renegade spirit that characterized the graphic arts and social cultures of these two dynamic cities. On view are over 90 Japanese ukiyo-e woodblock prints and paintings from SAM’s Japanese collection alongside private loans of works by Henri de Toulouse-Lautrec (1864–1901).

In addition to the intriguing formal and thematic parallels between these two collections of graphic arts, the exhibition reveals the social impulses behind their burgeoning art production. As both cities faced challenges to the status quo from the rising middle classes, subversive impulses gave rise to vibrant cultures of theatregoing, pleasure seeking, and new forms of visual art.

Alaska World Arts is a meeting place for worldwide artists and audiences of all ages to share culture and ideas with Alaskans and the rest of the world through a variety of art forms reminding all of us of our capacity for love and generosity.
We offer live and virtual performances, workshops, classes, films, and discussions by artists from Alaska and around the world.
Thank you for being a part of our 2023 Alaska World Arts Festival.

Considering both the presence and absence of Black artists is critical to understanding the breadth of Black artistic production in Oregon—even in the midst of historic exclusion—as well as how the impact of that history affects our understanding of American art history and the history of the Pacific Northwest. This exhibition serves to deepen our awareness of the talented artists who have shaped and inspired artists regionally and nationally, and it will be the first of its kind to consider the work of Black artists collectively in Oregon.

Beginning in the 1880s and spanning through today, Black Artists of Oregon captures the Black diasporic experiences particular to the Pacific Northwest with 67 artists and over 200 objects. Artists represented in the exhibition will include Thelma Johnson Streat, Al Goldsby, Charlotte Lewis, Isaka Shamsud-Din, Ralph Chessé, Charles Tatum, Arvie Smith, Shedrich Williames, Harrison Branch, Bobby Fouther, and Carrie Mae Weems, among others. The exhibition and programming will also include the works of contemporary and younger artists working now, functioning as bright threads and offering intergenerational conversation throughout the exhibition, including sidony o’neal, Jeremy Okai Davis, damali ayo, Sharita Towne, Melanie Stevens, Lisa Jarrett, Tristan Irving, Ebin Lee, and Jaleesa Johnston.

Through the narrative flow of the exhibition, visitors will experience work by Black artists across decades and generations. Particular attention is given to the works of Black artists who were producing work during the Black Arts Movement of the late 1960s, ’70s, and early ’80s, such as Portland-based painter Isaka Shamsud-Din. The exhibition will also mark regional artistic connections with global movements for Black liberation, as seen in the work of Charlotte Lewis alongside Portlanders Organized for Southern African Freedom and artists like Sadé DuBoise, whose “Resistance” poster series contributed to Portland’s 2020 George Floyd protests. Without chronological constraints, the exhibition is grounded by the work of elder artists, intergenerational conversations, and live activation in the exhibition galleries.

Black Artists of Oregon builds upon exhibition curator Intisar Abioto’s original research since 2018 exploring the lineage and legacy of Black artists in Oregon. The exhibition will continue Abioto’s research, which is grounded in Black American practices of listening, keeping, and passing on each others’ stories.

“Far from isolated or ancillary, Black arts and cultural production in Oregon has been in conversation and interchange with the world, and a part of its arts and cultural movements, all this time,” says Abioto. “Black Artists of Oregon is a heralding of Black presence, interchange, influence, and impact.”

On view March 21, 2023 through Spring 2024
Art of the North Galleries, Third Floor, East Wing

Good Medicine brings together Indigenous healers and medicine people to collectively create, share knowledge, and practice in community. Unfolding over the course of a year with the work of different Alaska Native healers, this multi-disciplinary exhibition offers diverse opportunities for gathering and exchange.

Colonialism has attacked and suppressed medicine people and Indigenous knowledge systems for hundreds of years. This exhibition addresses harmful legacies and shows how the revitalization of healing practices and traditions provides ways of being in alignment with oneself, with community, and with our planet.

Curated by Tlingit traditional healer Meda DeWitt, Good Medicine emphasizes spiritual renewal, cultural renascence, and the importance of co-creating futures where nature can thrive.

Frank S. Matsura: Portraits from the Borderland features studio images by Washington-based Japanese photographer Frank Sakae Matsura (1873-1913) alongside period-specific American Indian regalia from the Columbia Plateau. Exploring Indigenous representation through a multi-dimensional lens, the photographs and objects on view detail some of Matsura’s most culturally significant work against a backdrop of regional transformation.

I paint from historical photographs of people; the majority of them had no name, no bio, no story left. Nothing. I feel they are kind of lost souls, spirit-ghosts. My painting is a memorial site for them.
—Hung Liu

Groundbreaking Chinese American artist Hung Liu (1948–2021) made highly narrative images that foregrounded workers, immigrants, refugees, women, children, and soldiers in haunting, incandescent portraits that mingle Chinese and Western artistic traditions. Liu was born in Changchun, China, and her childhood and youth coincided with one of the most tumultuous periods in Chinese history. After her arrival in San Diego, California, in 1984, Liu became one of the first Chinese artists to establish a career in the United States. Decades later, she would be justly celebrated for establishing novel frameworks for understanding visual art’s relationship to history by focusing on communities misrepresented and marginalized by official narratives.

Liu experienced political revolution, exile, and displacement before immigrating to the United States. She came of age during Mao Zedong’s Cultural Revolution (1966–76) and was consequently forced to labor in the fields in her early twenties. After studying art in Beijing, she left China to attend graduate school at the University of California, San Diego. There, the experimental tendencies of the students and faculty, most notably those of performance artist Allan Kaprow (1927–2006) and art historian Moira Roth (1933–2021), helped cultivate her conceptual approach to portraiture.

Featuring highly experimental painting, printing, and weaving techniques, Liu’s challenging yet accessible oeuvre has been aptly characterized by her husband, the art critic Jeff Kelley, as a species of “weeping realism.” Titled A Question of Hu, after China scholar Jonathan Spence’s 1988 book The Question of Hu, the exhibition reintroduces Liu’s remarkable art to the Pacific Northwest, while demonstrating—as few artistic oeuvres can—an expanded view of citizenship in an era of seismic change that is also fundamentally marked by evolving ideas of artistic solidarity and collaboration.

Snotty Nose Rez Kids Hot Planet Tour Dates and Locations.

Attention Halloween lovers!! Need some Spooky art? Nepantla Cultural Arts Gallery is proud to present their 1st Halloween themed art show!

Exhibition runs September 2nd-24th.
Gallery Hours: Thu-Sun 12pm-6pm

An anchor event for Converge 45’s citywide 2023 biennial, Social Forms: Art As Global Citizenship, the exhibition WE ARE THE REVOLUTION plumbs the depth of commitment of Jordan Schnitzer to the art of his time, while tapping into a living history of social expression through art in diverse media—from monumental paintings to free-standing sculpture to works on paper. Designed in part to explore ways in which the art of the past meets and affects the art of the present, the exhibition gives voice to art as both aesthetic experimentation and social commentary from the 1960s to today. Driven by the conviction that history is constructed through both continuity and discontinuity, the exhibition strives to establish unexpected juxtapositions and revealing connections among historical and contemporary artists and artworks.

Join Skagit Valley College and the MEXAM NW Festival at this community event. We will be celebrating the Independence Day of various Latin American countries (Mexico, Nicaragua, El Salvador, Honduras, Guatemala, Costa Rica, and Chile).

There will be food trucks, local product vendors, Mexican folk dance performances, mariachi music, live DJ, a resource and information fair, and community activities.

The official “El Grito” ceremony will be led by the Consul General of the Consulate of Mexico in Seattle, Héctor Iván Godoy Priske.

Native Action Network is proud to present the exhibition One With the Waters featuring artwork by Sarah Folden. A member of the Cowlitz Tribe, Sarah creates contemporary Coast Salish art inspired by her connection to place. Her work celebrates the vitality of Cowlitz people, their bold and colorful spirits, ancestral waters, animal relatives and all connected in nature. Cowlitz people are water-going people who refused to sign treaties with the federal government. This has created a diverse population. Over time many have traveled from their ancestral waters, some even across oceans, but much like our salmon relatives, there is an instinctive drive that calls Native people home. Sarah Folden’s artwork is created in honor of those still here, those who have made that voyage and those who are awakening to their internal calling to return.

Arts & the City Presents: 🎬

The renowned Mexican soprano Maria Reyna will give two unique and intimate concerts at Anxestral Gallery, as part of the “Orgullosa Soy Raíz” tour in the United States.

@mariareynasopranomixe

María Reyna and maestro Joaquín Garzón make up the “Opera Mixe” project, creating and recreating not only the original Mixe music, but also enriching it with fusions and ensembles of classical music, impressionism, bolero and jazz.

We invite community to join us in the Fall for workdays on the land, starting 9/15 – 11/19.

These workdays have been great opportunities for us to introduce ourselves to the land and to foster our relationships to it. Volunteers can help in a number of ways, like tending to Native plants, clearing invasive ones like ivy, envisioning futures, and getting the land ready for upcoming gatherings. We also invite you to help by just spending time on this site. Sit and relax by the trees and Mapes Creek, use our art supplies to create, help us collect & save seeds for gifts, or just take a moment from your week and spend time in greenspace.

Open to Native/BIPOC: Fridays, Sept 15 – Nov 19, from 2 – 6pm
Open to All: 1st Saturdays, October & November, from 11am – 3pm

Visit https://bit.ly/3qaL3AR or hit the link in our bio to register.

*Tools, a porta potty, limited drinking water, and light snacks will be provided. All ages and experience levels welcome. Note, our site does not have running water or power, and is unfortunately not yet ADA accessible. We can’t wait to see you on the land!

Chief Seattle Club is proud to present the fall exhibition in ʔálʔal Café featuring artwork by Naomi Parker. Naomi comes from the Makah, Yakama, and Chippewa/Cree people. Drawing on her intertribal ancestry, she uses oil paint on canvas to create scenes of far flung Native relations coming together at pow wow grounds and campsites. Through images of friendly faces and joyfully clasped hands, Naomi shows the power we have to create community wherever we gather.

We have 300 vendor spaces every weekend, and we accept ALL types of vendors 🤟🏽 we are currently seeking out sellers of:
•oddities and curiosities (taxidermy, preserved bugs, dolls, tarot, etc) 🪲
•indigenous arts n crafts 🪶
•woodwork crafts 🪚
•vintage items (clothing, decor, furniture, houseware) 📷
•plants 🪴
•food vendors who sell Asian, Ethiopian, Indian, vegan, Hawaiian, etc. 🍽️
Keep in mind, this isn’t ALL we’re looking for- it’s just at the top of our list! We are first come, first serve but if you’d like to learn more- just head on over to our website 🙂 and if you know anybody who’d be interested, share this with them- we’d greatly appreciate your help!

Dive deep into the stories and science that surround the magnificent orca, apex predator of all oceans.
Follow the currents of ecological activism, popular culture, and Indigenous beliefs to gain a new appreciation of these sophisticated animals, long feared in Western cultures as “Killer Whales.”
Orcas: Our Shared Future includes more than 100 original artifacts and specimens, featuring life-size Orca replicas, fossils, films, objects from popular culture, and original artwork from the Indigenous peoples of the North American west coast.
Discover the complex social structure of orca society and reflect on the surprising consequences of captivity. Learn which orca populations are thriving and which are at risk, and resurface with a new understanding of how orcas and humans are inextricably connected.

For many Native communities throughout the High Desert, what constitutes art spans beyond the walls of a gallery or a museum. Objects are alive, tied to purpose and intrinsic to thriving communities. Art is at once utilitarian and ceremonial, as well as part of the continuation of Native traditions.

Opening on January 28, 2023, Creations of Spirit will immerse High Desert Museum visitors in the Indigenous Plateau worldview, reflecting knowledge systems of tribes along the Columbia River and its tributaries.

Six Native artists commissioned for this new, original exhibition are creating artwork that will be used in Native communities before arriving at the Museum. A seventh artist is creating an interactive piece for the center of the gallery. Creations of Spirit will be a one-of-a-kind, celebratory experience featuring the stories of these living works of art. Videos, audio and large projections will immerse visitors in the landscapes and communities in which these objects are used, highlighting the theme of artwork as alive, full of stories and created for specific purposes and people. The original works will be supplemented with nine cultural items on loan from the Smithsonian’s National Museum of the American Indian in Washington, D.C.

The signing of Executive Order 9066 by President Franklin Roosevelt and the resulting mass incarceration of Japanese American families living on the West Coast is among the single most traumatic events in the history of Asian America, but many history books present an incomplete view of the full story. The truth is that this event did not happen in a vacuum nor did the people who lived this event do so quietly.
The exhibit leads visitors through a historical narrative beginning with the experience of Japanese American incarcerees in the 1940s and the complicated feelings of shame, anger, fear, and varied faces of resistance from within the community. Through the following decades, the story illustrates the generational trauma and cultural aftershocks of incarceration, while highlighting the lingering sense of injustice and awakening to justice movements at home and abroad. Fast forward to 2001 and beyond, the exhibit draws parallels between the stigmatization of Japanese Americans and modern-day anti-Muslim, anti-Arab, anti-Indigenous, anti-Black, and anti-immigrant policies. Visitors leave with a final prompt to consider: In the pursuit of justice, how will you show solidarity for movements today and into the future?
Through art, first-person accounts, historical material, and artifacts, this exhibit connects Japanese American resistance movements during the WWII era to modern BIPOC justice movements and activism today.

Explore the second run of this past exhibit with stories sourced from the local Burmese / Myanmar community. With the original exhibit run cut short due to our closure during the pandemic, we’ve taken the opportunity to update the exhibit to include new content covering the military coup that happened in February 2021.

SAM presents American Art: The Stories We Carry, a transformation of its American art galleries, created through a wide-ranging collaboration among SAM curators and staff, artists, and advisors from the Seattle community. Funded primarily by a $1 million grant from The Mellon Foundation and a $75,000 grant from the Terra Foundation for American Art, the project features work from SAM’s collection and new works and curation by contemporary artists, and it deepens the museum’s commitment to inclusive exhibition-planning practices with a shared-authorship model that reflects and responds to community knowledge.

Each new generation of artists responds to and builds on the art of earlier periods. Bringing together artworks that bridge decades, Reverberations seeks to spark a hum between historical works and those by artists working today. Organized in thematic groups, Reverberations introduces a different topic in each gallery, ranging from landscape and lyrical abstraction to the use of the body in addressing psychological, social, and political concerns. As you move through the modern and contemporary galleries, you will encounter harmonies and dissonance as younger artists stake their claim. In turn, works from earlier decades will acquire new meaning and new layers of relevance.

This installation draws from SAM’s growing collection and incorporates many works acquired in recent years, by artists including Margarita Cabrera, Dana Claxton, Senga Nengudi, Rashid Johnson, Woody De Othello, Jenny Saville, Sarah Sze, and Naama Tsabar. Many works are on view for the first time. Among the modern classics, viewers will find works by Francis Bacon, Alberto Giacometti, Franz Kline, Joan Mitchell, Mark Rothko, and David Smith on view. The museum’s ongoing commitment to building a collection with equity and diverse points of view can be seen when perusing the galleries.

Guillermo del Toro: Crafting Pinocchio is a celebration and exploration of the inventiveness, passion and artistic cooperation that goes into making a cinematic vision come to life. Now streaming on Netflix, the movie Guillermo del Toro’s Pinocchio was ten years in the making and conceived for international audiences of all ages. The film highlights the importance of nonconformity and the love and understanding passed between parents and children—and above all, showcases the incredible passion that del Toro, co-director Mark Gustafson, and their team bring to the art of stop-motion animation.

The Portland Art Museum’s presentation of Guillermo del Toro: Crafting Pinocchio will expand on the richness of the local stop-motion animation community by giving visitors a look inside the artists’ process. The exhibition and programs will give special attention to the talent and creative collaboration of the local cinematic animation artists at Shadow Machine—a renowned stop-motion animation studio based in Portland, Oregon.

Featuring the work of the Guma’ Gela’, a queer CHamoru art collective made up of members from the Marianas and in the diaspora. The exhibit explores their motto “part land, part sea, all ancestry” through a broad spectrum of media, including sculpture, soundscape, writing, printmaking, weaving, costume design, adornments, and more, to build a connection with CHamoru life, history, and traditions.

Do you ever wonder how Bruce Lee developed the philosophy behind his most iconic quote?

This incredible interactive exhibit invites viewers to step into the mind, body, and spirit of Bruce Lee to see how his unquenchable pursuit of knowledge informed his philosophy and life.

Follow Bruce’s path beginning with his revelations on water, through the wealth of knowledge found in his 2,800-book personal library, to his philosophy on self-understanding and self-expression.

The exhibition’s interactive technology interweaves beautiful imagery with Bruce’s personal objects and books to bring his journey to life.

What do late 18th- to 19th-century Edo (present-day Tokyo) and late 19th-century Paris have in common? This exhibition, which can only be seen in Seattle, uncovers the shared renegade spirit that characterized the graphic arts and social cultures of these two dynamic cities. On view are over 90 Japanese ukiyo-e woodblock prints and paintings from SAM’s Japanese collection alongside private loans of works by Henri de Toulouse-Lautrec (1864–1901).

In addition to the intriguing formal and thematic parallels between these two collections of graphic arts, the exhibition reveals the social impulses behind their burgeoning art production. As both cities faced challenges to the status quo from the rising middle classes, subversive impulses gave rise to vibrant cultures of theatregoing, pleasure seeking, and new forms of visual art.

Alaska World Arts is a meeting place for worldwide artists and audiences of all ages to share culture and ideas with Alaskans and the rest of the world through a variety of art forms reminding all of us of our capacity for love and generosity.
We offer live and virtual performances, workshops, classes, films, and discussions by artists from Alaska and around the world.
Thank you for being a part of our 2023 Alaska World Arts Festival.

Considering both the presence and absence of Black artists is critical to understanding the breadth of Black artistic production in Oregon—even in the midst of historic exclusion—as well as how the impact of that history affects our understanding of American art history and the history of the Pacific Northwest. This exhibition serves to deepen our awareness of the talented artists who have shaped and inspired artists regionally and nationally, and it will be the first of its kind to consider the work of Black artists collectively in Oregon.

Beginning in the 1880s and spanning through today, Black Artists of Oregon captures the Black diasporic experiences particular to the Pacific Northwest with 67 artists and over 200 objects. Artists represented in the exhibition will include Thelma Johnson Streat, Al Goldsby, Charlotte Lewis, Isaka Shamsud-Din, Ralph Chessé, Charles Tatum, Arvie Smith, Shedrich Williames, Harrison Branch, Bobby Fouther, and Carrie Mae Weems, among others. The exhibition and programming will also include the works of contemporary and younger artists working now, functioning as bright threads and offering intergenerational conversation throughout the exhibition, including sidony o’neal, Jeremy Okai Davis, damali ayo, Sharita Towne, Melanie Stevens, Lisa Jarrett, Tristan Irving, Ebin Lee, and Jaleesa Johnston.

Through the narrative flow of the exhibition, visitors will experience work by Black artists across decades and generations. Particular attention is given to the works of Black artists who were producing work during the Black Arts Movement of the late 1960s, ’70s, and early ’80s, such as Portland-based painter Isaka Shamsud-Din. The exhibition will also mark regional artistic connections with global movements for Black liberation, as seen in the work of Charlotte Lewis alongside Portlanders Organized for Southern African Freedom and artists like Sadé DuBoise, whose “Resistance” poster series contributed to Portland’s 2020 George Floyd protests. Without chronological constraints, the exhibition is grounded by the work of elder artists, intergenerational conversations, and live activation in the exhibition galleries.

Black Artists of Oregon builds upon exhibition curator Intisar Abioto’s original research since 2018 exploring the lineage and legacy of Black artists in Oregon. The exhibition will continue Abioto’s research, which is grounded in Black American practices of listening, keeping, and passing on each others’ stories.

“Far from isolated or ancillary, Black arts and cultural production in Oregon has been in conversation and interchange with the world, and a part of its arts and cultural movements, all this time,” says Abioto. “Black Artists of Oregon is a heralding of Black presence, interchange, influence, and impact.”

Fiestas Patrias will feature with Folklore Dance, Live music, Games, Prizes, Live Radio broadcasts from 99.3 La Grande, Artists, specialty vendors, tons of food vendors, Classic & Lowrider cars and 6 beautiful immersive exhibits brought to you by the Hispanic Business Association of Ruston and they’re sponsors like Point Defiance Zoo and Aquarium, Cinemark, Kia, SilverCloud Hotels of Ruston, La Grande and more.
Come dressed to represent Bring the entire family and come early and plan to stay all day!! You don’t want to miss this

On view March 21, 2023 through Spring 2024
Art of the North Galleries, Third Floor, East Wing

Good Medicine brings together Indigenous healers and medicine people to collectively create, share knowledge, and practice in community. Unfolding over the course of a year with the work of different Alaska Native healers, this multi-disciplinary exhibition offers diverse opportunities for gathering and exchange.

Colonialism has attacked and suppressed medicine people and Indigenous knowledge systems for hundreds of years. This exhibition addresses harmful legacies and shows how the revitalization of healing practices and traditions provides ways of being in alignment with oneself, with community, and with our planet.

Curated by Tlingit traditional healer Meda DeWitt, Good Medicine emphasizes spiritual renewal, cultural renascence, and the importance of co-creating futures where nature can thrive.

Frank S. Matsura: Portraits from the Borderland features studio images by Washington-based Japanese photographer Frank Sakae Matsura (1873-1913) alongside period-specific American Indian regalia from the Columbia Plateau. Exploring Indigenous representation through a multi-dimensional lens, the photographs and objects on view detail some of Matsura’s most culturally significant work against a backdrop of regional transformation.

The parade will be filled with music, folk dance, floats, as well as different representations of our culture.

This year’s parade theme is “Celebrating the Colors of Our Culture” to honor the beauty in our various skin tones and celebrate the vibrant colors of our clothing, spices, and food. We will also be appreciating the incredible colors found in our rivers, oceans, forests, and the countless colors of the animals in our natural environment, all blended together as one rich Latin culture.

The Polish Festival in Portland, Oregon is the oldest Polish festival in the western United States. Since 1993, the festival has celebrated Polish culture, traditions, and achievements.
Each year, the Polish Festival features authentic Polish food, live music and dance performances, exhibits about Polish history and culture, activities for children, polka contests, local merchants, and a beer garden.

I paint from historical photographs of people; the majority of them had no name, no bio, no story left. Nothing. I feel they are kind of lost souls, spirit-ghosts. My painting is a memorial site for them.
—Hung Liu

Groundbreaking Chinese American artist Hung Liu (1948–2021) made highly narrative images that foregrounded workers, immigrants, refugees, women, children, and soldiers in haunting, incandescent portraits that mingle Chinese and Western artistic traditions. Liu was born in Changchun, China, and her childhood and youth coincided with one of the most tumultuous periods in Chinese history. After her arrival in San Diego, California, in 1984, Liu became one of the first Chinese artists to establish a career in the United States. Decades later, she would be justly celebrated for establishing novel frameworks for understanding visual art’s relationship to history by focusing on communities misrepresented and marginalized by official narratives.

Liu experienced political revolution, exile, and displacement before immigrating to the United States. She came of age during Mao Zedong’s Cultural Revolution (1966–76) and was consequently forced to labor in the fields in her early twenties. After studying art in Beijing, she left China to attend graduate school at the University of California, San Diego. There, the experimental tendencies of the students and faculty, most notably those of performance artist Allan Kaprow (1927–2006) and art historian Moira Roth (1933–2021), helped cultivate her conceptual approach to portraiture.

Featuring highly experimental painting, printing, and weaving techniques, Liu’s challenging yet accessible oeuvre has been aptly characterized by her husband, the art critic Jeff Kelley, as a species of “weeping realism.” Titled A Question of Hu, after China scholar Jonathan Spence’s 1988 book The Question of Hu, the exhibition reintroduces Liu’s remarkable art to the Pacific Northwest, while demonstrating—as few artistic oeuvres can—an expanded view of citizenship in an era of seismic change that is also fundamentally marked by evolving ideas of artistic solidarity and collaboration.

Snotty Nose Rez Kids Hot Planet Tour Dates and Locations.

Attention Halloween lovers!! Need some Spooky art? Nepantla Cultural Arts Gallery is proud to present their 1st Halloween themed art show!

Exhibition runs September 2nd-24th.
Gallery Hours: Thu-Sun 12pm-6pm

An anchor event for Converge 45’s citywide 2023 biennial, Social Forms: Art As Global Citizenship, the exhibition WE ARE THE REVOLUTION plumbs the depth of commitment of Jordan Schnitzer to the art of his time, while tapping into a living history of social expression through art in diverse media—from monumental paintings to free-standing sculpture to works on paper. Designed in part to explore ways in which the art of the past meets and affects the art of the present, the exhibition gives voice to art as both aesthetic experimentation and social commentary from the 1960s to today. Driven by the conviction that history is constructed through both continuity and discontinuity, the exhibition strives to establish unexpected juxtapositions and revealing connections among historical and contemporary artists and artworks.

Are you ready to dance your style?! After 3 years away, NAYA’s 11th Annual Neerchokikoo Powwow is happening September 16th!
Join NAYA for Grand Entries at 1 p.m. and 6 p.m., with dancing, drumming, a fabulous Native Artisan Fair, and Fry Bread, and Specials that include a Women’s vs. Men’s Traditional Special that is open to all ages.

Join us for our 11th Anniversary Beacon Food Forest Harvest Fest!
September 16th from 1pm-5pm
Enjoy: Free Food, Cider Press featuring BFF apples, Kids Art, Craft Fair, Adopt a Tree & More!
A fun live music performance by Lonely Parrots of the Music on Regenerative Farms initiative: https://www.morf-initiative.org/
BFF is on the SW side of Jefferson Park in Seattle. Whether it will be your 1st visit to BFF or your 100th visit, we are glad you’re part of our community!

It’s back-to-school time! We’re kicking off a new year of Y-WE programs with our Open House next Saturday, 9/16! All young people, families, community partners, and friends are welcome to join us for this free event, so let your people know! 📢 Learn more about Y-WE and get to know the community with food and fun activities. No RSVP required – see you there!

Mark your calendars for the annual El Grito Community Festival, Sep 16, 2023, at Shute Park, from 2:00 PM to 7:00 PM.
Centro Cultural is honored to host this event, presented by the City of Hillsboro. This family-friendly event will feature mariachi, and ballet folklorico performances, Latin American gastronomy, artisanal vendors, a car show, community resources, and much more.

Cool down with API Chaya at thier Halo Halo Community Mixer on September 16, 2-6pm at Jefferson Park! This event will feature cultural performances, family friendly activities and food vendors, along with the chance to get to know API Chaya staff and programs. Admission is FREE!

Join Latinos En Spokane for a day of cultural celebration honoring Mexican Independence Day! They have cultural activities, local vendors, delicous Mexican street food, bands, folklore dancers, and Danza Azteca!, Saturday, Sep 16th from 2-11pm at Riverfront Pavilion!

Honoring Supporters, an evening of gratitude and celebration of the partners, supporters, and friends that make UIATF’s work possible.
Doors will open at 5:00pm for appetizers, refreshments, and a self-guided viewing of the art and information displayed at Daybreak Star.

This year Mt. Hood Unida live music from the wonderful band @losnuevospalomitos, a community dinner, raffles and lots of fun! Our friends from @camparrahwanna are welcoming us back to the dining room and we can’t wait to see you all!

Sea Mar Fiestas Patrias commemorates the independence of Latin American countries, many of which celebrate their national independence day in the month of September.

Sea Mar began organizing Sea Mar Fiestas Patrias over twenty years ago in the South Park neighborhood of Seattle. Sea Mar expanded the celebration to the Seattle Center, where a large festival is organized with a variety of fun activities for all ages to enjoy, celebrating Latin culture.

The theme of the 2023 Fiestas Patrias is “Celebrating the Colors of Our Culture,” which showcases the diversity within the Latinx community in the state of Washington.

The event will celebrate diversity through food, art, music, dance, and traditions. The purpose of the event is for all attendees to enjoy a day of community learning and embrace the diversity of the Latinx community living in the state of Washington.

Heritage University invites you to the cultural celebration of El Grito de Independencia. There will be fun for the whole family, loteria, children’s games, food, refreshments, popsicles, cultural dances, and informational resources for the community. Don’t miss out!

Native Action Network is proud to present the exhibition One With the Waters featuring artwork by Sarah Folden. A member of the Cowlitz Tribe, Sarah creates contemporary Coast Salish art inspired by her connection to place. Her work celebrates the vitality of Cowlitz people, their bold and colorful spirits, ancestral waters, animal relatives and all connected in nature. Cowlitz people are water-going people who refused to sign treaties with the federal government. This has created a diverse population. Over time many have traveled from their ancestral waters, some even across oceans, but much like our salmon relatives, there is an instinctive drive that calls Native people home. Sarah Folden’s artwork is created in honor of those still here, those who have made that voyage and those who are awakening to their internal calling to return.

Arts & the City Presents: 🎬

The renowned Mexican soprano Maria Reyna will give two unique and intimate concerts at Anxestral Gallery, as part of the “Orgullosa Soy Raíz” tour in the United States.

@mariareynasopranomixe

María Reyna and maestro Joaquín Garzón make up the “Opera Mixe” project, creating and recreating not only the original Mixe music, but also enriching it with fusions and ensembles of classical music, impressionism, bolero and jazz.

Queer LiberAsian is the nation’s only queer Asian performing arts showcase and nightlife party where 100% of event proceeds at every show ALWAYS go directly into mutual aid funds to support local community organizations dedicated to fighting for the liberation of queer peoples of color. More than a party, more than a show, we are a home for the community to further the fight toward our liberation. Queer LiberAsian has raised over $20,000 in the last five years for organizations such as Pride ASIA, the Asian Migrant Worker Fund via the Sex Worker Outreach Project of LA, the Marsha P. Johnson Institute, and more.

We invite community to join us in the Fall for workdays on the land, starting 9/15 – 11/19.

These workdays have been great opportunities for us to introduce ourselves to the land and to foster our relationships to it. Volunteers can help in a number of ways, like tending to Native plants, clearing invasive ones like ivy, envisioning futures, and getting the land ready for upcoming gatherings. We also invite you to help by just spending time on this site. Sit and relax by the trees and Mapes Creek, use our art supplies to create, help us collect & save seeds for gifts, or just take a moment from your week and spend time in greenspace.

Open to Native/BIPOC: Fridays, Sept 15 – Nov 19, from 2 – 6pm
Open to All: 1st Saturdays, October & November, from 11am – 3pm

Visit https://bit.ly/3qaL3AR or hit the link in our bio to register.

*Tools, a porta potty, limited drinking water, and light snacks will be provided. All ages and experience levels welcome. Note, our site does not have running water or power, and is unfortunately not yet ADA accessible. We can’t wait to see you on the land!

Chief Seattle Club is proud to present the fall exhibition in ʔálʔal Café featuring artwork by Naomi Parker. Naomi comes from the Makah, Yakama, and Chippewa/Cree people. Drawing on her intertribal ancestry, she uses oil paint on canvas to create scenes of far flung Native relations coming together at pow wow grounds and campsites. Through images of friendly faces and joyfully clasped hands, Naomi shows the power we have to create community wherever we gather.

We have 300 vendor spaces every weekend, and we accept ALL types of vendors 🤟🏽 we are currently seeking out sellers of:
•oddities and curiosities (taxidermy, preserved bugs, dolls, tarot, etc) 🪲
•indigenous arts n crafts 🪶
•woodwork crafts 🪚
•vintage items (clothing, decor, furniture, houseware) 📷
•plants 🪴
•food vendors who sell Asian, Ethiopian, Indian, vegan, Hawaiian, etc. 🍽️
Keep in mind, this isn’t ALL we’re looking for- it’s just at the top of our list! We are first come, first serve but if you’d like to learn more- just head on over to our website 🙂 and if you know anybody who’d be interested, share this with them- we’d greatly appreciate your help!

Dive deep into the stories and science that surround the magnificent orca, apex predator of all oceans.
Follow the currents of ecological activism, popular culture, and Indigenous beliefs to gain a new appreciation of these sophisticated animals, long feared in Western cultures as “Killer Whales.”
Orcas: Our Shared Future includes more than 100 original artifacts and specimens, featuring life-size Orca replicas, fossils, films, objects from popular culture, and original artwork from the Indigenous peoples of the North American west coast.
Discover the complex social structure of orca society and reflect on the surprising consequences of captivity. Learn which orca populations are thriving and which are at risk, and resurface with a new understanding of how orcas and humans are inextricably connected.

For many Native communities throughout the High Desert, what constitutes art spans beyond the walls of a gallery or a museum. Objects are alive, tied to purpose and intrinsic to thriving communities. Art is at once utilitarian and ceremonial, as well as part of the continuation of Native traditions.

Opening on January 28, 2023, Creations of Spirit will immerse High Desert Museum visitors in the Indigenous Plateau worldview, reflecting knowledge systems of tribes along the Columbia River and its tributaries.

Six Native artists commissioned for this new, original exhibition are creating artwork that will be used in Native communities before arriving at the Museum. A seventh artist is creating an interactive piece for the center of the gallery. Creations of Spirit will be a one-of-a-kind, celebratory experience featuring the stories of these living works of art. Videos, audio and large projections will immerse visitors in the landscapes and communities in which these objects are used, highlighting the theme of artwork as alive, full of stories and created for specific purposes and people. The original works will be supplemented with nine cultural items on loan from the Smithsonian’s National Museum of the American Indian in Washington, D.C.

The signing of Executive Order 9066 by President Franklin Roosevelt and the resulting mass incarceration of Japanese American families living on the West Coast is among the single most traumatic events in the history of Asian America, but many history books present an incomplete view of the full story. The truth is that this event did not happen in a vacuum nor did the people who lived this event do so quietly.
The exhibit leads visitors through a historical narrative beginning with the experience of Japanese American incarcerees in the 1940s and the complicated feelings of shame, anger, fear, and varied faces of resistance from within the community. Through the following decades, the story illustrates the generational trauma and cultural aftershocks of incarceration, while highlighting the lingering sense of injustice and awakening to justice movements at home and abroad. Fast forward to 2001 and beyond, the exhibit draws parallels between the stigmatization of Japanese Americans and modern-day anti-Muslim, anti-Arab, anti-Indigenous, anti-Black, and anti-immigrant policies. Visitors leave with a final prompt to consider: In the pursuit of justice, how will you show solidarity for movements today and into the future?
Through art, first-person accounts, historical material, and artifacts, this exhibit connects Japanese American resistance movements during the WWII era to modern BIPOC justice movements and activism today.

Explore the second run of this past exhibit with stories sourced from the local Burmese / Myanmar community. With the original exhibit run cut short due to our closure during the pandemic, we’ve taken the opportunity to update the exhibit to include new content covering the military coup that happened in February 2021.

SAM presents American Art: The Stories We Carry, a transformation of its American art galleries, created through a wide-ranging collaboration among SAM curators and staff, artists, and advisors from the Seattle community. Funded primarily by a $1 million grant from The Mellon Foundation and a $75,000 grant from the Terra Foundation for American Art, the project features work from SAM’s collection and new works and curation by contemporary artists, and it deepens the museum’s commitment to inclusive exhibition-planning practices with a shared-authorship model that reflects and responds to community knowledge.

Each new generation of artists responds to and builds on the art of earlier periods. Bringing together artworks that bridge decades, Reverberations seeks to spark a hum between historical works and those by artists working today. Organized in thematic groups, Reverberations introduces a different topic in each gallery, ranging from landscape and lyrical abstraction to the use of the body in addressing psychological, social, and political concerns. As you move through the modern and contemporary galleries, you will encounter harmonies and dissonance as younger artists stake their claim. In turn, works from earlier decades will acquire new meaning and new layers of relevance.

This installation draws from SAM’s growing collection and incorporates many works acquired in recent years, by artists including Margarita Cabrera, Dana Claxton, Senga Nengudi, Rashid Johnson, Woody De Othello, Jenny Saville, Sarah Sze, and Naama Tsabar. Many works are on view for the first time. Among the modern classics, viewers will find works by Francis Bacon, Alberto Giacometti, Franz Kline, Joan Mitchell, Mark Rothko, and David Smith on view. The museum’s ongoing commitment to building a collection with equity and diverse points of view can be seen when perusing the galleries.

Guillermo del Toro: Crafting Pinocchio is a celebration and exploration of the inventiveness, passion and artistic cooperation that goes into making a cinematic vision come to life. Now streaming on Netflix, the movie Guillermo del Toro’s Pinocchio was ten years in the making and conceived for international audiences of all ages. The film highlights the importance of nonconformity and the love and understanding passed between parents and children—and above all, showcases the incredible passion that del Toro, co-director Mark Gustafson, and their team bring to the art of stop-motion animation.

The Portland Art Museum’s presentation of Guillermo del Toro: Crafting Pinocchio will expand on the richness of the local stop-motion animation community by giving visitors a look inside the artists’ process. The exhibition and programs will give special attention to the talent and creative collaboration of the local cinematic animation artists at Shadow Machine—a renowned stop-motion animation studio based in Portland, Oregon.

Featuring the work of the Guma’ Gela’, a queer CHamoru art collective made up of members from the Marianas and in the diaspora. The exhibit explores their motto “part land, part sea, all ancestry” through a broad spectrum of media, including sculpture, soundscape, writing, printmaking, weaving, costume design, adornments, and more, to build a connection with CHamoru life, history, and traditions.

Do you ever wonder how Bruce Lee developed the philosophy behind his most iconic quote?

This incredible interactive exhibit invites viewers to step into the mind, body, and spirit of Bruce Lee to see how his unquenchable pursuit of knowledge informed his philosophy and life.

Follow Bruce’s path beginning with his revelations on water, through the wealth of knowledge found in his 2,800-book personal library, to his philosophy on self-understanding and self-expression.

The exhibition’s interactive technology interweaves beautiful imagery with Bruce’s personal objects and books to bring his journey to life.

What do late 18th- to 19th-century Edo (present-day Tokyo) and late 19th-century Paris have in common? This exhibition, which can only be seen in Seattle, uncovers the shared renegade spirit that characterized the graphic arts and social cultures of these two dynamic cities. On view are over 90 Japanese ukiyo-e woodblock prints and paintings from SAM’s Japanese collection alongside private loans of works by Henri de Toulouse-Lautrec (1864–1901).

In addition to the intriguing formal and thematic parallels between these two collections of graphic arts, the exhibition reveals the social impulses behind their burgeoning art production. As both cities faced challenges to the status quo from the rising middle classes, subversive impulses gave rise to vibrant cultures of theatregoing, pleasure seeking, and new forms of visual art.

Alaska World Arts is a meeting place for worldwide artists and audiences of all ages to share culture and ideas with Alaskans and the rest of the world through a variety of art forms reminding all of us of our capacity for love and generosity.
We offer live and virtual performances, workshops, classes, films, and discussions by artists from Alaska and around the world.
Thank you for being a part of our 2023 Alaska World Arts Festival.

Considering both the presence and absence of Black artists is critical to understanding the breadth of Black artistic production in Oregon—even in the midst of historic exclusion—as well as how the impact of that history affects our understanding of American art history and the history of the Pacific Northwest. This exhibition serves to deepen our awareness of the talented artists who have shaped and inspired artists regionally and nationally, and it will be the first of its kind to consider the work of Black artists collectively in Oregon.

Beginning in the 1880s and spanning through today, Black Artists of Oregon captures the Black diasporic experiences particular to the Pacific Northwest with 67 artists and over 200 objects. Artists represented in the exhibition will include Thelma Johnson Streat, Al Goldsby, Charlotte Lewis, Isaka Shamsud-Din, Ralph Chessé, Charles Tatum, Arvie Smith, Shedrich Williames, Harrison Branch, Bobby Fouther, and Carrie Mae Weems, among others. The exhibition and programming will also include the works of contemporary and younger artists working now, functioning as bright threads and offering intergenerational conversation throughout the exhibition, including sidony o’neal, Jeremy Okai Davis, damali ayo, Sharita Towne, Melanie Stevens, Lisa Jarrett, Tristan Irving, Ebin Lee, and Jaleesa Johnston.

Through the narrative flow of the exhibition, visitors will experience work by Black artists across decades and generations. Particular attention is given to the works of Black artists who were producing work during the Black Arts Movement of the late 1960s, ’70s, and early ’80s, such as Portland-based painter Isaka Shamsud-Din. The exhibition will also mark regional artistic connections with global movements for Black liberation, as seen in the work of Charlotte Lewis alongside Portlanders Organized for Southern African Freedom and artists like Sadé DuBoise, whose “Resistance” poster series contributed to Portland’s 2020 George Floyd protests. Without chronological constraints, the exhibition is grounded by the work of elder artists, intergenerational conversations, and live activation in the exhibition galleries.

Black Artists of Oregon builds upon exhibition curator Intisar Abioto’s original research since 2018 exploring the lineage and legacy of Black artists in Oregon. The exhibition will continue Abioto’s research, which is grounded in Black American practices of listening, keeping, and passing on each others’ stories.

“Far from isolated or ancillary, Black arts and cultural production in Oregon has been in conversation and interchange with the world, and a part of its arts and cultural movements, all this time,” says Abioto. “Black Artists of Oregon is a heralding of Black presence, interchange, influence, and impact.”

On view March 21, 2023 through Spring 2024
Art of the North Galleries, Third Floor, East Wing

Good Medicine brings together Indigenous healers and medicine people to collectively create, share knowledge, and practice in community. Unfolding over the course of a year with the work of different Alaska Native healers, this multi-disciplinary exhibition offers diverse opportunities for gathering and exchange.

Colonialism has attacked and suppressed medicine people and Indigenous knowledge systems for hundreds of years. This exhibition addresses harmful legacies and shows how the revitalization of healing practices and traditions provides ways of being in alignment with oneself, with community, and with our planet.

Curated by Tlingit traditional healer Meda DeWitt, Good Medicine emphasizes spiritual renewal, cultural renascence, and the importance of co-creating futures where nature can thrive.

Frank S. Matsura: Portraits from the Borderland features studio images by Washington-based Japanese photographer Frank Sakae Matsura (1873-1913) alongside period-specific American Indian regalia from the Columbia Plateau. Exploring Indigenous representation through a multi-dimensional lens, the photographs and objects on view detail some of Matsura’s most culturally significant work against a backdrop of regional transformation.

The Polish Festival in Portland, Oregon is the oldest Polish festival in the western United States. Since 1993, the festival has celebrated Polish culture, traditions, and achievements.
Each year, the Polish Festival features authentic Polish food, live music and dance performances, exhibits about Polish history and culture, activities for children, polka contests, local merchants, and a beer garden.

I paint from historical photographs of people; the majority of them had no name, no bio, no story left. Nothing. I feel they are kind of lost souls, spirit-ghosts. My painting is a memorial site for them.
—Hung Liu

Groundbreaking Chinese American artist Hung Liu (1948–2021) made highly narrative images that foregrounded workers, immigrants, refugees, women, children, and soldiers in haunting, incandescent portraits that mingle Chinese and Western artistic traditions. Liu was born in Changchun, China, and her childhood and youth coincided with one of the most tumultuous periods in Chinese history. After her arrival in San Diego, California, in 1984, Liu became one of the first Chinese artists to establish a career in the United States. Decades later, she would be justly celebrated for establishing novel frameworks for understanding visual art’s relationship to history by focusing on communities misrepresented and marginalized by official narratives.

Liu experienced political revolution, exile, and displacement before immigrating to the United States. She came of age during Mao Zedong’s Cultural Revolution (1966–76) and was consequently forced to labor in the fields in her early twenties. After studying art in Beijing, she left China to attend graduate school at the University of California, San Diego. There, the experimental tendencies of the students and faculty, most notably those of performance artist Allan Kaprow (1927–2006) and art historian Moira Roth (1933–2021), helped cultivate her conceptual approach to portraiture.

Featuring highly experimental painting, printing, and weaving techniques, Liu’s challenging yet accessible oeuvre has been aptly characterized by her husband, the art critic Jeff Kelley, as a species of “weeping realism.” Titled A Question of Hu, after China scholar Jonathan Spence’s 1988 book The Question of Hu, the exhibition reintroduces Liu’s remarkable art to the Pacific Northwest, while demonstrating—as few artistic oeuvres can—an expanded view of citizenship in an era of seismic change that is also fundamentally marked by evolving ideas of artistic solidarity and collaboration.

Snotty Nose Rez Kids Hot Planet Tour Dates and Locations.

Attention Halloween lovers!! Need some Spooky art? Nepantla Cultural Arts Gallery is proud to present their 1st Halloween themed art show!

Exhibition runs September 2nd-24th.
Gallery Hours: Thu-Sun 12pm-6pm

Seattle’s waterfront is a place filled with history and stories. It’s where the Duwamish, Suquamish, Stillaguamish, and Muckleshoot People have resided since time immemorial. It’s also a place where people throughout history have found the conditions to build new lives and foster community. It’s been the setting of some of Seattle’s darkest moments of xenophobia and exclusion, but there are even more stories of solidarity and resilience in the face of oppression.

Join us as we shine a light on the diversity of stories and perspectives of Seattle’s waterfront through live storytelling, poetry, dance, and an onsite “History Portal” that will feature multimedia stories showcasing the diverse histories and perspectives of Seattle’s waterfront.

An anchor event for Converge 45’s citywide 2023 biennial, Social Forms: Art As Global Citizenship, the exhibition WE ARE THE REVOLUTION plumbs the depth of commitment of Jordan Schnitzer to the art of his time, while tapping into a living history of social expression through art in diverse media—from monumental paintings to free-standing sculpture to works on paper. Designed in part to explore ways in which the art of the past meets and affects the art of the present, the exhibition gives voice to art as both aesthetic experimentation and social commentary from the 1960s to today. Driven by the conviction that history is constructed through both continuity and discontinuity, the exhibition strives to establish unexpected juxtapositions and revealing connections among historical and contemporary artists and artworks.

Let’s celebrate our traditions next Sunday, September 17, accompanied by music, dance and delicious traditional Mexican food! Register at: https://givebutter.com/ElGrito2023

Mexam NW Festival, Orquesta Northwest, the Consulate of Mexico in Seattle and Town Hall Seattle invite to “El Grito” concert. A Mexican fiesta with unparalleled cultural and historical value!

1PM Pre-Show: Floreador (lazo artist) and Danzantes Aztecas “CeAtl Tonalli” at the Plaza
2PM Official “El Grito” Ceremony and performance by the Ballard Civic Orchestra at the Wyncote NW Forum by Maria Reyna and Joaquin Garzon.
3PM Post-Show at The Forum with Mariachi music by Mariachi Guadalajara, Trio Guadalevin and Los Bailadores de Bronce.
This 2023, we continue to celebrate the 200th anniversary of the diplomatic relationship between Mexico and the United States, in which the “El Grito” concert represents the bond between these two great nations, highlighting the amazing mix of cultures that has given luster to our history together.

Come and join the Washington State Fair Fiestas Patrias and MEXAM NW Festival for a full day event at one of the largest fairs in the United States. Come and celebrate Mexican culture and arts, with entertainment and fun for the whole family. Enjoy a fabulous variety of entertainment ranging from traditional mariachis to colorful folkloric dancers, authentic food, rides, games, exhibits, shopping galore, and as always all the traditional fun with animals.

Come and celebrate the Hispanic Heritage Month, Mexican Independence Day and Filipino Heritage Month.
Enjoy live performances, including Quiero Flamenco, Ballet Folklórico de Spokane and FAAIE Silangan Dancers. Enjoy Mexican and Filipino art, food and desserts for sale and Mexican, Filipino and Spanish beers and wines.

Since 1993, Oregon Black Pioneers exhibitions, events and programs, and other collaborations have helped illuminate the seldom-told history of people of African descent in Oregon.

They hope you will join them for first in-person fundraising event since 2019, where they will highlight the work that has been done, share the opportunities ahead, and ask for your support to power them into our fourth decade.

Sea Mar Fiestas Patrias commemorates the independence of Latin American countries, many of which celebrate their national independence day in the month of September.

Sea Mar began organizing Sea Mar Fiestas Patrias over twenty years ago in the South Park neighborhood of Seattle. Sea Mar expanded the celebration to the Seattle Center, where a large festival is organized with a variety of fun activities for all ages to enjoy, celebrating Latin culture.

The theme of the 2023 Fiestas Patrias is “Celebrating the Colors of Our Culture,” which showcases the diversity within the Latinx community in the state of Washington.

The event will celebrate diversity through food, art, music, dance, and traditions. The purpose of the event is for all attendees to enjoy a day of community learning and embrace the diversity of the Latinx community living in the state of Washington.

Native Action Network is proud to present the exhibition One With the Waters featuring artwork by Sarah Folden. A member of the Cowlitz Tribe, Sarah creates contemporary Coast Salish art inspired by her connection to place. Her work celebrates the vitality of Cowlitz people, their bold and colorful spirits, ancestral waters, animal relatives and all connected in nature. Cowlitz people are water-going people who refused to sign treaties with the federal government. This has created a diverse population. Over time many have traveled from their ancestral waters, some even across oceans, but much like our salmon relatives, there is an instinctive drive that calls Native people home. Sarah Folden’s artwork is created in honor of those still here, those who have made that voyage and those who are awakening to their internal calling to return.

We invite community to join us in the Fall for workdays on the land, starting 9/15 – 11/19.

These workdays have been great opportunities for us to introduce ourselves to the land and to foster our relationships to it. Volunteers can help in a number of ways, like tending to Native plants, clearing invasive ones like ivy, envisioning futures, and getting the land ready for upcoming gatherings. We also invite you to help by just spending time on this site. Sit and relax by the trees and Mapes Creek, use our art supplies to create, help us collect & save seeds for gifts, or just take a moment from your week and spend time in greenspace.

Open to Native/BIPOC: Fridays, Sept 15 – Nov 19, from 2 – 6pm
Open to All: 1st Saturdays, October & November, from 11am – 3pm

Visit https://bit.ly/3qaL3AR or hit the link in our bio to register.

*Tools, a porta potty, limited drinking water, and light snacks will be provided. All ages and experience levels welcome. Note, our site does not have running water or power, and is unfortunately not yet ADA accessible. We can’t wait to see you on the land!

Chief Seattle Club is proud to present the fall exhibition in ʔálʔal Café featuring artwork by Naomi Parker. Naomi comes from the Makah, Yakama, and Chippewa/Cree people. Drawing on her intertribal ancestry, she uses oil paint on canvas to create scenes of far flung Native relations coming together at pow wow grounds and campsites. Through images of friendly faces and joyfully clasped hands, Naomi shows the power we have to create community wherever we gather.

Dive deep into the stories and science that surround the magnificent orca, apex predator of all oceans.
Follow the currents of ecological activism, popular culture, and Indigenous beliefs to gain a new appreciation of these sophisticated animals, long feared in Western cultures as “Killer Whales.”
Orcas: Our Shared Future includes more than 100 original artifacts and specimens, featuring life-size Orca replicas, fossils, films, objects from popular culture, and original artwork from the Indigenous peoples of the North American west coast.
Discover the complex social structure of orca society and reflect on the surprising consequences of captivity. Learn which orca populations are thriving and which are at risk, and resurface with a new understanding of how orcas and humans are inextricably connected.

For many Native communities throughout the High Desert, what constitutes art spans beyond the walls of a gallery or a museum. Objects are alive, tied to purpose and intrinsic to thriving communities. Art is at once utilitarian and ceremonial, as well as part of the continuation of Native traditions.

Opening on January 28, 2023, Creations of Spirit will immerse High Desert Museum visitors in the Indigenous Plateau worldview, reflecting knowledge systems of tribes along the Columbia River and its tributaries.

Six Native artists commissioned for this new, original exhibition are creating artwork that will be used in Native communities before arriving at the Museum. A seventh artist is creating an interactive piece for the center of the gallery. Creations of Spirit will be a one-of-a-kind, celebratory experience featuring the stories of these living works of art. Videos, audio and large projections will immerse visitors in the landscapes and communities in which these objects are used, highlighting the theme of artwork as alive, full of stories and created for specific purposes and people. The original works will be supplemented with nine cultural items on loan from the Smithsonian’s National Museum of the American Indian in Washington, D.C.

The signing of Executive Order 9066 by President Franklin Roosevelt and the resulting mass incarceration of Japanese American families living on the West Coast is among the single most traumatic events in the history of Asian America, but many history books present an incomplete view of the full story. The truth is that this event did not happen in a vacuum nor did the people who lived this event do so quietly.
The exhibit leads visitors through a historical narrative beginning with the experience of Japanese American incarcerees in the 1940s and the complicated feelings of shame, anger, fear, and varied faces of resistance from within the community. Through the following decades, the story illustrates the generational trauma and cultural aftershocks of incarceration, while highlighting the lingering sense of injustice and awakening to justice movements at home and abroad. Fast forward to 2001 and beyond, the exhibit draws parallels between the stigmatization of Japanese Americans and modern-day anti-Muslim, anti-Arab, anti-Indigenous, anti-Black, and anti-immigrant policies. Visitors leave with a final prompt to consider: In the pursuit of justice, how will you show solidarity for movements today and into the future?
Through art, first-person accounts, historical material, and artifacts, this exhibit connects Japanese American resistance movements during the WWII era to modern BIPOC justice movements and activism today.

Explore the second run of this past exhibit with stories sourced from the local Burmese / Myanmar community. With the original exhibit run cut short due to our closure during the pandemic, we’ve taken the opportunity to update the exhibit to include new content covering the military coup that happened in February 2021.

SAM presents American Art: The Stories We Carry, a transformation of its American art galleries, created through a wide-ranging collaboration among SAM curators and staff, artists, and advisors from the Seattle community. Funded primarily by a $1 million grant from The Mellon Foundation and a $75,000 grant from the Terra Foundation for American Art, the project features work from SAM’s collection and new works and curation by contemporary artists, and it deepens the museum’s commitment to inclusive exhibition-planning practices with a shared-authorship model that reflects and responds to community knowledge.

Each new generation of artists responds to and builds on the art of earlier periods. Bringing together artworks that bridge decades, Reverberations seeks to spark a hum between historical works and those by artists working today. Organized in thematic groups, Reverberations introduces a different topic in each gallery, ranging from landscape and lyrical abstraction to the use of the body in addressing psychological, social, and political concerns. As you move through the modern and contemporary galleries, you will encounter harmonies and dissonance as younger artists stake their claim. In turn, works from earlier decades will acquire new meaning and new layers of relevance.

This installation draws from SAM’s growing collection and incorporates many works acquired in recent years, by artists including Margarita Cabrera, Dana Claxton, Senga Nengudi, Rashid Johnson, Woody De Othello, Jenny Saville, Sarah Sze, and Naama Tsabar. Many works are on view for the first time. Among the modern classics, viewers will find works by Francis Bacon, Alberto Giacometti, Franz Kline, Joan Mitchell, Mark Rothko, and David Smith on view. The museum’s ongoing commitment to building a collection with equity and diverse points of view can be seen when perusing the galleries.

Featuring the work of the Guma’ Gela’, a queer CHamoru art collective made up of members from the Marianas and in the diaspora. The exhibit explores their motto “part land, part sea, all ancestry” through a broad spectrum of media, including sculpture, soundscape, writing, printmaking, weaving, costume design, adornments, and more, to build a connection with CHamoru life, history, and traditions.

Do you ever wonder how Bruce Lee developed the philosophy behind his most iconic quote?

This incredible interactive exhibit invites viewers to step into the mind, body, and spirit of Bruce Lee to see how his unquenchable pursuit of knowledge informed his philosophy and life.

Follow Bruce’s path beginning with his revelations on water, through the wealth of knowledge found in his 2,800-book personal library, to his philosophy on self-understanding and self-expression.

The exhibition’s interactive technology interweaves beautiful imagery with Bruce’s personal objects and books to bring his journey to life.

What do late 18th- to 19th-century Edo (present-day Tokyo) and late 19th-century Paris have in common? This exhibition, which can only be seen in Seattle, uncovers the shared renegade spirit that characterized the graphic arts and social cultures of these two dynamic cities. On view are over 90 Japanese ukiyo-e woodblock prints and paintings from SAM’s Japanese collection alongside private loans of works by Henri de Toulouse-Lautrec (1864–1901).

In addition to the intriguing formal and thematic parallels between these two collections of graphic arts, the exhibition reveals the social impulses behind their burgeoning art production. As both cities faced challenges to the status quo from the rising middle classes, subversive impulses gave rise to vibrant cultures of theatregoing, pleasure seeking, and new forms of visual art.

Alaska World Arts is a meeting place for worldwide artists and audiences of all ages to share culture and ideas with Alaskans and the rest of the world through a variety of art forms reminding all of us of our capacity for love and generosity.
We offer live and virtual performances, workshops, classes, films, and discussions by artists from Alaska and around the world.
Thank you for being a part of our 2023 Alaska World Arts Festival.

Considering both the presence and absence of Black artists is critical to understanding the breadth of Black artistic production in Oregon—even in the midst of historic exclusion—as well as how the impact of that history affects our understanding of American art history and the history of the Pacific Northwest. This exhibition serves to deepen our awareness of the talented artists who have shaped and inspired artists regionally and nationally, and it will be the first of its kind to consider the work of Black artists collectively in Oregon.

Beginning in the 1880s and spanning through today, Black Artists of Oregon captures the Black diasporic experiences particular to the Pacific Northwest with 67 artists and over 200 objects. Artists represented in the exhibition will include Thelma Johnson Streat, Al Goldsby, Charlotte Lewis, Isaka Shamsud-Din, Ralph Chessé, Charles Tatum, Arvie Smith, Shedrich Williames, Harrison Branch, Bobby Fouther, and Carrie Mae Weems, among others. The exhibition and programming will also include the works of contemporary and younger artists working now, functioning as bright threads and offering intergenerational conversation throughout the exhibition, including sidony o’neal, Jeremy Okai Davis, damali ayo, Sharita Towne, Melanie Stevens, Lisa Jarrett, Tristan Irving, Ebin Lee, and Jaleesa Johnston.

Through the narrative flow of the exhibition, visitors will experience work by Black artists across decades and generations. Particular attention is given to the works of Black artists who were producing work during the Black Arts Movement of the late 1960s, ’70s, and early ’80s, such as Portland-based painter Isaka Shamsud-Din. The exhibition will also mark regional artistic connections with global movements for Black liberation, as seen in the work of Charlotte Lewis alongside Portlanders Organized for Southern African Freedom and artists like Sadé DuBoise, whose “Resistance” poster series contributed to Portland’s 2020 George Floyd protests. Without chronological constraints, the exhibition is grounded by the work of elder artists, intergenerational conversations, and live activation in the exhibition galleries.

Black Artists of Oregon builds upon exhibition curator Intisar Abioto’s original research since 2018 exploring the lineage and legacy of Black artists in Oregon. The exhibition will continue Abioto’s research, which is grounded in Black American practices of listening, keeping, and passing on each others’ stories.

“Far from isolated or ancillary, Black arts and cultural production in Oregon has been in conversation and interchange with the world, and a part of its arts and cultural movements, all this time,” says Abioto. “Black Artists of Oregon is a heralding of Black presence, interchange, influence, and impact.”

On view March 21, 2023 through Spring 2024
Art of the North Galleries, Third Floor, East Wing

Good Medicine brings together Indigenous healers and medicine people to collectively create, share knowledge, and practice in community. Unfolding over the course of a year with the work of different Alaska Native healers, this multi-disciplinary exhibition offers diverse opportunities for gathering and exchange.

Colonialism has attacked and suppressed medicine people and Indigenous knowledge systems for hundreds of years. This exhibition addresses harmful legacies and shows how the revitalization of healing practices and traditions provides ways of being in alignment with oneself, with community, and with our planet.

Curated by Tlingit traditional healer Meda DeWitt, Good Medicine emphasizes spiritual renewal, cultural renascence, and the importance of co-creating futures where nature can thrive.

Frank S. Matsura: Portraits from the Borderland features studio images by Washington-based Japanese photographer Frank Sakae Matsura (1873-1913) alongside period-specific American Indian regalia from the Columbia Plateau. Exploring Indigenous representation through a multi-dimensional lens, the photographs and objects on view detail some of Matsura’s most culturally significant work against a backdrop of regional transformation.

I paint from historical photographs of people; the majority of them had no name, no bio, no story left. Nothing. I feel they are kind of lost souls, spirit-ghosts. My painting is a memorial site for them.
—Hung Liu

Groundbreaking Chinese American artist Hung Liu (1948–2021) made highly narrative images that foregrounded workers, immigrants, refugees, women, children, and soldiers in haunting, incandescent portraits that mingle Chinese and Western artistic traditions. Liu was born in Changchun, China, and her childhood and youth coincided with one of the most tumultuous periods in Chinese history. After her arrival in San Diego, California, in 1984, Liu became one of the first Chinese artists to establish a career in the United States. Decades later, she would be justly celebrated for establishing novel frameworks for understanding visual art’s relationship to history by focusing on communities misrepresented and marginalized by official narratives.

Liu experienced political revolution, exile, and displacement before immigrating to the United States. She came of age during Mao Zedong’s Cultural Revolution (1966–76) and was consequently forced to labor in the fields in her early twenties. After studying art in Beijing, she left China to attend graduate school at the University of California, San Diego. There, the experimental tendencies of the students and faculty, most notably those of performance artist Allan Kaprow (1927–2006) and art historian Moira Roth (1933–2021), helped cultivate her conceptual approach to portraiture.

Featuring highly experimental painting, printing, and weaving techniques, Liu’s challenging yet accessible oeuvre has been aptly characterized by her husband, the art critic Jeff Kelley, as a species of “weeping realism.” Titled A Question of Hu, after China scholar Jonathan Spence’s 1988 book The Question of Hu, the exhibition reintroduces Liu’s remarkable art to the Pacific Northwest, while demonstrating—as few artistic oeuvres can—an expanded view of citizenship in an era of seismic change that is also fundamentally marked by evolving ideas of artistic solidarity and collaboration.

Snotty Nose Rez Kids Hot Planet Tour Dates and Locations.

Attention Halloween lovers!! Need some Spooky art? Nepantla Cultural Arts Gallery is proud to present their 1st Halloween themed art show!

Exhibition runs September 2nd-24th.
Gallery Hours: Thu-Sun 12pm-6pm

An anchor event for Converge 45’s citywide 2023 biennial, Social Forms: Art As Global Citizenship, the exhibition WE ARE THE REVOLUTION plumbs the depth of commitment of Jordan Schnitzer to the art of his time, while tapping into a living history of social expression through art in diverse media—from monumental paintings to free-standing sculpture to works on paper. Designed in part to explore ways in which the art of the past meets and affects the art of the present, the exhibition gives voice to art as both aesthetic experimentation and social commentary from the 1960s to today. Driven by the conviction that history is constructed through both continuity and discontinuity, the exhibition strives to establish unexpected juxtapositions and revealing connections among historical and contemporary artists and artworks.

Nooksack Indian Tribe is THRILLED to announce the 2023 Nooksack Days Pow Wow!

Camping and showers are available. All are welcome to attend. This is a drug and alcohol free event.

The Nooksack Indian Tribe is celebrating 50 years since their federal recognition on September 22, 1973. They are so excited to have a full week of events to celebrate Nooksack!

Native Action Network is proud to present the exhibition One With the Waters featuring artwork by Sarah Folden. A member of the Cowlitz Tribe, Sarah creates contemporary Coast Salish art inspired by her connection to place. Her work celebrates the vitality of Cowlitz people, their bold and colorful spirits, ancestral waters, animal relatives and all connected in nature. Cowlitz people are water-going people who refused to sign treaties with the federal government. This has created a diverse population. Over time many have traveled from their ancestral waters, some even across oceans, but much like our salmon relatives, there is an instinctive drive that calls Native people home. Sarah Folden’s artwork is created in honor of those still here, those who have made that voyage and those who are awakening to their internal calling to return.

We invite community to join us in the Fall for workdays on the land, starting 9/15 – 11/19.

These workdays have been great opportunities for us to introduce ourselves to the land and to foster our relationships to it. Volunteers can help in a number of ways, like tending to Native plants, clearing invasive ones like ivy, envisioning futures, and getting the land ready for upcoming gatherings. We also invite you to help by just spending time on this site. Sit and relax by the trees and Mapes Creek, use our art supplies to create, help us collect & save seeds for gifts, or just take a moment from your week and spend time in greenspace.

Open to Native/BIPOC: Fridays, Sept 15 – Nov 19, from 2 – 6pm
Open to All: 1st Saturdays, October & November, from 11am – 3pm

Visit https://bit.ly/3qaL3AR or hit the link in our bio to register.

*Tools, a porta potty, limited drinking water, and light snacks will be provided. All ages and experience levels welcome. Note, our site does not have running water or power, and is unfortunately not yet ADA accessible. We can’t wait to see you on the land!

Chief Seattle Club is proud to present the fall exhibition in ʔálʔal Café featuring artwork by Naomi Parker. Naomi comes from the Makah, Yakama, and Chippewa/Cree people. Drawing on her intertribal ancestry, she uses oil paint on canvas to create scenes of far flung Native relations coming together at pow wow grounds and campsites. Through images of friendly faces and joyfully clasped hands, Naomi shows the power we have to create community wherever we gather.

Dive deep into the stories and science that surround the magnificent orca, apex predator of all oceans.
Follow the currents of ecological activism, popular culture, and Indigenous beliefs to gain a new appreciation of these sophisticated animals, long feared in Western cultures as “Killer Whales.”
Orcas: Our Shared Future includes more than 100 original artifacts and specimens, featuring life-size Orca replicas, fossils, films, objects from popular culture, and original artwork from the Indigenous peoples of the North American west coast.
Discover the complex social structure of orca society and reflect on the surprising consequences of captivity. Learn which orca populations are thriving and which are at risk, and resurface with a new understanding of how orcas and humans are inextricably connected.

For many Native communities throughout the High Desert, what constitutes art spans beyond the walls of a gallery or a museum. Objects are alive, tied to purpose and intrinsic to thriving communities. Art is at once utilitarian and ceremonial, as well as part of the continuation of Native traditions.

Opening on January 28, 2023, Creations of Spirit will immerse High Desert Museum visitors in the Indigenous Plateau worldview, reflecting knowledge systems of tribes along the Columbia River and its tributaries.

Six Native artists commissioned for this new, original exhibition are creating artwork that will be used in Native communities before arriving at the Museum. A seventh artist is creating an interactive piece for the center of the gallery. Creations of Spirit will be a one-of-a-kind, celebratory experience featuring the stories of these living works of art. Videos, audio and large projections will immerse visitors in the landscapes and communities in which these objects are used, highlighting the theme of artwork as alive, full of stories and created for specific purposes and people. The original works will be supplemented with nine cultural items on loan from the Smithsonian’s National Museum of the American Indian in Washington, D.C.

Explore the second run of this past exhibit with stories sourced from the local Burmese / Myanmar community. With the original exhibit run cut short due to our closure during the pandemic, we’ve taken the opportunity to update the exhibit to include new content covering the military coup that happened in February 2021.

SAM presents American Art: The Stories We Carry, a transformation of its American art galleries, created through a wide-ranging collaboration among SAM curators and staff, artists, and advisors from the Seattle community. Funded primarily by a $1 million grant from The Mellon Foundation and a $75,000 grant from the Terra Foundation for American Art, the project features work from SAM’s collection and new works and curation by contemporary artists, and it deepens the museum’s commitment to inclusive exhibition-planning practices with a shared-authorship model that reflects and responds to community knowledge.

Each new generation of artists responds to and builds on the art of earlier periods. Bringing together artworks that bridge decades, Reverberations seeks to spark a hum between historical works and those by artists working today. Organized in thematic groups, Reverberations introduces a different topic in each gallery, ranging from landscape and lyrical abstraction to the use of the body in addressing psychological, social, and political concerns. As you move through the modern and contemporary galleries, you will encounter harmonies and dissonance as younger artists stake their claim. In turn, works from earlier decades will acquire new meaning and new layers of relevance.

This installation draws from SAM’s growing collection and incorporates many works acquired in recent years, by artists including Margarita Cabrera, Dana Claxton, Senga Nengudi, Rashid Johnson, Woody De Othello, Jenny Saville, Sarah Sze, and Naama Tsabar. Many works are on view for the first time. Among the modern classics, viewers will find works by Francis Bacon, Alberto Giacometti, Franz Kline, Joan Mitchell, Mark Rothko, and David Smith on view. The museum’s ongoing commitment to building a collection with equity and diverse points of view can be seen when perusing the galleries.

Featuring the work of the Guma’ Gela’, a queer CHamoru art collective made up of members from the Marianas and in the diaspora. The exhibit explores their motto “part land, part sea, all ancestry” through a broad spectrum of media, including sculpture, soundscape, writing, printmaking, weaving, costume design, adornments, and more, to build a connection with CHamoru life, history, and traditions.

Do you ever wonder how Bruce Lee developed the philosophy behind his most iconic quote?

This incredible interactive exhibit invites viewers to step into the mind, body, and spirit of Bruce Lee to see how his unquenchable pursuit of knowledge informed his philosophy and life.

Follow Bruce’s path beginning with his revelations on water, through the wealth of knowledge found in his 2,800-book personal library, to his philosophy on self-understanding and self-expression.

The exhibition’s interactive technology interweaves beautiful imagery with Bruce’s personal objects and books to bring his journey to life.

What do late 18th- to 19th-century Edo (present-day Tokyo) and late 19th-century Paris have in common? This exhibition, which can only be seen in Seattle, uncovers the shared renegade spirit that characterized the graphic arts and social cultures of these two dynamic cities. On view are over 90 Japanese ukiyo-e woodblock prints and paintings from SAM’s Japanese collection alongside private loans of works by Henri de Toulouse-Lautrec (1864–1901).

In addition to the intriguing formal and thematic parallels between these two collections of graphic arts, the exhibition reveals the social impulses behind their burgeoning art production. As both cities faced challenges to the status quo from the rising middle classes, subversive impulses gave rise to vibrant cultures of theatregoing, pleasure seeking, and new forms of visual art.

Alaska World Arts is a meeting place for worldwide artists and audiences of all ages to share culture and ideas with Alaskans and the rest of the world through a variety of art forms reminding all of us of our capacity for love and generosity.
We offer live and virtual performances, workshops, classes, films, and discussions by artists from Alaska and around the world.
Thank you for being a part of our 2023 Alaska World Arts Festival.

Considering both the presence and absence of Black artists is critical to understanding the breadth of Black artistic production in Oregon—even in the midst of historic exclusion—as well as how the impact of that history affects our understanding of American art history and the history of the Pacific Northwest. This exhibition serves to deepen our awareness of the talented artists who have shaped and inspired artists regionally and nationally, and it will be the first of its kind to consider the work of Black artists collectively in Oregon.

Beginning in the 1880s and spanning through today, Black Artists of Oregon captures the Black diasporic experiences particular to the Pacific Northwest with 67 artists and over 200 objects. Artists represented in the exhibition will include Thelma Johnson Streat, Al Goldsby, Charlotte Lewis, Isaka Shamsud-Din, Ralph Chessé, Charles Tatum, Arvie Smith, Shedrich Williames, Harrison Branch, Bobby Fouther, and Carrie Mae Weems, among others. The exhibition and programming will also include the works of contemporary and younger artists working now, functioning as bright threads and offering intergenerational conversation throughout the exhibition, including sidony o’neal, Jeremy Okai Davis, damali ayo, Sharita Towne, Melanie Stevens, Lisa Jarrett, Tristan Irving, Ebin Lee, and Jaleesa Johnston.

Through the narrative flow of the exhibition, visitors will experience work by Black artists across decades and generations. Particular attention is given to the works of Black artists who were producing work during the Black Arts Movement of the late 1960s, ’70s, and early ’80s, such as Portland-based painter Isaka Shamsud-Din. The exhibition will also mark regional artistic connections with global movements for Black liberation, as seen in the work of Charlotte Lewis alongside Portlanders Organized for Southern African Freedom and artists like Sadé DuBoise, whose “Resistance” poster series contributed to Portland’s 2020 George Floyd protests. Without chronological constraints, the exhibition is grounded by the work of elder artists, intergenerational conversations, and live activation in the exhibition galleries.

Black Artists of Oregon builds upon exhibition curator Intisar Abioto’s original research since 2018 exploring the lineage and legacy of Black artists in Oregon. The exhibition will continue Abioto’s research, which is grounded in Black American practices of listening, keeping, and passing on each others’ stories.

“Far from isolated or ancillary, Black arts and cultural production in Oregon has been in conversation and interchange with the world, and a part of its arts and cultural movements, all this time,” says Abioto. “Black Artists of Oregon is a heralding of Black presence, interchange, influence, and impact.”

On view March 21, 2023 through Spring 2024
Art of the North Galleries, Third Floor, East Wing

Good Medicine brings together Indigenous healers and medicine people to collectively create, share knowledge, and practice in community. Unfolding over the course of a year with the work of different Alaska Native healers, this multi-disciplinary exhibition offers diverse opportunities for gathering and exchange.

Colonialism has attacked and suppressed medicine people and Indigenous knowledge systems for hundreds of years. This exhibition addresses harmful legacies and shows how the revitalization of healing practices and traditions provides ways of being in alignment with oneself, with community, and with our planet.

Curated by Tlingit traditional healer Meda DeWitt, Good Medicine emphasizes spiritual renewal, cultural renascence, and the importance of co-creating futures where nature can thrive.

Frank S. Matsura: Portraits from the Borderland features studio images by Washington-based Japanese photographer Frank Sakae Matsura (1873-1913) alongside period-specific American Indian regalia from the Columbia Plateau. Exploring Indigenous representation through a multi-dimensional lens, the photographs and objects on view detail some of Matsura’s most culturally significant work against a backdrop of regional transformation.

I paint from historical photographs of people; the majority of them had no name, no bio, no story left. Nothing. I feel they are kind of lost souls, spirit-ghosts. My painting is a memorial site for them.
—Hung Liu

Groundbreaking Chinese American artist Hung Liu (1948–2021) made highly narrative images that foregrounded workers, immigrants, refugees, women, children, and soldiers in haunting, incandescent portraits that mingle Chinese and Western artistic traditions. Liu was born in Changchun, China, and her childhood and youth coincided with one of the most tumultuous periods in Chinese history. After her arrival in San Diego, California, in 1984, Liu became one of the first Chinese artists to establish a career in the United States. Decades later, she would be justly celebrated for establishing novel frameworks for understanding visual art’s relationship to history by focusing on communities misrepresented and marginalized by official narratives.

Liu experienced political revolution, exile, and displacement before immigrating to the United States. She came of age during Mao Zedong’s Cultural Revolution (1966–76) and was consequently forced to labor in the fields in her early twenties. After studying art in Beijing, she left China to attend graduate school at the University of California, San Diego. There, the experimental tendencies of the students and faculty, most notably those of performance artist Allan Kaprow (1927–2006) and art historian Moira Roth (1933–2021), helped cultivate her conceptual approach to portraiture.

Featuring highly experimental painting, printing, and weaving techniques, Liu’s challenging yet accessible oeuvre has been aptly characterized by her husband, the art critic Jeff Kelley, as a species of “weeping realism.” Titled A Question of Hu, after China scholar Jonathan Spence’s 1988 book The Question of Hu, the exhibition reintroduces Liu’s remarkable art to the Pacific Northwest, while demonstrating—as few artistic oeuvres can—an expanded view of citizenship in an era of seismic change that is also fundamentally marked by evolving ideas of artistic solidarity and collaboration.

Snotty Nose Rez Kids Hot Planet Tour Dates and Locations.

Attention Halloween lovers!! Need some Spooky art? Nepantla Cultural Arts Gallery is proud to present their 1st Halloween themed art show!

Exhibition runs September 2nd-24th.
Gallery Hours: Thu-Sun 12pm-6pm

An anchor event for Converge 45’s citywide 2023 biennial, Social Forms: Art As Global Citizenship, the exhibition WE ARE THE REVOLUTION plumbs the depth of commitment of Jordan Schnitzer to the art of his time, while tapping into a living history of social expression through art in diverse media—from monumental paintings to free-standing sculpture to works on paper. Designed in part to explore ways in which the art of the past meets and affects the art of the present, the exhibition gives voice to art as both aesthetic experimentation and social commentary from the 1960s to today. Driven by the conviction that history is constructed through both continuity and discontinuity, the exhibition strives to establish unexpected juxtapositions and revealing connections among historical and contemporary artists and artworks.

Nooksack Indian Tribe is THRILLED to announce the 2023 Nooksack Days Pow Wow!

Camping and showers are available. All are welcome to attend. This is a drug and alcohol free event.

The Nooksack Indian Tribe is celebrating 50 years since their federal recognition on September 22, 1973. They are so excited to have a full week of events to celebrate Nooksack!

We invite you to participate and honor Missing and Murdered Indigenous Womxn, Girls, Two Spirit+ and all relatives through healthy healing. The 3rd annual MMIWG2S+ Alaska Run for Healing, Run for Justice is a virtual 5K run, walk, or other physical activity dedicated to honoring missing and murdered Indigenous women, girls, and all relatives. This is a free virtual event open to all to share their participation between September 19th-24th. This event is meant to raise awareness and provide a healthy healing activity for our community to join.

Register using this link: https://forms.gle/q8qTqhdGTroooWnq7
To receive your bib and packet.

While this is not a race or competition, you can share your participation in the FB event and registered participants will be entered into a drawing for a swag bag! Check out the FB event each day to see others participation and posts from the working group on how to stay involved!

If you’re in the Anchorage area on September 24th, join us for an in-person participation at 1:00pm at the Alaska Native Heritage Center Lake Tiulana. We are looking for a few volunteers to help us with set-up and breakdown! (Volunteer Form Here). We encourage people to have runs with others in their own communities as well!

Native Action Network is proud to present the exhibition One With the Waters featuring artwork by Sarah Folden. A member of the Cowlitz Tribe, Sarah creates contemporary Coast Salish art inspired by her connection to place. Her work celebrates the vitality of Cowlitz people, their bold and colorful spirits, ancestral waters, animal relatives and all connected in nature. Cowlitz people are water-going people who refused to sign treaties with the federal government. This has created a diverse population. Over time many have traveled from their ancestral waters, some even across oceans, but much like our salmon relatives, there is an instinctive drive that calls Native people home. Sarah Folden’s artwork is created in honor of those still here, those who have made that voyage and those who are awakening to their internal calling to return.

We invite community to join us in the Fall for workdays on the land, starting 9/15 – 11/19.

These workdays have been great opportunities for us to introduce ourselves to the land and to foster our relationships to it. Volunteers can help in a number of ways, like tending to Native plants, clearing invasive ones like ivy, envisioning futures, and getting the land ready for upcoming gatherings. We also invite you to help by just spending time on this site. Sit and relax by the trees and Mapes Creek, use our art supplies to create, help us collect & save seeds for gifts, or just take a moment from your week and spend time in greenspace.

Open to Native/BIPOC: Fridays, Sept 15 – Nov 19, from 2 – 6pm
Open to All: 1st Saturdays, October & November, from 11am – 3pm

Visit https://bit.ly/3qaL3AR or hit the link in our bio to register.

*Tools, a porta potty, limited drinking water, and light snacks will be provided. All ages and experience levels welcome. Note, our site does not have running water or power, and is unfortunately not yet ADA accessible. We can’t wait to see you on the land!

Chief Seattle Club is proud to present the fall exhibition in ʔálʔal Café featuring artwork by Naomi Parker. Naomi comes from the Makah, Yakama, and Chippewa/Cree people. Drawing on her intertribal ancestry, she uses oil paint on canvas to create scenes of far flung Native relations coming together at pow wow grounds and campsites. Through images of friendly faces and joyfully clasped hands, Naomi shows the power we have to create community wherever we gather.

Dive deep into the stories and science that surround the magnificent orca, apex predator of all oceans.
Follow the currents of ecological activism, popular culture, and Indigenous beliefs to gain a new appreciation of these sophisticated animals, long feared in Western cultures as “Killer Whales.”
Orcas: Our Shared Future includes more than 100 original artifacts and specimens, featuring life-size Orca replicas, fossils, films, objects from popular culture, and original artwork from the Indigenous peoples of the North American west coast.
Discover the complex social structure of orca society and reflect on the surprising consequences of captivity. Learn which orca populations are thriving and which are at risk, and resurface with a new understanding of how orcas and humans are inextricably connected.

For many Native communities throughout the High Desert, what constitutes art spans beyond the walls of a gallery or a museum. Objects are alive, tied to purpose and intrinsic to thriving communities. Art is at once utilitarian and ceremonial, as well as part of the continuation of Native traditions.

Opening on January 28, 2023, Creations of Spirit will immerse High Desert Museum visitors in the Indigenous Plateau worldview, reflecting knowledge systems of tribes along the Columbia River and its tributaries.

Six Native artists commissioned for this new, original exhibition are creating artwork that will be used in Native communities before arriving at the Museum. A seventh artist is creating an interactive piece for the center of the gallery. Creations of Spirit will be a one-of-a-kind, celebratory experience featuring the stories of these living works of art. Videos, audio and large projections will immerse visitors in the landscapes and communities in which these objects are used, highlighting the theme of artwork as alive, full of stories and created for specific purposes and people. The original works will be supplemented with nine cultural items on loan from the Smithsonian’s National Museum of the American Indian in Washington, D.C.

Explore the second run of this past exhibit with stories sourced from the local Burmese / Myanmar community. With the original exhibit run cut short due to our closure during the pandemic, we’ve taken the opportunity to update the exhibit to include new content covering the military coup that happened in February 2021.

SAM presents American Art: The Stories We Carry, a transformation of its American art galleries, created through a wide-ranging collaboration among SAM curators and staff, artists, and advisors from the Seattle community. Funded primarily by a $1 million grant from The Mellon Foundation and a $75,000 grant from the Terra Foundation for American Art, the project features work from SAM’s collection and new works and curation by contemporary artists, and it deepens the museum’s commitment to inclusive exhibition-planning practices with a shared-authorship model that reflects and responds to community knowledge.

Each new generation of artists responds to and builds on the art of earlier periods. Bringing together artworks that bridge decades, Reverberations seeks to spark a hum between historical works and those by artists working today. Organized in thematic groups, Reverberations introduces a different topic in each gallery, ranging from landscape and lyrical abstraction to the use of the body in addressing psychological, social, and political concerns. As you move through the modern and contemporary galleries, you will encounter harmonies and dissonance as younger artists stake their claim. In turn, works from earlier decades will acquire new meaning and new layers of relevance.

This installation draws from SAM’s growing collection and incorporates many works acquired in recent years, by artists including Margarita Cabrera, Dana Claxton, Senga Nengudi, Rashid Johnson, Woody De Othello, Jenny Saville, Sarah Sze, and Naama Tsabar. Many works are on view for the first time. Among the modern classics, viewers will find works by Francis Bacon, Alberto Giacometti, Franz Kline, Joan Mitchell, Mark Rothko, and David Smith on view. The museum’s ongoing commitment to building a collection with equity and diverse points of view can be seen when perusing the galleries.

Featuring the work of the Guma’ Gela’, a queer CHamoru art collective made up of members from the Marianas and in the diaspora. The exhibit explores their motto “part land, part sea, all ancestry” through a broad spectrum of media, including sculpture, soundscape, writing, printmaking, weaving, costume design, adornments, and more, to build a connection with CHamoru life, history, and traditions.

Do you ever wonder how Bruce Lee developed the philosophy behind his most iconic quote?

This incredible interactive exhibit invites viewers to step into the mind, body, and spirit of Bruce Lee to see how his unquenchable pursuit of knowledge informed his philosophy and life.

Follow Bruce’s path beginning with his revelations on water, through the wealth of knowledge found in his 2,800-book personal library, to his philosophy on self-understanding and self-expression.

The exhibition’s interactive technology interweaves beautiful imagery with Bruce’s personal objects and books to bring his journey to life.

What do late 18th- to 19th-century Edo (present-day Tokyo) and late 19th-century Paris have in common? This exhibition, which can only be seen in Seattle, uncovers the shared renegade spirit that characterized the graphic arts and social cultures of these two dynamic cities. On view are over 90 Japanese ukiyo-e woodblock prints and paintings from SAM’s Japanese collection alongside private loans of works by Henri de Toulouse-Lautrec (1864–1901).

In addition to the intriguing formal and thematic parallels between these two collections of graphic arts, the exhibition reveals the social impulses behind their burgeoning art production. As both cities faced challenges to the status quo from the rising middle classes, subversive impulses gave rise to vibrant cultures of theatregoing, pleasure seeking, and new forms of visual art.

Alaska World Arts is a meeting place for worldwide artists and audiences of all ages to share culture and ideas with Alaskans and the rest of the world through a variety of art forms reminding all of us of our capacity for love and generosity.
We offer live and virtual performances, workshops, classes, films, and discussions by artists from Alaska and around the world.
Thank you for being a part of our 2023 Alaska World Arts Festival.

Considering both the presence and absence of Black artists is critical to understanding the breadth of Black artistic production in Oregon—even in the midst of historic exclusion—as well as how the impact of that history affects our understanding of American art history and the history of the Pacific Northwest. This exhibition serves to deepen our awareness of the talented artists who have shaped and inspired artists regionally and nationally, and it will be the first of its kind to consider the work of Black artists collectively in Oregon.

Beginning in the 1880s and spanning through today, Black Artists of Oregon captures the Black diasporic experiences particular to the Pacific Northwest with 67 artists and over 200 objects. Artists represented in the exhibition will include Thelma Johnson Streat, Al Goldsby, Charlotte Lewis, Isaka Shamsud-Din, Ralph Chessé, Charles Tatum, Arvie Smith, Shedrich Williames, Harrison Branch, Bobby Fouther, and Carrie Mae Weems, among others. The exhibition and programming will also include the works of contemporary and younger artists working now, functioning as bright threads and offering intergenerational conversation throughout the exhibition, including sidony o’neal, Jeremy Okai Davis, damali ayo, Sharita Towne, Melanie Stevens, Lisa Jarrett, Tristan Irving, Ebin Lee, and Jaleesa Johnston.

Through the narrative flow of the exhibition, visitors will experience work by Black artists across decades and generations. Particular attention is given to the works of Black artists who were producing work during the Black Arts Movement of the late 1960s, ’70s, and early ’80s, such as Portland-based painter Isaka Shamsud-Din. The exhibition will also mark regional artistic connections with global movements for Black liberation, as seen in the work of Charlotte Lewis alongside Portlanders Organized for Southern African Freedom and artists like Sadé DuBoise, whose “Resistance” poster series contributed to Portland’s 2020 George Floyd protests. Without chronological constraints, the exhibition is grounded by the work of elder artists, intergenerational conversations, and live activation in the exhibition galleries.

Black Artists of Oregon builds upon exhibition curator Intisar Abioto’s original research since 2018 exploring the lineage and legacy of Black artists in Oregon. The exhibition will continue Abioto’s research, which is grounded in Black American practices of listening, keeping, and passing on each others’ stories.

“Far from isolated or ancillary, Black arts and cultural production in Oregon has been in conversation and interchange with the world, and a part of its arts and cultural movements, all this time,” says Abioto. “Black Artists of Oregon is a heralding of Black presence, interchange, influence, and impact.”

On view March 21, 2023 through Spring 2024
Art of the North Galleries, Third Floor, East Wing

Good Medicine brings together Indigenous healers and medicine people to collectively create, share knowledge, and practice in community. Unfolding over the course of a year with the work of different Alaska Native healers, this multi-disciplinary exhibition offers diverse opportunities for gathering and exchange.

Colonialism has attacked and suppressed medicine people and Indigenous knowledge systems for hundreds of years. This exhibition addresses harmful legacies and shows how the revitalization of healing practices and traditions provides ways of being in alignment with oneself, with community, and with our planet.

Curated by Tlingit traditional healer Meda DeWitt, Good Medicine emphasizes spiritual renewal, cultural renascence, and the importance of co-creating futures where nature can thrive.

Frank S. Matsura: Portraits from the Borderland features studio images by Washington-based Japanese photographer Frank Sakae Matsura (1873-1913) alongside period-specific American Indian regalia from the Columbia Plateau. Exploring Indigenous representation through a multi-dimensional lens, the photographs and objects on view detail some of Matsura’s most culturally significant work against a backdrop of regional transformation.

I paint from historical photographs of people; the majority of them had no name, no bio, no story left. Nothing. I feel they are kind of lost souls, spirit-ghosts. My painting is a memorial site for them.
—Hung Liu

Groundbreaking Chinese American artist Hung Liu (1948–2021) made highly narrative images that foregrounded workers, immigrants, refugees, women, children, and soldiers in haunting, incandescent portraits that mingle Chinese and Western artistic traditions. Liu was born in Changchun, China, and her childhood and youth coincided with one of the most tumultuous periods in Chinese history. After her arrival in San Diego, California, in 1984, Liu became one of the first Chinese artists to establish a career in the United States. Decades later, she would be justly celebrated for establishing novel frameworks for understanding visual art’s relationship to history by focusing on communities misrepresented and marginalized by official narratives.

Liu experienced political revolution, exile, and displacement before immigrating to the United States. She came of age during Mao Zedong’s Cultural Revolution (1966–76) and was consequently forced to labor in the fields in her early twenties. After studying art in Beijing, she left China to attend graduate school at the University of California, San Diego. There, the experimental tendencies of the students and faculty, most notably those of performance artist Allan Kaprow (1927–2006) and art historian Moira Roth (1933–2021), helped cultivate her conceptual approach to portraiture.

Featuring highly experimental painting, printing, and weaving techniques, Liu’s challenging yet accessible oeuvre has been aptly characterized by her husband, the art critic Jeff Kelley, as a species of “weeping realism.” Titled A Question of Hu, after China scholar Jonathan Spence’s 1988 book The Question of Hu, the exhibition reintroduces Liu’s remarkable art to the Pacific Northwest, while demonstrating—as few artistic oeuvres can—an expanded view of citizenship in an era of seismic change that is also fundamentally marked by evolving ideas of artistic solidarity and collaboration.

Snotty Nose Rez Kids Hot Planet Tour Dates and Locations.

Attention Halloween lovers!! Need some Spooky art? Nepantla Cultural Arts Gallery is proud to present their 1st Halloween themed art show!

Exhibition runs September 2nd-24th.
Gallery Hours: Thu-Sun 12pm-6pm

An anchor event for Converge 45’s citywide 2023 biennial, Social Forms: Art As Global Citizenship, the exhibition WE ARE THE REVOLUTION plumbs the depth of commitment of Jordan Schnitzer to the art of his time, while tapping into a living history of social expression through art in diverse media—from monumental paintings to free-standing sculpture to works on paper. Designed in part to explore ways in which the art of the past meets and affects the art of the present, the exhibition gives voice to art as both aesthetic experimentation and social commentary from the 1960s to today. Driven by the conviction that history is constructed through both continuity and discontinuity, the exhibition strives to establish unexpected juxtapositions and revealing connections among historical and contemporary artists and artworks.

Nooksack Indian Tribe is THRILLED to announce the 2023 Nooksack Days Pow Wow!

Camping and showers are available. All are welcome to attend. This is a drug and alcohol free event.

The Nooksack Indian Tribe is celebrating 50 years since their federal recognition on September 22, 1973. They are so excited to have a full week of events to celebrate Nooksack!

We invite you to participate and honor Missing and Murdered Indigenous Womxn, Girls, Two Spirit+ and all relatives through healthy healing. The 3rd annual MMIWG2S+ Alaska Run for Healing, Run for Justice is a virtual 5K run, walk, or other physical activity dedicated to honoring missing and murdered Indigenous women, girls, and all relatives. This is a free virtual event open to all to share their participation between September 19th-24th. This event is meant to raise awareness and provide a healthy healing activity for our community to join.

Register using this link: https://forms.gle/q8qTqhdGTroooWnq7
To receive your bib and packet.

While this is not a race or competition, you can share your participation in the FB event and registered participants will be entered into a drawing for a swag bag! Check out the FB event each day to see others participation and posts from the working group on how to stay involved!

If you’re in the Anchorage area on September 24th, join us for an in-person participation at 1:00pm at the Alaska Native Heritage Center Lake Tiulana. We are looking for a few volunteers to help us with set-up and breakdown! (Volunteer Form Here). We encourage people to have runs with others in their own communities as well!

A weekly open forum for those interested in bringing weaving materials to work on projects. A time to visit, share build skills and complete your beautiful woven art.

This event is included in the price of admission.
Weaving kits available for purchase.
To register, please call 360-716-2600

This course, open to the public, will introduce Chinese medical theories, treatments, history, the basics of holism, and research.

Participants will learn about acupoints, herbal medicine, acupuncture, moxibustion, massage, gua sha, cupping, and bleeding. Dietary therapy, channel system, organ networks, along with yin/yang theory, Chinese pathology, and concepts of qi will be explored as well. This five-week online class is presented by esteemed OCOM faculty members, all teaching their specialized perspectives via lecture, demonstration, and discussion.

Native Action Network is proud to present the exhibition One With the Waters featuring artwork by Sarah Folden. A member of the Cowlitz Tribe, Sarah creates contemporary Coast Salish art inspired by her connection to place. Her work celebrates the vitality of Cowlitz people, their bold and colorful spirits, ancestral waters, animal relatives and all connected in nature. Cowlitz people are water-going people who refused to sign treaties with the federal government. This has created a diverse population. Over time many have traveled from their ancestral waters, some even across oceans, but much like our salmon relatives, there is an instinctive drive that calls Native people home. Sarah Folden’s artwork is created in honor of those still here, those who have made that voyage and those who are awakening to their internal calling to return.

We invite community to join us in the Fall for workdays on the land, starting 9/15 – 11/19.

These workdays have been great opportunities for us to introduce ourselves to the land and to foster our relationships to it. Volunteers can help in a number of ways, like tending to Native plants, clearing invasive ones like ivy, envisioning futures, and getting the land ready for upcoming gatherings. We also invite you to help by just spending time on this site. Sit and relax by the trees and Mapes Creek, use our art supplies to create, help us collect & save seeds for gifts, or just take a moment from your week and spend time in greenspace.

Open to Native/BIPOC: Fridays, Sept 15 – Nov 19, from 2 – 6pm
Open to All: 1st Saturdays, October & November, from 11am – 3pm

Visit https://bit.ly/3qaL3AR or hit the link in our bio to register.

*Tools, a porta potty, limited drinking water, and light snacks will be provided. All ages and experience levels welcome. Note, our site does not have running water or power, and is unfortunately not yet ADA accessible. We can’t wait to see you on the land!

Chief Seattle Club is proud to present the fall exhibition in ʔálʔal Café featuring artwork by Naomi Parker. Naomi comes from the Makah, Yakama, and Chippewa/Cree people. Drawing on her intertribal ancestry, she uses oil paint on canvas to create scenes of far flung Native relations coming together at pow wow grounds and campsites. Through images of friendly faces and joyfully clasped hands, Naomi shows the power we have to create community wherever we gather.

Dive deep into the stories and science that surround the magnificent orca, apex predator of all oceans.
Follow the currents of ecological activism, popular culture, and Indigenous beliefs to gain a new appreciation of these sophisticated animals, long feared in Western cultures as “Killer Whales.”
Orcas: Our Shared Future includes more than 100 original artifacts and specimens, featuring life-size Orca replicas, fossils, films, objects from popular culture, and original artwork from the Indigenous peoples of the North American west coast.
Discover the complex social structure of orca society and reflect on the surprising consequences of captivity. Learn which orca populations are thriving and which are at risk, and resurface with a new understanding of how orcas and humans are inextricably connected.

For many Native communities throughout the High Desert, what constitutes art spans beyond the walls of a gallery or a museum. Objects are alive, tied to purpose and intrinsic to thriving communities. Art is at once utilitarian and ceremonial, as well as part of the continuation of Native traditions.

Opening on January 28, 2023, Creations of Spirit will immerse High Desert Museum visitors in the Indigenous Plateau worldview, reflecting knowledge systems of tribes along the Columbia River and its tributaries.

Six Native artists commissioned for this new, original exhibition are creating artwork that will be used in Native communities before arriving at the Museum. A seventh artist is creating an interactive piece for the center of the gallery. Creations of Spirit will be a one-of-a-kind, celebratory experience featuring the stories of these living works of art. Videos, audio and large projections will immerse visitors in the landscapes and communities in which these objects are used, highlighting the theme of artwork as alive, full of stories and created for specific purposes and people. The original works will be supplemented with nine cultural items on loan from the Smithsonian’s National Museum of the American Indian in Washington, D.C.

Explore the second run of this past exhibit with stories sourced from the local Burmese / Myanmar community. With the original exhibit run cut short due to our closure during the pandemic, we’ve taken the opportunity to update the exhibit to include new content covering the military coup that happened in February 2021.

SAM presents American Art: The Stories We Carry, a transformation of its American art galleries, created through a wide-ranging collaboration among SAM curators and staff, artists, and advisors from the Seattle community. Funded primarily by a $1 million grant from The Mellon Foundation and a $75,000 grant from the Terra Foundation for American Art, the project features work from SAM’s collection and new works and curation by contemporary artists, and it deepens the museum’s commitment to inclusive exhibition-planning practices with a shared-authorship model that reflects and responds to community knowledge.

Each new generation of artists responds to and builds on the art of earlier periods. Bringing together artworks that bridge decades, Reverberations seeks to spark a hum between historical works and those by artists working today. Organized in thematic groups, Reverberations introduces a different topic in each gallery, ranging from landscape and lyrical abstraction to the use of the body in addressing psychological, social, and political concerns. As you move through the modern and contemporary galleries, you will encounter harmonies and dissonance as younger artists stake their claim. In turn, works from earlier decades will acquire new meaning and new layers of relevance.

This installation draws from SAM’s growing collection and incorporates many works acquired in recent years, by artists including Margarita Cabrera, Dana Claxton, Senga Nengudi, Rashid Johnson, Woody De Othello, Jenny Saville, Sarah Sze, and Naama Tsabar. Many works are on view for the first time. Among the modern classics, viewers will find works by Francis Bacon, Alberto Giacometti, Franz Kline, Joan Mitchell, Mark Rothko, and David Smith on view. The museum’s ongoing commitment to building a collection with equity and diverse points of view can be seen when perusing the galleries.

Featuring the work of the Guma’ Gela’, a queer CHamoru art collective made up of members from the Marianas and in the diaspora. The exhibit explores their motto “part land, part sea, all ancestry” through a broad spectrum of media, including sculpture, soundscape, writing, printmaking, weaving, costume design, adornments, and more, to build a connection with CHamoru life, history, and traditions.

Do you ever wonder how Bruce Lee developed the philosophy behind his most iconic quote?

This incredible interactive exhibit invites viewers to step into the mind, body, and spirit of Bruce Lee to see how his unquenchable pursuit of knowledge informed his philosophy and life.

Follow Bruce’s path beginning with his revelations on water, through the wealth of knowledge found in his 2,800-book personal library, to his philosophy on self-understanding and self-expression.

The exhibition’s interactive technology interweaves beautiful imagery with Bruce’s personal objects and books to bring his journey to life.

What do late 18th- to 19th-century Edo (present-day Tokyo) and late 19th-century Paris have in common? This exhibition, which can only be seen in Seattle, uncovers the shared renegade spirit that characterized the graphic arts and social cultures of these two dynamic cities. On view are over 90 Japanese ukiyo-e woodblock prints and paintings from SAM’s Japanese collection alongside private loans of works by Henri de Toulouse-Lautrec (1864–1901).

In addition to the intriguing formal and thematic parallels between these two collections of graphic arts, the exhibition reveals the social impulses behind their burgeoning art production. As both cities faced challenges to the status quo from the rising middle classes, subversive impulses gave rise to vibrant cultures of theatregoing, pleasure seeking, and new forms of visual art.

Alaska World Arts is a meeting place for worldwide artists and audiences of all ages to share culture and ideas with Alaskans and the rest of the world through a variety of art forms reminding all of us of our capacity for love and generosity.
We offer live and virtual performances, workshops, classes, films, and discussions by artists from Alaska and around the world.
Thank you for being a part of our 2023 Alaska World Arts Festival.

Considering both the presence and absence of Black artists is critical to understanding the breadth of Black artistic production in Oregon—even in the midst of historic exclusion—as well as how the impact of that history affects our understanding of American art history and the history of the Pacific Northwest. This exhibition serves to deepen our awareness of the talented artists who have shaped and inspired artists regionally and nationally, and it will be the first of its kind to consider the work of Black artists collectively in Oregon.

Beginning in the 1880s and spanning through today, Black Artists of Oregon captures the Black diasporic experiences particular to the Pacific Northwest with 67 artists and over 200 objects. Artists represented in the exhibition will include Thelma Johnson Streat, Al Goldsby, Charlotte Lewis, Isaka Shamsud-Din, Ralph Chessé, Charles Tatum, Arvie Smith, Shedrich Williames, Harrison Branch, Bobby Fouther, and Carrie Mae Weems, among others. The exhibition and programming will also include the works of contemporary and younger artists working now, functioning as bright threads and offering intergenerational conversation throughout the exhibition, including sidony o’neal, Jeremy Okai Davis, damali ayo, Sharita Towne, Melanie Stevens, Lisa Jarrett, Tristan Irving, Ebin Lee, and Jaleesa Johnston.

Through the narrative flow of the exhibition, visitors will experience work by Black artists across decades and generations. Particular attention is given to the works of Black artists who were producing work during the Black Arts Movement of the late 1960s, ’70s, and early ’80s, such as Portland-based painter Isaka Shamsud-Din. The exhibition will also mark regional artistic connections with global movements for Black liberation, as seen in the work of Charlotte Lewis alongside Portlanders Organized for Southern African Freedom and artists like Sadé DuBoise, whose “Resistance” poster series contributed to Portland’s 2020 George Floyd protests. Without chronological constraints, the exhibition is grounded by the work of elder artists, intergenerational conversations, and live activation in the exhibition galleries.

Black Artists of Oregon builds upon exhibition curator Intisar Abioto’s original research since 2018 exploring the lineage and legacy of Black artists in Oregon. The exhibition will continue Abioto’s research, which is grounded in Black American practices of listening, keeping, and passing on each others’ stories.

“Far from isolated or ancillary, Black arts and cultural production in Oregon has been in conversation and interchange with the world, and a part of its arts and cultural movements, all this time,” says Abioto. “Black Artists of Oregon is a heralding of Black presence, interchange, influence, and impact.”

On view March 21, 2023 through Spring 2024
Art of the North Galleries, Third Floor, East Wing

Good Medicine brings together Indigenous healers and medicine people to collectively create, share knowledge, and practice in community. Unfolding over the course of a year with the work of different Alaska Native healers, this multi-disciplinary exhibition offers diverse opportunities for gathering and exchange.

Colonialism has attacked and suppressed medicine people and Indigenous knowledge systems for hundreds of years. This exhibition addresses harmful legacies and shows how the revitalization of healing practices and traditions provides ways of being in alignment with oneself, with community, and with our planet.

Curated by Tlingit traditional healer Meda DeWitt, Good Medicine emphasizes spiritual renewal, cultural renascence, and the importance of co-creating futures where nature can thrive.

Frank S. Matsura: Portraits from the Borderland features studio images by Washington-based Japanese photographer Frank Sakae Matsura (1873-1913) alongside period-specific American Indian regalia from the Columbia Plateau. Exploring Indigenous representation through a multi-dimensional lens, the photographs and objects on view detail some of Matsura’s most culturally significant work against a backdrop of regional transformation.

I paint from historical photographs of people; the majority of them had no name, no bio, no story left. Nothing. I feel they are kind of lost souls, spirit-ghosts. My painting is a memorial site for them.
—Hung Liu

Groundbreaking Chinese American artist Hung Liu (1948–2021) made highly narrative images that foregrounded workers, immigrants, refugees, women, children, and soldiers in haunting, incandescent portraits that mingle Chinese and Western artistic traditions. Liu was born in Changchun, China, and her childhood and youth coincided with one of the most tumultuous periods in Chinese history. After her arrival in San Diego, California, in 1984, Liu became one of the first Chinese artists to establish a career in the United States. Decades later, she would be justly celebrated for establishing novel frameworks for understanding visual art’s relationship to history by focusing on communities misrepresented and marginalized by official narratives.

Liu experienced political revolution, exile, and displacement before immigrating to the United States. She came of age during Mao Zedong’s Cultural Revolution (1966–76) and was consequently forced to labor in the fields in her early twenties. After studying art in Beijing, she left China to attend graduate school at the University of California, San Diego. There, the experimental tendencies of the students and faculty, most notably those of performance artist Allan Kaprow (1927–2006) and art historian Moira Roth (1933–2021), helped cultivate her conceptual approach to portraiture.

Featuring highly experimental painting, printing, and weaving techniques, Liu’s challenging yet accessible oeuvre has been aptly characterized by her husband, the art critic Jeff Kelley, as a species of “weeping realism.” Titled A Question of Hu, after China scholar Jonathan Spence’s 1988 book The Question of Hu, the exhibition reintroduces Liu’s remarkable art to the Pacific Northwest, while demonstrating—as few artistic oeuvres can—an expanded view of citizenship in an era of seismic change that is also fundamentally marked by evolving ideas of artistic solidarity and collaboration.

Snotty Nose Rez Kids Hot Planet Tour Dates and Locations.

Attention Halloween lovers!! Need some Spooky art? Nepantla Cultural Arts Gallery is proud to present their 1st Halloween themed art show!

Exhibition runs September 2nd-24th.
Gallery Hours: Thu-Sun 12pm-6pm

An anchor event for Converge 45’s citywide 2023 biennial, Social Forms: Art As Global Citizenship, the exhibition WE ARE THE REVOLUTION plumbs the depth of commitment of Jordan Schnitzer to the art of his time, while tapping into a living history of social expression through art in diverse media—from monumental paintings to free-standing sculpture to works on paper. Designed in part to explore ways in which the art of the past meets and affects the art of the present, the exhibition gives voice to art as both aesthetic experimentation and social commentary from the 1960s to today. Driven by the conviction that history is constructed through both continuity and discontinuity, the exhibition strives to establish unexpected juxtapositions and revealing connections among historical and contemporary artists and artworks.

Nooksack Indian Tribe is THRILLED to announce the 2023 Nooksack Days Pow Wow!

Camping and showers are available. All are welcome to attend. This is a drug and alcohol free event.

The Nooksack Indian Tribe is celebrating 50 years since their federal recognition on September 22, 1973. They are so excited to have a full week of events to celebrate Nooksack!

We invite you to participate and honor Missing and Murdered Indigenous Womxn, Girls, Two Spirit+ and all relatives through healthy healing. The 3rd annual MMIWG2S+ Alaska Run for Healing, Run for Justice is a virtual 5K run, walk, or other physical activity dedicated to honoring missing and murdered Indigenous women, girls, and all relatives. This is a free virtual event open to all to share their participation between September 19th-24th. This event is meant to raise awareness and provide a healthy healing activity for our community to join.

Register using this link: https://forms.gle/q8qTqhdGTroooWnq7
To receive your bib and packet.

While this is not a race or competition, you can share your participation in the FB event and registered participants will be entered into a drawing for a swag bag! Check out the FB event each day to see others participation and posts from the working group on how to stay involved!

If you’re in the Anchorage area on September 24th, join us for an in-person participation at 1:00pm at the Alaska Native Heritage Center Lake Tiulana. We are looking for a few volunteers to help us with set-up and breakdown! (Volunteer Form Here). We encourage people to have runs with others in their own communities as well!

Shift your perspective of what you think Indigenous music sounds like and be immersed in a soundscape of Indigenous dreams, connection, and visions for our future. This is the essence and core of Áak’w Rock. It’s a three-day Indigenous music festival, held biennially on the ancestral homelands of the Lingít (People of the Tides) of the Áakʼw Ḵwáan (People of the Little Lake). Áakʼw Ḵwáan Aaní (land) is also known as Juneau-Douglas, Alaska

The Halluci Nation is hitting the road again this fall!!
Tag your crew and tell them what city they’ll get to see your beautiful faces at!!

Check the more info link for details regarding concert locations, times, and tickets.

This course, open to the public, will introduce Chinese medical theories, treatments, history, the basics of holism, and research.

Participants will learn about acupoints, herbal medicine, acupuncture, moxibustion, massage, gua sha, cupping, and bleeding. Dietary therapy, channel system, organ networks, along with yin/yang theory, Chinese pathology, and concepts of qi will be explored as well. This five-week online class is presented by esteemed OCOM faculty members, all teaching their specialized perspectives via lecture, demonstration, and discussion.

Native Action Network is proud to present the exhibition One With the Waters featuring artwork by Sarah Folden. A member of the Cowlitz Tribe, Sarah creates contemporary Coast Salish art inspired by her connection to place. Her work celebrates the vitality of Cowlitz people, their bold and colorful spirits, ancestral waters, animal relatives and all connected in nature. Cowlitz people are water-going people who refused to sign treaties with the federal government. This has created a diverse population. Over time many have traveled from their ancestral waters, some even across oceans, but much like our salmon relatives, there is an instinctive drive that calls Native people home. Sarah Folden’s artwork is created in honor of those still here, those who have made that voyage and those who are awakening to their internal calling to return.

This event will include a panel discussion and readings from three talented Pacific Northwest poets, the poetry of our youth authors, and stories of impact from across our history. And the event will raise funds to support the growth of Pongo’s healing poetry programming serving incarcerated and systems-involved youth.
Pongo Poetry Project exists to support the mental well-being of young people coping with childhood trauma while confined to institutions, such as prisons and psychiatric hospitals. We envision a world where all youth who have experienced childhood trauma can be seen, heard, and affirmed in their full humanity; where youth have the support, resources, and tools they need to heal, grow, and lead dignified lives.

John Legend is returning to Chateau Ste. Michelle Winery on September 21st.

We invite community to join us in the Fall for workdays on the land, starting 9/15 – 11/19.

These workdays have been great opportunities for us to introduce ourselves to the land and to foster our relationships to it. Volunteers can help in a number of ways, like tending to Native plants, clearing invasive ones like ivy, envisioning futures, and getting the land ready for upcoming gatherings. We also invite you to help by just spending time on this site. Sit and relax by the trees and Mapes Creek, use our art supplies to create, help us collect & save seeds for gifts, or just take a moment from your week and spend time in greenspace.

Open to Native/BIPOC: Fridays, Sept 15 – Nov 19, from 2 – 6pm
Open to All: 1st Saturdays, October & November, from 11am – 3pm

Visit https://bit.ly/3qaL3AR or hit the link in our bio to register.

*Tools, a porta potty, limited drinking water, and light snacks will be provided. All ages and experience levels welcome. Note, our site does not have running water or power, and is unfortunately not yet ADA accessible. We can’t wait to see you on the land!

Chief Seattle Club is proud to present the fall exhibition in ʔálʔal Café featuring artwork by Naomi Parker. Naomi comes from the Makah, Yakama, and Chippewa/Cree people. Drawing on her intertribal ancestry, she uses oil paint on canvas to create scenes of far flung Native relations coming together at pow wow grounds and campsites. Through images of friendly faces and joyfully clasped hands, Naomi shows the power we have to create community wherever we gather.

Dive deep into the stories and science that surround the magnificent orca, apex predator of all oceans.
Follow the currents of ecological activism, popular culture, and Indigenous beliefs to gain a new appreciation of these sophisticated animals, long feared in Western cultures as “Killer Whales.”
Orcas: Our Shared Future includes more than 100 original artifacts and specimens, featuring life-size Orca replicas, fossils, films, objects from popular culture, and original artwork from the Indigenous peoples of the North American west coast.
Discover the complex social structure of orca society and reflect on the surprising consequences of captivity. Learn which orca populations are thriving and which are at risk, and resurface with a new understanding of how orcas and humans are inextricably connected.

For many Native communities throughout the High Desert, what constitutes art spans beyond the walls of a gallery or a museum. Objects are alive, tied to purpose and intrinsic to thriving communities. Art is at once utilitarian and ceremonial, as well as part of the continuation of Native traditions.

Opening on January 28, 2023, Creations of Spirit will immerse High Desert Museum visitors in the Indigenous Plateau worldview, reflecting knowledge systems of tribes along the Columbia River and its tributaries.

Six Native artists commissioned for this new, original exhibition are creating artwork that will be used in Native communities before arriving at the Museum. A seventh artist is creating an interactive piece for the center of the gallery. Creations of Spirit will be a one-of-a-kind, celebratory experience featuring the stories of these living works of art. Videos, audio and large projections will immerse visitors in the landscapes and communities in which these objects are used, highlighting the theme of artwork as alive, full of stories and created for specific purposes and people. The original works will be supplemented with nine cultural items on loan from the Smithsonian’s National Museum of the American Indian in Washington, D.C.

Explore the second run of this past exhibit with stories sourced from the local Burmese / Myanmar community. With the original exhibit run cut short due to our closure during the pandemic, we’ve taken the opportunity to update the exhibit to include new content covering the military coup that happened in February 2021.

SAM presents American Art: The Stories We Carry, a transformation of its American art galleries, created through a wide-ranging collaboration among SAM curators and staff, artists, and advisors from the Seattle community. Funded primarily by a $1 million grant from The Mellon Foundation and a $75,000 grant from the Terra Foundation for American Art, the project features work from SAM’s collection and new works and curation by contemporary artists, and it deepens the museum’s commitment to inclusive exhibition-planning practices with a shared-authorship model that reflects and responds to community knowledge.

Each new generation of artists responds to and builds on the art of earlier periods. Bringing together artworks that bridge decades, Reverberations seeks to spark a hum between historical works and those by artists working today. Organized in thematic groups, Reverberations introduces a different topic in each gallery, ranging from landscape and lyrical abstraction to the use of the body in addressing psychological, social, and political concerns. As you move through the modern and contemporary galleries, you will encounter harmonies and dissonance as younger artists stake their claim. In turn, works from earlier decades will acquire new meaning and new layers of relevance.

This installation draws from SAM’s growing collection and incorporates many works acquired in recent years, by artists including Margarita Cabrera, Dana Claxton, Senga Nengudi, Rashid Johnson, Woody De Othello, Jenny Saville, Sarah Sze, and Naama Tsabar. Many works are on view for the first time. Among the modern classics, viewers will find works by Francis Bacon, Alberto Giacometti, Franz Kline, Joan Mitchell, Mark Rothko, and David Smith on view. The museum’s ongoing commitment to building a collection with equity and diverse points of view can be seen when perusing the galleries.

Featuring the work of the Guma’ Gela’, a queer CHamoru art collective made up of members from the Marianas and in the diaspora. The exhibit explores their motto “part land, part sea, all ancestry” through a broad spectrum of media, including sculpture, soundscape, writing, printmaking, weaving, costume design, adornments, and more, to build a connection with CHamoru life, history, and traditions.

Do you ever wonder how Bruce Lee developed the philosophy behind his most iconic quote?

This incredible interactive exhibit invites viewers to step into the mind, body, and spirit of Bruce Lee to see how his unquenchable pursuit of knowledge informed his philosophy and life.

Follow Bruce’s path beginning with his revelations on water, through the wealth of knowledge found in his 2,800-book personal library, to his philosophy on self-understanding and self-expression.

The exhibition’s interactive technology interweaves beautiful imagery with Bruce’s personal objects and books to bring his journey to life.

What do late 18th- to 19th-century Edo (present-day Tokyo) and late 19th-century Paris have in common? This exhibition, which can only be seen in Seattle, uncovers the shared renegade spirit that characterized the graphic arts and social cultures of these two dynamic cities. On view are over 90 Japanese ukiyo-e woodblock prints and paintings from SAM’s Japanese collection alongside private loans of works by Henri de Toulouse-Lautrec (1864–1901).

In addition to the intriguing formal and thematic parallels between these two collections of graphic arts, the exhibition reveals the social impulses behind their burgeoning art production. As both cities faced challenges to the status quo from the rising middle classes, subversive impulses gave rise to vibrant cultures of theatregoing, pleasure seeking, and new forms of visual art.

Considering both the presence and absence of Black artists is critical to understanding the breadth of Black artistic production in Oregon—even in the midst of historic exclusion—as well as how the impact of that history affects our understanding of American art history and the history of the Pacific Northwest. This exhibition serves to deepen our awareness of the talented artists who have shaped and inspired artists regionally and nationally, and it will be the first of its kind to consider the work of Black artists collectively in Oregon.

Beginning in the 1880s and spanning through today, Black Artists of Oregon captures the Black diasporic experiences particular to the Pacific Northwest with 67 artists and over 200 objects. Artists represented in the exhibition will include Thelma Johnson Streat, Al Goldsby, Charlotte Lewis, Isaka Shamsud-Din, Ralph Chessé, Charles Tatum, Arvie Smith, Shedrich Williames, Harrison Branch, Bobby Fouther, and Carrie Mae Weems, among others. The exhibition and programming will also include the works of contemporary and younger artists working now, functioning as bright threads and offering intergenerational conversation throughout the exhibition, including sidony o’neal, Jeremy Okai Davis, damali ayo, Sharita Towne, Melanie Stevens, Lisa Jarrett, Tristan Irving, Ebin Lee, and Jaleesa Johnston.

Through the narrative flow of the exhibition, visitors will experience work by Black artists across decades and generations. Particular attention is given to the works of Black artists who were producing work during the Black Arts Movement of the late 1960s, ’70s, and early ’80s, such as Portland-based painter Isaka Shamsud-Din. The exhibition will also mark regional artistic connections with global movements for Black liberation, as seen in the work of Charlotte Lewis alongside Portlanders Organized for Southern African Freedom and artists like Sadé DuBoise, whose “Resistance” poster series contributed to Portland’s 2020 George Floyd protests. Without chronological constraints, the exhibition is grounded by the work of elder artists, intergenerational conversations, and live activation in the exhibition galleries.

Black Artists of Oregon builds upon exhibition curator Intisar Abioto’s original research since 2018 exploring the lineage and legacy of Black artists in Oregon. The exhibition will continue Abioto’s research, which is grounded in Black American practices of listening, keeping, and passing on each others’ stories.

“Far from isolated or ancillary, Black arts and cultural production in Oregon has been in conversation and interchange with the world, and a part of its arts and cultural movements, all this time,” says Abioto. “Black Artists of Oregon is a heralding of Black presence, interchange, influence, and impact.”

Join Beats of Redmond for the longest and biggest 𝐑𝐄𝐃𝐌𝐎𝐍𝐃 𝐑𝐀𝐉𝐀 𝐆𝐀𝐍𝐄𝐒𝐇 𝐔𝐓𝐒𝐀𝐕 𝟐𝟎𝟐𝟑 in WA. Over 3 days, we promise an unforgettable experience that will transport you to the vibrant spirit of Maharashtra’s Ganesh Festival. Our diverse range of activities caters to all ages, ensuring lasting memories.

𝐄𝐯𝐞𝐧𝐭 𝐒𝐜𝐡𝐞𝐝𝐮𝐥𝐞:
𝟐𝟐𝐧𝐝 𝐒𝐄𝐏𝐓: Join us at 6 PM for the curtain raiser, showcasing the 15-foot Ganesha idol and magnificent decorations. Enjoy a vibrant procession with the Dhol-Tasha-Lazim-Zanza Pathak (Indian Percussion Band) featuring 100 artists.
𝟐𝟑𝐫𝐝 𝐒𝐄𝐏𝐓:Experience the Satyanarayana Puja, followed by Group Atharvashhishya pathan. Enjoy live music, dance performances, shopping bazaar, and food booths.
𝟐𝟒𝐭𝐡 𝐒𝐄𝐏𝐓:Witness cultural performances and the Grand Visarjan procession with Beats Of Redmond’s 100+ performers.

Curated by artist Jaune Quick-to-See Smith (Citizen of the Confederated Salish and Kootenai Nation), this exhibition brings together works by an intergenerational group of nearly 50 living Native artists practicing across the United States. Their powerful expressions reflect the diversity of Native American individual, regional, and cultural identities. At the same time, these works share a worldview informed by thousands of years of reverence, study, and concern for the land.

Through a variety of practices—including weaving, beadwork, sculpture, painting, printmaking, drawing, photography, performance, and video—these artists visualize Indigenous knowledge of land/ landbase/ landscape. Together, the works in The Land Carries Our Ancestors underscore the self-determination, survivance, and right to self-representation of Indigenous peoples.

On view March 21, 2023 through Spring 2024
Art of the North Galleries, Third Floor, East Wing

Good Medicine brings together Indigenous healers and medicine people to collectively create, share knowledge, and practice in community. Unfolding over the course of a year with the work of different Alaska Native healers, this multi-disciplinary exhibition offers diverse opportunities for gathering and exchange.

Colonialism has attacked and suppressed medicine people and Indigenous knowledge systems for hundreds of years. This exhibition addresses harmful legacies and shows how the revitalization of healing practices and traditions provides ways of being in alignment with oneself, with community, and with our planet.

Curated by Tlingit traditional healer Meda DeWitt, Good Medicine emphasizes spiritual renewal, cultural renascence, and the importance of co-creating futures where nature can thrive.

Frank S. Matsura: Portraits from the Borderland features studio images by Washington-based Japanese photographer Frank Sakae Matsura (1873-1913) alongside period-specific American Indian regalia from the Columbia Plateau. Exploring Indigenous representation through a multi-dimensional lens, the photographs and objects on view detail some of Matsura’s most culturally significant work against a backdrop of regional transformation.

I paint from historical photographs of people; the majority of them had no name, no bio, no story left. Nothing. I feel they are kind of lost souls, spirit-ghosts. My painting is a memorial site for them.
—Hung Liu

Groundbreaking Chinese American artist Hung Liu (1948–2021) made highly narrative images that foregrounded workers, immigrants, refugees, women, children, and soldiers in haunting, incandescent portraits that mingle Chinese and Western artistic traditions. Liu was born in Changchun, China, and her childhood and youth coincided with one of the most tumultuous periods in Chinese history. After her arrival in San Diego, California, in 1984, Liu became one of the first Chinese artists to establish a career in the United States. Decades later, she would be justly celebrated for establishing novel frameworks for understanding visual art’s relationship to history by focusing on communities misrepresented and marginalized by official narratives.

Liu experienced political revolution, exile, and displacement before immigrating to the United States. She came of age during Mao Zedong’s Cultural Revolution (1966–76) and was consequently forced to labor in the fields in her early twenties. After studying art in Beijing, she left China to attend graduate school at the University of California, San Diego. There, the experimental tendencies of the students and faculty, most notably those of performance artist Allan Kaprow (1927–2006) and art historian Moira Roth (1933–2021), helped cultivate her conceptual approach to portraiture.

Featuring highly experimental painting, printing, and weaving techniques, Liu’s challenging yet accessible oeuvre has been aptly characterized by her husband, the art critic Jeff Kelley, as a species of “weeping realism.” Titled A Question of Hu, after China scholar Jonathan Spence’s 1988 book The Question of Hu, the exhibition reintroduces Liu’s remarkable art to the Pacific Northwest, while demonstrating—as few artistic oeuvres can—an expanded view of citizenship in an era of seismic change that is also fundamentally marked by evolving ideas of artistic solidarity and collaboration.

Snotty Nose Rez Kids Hot Planet Tour Dates and Locations.

Attention Halloween lovers!! Need some Spooky art? Nepantla Cultural Arts Gallery is proud to present their 1st Halloween themed art show!

Exhibition runs September 2nd-24th.
Gallery Hours: Thu-Sun 12pm-6pm

An anchor event for Converge 45’s citywide 2023 biennial, Social Forms: Art As Global Citizenship, the exhibition WE ARE THE REVOLUTION plumbs the depth of commitment of Jordan Schnitzer to the art of his time, while tapping into a living history of social expression through art in diverse media—from monumental paintings to free-standing sculpture to works on paper. Designed in part to explore ways in which the art of the past meets and affects the art of the present, the exhibition gives voice to art as both aesthetic experimentation and social commentary from the 1960s to today. Driven by the conviction that history is constructed through both continuity and discontinuity, the exhibition strives to establish unexpected juxtapositions and revealing connections among historical and contemporary artists and artworks.

Nooksack Indian Tribe is THRILLED to announce the 2023 Nooksack Days Pow Wow!

Camping and showers are available. All are welcome to attend. This is a drug and alcohol free event.

The Nooksack Indian Tribe is celebrating 50 years since their federal recognition on September 22, 1973. They are so excited to have a full week of events to celebrate Nooksack!

We invite you to participate and honor Missing and Murdered Indigenous Womxn, Girls, Two Spirit+ and all relatives through healthy healing. The 3rd annual MMIWG2S+ Alaska Run for Healing, Run for Justice is a virtual 5K run, walk, or other physical activity dedicated to honoring missing and murdered Indigenous women, girls, and all relatives. This is a free virtual event open to all to share their participation between September 19th-24th. This event is meant to raise awareness and provide a healthy healing activity for our community to join.

Register using this link: https://forms.gle/q8qTqhdGTroooWnq7
To receive your bib and packet.

While this is not a race or competition, you can share your participation in the FB event and registered participants will be entered into a drawing for a swag bag! Check out the FB event each day to see others participation and posts from the working group on how to stay involved!

If you’re in the Anchorage area on September 24th, join us for an in-person participation at 1:00pm at the Alaska Native Heritage Center Lake Tiulana. We are looking for a few volunteers to help us with set-up and breakdown! (Volunteer Form Here). We encourage people to have runs with others in their own communities as well!

Shift your perspective of what you think Indigenous music sounds like and be immersed in a soundscape of Indigenous dreams, connection, and visions for our future. This is the essence and core of Áak’w Rock. It’s a three-day Indigenous music festival, held biennially on the ancestral homelands of the Lingít (People of the Tides) of the Áakʼw Ḵwáan (People of the Little Lake). Áakʼw Ḵwáan Aaní (land) is also known as Juneau-Douglas, Alaska

The Halluci Nation is hitting the road again this fall!!
Tag your crew and tell them what city they’ll get to see your beautiful faces at!!

Check the more info link for details regarding concert locations, times, and tickets.

Noche Bella is Latino Network’s biggest fundraiser of the year, which celebrates our accomplishments over the past year, and where we also present our annual Rey España Aguila Awards to activists, volunteers, and supporters who embody Rey’s spirit and the values of Latino Network. Our work springs from the core belief in Latino community self-determination—that is, the ability of community members to participate meaningfully in the decisions that affect their lives and the lives of their families

This course, open to the public, will introduce Chinese medical theories, treatments, history, the basics of holism, and research.

Participants will learn about acupoints, herbal medicine, acupuncture, moxibustion, massage, gua sha, cupping, and bleeding. Dietary therapy, channel system, organ networks, along with yin/yang theory, Chinese pathology, and concepts of qi will be explored as well. This five-week online class is presented by esteemed OCOM faculty members, all teaching their specialized perspectives via lecture, demonstration, and discussion.

Native Action Network is proud to present the exhibition One With the Waters featuring artwork by Sarah Folden. A member of the Cowlitz Tribe, Sarah creates contemporary Coast Salish art inspired by her connection to place. Her work celebrates the vitality of Cowlitz people, their bold and colorful spirits, ancestral waters, animal relatives and all connected in nature. Cowlitz people are water-going people who refused to sign treaties with the federal government. This has created a diverse population. Over time many have traveled from their ancestral waters, some even across oceans, but much like our salmon relatives, there is an instinctive drive that calls Native people home. Sarah Folden’s artwork is created in honor of those still here, those who have made that voyage and those who are awakening to their internal calling to return.

Join Center for Indigenous Midwifery on Friday at @parabletacoma for their first playback theater performance in collaboration with Heart Sparkle Players. Free admission and no need to register

We invite community to join us in the Fall for workdays on the land, starting 9/15 – 11/19.

These workdays have been great opportunities for us to introduce ourselves to the land and to foster our relationships to it. Volunteers can help in a number of ways, like tending to Native plants, clearing invasive ones like ivy, envisioning futures, and getting the land ready for upcoming gatherings. We also invite you to help by just spending time on this site. Sit and relax by the trees and Mapes Creek, use our art supplies to create, help us collect & save seeds for gifts, or just take a moment from your week and spend time in greenspace.

Open to Native/BIPOC: Fridays, Sept 15 – Nov 19, from 2 – 6pm
Open to All: 1st Saturdays, October & November, from 11am – 3pm

Visit https://bit.ly/3qaL3AR or hit the link in our bio to register.

*Tools, a porta potty, limited drinking water, and light snacks will be provided. All ages and experience levels welcome. Note, our site does not have running water or power, and is unfortunately not yet ADA accessible. We can’t wait to see you on the land!

Chief Seattle Club is proud to present the fall exhibition in ʔálʔal Café featuring artwork by Naomi Parker. Naomi comes from the Makah, Yakama, and Chippewa/Cree people. Drawing on her intertribal ancestry, she uses oil paint on canvas to create scenes of far flung Native relations coming together at pow wow grounds and campsites. Through images of friendly faces and joyfully clasped hands, Naomi shows the power we have to create community wherever we gather.

we are open this weekend! saturday is looking like a 40% chance of rain (as of now) please bundle up, grab an umbrella & keep the chance of rain in mind regarding your items

We have 300 vendor spaces every weekend, and we accept ALL types of vendors 🤟🏽 we are currently seeking out sellers of:
•oddities and curiosities (taxidermy, preserved bugs, dolls, tarot, etc) 🪲
•indigenous arts n crafts 🪶
•woodwork crafts 🪚
•vintage items (clothing, decor, furniture, houseware) 📷
•plants 🪴
•food vendors who sell Asian, Ethiopian, Indian, vegan, Hawaiian, etc. 🍽️
Keep in mind, this isn’t ALL we’re looking for- it’s just at the top of our list! We are first come, first serve but if you’d like to learn more- just head on over to our website 🙂 and if you know anybody who’d be interested, share this with them- we’d greatly appreciate your help!

Dive deep into the stories and science that surround the magnificent orca, apex predator of all oceans.
Follow the currents of ecological activism, popular culture, and Indigenous beliefs to gain a new appreciation of these sophisticated animals, long feared in Western cultures as “Killer Whales.”
Orcas: Our Shared Future includes more than 100 original artifacts and specimens, featuring life-size Orca replicas, fossils, films, objects from popular culture, and original artwork from the Indigenous peoples of the North American west coast.
Discover the complex social structure of orca society and reflect on the surprising consequences of captivity. Learn which orca populations are thriving and which are at risk, and resurface with a new understanding of how orcas and humans are inextricably connected.

For many Native communities throughout the High Desert, what constitutes art spans beyond the walls of a gallery or a museum. Objects are alive, tied to purpose and intrinsic to thriving communities. Art is at once utilitarian and ceremonial, as well as part of the continuation of Native traditions.

Opening on January 28, 2023, Creations of Spirit will immerse High Desert Museum visitors in the Indigenous Plateau worldview, reflecting knowledge systems of tribes along the Columbia River and its tributaries.

Six Native artists commissioned for this new, original exhibition are creating artwork that will be used in Native communities before arriving at the Museum. A seventh artist is creating an interactive piece for the center of the gallery. Creations of Spirit will be a one-of-a-kind, celebratory experience featuring the stories of these living works of art. Videos, audio and large projections will immerse visitors in the landscapes and communities in which these objects are used, highlighting the theme of artwork as alive, full of stories and created for specific purposes and people. The original works will be supplemented with nine cultural items on loan from the Smithsonian’s National Museum of the American Indian in Washington, D.C.

Explore the second run of this past exhibit with stories sourced from the local Burmese / Myanmar community. With the original exhibit run cut short due to our closure during the pandemic, we’ve taken the opportunity to update the exhibit to include new content covering the military coup that happened in February 2021.

SAM presents American Art: The Stories We Carry, a transformation of its American art galleries, created through a wide-ranging collaboration among SAM curators and staff, artists, and advisors from the Seattle community. Funded primarily by a $1 million grant from The Mellon Foundation and a $75,000 grant from the Terra Foundation for American Art, the project features work from SAM’s collection and new works and curation by contemporary artists, and it deepens the museum’s commitment to inclusive exhibition-planning practices with a shared-authorship model that reflects and responds to community knowledge.

Each new generation of artists responds to and builds on the art of earlier periods. Bringing together artworks that bridge decades, Reverberations seeks to spark a hum between historical works and those by artists working today. Organized in thematic groups, Reverberations introduces a different topic in each gallery, ranging from landscape and lyrical abstraction to the use of the body in addressing psychological, social, and political concerns. As you move through the modern and contemporary galleries, you will encounter harmonies and dissonance as younger artists stake their claim. In turn, works from earlier decades will acquire new meaning and new layers of relevance.

This installation draws from SAM’s growing collection and incorporates many works acquired in recent years, by artists including Margarita Cabrera, Dana Claxton, Senga Nengudi, Rashid Johnson, Woody De Othello, Jenny Saville, Sarah Sze, and Naama Tsabar. Many works are on view for the first time. Among the modern classics, viewers will find works by Francis Bacon, Alberto Giacometti, Franz Kline, Joan Mitchell, Mark Rothko, and David Smith on view. The museum’s ongoing commitment to building a collection with equity and diverse points of view can be seen when perusing the galleries.

Featuring the work of the Guma’ Gela’, a queer CHamoru art collective made up of members from the Marianas and in the diaspora. The exhibit explores their motto “part land, part sea, all ancestry” through a broad spectrum of media, including sculpture, soundscape, writing, printmaking, weaving, costume design, adornments, and more, to build a connection with CHamoru life, history, and traditions.

Do you ever wonder how Bruce Lee developed the philosophy behind his most iconic quote?

This incredible interactive exhibit invites viewers to step into the mind, body, and spirit of Bruce Lee to see how his unquenchable pursuit of knowledge informed his philosophy and life.

Follow Bruce’s path beginning with his revelations on water, through the wealth of knowledge found in his 2,800-book personal library, to his philosophy on self-understanding and self-expression.

The exhibition’s interactive technology interweaves beautiful imagery with Bruce’s personal objects and books to bring his journey to life.

What do late 18th- to 19th-century Edo (present-day Tokyo) and late 19th-century Paris have in common? This exhibition, which can only be seen in Seattle, uncovers the shared renegade spirit that characterized the graphic arts and social cultures of these two dynamic cities. On view are over 90 Japanese ukiyo-e woodblock prints and paintings from SAM’s Japanese collection alongside private loans of works by Henri de Toulouse-Lautrec (1864–1901).

In addition to the intriguing formal and thematic parallels between these two collections of graphic arts, the exhibition reveals the social impulses behind their burgeoning art production. As both cities faced challenges to the status quo from the rising middle classes, subversive impulses gave rise to vibrant cultures of theatregoing, pleasure seeking, and new forms of visual art.

Considering both the presence and absence of Black artists is critical to understanding the breadth of Black artistic production in Oregon—even in the midst of historic exclusion—as well as how the impact of that history affects our understanding of American art history and the history of the Pacific Northwest. This exhibition serves to deepen our awareness of the talented artists who have shaped and inspired artists regionally and nationally, and it will be the first of its kind to consider the work of Black artists collectively in Oregon.

Beginning in the 1880s and spanning through today, Black Artists of Oregon captures the Black diasporic experiences particular to the Pacific Northwest with 67 artists and over 200 objects. Artists represented in the exhibition will include Thelma Johnson Streat, Al Goldsby, Charlotte Lewis, Isaka Shamsud-Din, Ralph Chessé, Charles Tatum, Arvie Smith, Shedrich Williames, Harrison Branch, Bobby Fouther, and Carrie Mae Weems, among others. The exhibition and programming will also include the works of contemporary and younger artists working now, functioning as bright threads and offering intergenerational conversation throughout the exhibition, including sidony o’neal, Jeremy Okai Davis, damali ayo, Sharita Towne, Melanie Stevens, Lisa Jarrett, Tristan Irving, Ebin Lee, and Jaleesa Johnston.

Through the narrative flow of the exhibition, visitors will experience work by Black artists across decades and generations. Particular attention is given to the works of Black artists who were producing work during the Black Arts Movement of the late 1960s, ’70s, and early ’80s, such as Portland-based painter Isaka Shamsud-Din. The exhibition will also mark regional artistic connections with global movements for Black liberation, as seen in the work of Charlotte Lewis alongside Portlanders Organized for Southern African Freedom and artists like Sadé DuBoise, whose “Resistance” poster series contributed to Portland’s 2020 George Floyd protests. Without chronological constraints, the exhibition is grounded by the work of elder artists, intergenerational conversations, and live activation in the exhibition galleries.

Black Artists of Oregon builds upon exhibition curator Intisar Abioto’s original research since 2018 exploring the lineage and legacy of Black artists in Oregon. The exhibition will continue Abioto’s research, which is grounded in Black American practices of listening, keeping, and passing on each others’ stories.

“Far from isolated or ancillary, Black arts and cultural production in Oregon has been in conversation and interchange with the world, and a part of its arts and cultural movements, all this time,” says Abioto. “Black Artists of Oregon is a heralding of Black presence, interchange, influence, and impact.”

Join Beats of Redmond for the longest and biggest 𝐑𝐄𝐃𝐌𝐎𝐍𝐃 𝐑𝐀𝐉𝐀 𝐆𝐀𝐍𝐄𝐒𝐇 𝐔𝐓𝐒𝐀𝐕 𝟐𝟎𝟐𝟑 in WA. Over 3 days, we promise an unforgettable experience that will transport you to the vibrant spirit of Maharashtra’s Ganesh Festival. Our diverse range of activities caters to all ages, ensuring lasting memories.

𝐄𝐯𝐞𝐧𝐭 𝐒𝐜𝐡𝐞𝐝𝐮𝐥𝐞:
𝟐𝟐𝐧𝐝 𝐒𝐄𝐏𝐓: Join us at 6 PM for the curtain raiser, showcasing the 15-foot Ganesha idol and magnificent decorations. Enjoy a vibrant procession with the Dhol-Tasha-Lazim-Zanza Pathak (Indian Percussion Band) featuring 100 artists.
𝟐𝟑𝐫𝐝 𝐒𝐄𝐏𝐓:Experience the Satyanarayana Puja, followed by Group Atharvashhishya pathan. Enjoy live music, dance performances, shopping bazaar, and food booths.
𝟐𝟒𝐭𝐡 𝐒𝐄𝐏𝐓:Witness cultural performances and the Grand Visarjan procession with Beats Of Redmond’s 100+ performers.

Generations Festival (GenFest) has historically been an intergenerational gathering that incorporates accessible workshops for all ages and participants to build community together, grow genuine connections, while promoting intergenerational healing. GenFest has developed and transformed in many ways throughout the years, based on the community needs of the respective year. 2023 will host our 6th annual GenFest! This year, we plan to focus on intergenerational play including crafting together, wellness, and community connection.

Schedule for the day:
10-11am – Opening, icebreakers, collective stretching
11-12pm – Creation Block – Flower Crowns with Soy Dara
12-1pm – Lunch Break with Roger Rigor musical performance
1-3pm – Film screening of Encanto including discussion and coloring activities
3-4pm – Zumba and Karaoke!

*****
Real-time captioning will be provided all day and ASL interpretation is available from 1-4pm. We are working on securing ASL interpreters for the morning as well. We will strive to accommodate accessibility needs such as language interpretation, materials ahead of time, etc. to the best of our ability – please contact jessie@apichaya.org with your accessibility needs.

Our festival in 2023 will be the thirteenth Northwest Tea Festival
Join us for a fun and educational two-day event showcasing the multifaceted world of tea. The goal of the festival is to provide experiences covering all aspects of tea, from the cultural to the historical and the sensory to the scientific. The festival is appropriate for people of all ages and all levels of tea experience, from mildly curious folks to passionate, life-long aficionados.

Each year festival organizers bring together authors, industry experts, buyers, retailers, artists, and educators to help you experience something new and expand your enjoyment of this most fascinating of beverages!

Immerse yourself in the tea experience:

• Sample some of the finest teas from all over the world.
• Attend presentations led by leading tea authors and industry experts.
• Meet premier tea and tea ware suppliers.

Curated by artist Jaune Quick-to-See Smith (Citizen of the Confederated Salish and Kootenai Nation), this exhibition brings together works by an intergenerational group of nearly 50 living Native artists practicing across the United States. Their powerful expressions reflect the diversity of Native American individual, regional, and cultural identities. At the same time, these works share a worldview informed by thousands of years of reverence, study, and concern for the land.

Through a variety of practices—including weaving, beadwork, sculpture, painting, printmaking, drawing, photography, performance, and video—these artists visualize Indigenous knowledge of land/ landbase/ landscape. Together, the works in The Land Carries Our Ancestors underscore the self-determination, survivance, and right to self-representation of Indigenous peoples.

On view March 21, 2023 through Spring 2024
Art of the North Galleries, Third Floor, East Wing

Good Medicine brings together Indigenous healers and medicine people to collectively create, share knowledge, and practice in community. Unfolding over the course of a year with the work of different Alaska Native healers, this multi-disciplinary exhibition offers diverse opportunities for gathering and exchange.

Colonialism has attacked and suppressed medicine people and Indigenous knowledge systems for hundreds of years. This exhibition addresses harmful legacies and shows how the revitalization of healing practices and traditions provides ways of being in alignment with oneself, with community, and with our planet.

Curated by Tlingit traditional healer Meda DeWitt, Good Medicine emphasizes spiritual renewal, cultural renascence, and the importance of co-creating futures where nature can thrive.

Frank S. Matsura: Portraits from the Borderland features studio images by Washington-based Japanese photographer Frank Sakae Matsura (1873-1913) alongside period-specific American Indian regalia from the Columbia Plateau. Exploring Indigenous representation through a multi-dimensional lens, the photographs and objects on view detail some of Matsura’s most culturally significant work against a backdrop of regional transformation.

I paint from historical photographs of people; the majority of them had no name, no bio, no story left. Nothing. I feel they are kind of lost souls, spirit-ghosts. My painting is a memorial site for them.
—Hung Liu

Groundbreaking Chinese American artist Hung Liu (1948–2021) made highly narrative images that foregrounded workers, immigrants, refugees, women, children, and soldiers in haunting, incandescent portraits that mingle Chinese and Western artistic traditions. Liu was born in Changchun, China, and her childhood and youth coincided with one of the most tumultuous periods in Chinese history. After her arrival in San Diego, California, in 1984, Liu became one of the first Chinese artists to establish a career in the United States. Decades later, she would be justly celebrated for establishing novel frameworks for understanding visual art’s relationship to history by focusing on communities misrepresented and marginalized by official narratives.

Liu experienced political revolution, exile, and displacement before immigrating to the United States. She came of age during Mao Zedong’s Cultural Revolution (1966–76) and was consequently forced to labor in the fields in her early twenties. After studying art in Beijing, she left China to attend graduate school at the University of California, San Diego. There, the experimental tendencies of the students and faculty, most notably those of performance artist Allan Kaprow (1927–2006) and art historian Moira Roth (1933–2021), helped cultivate her conceptual approach to portraiture.

Featuring highly experimental painting, printing, and weaving techniques, Liu’s challenging yet accessible oeuvre has been aptly characterized by her husband, the art critic Jeff Kelley, as a species of “weeping realism.” Titled A Question of Hu, after China scholar Jonathan Spence’s 1988 book The Question of Hu, the exhibition reintroduces Liu’s remarkable art to the Pacific Northwest, while demonstrating—as few artistic oeuvres can—an expanded view of citizenship in an era of seismic change that is also fundamentally marked by evolving ideas of artistic solidarity and collaboration.

Snotty Nose Rez Kids Hot Planet Tour Dates and Locations.

Attention Halloween lovers!! Need some Spooky art? Nepantla Cultural Arts Gallery is proud to present their 1st Halloween themed art show!

Exhibition runs September 2nd-24th.
Gallery Hours: Thu-Sun 12pm-6pm

September 23rd from 12-2pm we will be hosting our first Black Birth Matters: A Birth Justice Lunch and Learn. This will be an afternoon of games, food, and community! This event will be for Black families and a time for parents and kiddos to play together while learning about our dreams for safe and healthy pregnancies and births in the Black community. We will be playing kid friendly bingo, with the chance to win prizes for the family and make crafts that families can take home.

Need more information? Contact Andi at andi@surgenw.org

An anchor event for Converge 45’s citywide 2023 biennial, Social Forms: Art As Global Citizenship, the exhibition WE ARE THE REVOLUTION plumbs the depth of commitment of Jordan Schnitzer to the art of his time, while tapping into a living history of social expression through art in diverse media—from monumental paintings to free-standing sculpture to works on paper. Designed in part to explore ways in which the art of the past meets and affects the art of the present, the exhibition gives voice to art as both aesthetic experimentation and social commentary from the 1960s to today. Driven by the conviction that history is constructed through both continuity and discontinuity, the exhibition strives to establish unexpected juxtapositions and revealing connections among historical and contemporary artists and artworks.

Nooksack Indian Tribe is THRILLED to announce the 2023 Nooksack Days Pow Wow!

Camping and showers are available. All are welcome to attend. This is a drug and alcohol free event.

The Nooksack Indian Tribe is celebrating 50 years since their federal recognition on September 22, 1973. They are so excited to have a full week of events to celebrate Nooksack!

We invite you to participate and honor Missing and Murdered Indigenous Womxn, Girls, Two Spirit+ and all relatives through healthy healing. The 3rd annual MMIWG2S+ Alaska Run for Healing, Run for Justice is a virtual 5K run, walk, or other physical activity dedicated to honoring missing and murdered Indigenous women, girls, and all relatives. This is a free virtual event open to all to share their participation between September 19th-24th. This event is meant to raise awareness and provide a healthy healing activity for our community to join.

Register using this link: https://forms.gle/q8qTqhdGTroooWnq7
To receive your bib and packet.

While this is not a race or competition, you can share your participation in the FB event and registered participants will be entered into a drawing for a swag bag! Check out the FB event each day to see others participation and posts from the working group on how to stay involved!

If you’re in the Anchorage area on September 24th, join us for an in-person participation at 1:00pm at the Alaska Native Heritage Center Lake Tiulana. We are looking for a few volunteers to help us with set-up and breakdown! (Volunteer Form Here). We encourage people to have runs with others in their own communities as well!

Join us for Lifewerq Legacy, a celebration of LL Gimeno, his contributions to community and continued legacy through Lifewerq!

Lifewerq Legacy will take place in-person and online on Saturday, September 23rd, 1-4pm PST at Martin Luther King Jr. Memorial Park in Seattle (2200 Martin Luther King Jr Way S, Seattle, WA 98144 ) and streamed on our Instagram (https://www.instagram.com/lifewerqproject/).

This party is free, all ages, with food provided, performances, music, dancing and lots of glitter in true LL style! If attending in-person, please take a COVID-19 test before arrival, and masks are required throughout the event.

We are so excited to celebrate LL and his legacy with you all! A big THANK YOU to everyone who contributed to the candle fundraiser to make this party happen!

Bethel School District, Yelm, Olympia, and North Thurston are all partnering together to offer the Back To School 🎒🏫 South Sound Pow Wow. Join us for a great day to celebrate tradition and community.

Mi Centro and Tacoma Art Museum (TAM), with support from Tacoma Creates, is excited to partner together to present special guest speaker Cheech Marin and “El Noroeste” art exhibit highlighting over 20 local Chicano/Latine art from across Washington State.

The exhibit dates will be Saturday September 23 – October 1, 2023. The free opening reception and Cheech Marin speaking engagement are scheduled to take place on Saturday, September 23rd from 2-5 p.m., with our guest speaker starting at 3 p.m. Both the exhibit and the opening reception with guest speaker will take place at the Tacoma Art Museum. This is a standing room only event with limited seating. Attendees can register for FREE

Please join us for our annual Salmon Dinner at the Seattle Betsuin Buddhist Temple! We’re excited to have dine-in, as well as drive-thru times available for people to enjoy a delicious meal.

Shift your perspective of what you think Indigenous music sounds like and be immersed in a soundscape of Indigenous dreams, connection, and visions for our future. This is the essence and core of Áak’w Rock. It’s a three-day Indigenous music festival, held biennially on the ancestral homelands of the Lingít (People of the Tides) of the Áakʼw Ḵwáan (People of the Little Lake). Áakʼw Ḵwáan Aaní (land) is also known as Juneau-Douglas, Alaska

The Halluci Nation is hitting the road again this fall!!
Tag your crew and tell them what city they’ll get to see your beautiful faces at!!

Check the more info link for details regarding concert locations, times, and tickets.

Categorically, through the entire history of music and American culture, Black folks have not received proper love or credit, and if they do it is not until decades after their passing. From Sister Rosetta Tharpe to Seattle’s Tina Bell to the contemporary pioneers Fishbone, in the PNW, Black-fronted bands have been in need of the proper support and recognition of the impact they’ve made on music history. After a music festival where they were the only Black bands on the bill, King Youngblood’s Cameron Lavi-Jones and Down North’s Anthony Briscoe aligned to do something about this issue and assembled an incredible team of pros to create Black and Loud Fest. Backed with the support of title sponsor Jack Daniel’s, this festival was born from the DIY spirit to give folks the chance to prevent history from repeating itself. Black and Loud Fest aims to celebrate these bands with folks from all walks of life by sharing experiences and insights about these issues, giving the talented and underrepresented community of alternative Black artists their flowers, and throwing one of the most kick-ass music festivals in the Pacific Northwest. And guess what?

No matter who you are, you’re invited. Let’s tear it up together.

This course, open to the public, will introduce Chinese medical theories, treatments, history, the basics of holism, and research.

Participants will learn about acupoints, herbal medicine, acupuncture, moxibustion, massage, gua sha, cupping, and bleeding. Dietary therapy, channel system, organ networks, along with yin/yang theory, Chinese pathology, and concepts of qi will be explored as well. This five-week online class is presented by esteemed OCOM faculty members, all teaching their specialized perspectives via lecture, demonstration, and discussion.

Native Action Network is proud to present the exhibition One With the Waters featuring artwork by Sarah Folden. A member of the Cowlitz Tribe, Sarah creates contemporary Coast Salish art inspired by her connection to place. Her work celebrates the vitality of Cowlitz people, their bold and colorful spirits, ancestral waters, animal relatives and all connected in nature. Cowlitz people are water-going people who refused to sign treaties with the federal government. This has created a diverse population. Over time many have traveled from their ancestral waters, some even across oceans, but much like our salmon relatives, there is an instinctive drive that calls Native people home. Sarah Folden’s artwork is created in honor of those still here, those who have made that voyage and those who are awakening to their internal calling to return.

Spokane Arts is excited to host the annual Arts Awards—a celebration of the arts community in Spokane! Join us on Saturday, September 23 for live music, performances, poetry, plus the presentation of the Arts Awards!

The Arts Awards recognize the accomplishments of creatives, arts and cultural organizations, and local individuals committed to enriching our community through the arts. The four awards categories reflect the values of Spokane Arts: Leadership, Collaboration, Imagination and Inclusion. In each category, nominated artists, volunteers, neighborhoods, educators, organizations, community leaders, or donors are selected by a panel of Arts Commissioners and community arts representatives from the pool of community-nominated candidates. Emerging or established, young or old, on the edge or in the center – Spokane Arts strives to celebrate and recognize the wealth of participation in Spokane’s creative ecosystem.

We invite community to join us in the Fall for workdays on the land, starting 9/15 – 11/19.

These workdays have been great opportunities for us to introduce ourselves to the land and to foster our relationships to it. Volunteers can help in a number of ways, like tending to Native plants, clearing invasive ones like ivy, envisioning futures, and getting the land ready for upcoming gatherings. We also invite you to help by just spending time on this site. Sit and relax by the trees and Mapes Creek, use our art supplies to create, help us collect & save seeds for gifts, or just take a moment from your week and spend time in greenspace.

Open to Native/BIPOC: Fridays, Sept 15 – Nov 19, from 2 – 6pm
Open to All: 1st Saturdays, October & November, from 11am – 3pm

Visit https://bit.ly/3qaL3AR or hit the link in our bio to register.

*Tools, a porta potty, limited drinking water, and light snacks will be provided. All ages and experience levels welcome. Note, our site does not have running water or power, and is unfortunately not yet ADA accessible. We can’t wait to see you on the land!

Chief Seattle Club is proud to present the fall exhibition in ʔálʔal Café featuring artwork by Naomi Parker. Naomi comes from the Makah, Yakama, and Chippewa/Cree people. Drawing on her intertribal ancestry, she uses oil paint on canvas to create scenes of far flung Native relations coming together at pow wow grounds and campsites. Through images of friendly faces and joyfully clasped hands, Naomi shows the power we have to create community wherever we gather.

we are open this weekend! saturday is looking like a 40% chance of rain (as of now) please bundle up, grab an umbrella & keep the chance of rain in mind regarding your items

We have 300 vendor spaces every weekend, and we accept ALL types of vendors 🤟🏽 we are currently seeking out sellers of:
•oddities and curiosities (taxidermy, preserved bugs, dolls, tarot, etc) 🪲
•indigenous arts n crafts 🪶
•woodwork crafts 🪚
•vintage items (clothing, decor, furniture, houseware) 📷
•plants 🪴
•food vendors who sell Asian, Ethiopian, Indian, vegan, Hawaiian, etc. 🍽️
Keep in mind, this isn’t ALL we’re looking for- it’s just at the top of our list! We are first come, first serve but if you’d like to learn more- just head on over to our website 🙂 and if you know anybody who’d be interested, share this with them- we’d greatly appreciate your help!

Dive deep into the stories and science that surround the magnificent orca, apex predator of all oceans.
Follow the currents of ecological activism, popular culture, and Indigenous beliefs to gain a new appreciation of these sophisticated animals, long feared in Western cultures as “Killer Whales.”
Orcas: Our Shared Future includes more than 100 original artifacts and specimens, featuring life-size Orca replicas, fossils, films, objects from popular culture, and original artwork from the Indigenous peoples of the North American west coast.
Discover the complex social structure of orca society and reflect on the surprising consequences of captivity. Learn which orca populations are thriving and which are at risk, and resurface with a new understanding of how orcas and humans are inextricably connected.

For many Native communities throughout the High Desert, what constitutes art spans beyond the walls of a gallery or a museum. Objects are alive, tied to purpose and intrinsic to thriving communities. Art is at once utilitarian and ceremonial, as well as part of the continuation of Native traditions.

Opening on January 28, 2023, Creations of Spirit will immerse High Desert Museum visitors in the Indigenous Plateau worldview, reflecting knowledge systems of tribes along the Columbia River and its tributaries.

Six Native artists commissioned for this new, original exhibition are creating artwork that will be used in Native communities before arriving at the Museum. A seventh artist is creating an interactive piece for the center of the gallery. Creations of Spirit will be a one-of-a-kind, celebratory experience featuring the stories of these living works of art. Videos, audio and large projections will immerse visitors in the landscapes and communities in which these objects are used, highlighting the theme of artwork as alive, full of stories and created for specific purposes and people. The original works will be supplemented with nine cultural items on loan from the Smithsonian’s National Museum of the American Indian in Washington, D.C.

Explore the second run of this past exhibit with stories sourced from the local Burmese / Myanmar community. With the original exhibit run cut short due to our closure during the pandemic, we’ve taken the opportunity to update the exhibit to include new content covering the military coup that happened in February 2021.

SAM presents American Art: The Stories We Carry, a transformation of its American art galleries, created through a wide-ranging collaboration among SAM curators and staff, artists, and advisors from the Seattle community. Funded primarily by a $1 million grant from The Mellon Foundation and a $75,000 grant from the Terra Foundation for American Art, the project features work from SAM’s collection and new works and curation by contemporary artists, and it deepens the museum’s commitment to inclusive exhibition-planning practices with a shared-authorship model that reflects and responds to community knowledge.

Each new generation of artists responds to and builds on the art of earlier periods. Bringing together artworks that bridge decades, Reverberations seeks to spark a hum between historical works and those by artists working today. Organized in thematic groups, Reverberations introduces a different topic in each gallery, ranging from landscape and lyrical abstraction to the use of the body in addressing psychological, social, and political concerns. As you move through the modern and contemporary galleries, you will encounter harmonies and dissonance as younger artists stake their claim. In turn, works from earlier decades will acquire new meaning and new layers of relevance.

This installation draws from SAM’s growing collection and incorporates many works acquired in recent years, by artists including Margarita Cabrera, Dana Claxton, Senga Nengudi, Rashid Johnson, Woody De Othello, Jenny Saville, Sarah Sze, and Naama Tsabar. Many works are on view for the first time. Among the modern classics, viewers will find works by Francis Bacon, Alberto Giacometti, Franz Kline, Joan Mitchell, Mark Rothko, and David Smith on view. The museum’s ongoing commitment to building a collection with equity and diverse points of view can be seen when perusing the galleries.

Featuring the work of the Guma’ Gela’, a queer CHamoru art collective made up of members from the Marianas and in the diaspora. The exhibit explores their motto “part land, part sea, all ancestry” through a broad spectrum of media, including sculpture, soundscape, writing, printmaking, weaving, costume design, adornments, and more, to build a connection with CHamoru life, history, and traditions.

Do you ever wonder how Bruce Lee developed the philosophy behind his most iconic quote?

This incredible interactive exhibit invites viewers to step into the mind, body, and spirit of Bruce Lee to see how his unquenchable pursuit of knowledge informed his philosophy and life.

Follow Bruce’s path beginning with his revelations on water, through the wealth of knowledge found in his 2,800-book personal library, to his philosophy on self-understanding and self-expression.

The exhibition’s interactive technology interweaves beautiful imagery with Bruce’s personal objects and books to bring his journey to life.

What do late 18th- to 19th-century Edo (present-day Tokyo) and late 19th-century Paris have in common? This exhibition, which can only be seen in Seattle, uncovers the shared renegade spirit that characterized the graphic arts and social cultures of these two dynamic cities. On view are over 90 Japanese ukiyo-e woodblock prints and paintings from SAM’s Japanese collection alongside private loans of works by Henri de Toulouse-Lautrec (1864–1901).

In addition to the intriguing formal and thematic parallels between these two collections of graphic arts, the exhibition reveals the social impulses behind their burgeoning art production. As both cities faced challenges to the status quo from the rising middle classes, subversive impulses gave rise to vibrant cultures of theatregoing, pleasure seeking, and new forms of visual art.

Considering both the presence and absence of Black artists is critical to understanding the breadth of Black artistic production in Oregon—even in the midst of historic exclusion—as well as how the impact of that history affects our understanding of American art history and the history of the Pacific Northwest. This exhibition serves to deepen our awareness of the talented artists who have shaped and inspired artists regionally and nationally, and it will be the first of its kind to consider the work of Black artists collectively in Oregon.

Beginning in the 1880s and spanning through today, Black Artists of Oregon captures the Black diasporic experiences particular to the Pacific Northwest with 67 artists and over 200 objects. Artists represented in the exhibition will include Thelma Johnson Streat, Al Goldsby, Charlotte Lewis, Isaka Shamsud-Din, Ralph Chessé, Charles Tatum, Arvie Smith, Shedrich Williames, Harrison Branch, Bobby Fouther, and Carrie Mae Weems, among others. The exhibition and programming will also include the works of contemporary and younger artists working now, functioning as bright threads and offering intergenerational conversation throughout the exhibition, including sidony o’neal, Jeremy Okai Davis, damali ayo, Sharita Towne, Melanie Stevens, Lisa Jarrett, Tristan Irving, Ebin Lee, and Jaleesa Johnston.

Through the narrative flow of the exhibition, visitors will experience work by Black artists across decades and generations. Particular attention is given to the works of Black artists who were producing work during the Black Arts Movement of the late 1960s, ’70s, and early ’80s, such as Portland-based painter Isaka Shamsud-Din. The exhibition will also mark regional artistic connections with global movements for Black liberation, as seen in the work of Charlotte Lewis alongside Portlanders Organized for Southern African Freedom and artists like Sadé DuBoise, whose “Resistance” poster series contributed to Portland’s 2020 George Floyd protests. Without chronological constraints, the exhibition is grounded by the work of elder artists, intergenerational conversations, and live activation in the exhibition galleries.

Black Artists of Oregon builds upon exhibition curator Intisar Abioto’s original research since 2018 exploring the lineage and legacy of Black artists in Oregon. The exhibition will continue Abioto’s research, which is grounded in Black American practices of listening, keeping, and passing on each others’ stories.

“Far from isolated or ancillary, Black arts and cultural production in Oregon has been in conversation and interchange with the world, and a part of its arts and cultural movements, all this time,” says Abioto. “Black Artists of Oregon is a heralding of Black presence, interchange, influence, and impact.”

Join Beats of Redmond for the longest and biggest 𝐑𝐄𝐃𝐌𝐎𝐍𝐃 𝐑𝐀𝐉𝐀 𝐆𝐀𝐍𝐄𝐒𝐇 𝐔𝐓𝐒𝐀𝐕 𝟐𝟎𝟐𝟑 in WA. Over 3 days, we promise an unforgettable experience that will transport you to the vibrant spirit of Maharashtra’s Ganesh Festival. Our diverse range of activities caters to all ages, ensuring lasting memories.

𝐄𝐯𝐞𝐧𝐭 𝐒𝐜𝐡𝐞𝐝𝐮𝐥𝐞:
𝟐𝟐𝐧𝐝 𝐒𝐄𝐏𝐓: Join us at 6 PM for the curtain raiser, showcasing the 15-foot Ganesha idol and magnificent decorations. Enjoy a vibrant procession with the Dhol-Tasha-Lazim-Zanza Pathak (Indian Percussion Band) featuring 100 artists.
𝟐𝟑𝐫𝐝 𝐒𝐄𝐏𝐓:Experience the Satyanarayana Puja, followed by Group Atharvashhishya pathan. Enjoy live music, dance performances, shopping bazaar, and food booths.
𝟐𝟒𝐭𝐡 𝐒𝐄𝐏𝐓:Witness cultural performances and the Grand Visarjan procession with Beats Of Redmond’s 100+ performers.

Our festival in 2023 will be the thirteenth Northwest Tea Festival
Join us for a fun and educational two-day event showcasing the multifaceted world of tea. The goal of the festival is to provide experiences covering all aspects of tea, from the cultural to the historical and the sensory to the scientific. The festival is appropriate for people of all ages and all levels of tea experience, from mildly curious folks to passionate, life-long aficionados.

Each year festival organizers bring together authors, industry experts, buyers, retailers, artists, and educators to help you experience something new and expand your enjoyment of this most fascinating of beverages!

Immerse yourself in the tea experience:

• Sample some of the finest teas from all over the world.
• Attend presentations led by leading tea authors and industry experts.
• Meet premier tea and tea ware suppliers.

Curated by artist Jaune Quick-to-See Smith (Citizen of the Confederated Salish and Kootenai Nation), this exhibition brings together works by an intergenerational group of nearly 50 living Native artists practicing across the United States. Their powerful expressions reflect the diversity of Native American individual, regional, and cultural identities. At the same time, these works share a worldview informed by thousands of years of reverence, study, and concern for the land.

Through a variety of practices—including weaving, beadwork, sculpture, painting, printmaking, drawing, photography, performance, and video—these artists visualize Indigenous knowledge of land/ landbase/ landscape. Together, the works in The Land Carries Our Ancestors underscore the self-determination, survivance, and right to self-representation of Indigenous peoples.

On view March 21, 2023 through Spring 2024
Art of the North Galleries, Third Floor, East Wing

Good Medicine brings together Indigenous healers and medicine people to collectively create, share knowledge, and practice in community. Unfolding over the course of a year with the work of different Alaska Native healers, this multi-disciplinary exhibition offers diverse opportunities for gathering and exchange.

Colonialism has attacked and suppressed medicine people and Indigenous knowledge systems for hundreds of years. This exhibition addresses harmful legacies and shows how the revitalization of healing practices and traditions provides ways of being in alignment with oneself, with community, and with our planet.

Curated by Tlingit traditional healer Meda DeWitt, Good Medicine emphasizes spiritual renewal, cultural renascence, and the importance of co-creating futures where nature can thrive.

Frank S. Matsura: Portraits from the Borderland features studio images by Washington-based Japanese photographer Frank Sakae Matsura (1873-1913) alongside period-specific American Indian regalia from the Columbia Plateau. Exploring Indigenous representation through a multi-dimensional lens, the photographs and objects on view detail some of Matsura’s most culturally significant work against a backdrop of regional transformation.

We are thrilled to announce our very first VOICES event, a day-long event created for BIPOC adoptees and by BIPOC adoptees. This FREE day-long event will be on Sunday, September 24. You can find more details and register on our Eventbrite (see linktr.ee)!

From 11am to 3pm, we will have programming for BIPOC adoptees, by us, including only us. This BIPOC adoptee-only programming includes a workshop with @conversationpodpiece facilitated by @patrickintheworld on narrative reclamation, adoptee storytelling, and social time to hang out with the BIPOC adoptee community.

From 4pm to 9pm, we will open the event to partners, friends, family, allies, and advocates who seek to support us, starting with a panel about adoptees in adulthood and our relationships with adoptive families facilitated by @adoptionmosaic. We will also have activities for intergenerational adoptee youth and social time for community building.

This event is FREE thanks to our partners Theatre Diaspora and MediaRites with funding by Metro Community Placemaking for the “Undefined and Overlooked” project and the generous community donors who have contributed through personal funds! We are still fundraising if you would like to donate: Eventbrite, Venmo, Cashapp, and Paypal. Please note “VOICES Community Event Donation.”

If you are a BIPOC adoptee and would like to table or be a vendor, please fill out the vendor form (linktr.ee). And if you are traveling from out of town, check out our travel guide (linktr.ee).

This event is meant to be a safe, inclusive space for all BIPOC, LGBTQIA2S+, and disabled members of our community. Steeplejack is ADA accessible. We will have an ASL sign language interpreter on site. Please contact us with questions or to communicate other accommodation requests.

A HUUUUUGE thank you goes to Theatre Diaspora (@theatrediaspora) and MediaRites (@mediarites) with funding by Metro Community Placemaking for the “Undefined and Overlooked” project. Their support and partnership are part of the backbone of this event. They are sponsoring the event, providing the space, and supporting the adoptee-centered programming. They have been central to making this happen!

I paint from historical photographs of people; the majority of them had no name, no bio, no story left. Nothing. I feel they are kind of lost souls, spirit-ghosts. My painting is a memorial site for them.
—Hung Liu

Groundbreaking Chinese American artist Hung Liu (1948–2021) made highly narrative images that foregrounded workers, immigrants, refugees, women, children, and soldiers in haunting, incandescent portraits that mingle Chinese and Western artistic traditions. Liu was born in Changchun, China, and her childhood and youth coincided with one of the most tumultuous periods in Chinese history. After her arrival in San Diego, California, in 1984, Liu became one of the first Chinese artists to establish a career in the United States. Decades later, she would be justly celebrated for establishing novel frameworks for understanding visual art’s relationship to history by focusing on communities misrepresented and marginalized by official narratives.

Liu experienced political revolution, exile, and displacement before immigrating to the United States. She came of age during Mao Zedong’s Cultural Revolution (1966–76) and was consequently forced to labor in the fields in her early twenties. After studying art in Beijing, she left China to attend graduate school at the University of California, San Diego. There, the experimental tendencies of the students and faculty, most notably those of performance artist Allan Kaprow (1927–2006) and art historian Moira Roth (1933–2021), helped cultivate her conceptual approach to portraiture.

Featuring highly experimental painting, printing, and weaving techniques, Liu’s challenging yet accessible oeuvre has been aptly characterized by her husband, the art critic Jeff Kelley, as a species of “weeping realism.” Titled A Question of Hu, after China scholar Jonathan Spence’s 1988 book The Question of Hu, the exhibition reintroduces Liu’s remarkable art to the Pacific Northwest, while demonstrating—as few artistic oeuvres can—an expanded view of citizenship in an era of seismic change that is also fundamentally marked by evolving ideas of artistic solidarity and collaboration.

Attention Halloween lovers!! Need some Spooky art? Nepantla Cultural Arts Gallery is proud to present their 1st Halloween themed art show!

Exhibition runs September 2nd-24th.
Gallery Hours: Thu-Sun 12pm-6pm

An anchor event for Converge 45’s citywide 2023 biennial, Social Forms: Art As Global Citizenship, the exhibition WE ARE THE REVOLUTION plumbs the depth of commitment of Jordan Schnitzer to the art of his time, while tapping into a living history of social expression through art in diverse media—from monumental paintings to free-standing sculpture to works on paper. Designed in part to explore ways in which the art of the past meets and affects the art of the present, the exhibition gives voice to art as both aesthetic experimentation and social commentary from the 1960s to today. Driven by the conviction that history is constructed through both continuity and discontinuity, the exhibition strives to establish unexpected juxtapositions and revealing connections among historical and contemporary artists and artworks.

Nooksack Indian Tribe is THRILLED to announce the 2023 Nooksack Days Pow Wow!

Camping and showers are available. All are welcome to attend. This is a drug and alcohol free event.

The Nooksack Indian Tribe is celebrating 50 years since their federal recognition on September 22, 1973. They are so excited to have a full week of events to celebrate Nooksack!

We invite you to participate and honor Missing and Murdered Indigenous Womxn, Girls, Two Spirit+ and all relatives through healthy healing. The 3rd annual MMIWG2S+ Alaska Run for Healing, Run for Justice is a virtual 5K run, walk, or other physical activity dedicated to honoring missing and murdered Indigenous women, girls, and all relatives. This is a free virtual event open to all to share their participation between September 19th-24th. This event is meant to raise awareness and provide a healthy healing activity for our community to join.

Register using this link: https://forms.gle/q8qTqhdGTroooWnq7
To receive your bib and packet.

While this is not a race or competition, you can share your participation in the FB event and registered participants will be entered into a drawing for a swag bag! Check out the FB event each day to see others participation and posts from the working group on how to stay involved!

If you’re in the Anchorage area on September 24th, join us for an in-person participation at 1:00pm at the Alaska Native Heritage Center Lake Tiulana. We are looking for a few volunteers to help us with set-up and breakdown! (Volunteer Form Here). We encourage people to have runs with others in their own communities as well!

Jack Straw Kicks off the fall with an afternoon of music from Jack Straw Resident Artists Randal Bays and Clint Dye, Nic Masangkay, Medejin, Josh Nucci and friends, and Lindsey Strand-Polyak.

In person or streaming via YouTube and Facebook.

Mi Centro and Tacoma Art Museum (TAM), with support from Tacoma Creates, is excited to partner together to present special guest speaker Cheech Marin and “El Noroeste” art exhibit highlighting over 20 local Chicano/Latine art from across Washington State.

The exhibit dates will be Saturday September 23 – October 1, 2023. The free opening reception and Cheech Marin speaking engagement are scheduled to take place on Saturday, September 23rd from 2-5 p.m., with our guest speaker starting at 3 p.m. Both the exhibit and the opening reception with guest speaker will take place at the Tacoma Art Museum. This is a standing room only event with limited seating. Attendees can register for FREE

The Halluci Nation is hitting the road again this fall!!
Tag your crew and tell them what city they’ll get to see your beautiful faces at!!

Check the more info link for details regarding concert locations, times, and tickets.

Arciniega Street Productions proudly presents DRAG LOTERÍA! This monthly all-ages drag show features local Latinx and BIPOC drag artists and merges with an interactive game night that brings culture, community, and an exciting list of prizes.

On Sunday September 24th from 5-7PM, we’ll be at Cafecito Bonito enjoying incredible drag performances to your favorite songs, eating tapas, drinking mocktails and playing a fun cultural game together for several chances to win prizes from our favorite local businesses. **Our host will explain how the game works. Lotería is similar to how bingo is played. It’s kid-friendly and you do not have to be a native Spanish speaker to play!**

Playing cards are $3 per card, cash only. Between rounds of game play, there will be drag performances to your favorite songs by our favorite icons, Selena and Beyonce. PLEASE BRING $INGLES to tip our amazing lineup of drag performers! Our Sunday show features the talents of Dela Rosa, Ivanna, and Beyquance! Don’t miss out!

We strongly encourage folks to get tickets early as this show always sells out. Please bring cash for the drag show and for games. We will have change for larger bills until we run out. Coffee bar, non-alcoholic drink menu, and tapas will be available for separate purchase at Cafecito Bonito. Doors open at 4:45PM. Please note that any party that does not arrive by 5:35PM without notice forfeits their table.

**TICKETS SOLD ONLINE ONLY. NO TICKETS AT THE DOOR**

This is an all-ages event and the drag show is 100% family-friendly. Children are allowed, but all guests under the age of 18 must be accompanied by an adult.

REFUND POLICY: Due to high demand for this ticketed event, we do not offer refunds for any reason *except and unless* the event is canceled. This no-refund policy includes inability to attend as well as no-shows. We appreciate your understanding.

DISCLAIMER: We reserve the right to refuse service to anyone, which includes asking individuals to leave our event if they cause an unwelcome disturbance or trespassing individuals from the property entirely. Cafecito Bonito is a safe space for our community and Drag Loteria is a family-friendly event. We do not welcome hostility or judgment into the space.

NOTE: Lotería is a Mexican cultural game purely for amusement and community-building.

This course, open to the public, will introduce Chinese medical theories, treatments, history, the basics of holism, and research.

Participants will learn about acupoints, herbal medicine, acupuncture, moxibustion, massage, gua sha, cupping, and bleeding. Dietary therapy, channel system, organ networks, along with yin/yang theory, Chinese pathology, and concepts of qi will be explored as well. This five-week online class is presented by esteemed OCOM faculty members, all teaching their specialized perspectives via lecture, demonstration, and discussion.

Native Action Network is proud to present the exhibition One With the Waters featuring artwork by Sarah Folden. A member of the Cowlitz Tribe, Sarah creates contemporary Coast Salish art inspired by her connection to place. Her work celebrates the vitality of Cowlitz people, their bold and colorful spirits, ancestral waters, animal relatives and all connected in nature. Cowlitz people are water-going people who refused to sign treaties with the federal government. This has created a diverse population. Over time many have traveled from their ancestral waters, some even across oceans, but much like our salmon relatives, there is an instinctive drive that calls Native people home. Sarah Folden’s artwork is created in honor of those still here, those who have made that voyage and those who are awakening to their internal calling to return.

We invite community to join us in the Fall for workdays on the land, starting 9/15 – 11/19.

These workdays have been great opportunities for us to introduce ourselves to the land and to foster our relationships to it. Volunteers can help in a number of ways, like tending to Native plants, clearing invasive ones like ivy, envisioning futures, and getting the land ready for upcoming gatherings. We also invite you to help by just spending time on this site. Sit and relax by the trees and Mapes Creek, use our art supplies to create, help us collect & save seeds for gifts, or just take a moment from your week and spend time in greenspace.

Open to Native/BIPOC: Fridays, Sept 15 – Nov 19, from 2 – 6pm
Open to All: 1st Saturdays, October & November, from 11am – 3pm

Visit https://bit.ly/3qaL3AR or hit the link in our bio to register.

*Tools, a porta potty, limited drinking water, and light snacks will be provided. All ages and experience levels welcome. Note, our site does not have running water or power, and is unfortunately not yet ADA accessible. We can’t wait to see you on the land!

Chief Seattle Club is proud to present the fall exhibition in ʔálʔal Café featuring artwork by Naomi Parker. Naomi comes from the Makah, Yakama, and Chippewa/Cree people. Drawing on her intertribal ancestry, she uses oil paint on canvas to create scenes of far flung Native relations coming together at pow wow grounds and campsites. Through images of friendly faces and joyfully clasped hands, Naomi shows the power we have to create community wherever we gather.

Dive deep into the stories and science that surround the magnificent orca, apex predator of all oceans.
Follow the currents of ecological activism, popular culture, and Indigenous beliefs to gain a new appreciation of these sophisticated animals, long feared in Western cultures as “Killer Whales.”
Orcas: Our Shared Future includes more than 100 original artifacts and specimens, featuring life-size Orca replicas, fossils, films, objects from popular culture, and original artwork from the Indigenous peoples of the North American west coast.
Discover the complex social structure of orca society and reflect on the surprising consequences of captivity. Learn which orca populations are thriving and which are at risk, and resurface with a new understanding of how orcas and humans are inextricably connected.

For many Native communities throughout the High Desert, what constitutes art spans beyond the walls of a gallery or a museum. Objects are alive, tied to purpose and intrinsic to thriving communities. Art is at once utilitarian and ceremonial, as well as part of the continuation of Native traditions.

Opening on January 28, 2023, Creations of Spirit will immerse High Desert Museum visitors in the Indigenous Plateau worldview, reflecting knowledge systems of tribes along the Columbia River and its tributaries.

Six Native artists commissioned for this new, original exhibition are creating artwork that will be used in Native communities before arriving at the Museum. A seventh artist is creating an interactive piece for the center of the gallery. Creations of Spirit will be a one-of-a-kind, celebratory experience featuring the stories of these living works of art. Videos, audio and large projections will immerse visitors in the landscapes and communities in which these objects are used, highlighting the theme of artwork as alive, full of stories and created for specific purposes and people. The original works will be supplemented with nine cultural items on loan from the Smithsonian’s National Museum of the American Indian in Washington, D.C.

Explore the second run of this past exhibit with stories sourced from the local Burmese / Myanmar community. With the original exhibit run cut short due to our closure during the pandemic, we’ve taken the opportunity to update the exhibit to include new content covering the military coup that happened in February 2021.

SAM presents American Art: The Stories We Carry, a transformation of its American art galleries, created through a wide-ranging collaboration among SAM curators and staff, artists, and advisors from the Seattle community. Funded primarily by a $1 million grant from The Mellon Foundation and a $75,000 grant from the Terra Foundation for American Art, the project features work from SAM’s collection and new works and curation by contemporary artists, and it deepens the museum’s commitment to inclusive exhibition-planning practices with a shared-authorship model that reflects and responds to community knowledge.

Each new generation of artists responds to and builds on the art of earlier periods. Bringing together artworks that bridge decades, Reverberations seeks to spark a hum between historical works and those by artists working today. Organized in thematic groups, Reverberations introduces a different topic in each gallery, ranging from landscape and lyrical abstraction to the use of the body in addressing psychological, social, and political concerns. As you move through the modern and contemporary galleries, you will encounter harmonies and dissonance as younger artists stake their claim. In turn, works from earlier decades will acquire new meaning and new layers of relevance.

This installation draws from SAM’s growing collection and incorporates many works acquired in recent years, by artists including Margarita Cabrera, Dana Claxton, Senga Nengudi, Rashid Johnson, Woody De Othello, Jenny Saville, Sarah Sze, and Naama Tsabar. Many works are on view for the first time. Among the modern classics, viewers will find works by Francis Bacon, Alberto Giacometti, Franz Kline, Joan Mitchell, Mark Rothko, and David Smith on view. The museum’s ongoing commitment to building a collection with equity and diverse points of view can be seen when perusing the galleries.

Featuring the work of the Guma’ Gela’, a queer CHamoru art collective made up of members from the Marianas and in the diaspora. The exhibit explores their motto “part land, part sea, all ancestry” through a broad spectrum of media, including sculpture, soundscape, writing, printmaking, weaving, costume design, adornments, and more, to build a connection with CHamoru life, history, and traditions.

Do you ever wonder how Bruce Lee developed the philosophy behind his most iconic quote?

This incredible interactive exhibit invites viewers to step into the mind, body, and spirit of Bruce Lee to see how his unquenchable pursuit of knowledge informed his philosophy and life.

Follow Bruce’s path beginning with his revelations on water, through the wealth of knowledge found in his 2,800-book personal library, to his philosophy on self-understanding and self-expression.

The exhibition’s interactive technology interweaves beautiful imagery with Bruce’s personal objects and books to bring his journey to life.

What do late 18th- to 19th-century Edo (present-day Tokyo) and late 19th-century Paris have in common? This exhibition, which can only be seen in Seattle, uncovers the shared renegade spirit that characterized the graphic arts and social cultures of these two dynamic cities. On view are over 90 Japanese ukiyo-e woodblock prints and paintings from SAM’s Japanese collection alongside private loans of works by Henri de Toulouse-Lautrec (1864–1901).

In addition to the intriguing formal and thematic parallels between these two collections of graphic arts, the exhibition reveals the social impulses behind their burgeoning art production. As both cities faced challenges to the status quo from the rising middle classes, subversive impulses gave rise to vibrant cultures of theatregoing, pleasure seeking, and new forms of visual art.

Considering both the presence and absence of Black artists is critical to understanding the breadth of Black artistic production in Oregon—even in the midst of historic exclusion—as well as how the impact of that history affects our understanding of American art history and the history of the Pacific Northwest. This exhibition serves to deepen our awareness of the talented artists who have shaped and inspired artists regionally and nationally, and it will be the first of its kind to consider the work of Black artists collectively in Oregon.

Beginning in the 1880s and spanning through today, Black Artists of Oregon captures the Black diasporic experiences particular to the Pacific Northwest with 67 artists and over 200 objects. Artists represented in the exhibition will include Thelma Johnson Streat, Al Goldsby, Charlotte Lewis, Isaka Shamsud-Din, Ralph Chessé, Charles Tatum, Arvie Smith, Shedrich Williames, Harrison Branch, Bobby Fouther, and Carrie Mae Weems, among others. The exhibition and programming will also include the works of contemporary and younger artists working now, functioning as bright threads and offering intergenerational conversation throughout the exhibition, including sidony o’neal, Jeremy Okai Davis, damali ayo, Sharita Towne, Melanie Stevens, Lisa Jarrett, Tristan Irving, Ebin Lee, and Jaleesa Johnston.

Through the narrative flow of the exhibition, visitors will experience work by Black artists across decades and generations. Particular attention is given to the works of Black artists who were producing work during the Black Arts Movement of the late 1960s, ’70s, and early ’80s, such as Portland-based painter Isaka Shamsud-Din. The exhibition will also mark regional artistic connections with global movements for Black liberation, as seen in the work of Charlotte Lewis alongside Portlanders Organized for Southern African Freedom and artists like Sadé DuBoise, whose “Resistance” poster series contributed to Portland’s 2020 George Floyd protests. Without chronological constraints, the exhibition is grounded by the work of elder artists, intergenerational conversations, and live activation in the exhibition galleries.

Black Artists of Oregon builds upon exhibition curator Intisar Abioto’s original research since 2018 exploring the lineage and legacy of Black artists in Oregon. The exhibition will continue Abioto’s research, which is grounded in Black American practices of listening, keeping, and passing on each others’ stories.

“Far from isolated or ancillary, Black arts and cultural production in Oregon has been in conversation and interchange with the world, and a part of its arts and cultural movements, all this time,” says Abioto. “Black Artists of Oregon is a heralding of Black presence, interchange, influence, and impact.”

Curated by artist Jaune Quick-to-See Smith (Citizen of the Confederated Salish and Kootenai Nation), this exhibition brings together works by an intergenerational group of nearly 50 living Native artists practicing across the United States. Their powerful expressions reflect the diversity of Native American individual, regional, and cultural identities. At the same time, these works share a worldview informed by thousands of years of reverence, study, and concern for the land.

Through a variety of practices—including weaving, beadwork, sculpture, painting, printmaking, drawing, photography, performance, and video—these artists visualize Indigenous knowledge of land/ landbase/ landscape. Together, the works in The Land Carries Our Ancestors underscore the self-determination, survivance, and right to self-representation of Indigenous peoples.

On view March 21, 2023 through Spring 2024
Art of the North Galleries, Third Floor, East Wing

Good Medicine brings together Indigenous healers and medicine people to collectively create, share knowledge, and practice in community. Unfolding over the course of a year with the work of different Alaska Native healers, this multi-disciplinary exhibition offers diverse opportunities for gathering and exchange.

Colonialism has attacked and suppressed medicine people and Indigenous knowledge systems for hundreds of years. This exhibition addresses harmful legacies and shows how the revitalization of healing practices and traditions provides ways of being in alignment with oneself, with community, and with our planet.

Curated by Tlingit traditional healer Meda DeWitt, Good Medicine emphasizes spiritual renewal, cultural renascence, and the importance of co-creating futures where nature can thrive.

Frank S. Matsura: Portraits from the Borderland features studio images by Washington-based Japanese photographer Frank Sakae Matsura (1873-1913) alongside period-specific American Indian regalia from the Columbia Plateau. Exploring Indigenous representation through a multi-dimensional lens, the photographs and objects on view detail some of Matsura’s most culturally significant work against a backdrop of regional transformation.

I paint from historical photographs of people; the majority of them had no name, no bio, no story left. Nothing. I feel they are kind of lost souls, spirit-ghosts. My painting is a memorial site for them.
—Hung Liu

Groundbreaking Chinese American artist Hung Liu (1948–2021) made highly narrative images that foregrounded workers, immigrants, refugees, women, children, and soldiers in haunting, incandescent portraits that mingle Chinese and Western artistic traditions. Liu was born in Changchun, China, and her childhood and youth coincided with one of the most tumultuous periods in Chinese history. After her arrival in San Diego, California, in 1984, Liu became one of the first Chinese artists to establish a career in the United States. Decades later, she would be justly celebrated for establishing novel frameworks for understanding visual art’s relationship to history by focusing on communities misrepresented and marginalized by official narratives.

Liu experienced political revolution, exile, and displacement before immigrating to the United States. She came of age during Mao Zedong’s Cultural Revolution (1966–76) and was consequently forced to labor in the fields in her early twenties. After studying art in Beijing, she left China to attend graduate school at the University of California, San Diego. There, the experimental tendencies of the students and faculty, most notably those of performance artist Allan Kaprow (1927–2006) and art historian Moira Roth (1933–2021), helped cultivate her conceptual approach to portraiture.

Featuring highly experimental painting, printing, and weaving techniques, Liu’s challenging yet accessible oeuvre has been aptly characterized by her husband, the art critic Jeff Kelley, as a species of “weeping realism.” Titled A Question of Hu, after China scholar Jonathan Spence’s 1988 book The Question of Hu, the exhibition reintroduces Liu’s remarkable art to the Pacific Northwest, while demonstrating—as few artistic oeuvres can—an expanded view of citizenship in an era of seismic change that is also fundamentally marked by evolving ideas of artistic solidarity and collaboration.

An anchor event for Converge 45’s citywide 2023 biennial, Social Forms: Art As Global Citizenship, the exhibition WE ARE THE REVOLUTION plumbs the depth of commitment of Jordan Schnitzer to the art of his time, while tapping into a living history of social expression through art in diverse media—from monumental paintings to free-standing sculpture to works on paper. Designed in part to explore ways in which the art of the past meets and affects the art of the present, the exhibition gives voice to art as both aesthetic experimentation and social commentary from the 1960s to today. Driven by the conviction that history is constructed through both continuity and discontinuity, the exhibition strives to establish unexpected juxtapositions and revealing connections among historical and contemporary artists and artworks.

Nooksack Indian Tribe is THRILLED to announce the 2023 Nooksack Days Pow Wow!

Camping and showers are available. All are welcome to attend. This is a drug and alcohol free event.

The Nooksack Indian Tribe is celebrating 50 years since their federal recognition on September 22, 1973. They are so excited to have a full week of events to celebrate Nooksack!

Mi Centro and Tacoma Art Museum (TAM), with support from Tacoma Creates, is excited to partner together to present special guest speaker Cheech Marin and “El Noroeste” art exhibit highlighting over 20 local Chicano/Latine art from across Washington State.

The exhibit dates will be Saturday September 23 – October 1, 2023. The free opening reception and Cheech Marin speaking engagement are scheduled to take place on Saturday, September 23rd from 2-5 p.m., with our guest speaker starting at 3 p.m. Both the exhibit and the opening reception with guest speaker will take place at the Tacoma Art Museum. This is a standing room only event with limited seating. Attendees can register for FREE

The Halluci Nation is hitting the road again this fall!!
Tag your crew and tell them what city they’ll get to see your beautiful faces at!!

Check the more info link for details regarding concert locations, times, and tickets.

This course, open to the public, will introduce Chinese medical theories, treatments, history, the basics of holism, and research.

Participants will learn about acupoints, herbal medicine, acupuncture, moxibustion, massage, gua sha, cupping, and bleeding. Dietary therapy, channel system, organ networks, along with yin/yang theory, Chinese pathology, and concepts of qi will be explored as well. This five-week online class is presented by esteemed OCOM faculty members, all teaching their specialized perspectives via lecture, demonstration, and discussion.

Native Action Network is proud to present the exhibition One With the Waters featuring artwork by Sarah Folden. A member of the Cowlitz Tribe, Sarah creates contemporary Coast Salish art inspired by her connection to place. Her work celebrates the vitality of Cowlitz people, their bold and colorful spirits, ancestral waters, animal relatives and all connected in nature. Cowlitz people are water-going people who refused to sign treaties with the federal government. This has created a diverse population. Over time many have traveled from their ancestral waters, some even across oceans, but much like our salmon relatives, there is an instinctive drive that calls Native people home. Sarah Folden’s artwork is created in honor of those still here, those who have made that voyage and those who are awakening to their internal calling to return.

This two-week Indigenous-led campaign is bringing regional and national attention to the urgent need to recover Snake River salmon and uphold the federal government’s legally-binding commitments to Northwest Tribal Nations.

For millennia, salmon and the Snake and Columbia Rivers they call home sustained Indigenous peoples and cultures throughout the Northwest.

Today, salmon returns are dismal and many Northwest Tribal Nations are calling on the federal government to uphold their commitments and restore abundant salmon.

Show your support and join the All Our Relations Snake River Campaign in Portland, OR on Sept. 25!

We invite community to join us in the Fall for workdays on the land, starting 9/15 – 11/19.

These workdays have been great opportunities for us to introduce ourselves to the land and to foster our relationships to it. Volunteers can help in a number of ways, like tending to Native plants, clearing invasive ones like ivy, envisioning futures, and getting the land ready for upcoming gatherings. We also invite you to help by just spending time on this site. Sit and relax by the trees and Mapes Creek, use our art supplies to create, help us collect & save seeds for gifts, or just take a moment from your week and spend time in greenspace.

Open to Native/BIPOC: Fridays, Sept 15 – Nov 19, from 2 – 6pm
Open to All: 1st Saturdays, October & November, from 11am – 3pm

Visit https://bit.ly/3qaL3AR or hit the link in our bio to register.

*Tools, a porta potty, limited drinking water, and light snacks will be provided. All ages and experience levels welcome. Note, our site does not have running water or power, and is unfortunately not yet ADA accessible. We can’t wait to see you on the land!

Chief Seattle Club is proud to present the fall exhibition in ʔálʔal Café featuring artwork by Naomi Parker. Naomi comes from the Makah, Yakama, and Chippewa/Cree people. Drawing on her intertribal ancestry, she uses oil paint on canvas to create scenes of far flung Native relations coming together at pow wow grounds and campsites. Through images of friendly faces and joyfully clasped hands, Naomi shows the power we have to create community wherever we gather.

Partners in Diversity looks forward to seeing you at the 2nd biennial NW Equity Summit.

The conference focuses on helping employees and managers at all levels, as well as diversity influencers, be bold and uncompromising — in other words, unapologetic — when it comes to advancing and advocating for equity and inclusion.

Keynote Speakers
Lily Zheng, author of DEI Deconstructed and its sequel Reconstructing DEI
Michelle MiJung Kim, author of the Wake Up: Closing the Gap Between Good Intentions and Real Change
Breakout Session Speakers
Dr. Alisha Moreland-Capuia, Institute for Trauma-Informed Systems Change at McLean/Harvard
Elizabeth Laine, ClearWay Energy Group
Nikotris Perkins, Leadership Consultant, DNA Community Consulting
Breakout Session One
Structured Interviewing 2.0: Leveraging Process to De-Bias People Decisions with Elizabeth Laine
Unlearning White Supremacy Culture with Michelle MiJung Kim
Establishing Trauma Informed, Culturally Responsive Organizations and Leaders in Times Like These with Dr. Alisha Moreland-Capuia
You Can’t Rebuild What You Won’t Tear Down: DEI as Systems Change with Nikotris Perkins
Beyond the Business Case Panel Discussion with Dr. Miles Davis, Linfield University President; Sheila Murty, Executive Vice President of People & Culture for Tillamook County Creamery Association; Mini Ogle, Manager of Diversity, Equity, & Inclusion for Portland General Electric (PGE); and Angela Nelson Vice President for Equity, Diversity, & Inclusion at Travel Portland. Discussion moderated by Monica Lin-Meyer, Senior Managing Consultant & Executive Coach at Ernst & Young Global Consulting Services.
Breakout Session Two
Making Inclusion Measurable 2.0: A Practical Approach for Practitioners with Elizabeth Laine
[Specifically for Professionals of Color] Beyond Survival: Caring for Ourselves to Create a Sustainable Movement with Michelle MiJung Kim
Establishing Trauma Informed, Culturally Responsive Organizations and Leaders in Times Like These with Dr. Alisha Moreland-Capuia
Passion, Position, and Persistence: Outcomes and Centering Impact with Nikotris Perkins
Understanding and Mapping Power with Lily Zheng
Leading from the Middle Panel Discussion with Riikka Salonen, Managing Director of Health Equity at BCT Partners; Lee Fleming, Regional Supplier Diversity Manager for Skanska USA Building Inc; Tamara Kennedy, Director of Economic Development Trade & Economic Development Division for the Port of Portland; and Albert Lee, Executive Director of the Oregon Advocacy Commissions Office. Conversation moderated by Jeff Selby, Interim Director, City of Portland Office of Equity and Human Rights.
Special Breakout Session for CEOs: Inclusive Executive: Your Role in Building a Diverse, Equitable, and Inclusive Workplace with Lily Zheng
The summit features a special breakout session after lunch specifically for CEOs, presidents, executive directors, and provosts (i.e., organization’s top leaders). This session is for paid attendees and requires additional registration available at checkout.

Dive deep into the stories and science that surround the magnificent orca, apex predator of all oceans.
Follow the currents of ecological activism, popular culture, and Indigenous beliefs to gain a new appreciation of these sophisticated animals, long feared in Western cultures as “Killer Whales.”
Orcas: Our Shared Future includes more than 100 original artifacts and specimens, featuring life-size Orca replicas, fossils, films, objects from popular culture, and original artwork from the Indigenous peoples of the North American west coast.
Discover the complex social structure of orca society and reflect on the surprising consequences of captivity. Learn which orca populations are thriving and which are at risk, and resurface with a new understanding of how orcas and humans are inextricably connected.

For many Native communities throughout the High Desert, what constitutes art spans beyond the walls of a gallery or a museum. Objects are alive, tied to purpose and intrinsic to thriving communities. Art is at once utilitarian and ceremonial, as well as part of the continuation of Native traditions.

Opening on January 28, 2023, Creations of Spirit will immerse High Desert Museum visitors in the Indigenous Plateau worldview, reflecting knowledge systems of tribes along the Columbia River and its tributaries.

Six Native artists commissioned for this new, original exhibition are creating artwork that will be used in Native communities before arriving at the Museum. A seventh artist is creating an interactive piece for the center of the gallery. Creations of Spirit will be a one-of-a-kind, celebratory experience featuring the stories of these living works of art. Videos, audio and large projections will immerse visitors in the landscapes and communities in which these objects are used, highlighting the theme of artwork as alive, full of stories and created for specific purposes and people. The original works will be supplemented with nine cultural items on loan from the Smithsonian’s National Museum of the American Indian in Washington, D.C.

Explore the second run of this past exhibit with stories sourced from the local Burmese / Myanmar community. With the original exhibit run cut short due to our closure during the pandemic, we’ve taken the opportunity to update the exhibit to include new content covering the military coup that happened in February 2021.

SAM presents American Art: The Stories We Carry, a transformation of its American art galleries, created through a wide-ranging collaboration among SAM curators and staff, artists, and advisors from the Seattle community. Funded primarily by a $1 million grant from The Mellon Foundation and a $75,000 grant from the Terra Foundation for American Art, the project features work from SAM’s collection and new works and curation by contemporary artists, and it deepens the museum’s commitment to inclusive exhibition-planning practices with a shared-authorship model that reflects and responds to community knowledge.

Each new generation of artists responds to and builds on the art of earlier periods. Bringing together artworks that bridge decades, Reverberations seeks to spark a hum between historical works and those by artists working today. Organized in thematic groups, Reverberations introduces a different topic in each gallery, ranging from landscape and lyrical abstraction to the use of the body in addressing psychological, social, and political concerns. As you move through the modern and contemporary galleries, you will encounter harmonies and dissonance as younger artists stake their claim. In turn, works from earlier decades will acquire new meaning and new layers of relevance.

This installation draws from SAM’s growing collection and incorporates many works acquired in recent years, by artists including Margarita Cabrera, Dana Claxton, Senga Nengudi, Rashid Johnson, Woody De Othello, Jenny Saville, Sarah Sze, and Naama Tsabar. Many works are on view for the first time. Among the modern classics, viewers will find works by Francis Bacon, Alberto Giacometti, Franz Kline, Joan Mitchell, Mark Rothko, and David Smith on view. The museum’s ongoing commitment to building a collection with equity and diverse points of view can be seen when perusing the galleries.

Featuring the work of the Guma’ Gela’, a queer CHamoru art collective made up of members from the Marianas and in the diaspora. The exhibit explores their motto “part land, part sea, all ancestry” through a broad spectrum of media, including sculpture, soundscape, writing, printmaking, weaving, costume design, adornments, and more, to build a connection with CHamoru life, history, and traditions.

Do you ever wonder how Bruce Lee developed the philosophy behind his most iconic quote?

This incredible interactive exhibit invites viewers to step into the mind, body, and spirit of Bruce Lee to see how his unquenchable pursuit of knowledge informed his philosophy and life.

Follow Bruce’s path beginning with his revelations on water, through the wealth of knowledge found in his 2,800-book personal library, to his philosophy on self-understanding and self-expression.

The exhibition’s interactive technology interweaves beautiful imagery with Bruce’s personal objects and books to bring his journey to life.

What do late 18th- to 19th-century Edo (present-day Tokyo) and late 19th-century Paris have in common? This exhibition, which can only be seen in Seattle, uncovers the shared renegade spirit that characterized the graphic arts and social cultures of these two dynamic cities. On view are over 90 Japanese ukiyo-e woodblock prints and paintings from SAM’s Japanese collection alongside private loans of works by Henri de Toulouse-Lautrec (1864–1901).

In addition to the intriguing formal and thematic parallels between these two collections of graphic arts, the exhibition reveals the social impulses behind their burgeoning art production. As both cities faced challenges to the status quo from the rising middle classes, subversive impulses gave rise to vibrant cultures of theatregoing, pleasure seeking, and new forms of visual art.

Considering both the presence and absence of Black artists is critical to understanding the breadth of Black artistic production in Oregon—even in the midst of historic exclusion—as well as how the impact of that history affects our understanding of American art history and the history of the Pacific Northwest. This exhibition serves to deepen our awareness of the talented artists who have shaped and inspired artists regionally and nationally, and it will be the first of its kind to consider the work of Black artists collectively in Oregon.

Beginning in the 1880s and spanning through today, Black Artists of Oregon captures the Black diasporic experiences particular to the Pacific Northwest with 67 artists and over 200 objects. Artists represented in the exhibition will include Thelma Johnson Streat, Al Goldsby, Charlotte Lewis, Isaka Shamsud-Din, Ralph Chessé, Charles Tatum, Arvie Smith, Shedrich Williames, Harrison Branch, Bobby Fouther, and Carrie Mae Weems, among others. The exhibition and programming will also include the works of contemporary and younger artists working now, functioning as bright threads and offering intergenerational conversation throughout the exhibition, including sidony o’neal, Jeremy Okai Davis, damali ayo, Sharita Towne, Melanie Stevens, Lisa Jarrett, Tristan Irving, Ebin Lee, and Jaleesa Johnston.

Through the narrative flow of the exhibition, visitors will experience work by Black artists across decades and generations. Particular attention is given to the works of Black artists who were producing work during the Black Arts Movement of the late 1960s, ’70s, and early ’80s, such as Portland-based painter Isaka Shamsud-Din. The exhibition will also mark regional artistic connections with global movements for Black liberation, as seen in the work of Charlotte Lewis alongside Portlanders Organized for Southern African Freedom and artists like Sadé DuBoise, whose “Resistance” poster series contributed to Portland’s 2020 George Floyd protests. Without chronological constraints, the exhibition is grounded by the work of elder artists, intergenerational conversations, and live activation in the exhibition galleries.

Black Artists of Oregon builds upon exhibition curator Intisar Abioto’s original research since 2018 exploring the lineage and legacy of Black artists in Oregon. The exhibition will continue Abioto’s research, which is grounded in Black American practices of listening, keeping, and passing on each others’ stories.

“Far from isolated or ancillary, Black arts and cultural production in Oregon has been in conversation and interchange with the world, and a part of its arts and cultural movements, all this time,” says Abioto. “Black Artists of Oregon is a heralding of Black presence, interchange, influence, and impact.”

Curated by artist Jaune Quick-to-See Smith (Citizen of the Confederated Salish and Kootenai Nation), this exhibition brings together works by an intergenerational group of nearly 50 living Native artists practicing across the United States. Their powerful expressions reflect the diversity of Native American individual, regional, and cultural identities. At the same time, these works share a worldview informed by thousands of years of reverence, study, and concern for the land.

Through a variety of practices—including weaving, beadwork, sculpture, painting, printmaking, drawing, photography, performance, and video—these artists visualize Indigenous knowledge of land/ landbase/ landscape. Together, the works in The Land Carries Our Ancestors underscore the self-determination, survivance, and right to self-representation of Indigenous peoples.

On view March 21, 2023 through Spring 2024
Art of the North Galleries, Third Floor, East Wing

Good Medicine brings together Indigenous healers and medicine people to collectively create, share knowledge, and practice in community. Unfolding over the course of a year with the work of different Alaska Native healers, this multi-disciplinary exhibition offers diverse opportunities for gathering and exchange.

Colonialism has attacked and suppressed medicine people and Indigenous knowledge systems for hundreds of years. This exhibition addresses harmful legacies and shows how the revitalization of healing practices and traditions provides ways of being in alignment with oneself, with community, and with our planet.

Curated by Tlingit traditional healer Meda DeWitt, Good Medicine emphasizes spiritual renewal, cultural renascence, and the importance of co-creating futures where nature can thrive.

Frank S. Matsura: Portraits from the Borderland features studio images by Washington-based Japanese photographer Frank Sakae Matsura (1873-1913) alongside period-specific American Indian regalia from the Columbia Plateau. Exploring Indigenous representation through a multi-dimensional lens, the photographs and objects on view detail some of Matsura’s most culturally significant work against a backdrop of regional transformation.

This two-week Indigenous-led campaign is bringing regional and national attention to the urgent need to recover Snake River salmon and uphold the federal government’s legally-binding commitments to Northwest Tribal Nations.

For millennia, salmon and the Snake and Columbia Rivers they call home sustained Indigenous peoples and cultures throughout the Northwest.

Today, salmon returns are dismal and many Northwest Tribal Nations are calling on the federal government to uphold their commitments and restore abundant salmon.

Show your support and join the All Our Relations Snake River Campaign in Portland, OR on Sept. 25!

I paint from historical photographs of people; the majority of them had no name, no bio, no story left. Nothing. I feel they are kind of lost souls, spirit-ghosts. My painting is a memorial site for them.
—Hung Liu

Groundbreaking Chinese American artist Hung Liu (1948–2021) made highly narrative images that foregrounded workers, immigrants, refugees, women, children, and soldiers in haunting, incandescent portraits that mingle Chinese and Western artistic traditions. Liu was born in Changchun, China, and her childhood and youth coincided with one of the most tumultuous periods in Chinese history. After her arrival in San Diego, California, in 1984, Liu became one of the first Chinese artists to establish a career in the United States. Decades later, she would be justly celebrated for establishing novel frameworks for understanding visual art’s relationship to history by focusing on communities misrepresented and marginalized by official narratives.

Liu experienced political revolution, exile, and displacement before immigrating to the United States. She came of age during Mao Zedong’s Cultural Revolution (1966–76) and was consequently forced to labor in the fields in her early twenties. After studying art in Beijing, she left China to attend graduate school at the University of California, San Diego. There, the experimental tendencies of the students and faculty, most notably those of performance artist Allan Kaprow (1927–2006) and art historian Moira Roth (1933–2021), helped cultivate her conceptual approach to portraiture.

Featuring highly experimental painting, printing, and weaving techniques, Liu’s challenging yet accessible oeuvre has been aptly characterized by her husband, the art critic Jeff Kelley, as a species of “weeping realism.” Titled A Question of Hu, after China scholar Jonathan Spence’s 1988 book The Question of Hu, the exhibition reintroduces Liu’s remarkable art to the Pacific Northwest, while demonstrating—as few artistic oeuvres can—an expanded view of citizenship in an era of seismic change that is also fundamentally marked by evolving ideas of artistic solidarity and collaboration.

An anchor event for Converge 45’s citywide 2023 biennial, Social Forms: Art As Global Citizenship, the exhibition WE ARE THE REVOLUTION plumbs the depth of commitment of Jordan Schnitzer to the art of his time, while tapping into a living history of social expression through art in diverse media—from monumental paintings to free-standing sculpture to works on paper. Designed in part to explore ways in which the art of the past meets and affects the art of the present, the exhibition gives voice to art as both aesthetic experimentation and social commentary from the 1960s to today. Driven by the conviction that history is constructed through both continuity and discontinuity, the exhibition strives to establish unexpected juxtapositions and revealing connections among historical and contemporary artists and artworks.

Nooksack Indian Tribe is THRILLED to announce the 2023 Nooksack Days Pow Wow!

Camping and showers are available. All are welcome to attend. This is a drug and alcohol free event.

The Nooksack Indian Tribe is celebrating 50 years since their federal recognition on September 22, 1973. They are so excited to have a full week of events to celebrate Nooksack!

Mi Centro and Tacoma Art Museum (TAM), with support from Tacoma Creates, is excited to partner together to present special guest speaker Cheech Marin and “El Noroeste” art exhibit highlighting over 20 local Chicano/Latine art from across Washington State.

The exhibit dates will be Saturday September 23 – October 1, 2023. The free opening reception and Cheech Marin speaking engagement are scheduled to take place on Saturday, September 23rd from 2-5 p.m., with our guest speaker starting at 3 p.m. Both the exhibit and the opening reception with guest speaker will take place at the Tacoma Art Museum. This is a standing room only event with limited seating. Attendees can register for FREE

The Halluci Nation is hitting the road again this fall!!
Tag your crew and tell them what city they’ll get to see your beautiful faces at!!

Check the more info link for details regarding concert locations, times, and tickets.

This course, open to the public, will introduce Chinese medical theories, treatments, history, the basics of holism, and research.

Participants will learn about acupoints, herbal medicine, acupuncture, moxibustion, massage, gua sha, cupping, and bleeding. Dietary therapy, channel system, organ networks, along with yin/yang theory, Chinese pathology, and concepts of qi will be explored as well. This five-week online class is presented by esteemed OCOM faculty members, all teaching their specialized perspectives via lecture, demonstration, and discussion.

Native Action Network is proud to present the exhibition One With the Waters featuring artwork by Sarah Folden. A member of the Cowlitz Tribe, Sarah creates contemporary Coast Salish art inspired by her connection to place. Her work celebrates the vitality of Cowlitz people, their bold and colorful spirits, ancestral waters, animal relatives and all connected in nature. Cowlitz people are water-going people who refused to sign treaties with the federal government. This has created a diverse population. Over time many have traveled from their ancestral waters, some even across oceans, but much like our salmon relatives, there is an instinctive drive that calls Native people home. Sarah Folden’s artwork is created in honor of those still here, those who have made that voyage and those who are awakening to their internal calling to return.

We invite community to join us in the Fall for workdays on the land, starting 9/15 – 11/19.

These workdays have been great opportunities for us to introduce ourselves to the land and to foster our relationships to it. Volunteers can help in a number of ways, like tending to Native plants, clearing invasive ones like ivy, envisioning futures, and getting the land ready for upcoming gatherings. We also invite you to help by just spending time on this site. Sit and relax by the trees and Mapes Creek, use our art supplies to create, help us collect & save seeds for gifts, or just take a moment from your week and spend time in greenspace.

Open to Native/BIPOC: Fridays, Sept 15 – Nov 19, from 2 – 6pm
Open to All: 1st Saturdays, October & November, from 11am – 3pm

Visit https://bit.ly/3qaL3AR or hit the link in our bio to register.

*Tools, a porta potty, limited drinking water, and light snacks will be provided. All ages and experience levels welcome. Note, our site does not have running water or power, and is unfortunately not yet ADA accessible. We can’t wait to see you on the land!

Chief Seattle Club is proud to present the fall exhibition in ʔálʔal Café featuring artwork by Naomi Parker. Naomi comes from the Makah, Yakama, and Chippewa/Cree people. Drawing on her intertribal ancestry, she uses oil paint on canvas to create scenes of far flung Native relations coming together at pow wow grounds and campsites. Through images of friendly faces and joyfully clasped hands, Naomi shows the power we have to create community wherever we gather.

Dive deep into the stories and science that surround the magnificent orca, apex predator of all oceans.
Follow the currents of ecological activism, popular culture, and Indigenous beliefs to gain a new appreciation of these sophisticated animals, long feared in Western cultures as “Killer Whales.”
Orcas: Our Shared Future includes more than 100 original artifacts and specimens, featuring life-size Orca replicas, fossils, films, objects from popular culture, and original artwork from the Indigenous peoples of the North American west coast.
Discover the complex social structure of orca society and reflect on the surprising consequences of captivity. Learn which orca populations are thriving and which are at risk, and resurface with a new understanding of how orcas and humans are inextricably connected.

For many Native communities throughout the High Desert, what constitutes art spans beyond the walls of a gallery or a museum. Objects are alive, tied to purpose and intrinsic to thriving communities. Art is at once utilitarian and ceremonial, as well as part of the continuation of Native traditions.

Opening on January 28, 2023, Creations of Spirit will immerse High Desert Museum visitors in the Indigenous Plateau worldview, reflecting knowledge systems of tribes along the Columbia River and its tributaries.

Six Native artists commissioned for this new, original exhibition are creating artwork that will be used in Native communities before arriving at the Museum. A seventh artist is creating an interactive piece for the center of the gallery. Creations of Spirit will be a one-of-a-kind, celebratory experience featuring the stories of these living works of art. Videos, audio and large projections will immerse visitors in the landscapes and communities in which these objects are used, highlighting the theme of artwork as alive, full of stories and created for specific purposes and people. The original works will be supplemented with nine cultural items on loan from the Smithsonian’s National Museum of the American Indian in Washington, D.C.

Explore the second run of this past exhibit with stories sourced from the local Burmese / Myanmar community. With the original exhibit run cut short due to our closure during the pandemic, we’ve taken the opportunity to update the exhibit to include new content covering the military coup that happened in February 2021.

SAM presents American Art: The Stories We Carry, a transformation of its American art galleries, created through a wide-ranging collaboration among SAM curators and staff, artists, and advisors from the Seattle community. Funded primarily by a $1 million grant from The Mellon Foundation and a $75,000 grant from the Terra Foundation for American Art, the project features work from SAM’s collection and new works and curation by contemporary artists, and it deepens the museum’s commitment to inclusive exhibition-planning practices with a shared-authorship model that reflects and responds to community knowledge.

Each new generation of artists responds to and builds on the art of earlier periods. Bringing together artworks that bridge decades, Reverberations seeks to spark a hum between historical works and those by artists working today. Organized in thematic groups, Reverberations introduces a different topic in each gallery, ranging from landscape and lyrical abstraction to the use of the body in addressing psychological, social, and political concerns. As you move through the modern and contemporary galleries, you will encounter harmonies and dissonance as younger artists stake their claim. In turn, works from earlier decades will acquire new meaning and new layers of relevance.

This installation draws from SAM’s growing collection and incorporates many works acquired in recent years, by artists including Margarita Cabrera, Dana Claxton, Senga Nengudi, Rashid Johnson, Woody De Othello, Jenny Saville, Sarah Sze, and Naama Tsabar. Many works are on view for the first time. Among the modern classics, viewers will find works by Francis Bacon, Alberto Giacometti, Franz Kline, Joan Mitchell, Mark Rothko, and David Smith on view. The museum’s ongoing commitment to building a collection with equity and diverse points of view can be seen when perusing the galleries.

Featuring the work of the Guma’ Gela’, a queer CHamoru art collective made up of members from the Marianas and in the diaspora. The exhibit explores their motto “part land, part sea, all ancestry” through a broad spectrum of media, including sculpture, soundscape, writing, printmaking, weaving, costume design, adornments, and more, to build a connection with CHamoru life, history, and traditions.

Do you ever wonder how Bruce Lee developed the philosophy behind his most iconic quote?

This incredible interactive exhibit invites viewers to step into the mind, body, and spirit of Bruce Lee to see how his unquenchable pursuit of knowledge informed his philosophy and life.

Follow Bruce’s path beginning with his revelations on water, through the wealth of knowledge found in his 2,800-book personal library, to his philosophy on self-understanding and self-expression.

The exhibition’s interactive technology interweaves beautiful imagery with Bruce’s personal objects and books to bring his journey to life.

What do late 18th- to 19th-century Edo (present-day Tokyo) and late 19th-century Paris have in common? This exhibition, which can only be seen in Seattle, uncovers the shared renegade spirit that characterized the graphic arts and social cultures of these two dynamic cities. On view are over 90 Japanese ukiyo-e woodblock prints and paintings from SAM’s Japanese collection alongside private loans of works by Henri de Toulouse-Lautrec (1864–1901).

In addition to the intriguing formal and thematic parallels between these two collections of graphic arts, the exhibition reveals the social impulses behind their burgeoning art production. As both cities faced challenges to the status quo from the rising middle classes, subversive impulses gave rise to vibrant cultures of theatregoing, pleasure seeking, and new forms of visual art.

Considering both the presence and absence of Black artists is critical to understanding the breadth of Black artistic production in Oregon—even in the midst of historic exclusion—as well as how the impact of that history affects our understanding of American art history and the history of the Pacific Northwest. This exhibition serves to deepen our awareness of the talented artists who have shaped and inspired artists regionally and nationally, and it will be the first of its kind to consider the work of Black artists collectively in Oregon.

Beginning in the 1880s and spanning through today, Black Artists of Oregon captures the Black diasporic experiences particular to the Pacific Northwest with 67 artists and over 200 objects. Artists represented in the exhibition will include Thelma Johnson Streat, Al Goldsby, Charlotte Lewis, Isaka Shamsud-Din, Ralph Chessé, Charles Tatum, Arvie Smith, Shedrich Williames, Harrison Branch, Bobby Fouther, and Carrie Mae Weems, among others. The exhibition and programming will also include the works of contemporary and younger artists working now, functioning as bright threads and offering intergenerational conversation throughout the exhibition, including sidony o’neal, Jeremy Okai Davis, damali ayo, Sharita Towne, Melanie Stevens, Lisa Jarrett, Tristan Irving, Ebin Lee, and Jaleesa Johnston.

Through the narrative flow of the exhibition, visitors will experience work by Black artists across decades and generations. Particular attention is given to the works of Black artists who were producing work during the Black Arts Movement of the late 1960s, ’70s, and early ’80s, such as Portland-based painter Isaka Shamsud-Din. The exhibition will also mark regional artistic connections with global movements for Black liberation, as seen in the work of Charlotte Lewis alongside Portlanders Organized for Southern African Freedom and artists like Sadé DuBoise, whose “Resistance” poster series contributed to Portland’s 2020 George Floyd protests. Without chronological constraints, the exhibition is grounded by the work of elder artists, intergenerational conversations, and live activation in the exhibition galleries.

Black Artists of Oregon builds upon exhibition curator Intisar Abioto’s original research since 2018 exploring the lineage and legacy of Black artists in Oregon. The exhibition will continue Abioto’s research, which is grounded in Black American practices of listening, keeping, and passing on each others’ stories.

“Far from isolated or ancillary, Black arts and cultural production in Oregon has been in conversation and interchange with the world, and a part of its arts and cultural movements, all this time,” says Abioto. “Black Artists of Oregon is a heralding of Black presence, interchange, influence, and impact.”

Curated by artist Jaune Quick-to-See Smith (Citizen of the Confederated Salish and Kootenai Nation), this exhibition brings together works by an intergenerational group of nearly 50 living Native artists practicing across the United States. Their powerful expressions reflect the diversity of Native American individual, regional, and cultural identities. At the same time, these works share a worldview informed by thousands of years of reverence, study, and concern for the land.

Through a variety of practices—including weaving, beadwork, sculpture, painting, printmaking, drawing, photography, performance, and video—these artists visualize Indigenous knowledge of land/ landbase/ landscape. Together, the works in The Land Carries Our Ancestors underscore the self-determination, survivance, and right to self-representation of Indigenous peoples.

On view March 21, 2023 through Spring 2024
Art of the North Galleries, Third Floor, East Wing

Good Medicine brings together Indigenous healers and medicine people to collectively create, share knowledge, and practice in community. Unfolding over the course of a year with the work of different Alaska Native healers, this multi-disciplinary exhibition offers diverse opportunities for gathering and exchange.

Colonialism has attacked and suppressed medicine people and Indigenous knowledge systems for hundreds of years. This exhibition addresses harmful legacies and shows how the revitalization of healing practices and traditions provides ways of being in alignment with oneself, with community, and with our planet.

Curated by Tlingit traditional healer Meda DeWitt, Good Medicine emphasizes spiritual renewal, cultural renascence, and the importance of co-creating futures where nature can thrive.

Frank S. Matsura: Portraits from the Borderland features studio images by Washington-based Japanese photographer Frank Sakae Matsura (1873-1913) alongside period-specific American Indian regalia from the Columbia Plateau. Exploring Indigenous representation through a multi-dimensional lens, the photographs and objects on view detail some of Matsura’s most culturally significant work against a backdrop of regional transformation.

This exhibit features the work of Skokomish artists Denise Emerson and Hailey Brown. Inspired by their shared background as Skokomish tribal members, the exhibit is an exploration and conversation across generations and mediums. The artworks represent the hearts and minds of their makers and the endurance and transformation of what it means to be Skokomish.

In community with arnaq, hana’ack, smɁem, Creation Story celebrates indigenous women and their stories. With this exhibit, Columbia City Gallery continues the growing movement to support the art and culture of Indigenous peoples in the Pacific Northwest. Curated by Lena Ishel Rodriguez, proud Mexican of Nahua descent in her solo curatorial debut. Previously Lena contributed to Cosmic Beings in Mesoamerican and Andean Art at Seattle Art Museum, and Inside the Mask at the Hammer Museum.

I paint from historical photographs of people; the majority of them had no name, no bio, no story left. Nothing. I feel they are kind of lost souls, spirit-ghosts. My painting is a memorial site for them.
—Hung Liu

Groundbreaking Chinese American artist Hung Liu (1948–2021) made highly narrative images that foregrounded workers, immigrants, refugees, women, children, and soldiers in haunting, incandescent portraits that mingle Chinese and Western artistic traditions. Liu was born in Changchun, China, and her childhood and youth coincided with one of the most tumultuous periods in Chinese history. After her arrival in San Diego, California, in 1984, Liu became one of the first Chinese artists to establish a career in the United States. Decades later, she would be justly celebrated for establishing novel frameworks for understanding visual art’s relationship to history by focusing on communities misrepresented and marginalized by official narratives.

Liu experienced political revolution, exile, and displacement before immigrating to the United States. She came of age during Mao Zedong’s Cultural Revolution (1966–76) and was consequently forced to labor in the fields in her early twenties. After studying art in Beijing, she left China to attend graduate school at the University of California, San Diego. There, the experimental tendencies of the students and faculty, most notably those of performance artist Allan Kaprow (1927–2006) and art historian Moira Roth (1933–2021), helped cultivate her conceptual approach to portraiture.

Featuring highly experimental painting, printing, and weaving techniques, Liu’s challenging yet accessible oeuvre has been aptly characterized by her husband, the art critic Jeff Kelley, as a species of “weeping realism.” Titled A Question of Hu, after China scholar Jonathan Spence’s 1988 book The Question of Hu, the exhibition reintroduces Liu’s remarkable art to the Pacific Northwest, while demonstrating—as few artistic oeuvres can—an expanded view of citizenship in an era of seismic change that is also fundamentally marked by evolving ideas of artistic solidarity and collaboration.

An anchor event for Converge 45’s citywide 2023 biennial, Social Forms: Art As Global Citizenship, the exhibition WE ARE THE REVOLUTION plumbs the depth of commitment of Jordan Schnitzer to the art of his time, while tapping into a living history of social expression through art in diverse media—from monumental paintings to free-standing sculpture to works on paper. Designed in part to explore ways in which the art of the past meets and affects the art of the present, the exhibition gives voice to art as both aesthetic experimentation and social commentary from the 1960s to today. Driven by the conviction that history is constructed through both continuity and discontinuity, the exhibition strives to establish unexpected juxtapositions and revealing connections among historical and contemporary artists and artworks.

Nooksack Indian Tribe is THRILLED to announce the 2023 Nooksack Days Pow Wow!

Camping and showers are available. All are welcome to attend. This is a drug and alcohol free event.

The Nooksack Indian Tribe is celebrating 50 years since their federal recognition on September 22, 1973. They are so excited to have a full week of events to celebrate Nooksack!

Register now to join the National Native American Boarding School Healing Coalition (NABS) for a conversation on the newly amended Truth and Healing Commission Bill (S.1723).

Dr. Michael Yellow Bird will lead us in a closing mindfulness exercise as we prepare to go into the National Day of Remembrance. You do not want to miss this event!!

Towards the end of September, Yellowhawk Tribal Health Center
will be having a Corn Preservation Class at the Mission Longhouse. Class size is limited, be sure to register by calling 541.240.8697 or JenniferCross@yellowhawk.org. There will be supplies provided!

Mi Centro and Tacoma Art Museum (TAM), with support from Tacoma Creates, is excited to partner together to present special guest speaker Cheech Marin and “El Noroeste” art exhibit highlighting over 20 local Chicano/Latine art from across Washington State.

The exhibit dates will be Saturday September 23 – October 1, 2023. The free opening reception and Cheech Marin speaking engagement are scheduled to take place on Saturday, September 23rd from 2-5 p.m., with our guest speaker starting at 3 p.m. Both the exhibit and the opening reception with guest speaker will take place at the Tacoma Art Museum. This is a standing room only event with limited seating. Attendees can register for FREE

The Halluci Nation is hitting the road again this fall!!
Tag your crew and tell them what city they’ll get to see your beautiful faces at!!

Check the more info link for details regarding concert locations, times, and tickets.

A weekly open forum for those interested in bringing weaving materials to work on projects. A time to visit, share build skills and complete your beautiful woven art.

This event is included in the price of admission.
Weaving kits available for purchase.
To register, please call 360-716-2600

This course, open to the public, will introduce Chinese medical theories, treatments, history, the basics of holism, and research.

Participants will learn about acupoints, herbal medicine, acupuncture, moxibustion, massage, gua sha, cupping, and bleeding. Dietary therapy, channel system, organ networks, along with yin/yang theory, Chinese pathology, and concepts of qi will be explored as well. This five-week online class is presented by esteemed OCOM faculty members, all teaching their specialized perspectives via lecture, demonstration, and discussion.

Native Action Network is proud to present the exhibition One With the Waters featuring artwork by Sarah Folden. A member of the Cowlitz Tribe, Sarah creates contemporary Coast Salish art inspired by her connection to place. Her work celebrates the vitality of Cowlitz people, their bold and colorful spirits, ancestral waters, animal relatives and all connected in nature. Cowlitz people are water-going people who refused to sign treaties with the federal government. This has created a diverse population. Over time many have traveled from their ancestral waters, some even across oceans, but much like our salmon relatives, there is an instinctive drive that calls Native people home. Sarah Folden’s artwork is created in honor of those still here, those who have made that voyage and those who are awakening to their internal calling to return.

Raices de Bienestar is honored to present this talk with ¡Salud! The Oregon Pinot Noir Auction on Family Mental Health.
There are only have 25 spots available so sign up! To register or if you have questions about the event just call Claudia at (503) 681-4311.

Raices de Bienestar un honor presentar esta charla con ¡Salud! The Oregon Pinot Noir Auction sobre la salud mental de la Familia.
Sólo tenemos 25 espacios disponibles, así que regístrate! Para registrase o si tiene preguntas sobre el evento solamente tiene que llamar Claudia a (503) 681-4311.

Wednesday, September 27 at 7:30, the XVII Portland Latin American Film Festival will kick off at the @hollywoodtheatr

We invite community to join us in the Fall for workdays on the land, starting 9/15 – 11/19.

These workdays have been great opportunities for us to introduce ourselves to the land and to foster our relationships to it. Volunteers can help in a number of ways, like tending to Native plants, clearing invasive ones like ivy, envisioning futures, and getting the land ready for upcoming gatherings. We also invite you to help by just spending time on this site. Sit and relax by the trees and Mapes Creek, use our art supplies to create, help us collect & save seeds for gifts, or just take a moment from your week and spend time in greenspace.

Open to Native/BIPOC: Fridays, Sept 15 – Nov 19, from 2 – 6pm
Open to All: 1st Saturdays, October & November, from 11am – 3pm

Visit https://bit.ly/3qaL3AR or hit the link in our bio to register.

*Tools, a porta potty, limited drinking water, and light snacks will be provided. All ages and experience levels welcome. Note, our site does not have running water or power, and is unfortunately not yet ADA accessible. We can’t wait to see you on the land!

Chief Seattle Club is proud to present the fall exhibition in ʔálʔal Café featuring artwork by Naomi Parker. Naomi comes from the Makah, Yakama, and Chippewa/Cree people. Drawing on her intertribal ancestry, she uses oil paint on canvas to create scenes of far flung Native relations coming together at pow wow grounds and campsites. Through images of friendly faces and joyfully clasped hands, Naomi shows the power we have to create community wherever we gather.

Dive deep into the stories and science that surround the magnificent orca, apex predator of all oceans.
Follow the currents of ecological activism, popular culture, and Indigenous beliefs to gain a new appreciation of these sophisticated animals, long feared in Western cultures as “Killer Whales.”
Orcas: Our Shared Future includes more than 100 original artifacts and specimens, featuring life-size Orca replicas, fossils, films, objects from popular culture, and original artwork from the Indigenous peoples of the North American west coast.
Discover the complex social structure of orca society and reflect on the surprising consequences of captivity. Learn which orca populations are thriving and which are at risk, and resurface with a new understanding of how orcas and humans are inextricably connected.

For many Native communities throughout the High Desert, what constitutes art spans beyond the walls of a gallery or a museum. Objects are alive, tied to purpose and intrinsic to thriving communities. Art is at once utilitarian and ceremonial, as well as part of the continuation of Native traditions.

Opening on January 28, 2023, Creations of Spirit will immerse High Desert Museum visitors in the Indigenous Plateau worldview, reflecting knowledge systems of tribes along the Columbia River and its tributaries.

Six Native artists commissioned for this new, original exhibition are creating artwork that will be used in Native communities before arriving at the Museum. A seventh artist is creating an interactive piece for the center of the gallery. Creations of Spirit will be a one-of-a-kind, celebratory experience featuring the stories of these living works of art. Videos, audio and large projections will immerse visitors in the landscapes and communities in which these objects are used, highlighting the theme of artwork as alive, full of stories and created for specific purposes and people. The original works will be supplemented with nine cultural items on loan from the Smithsonian’s National Museum of the American Indian in Washington, D.C.

Explore the second run of this past exhibit with stories sourced from the local Burmese / Myanmar community. With the original exhibit run cut short due to our closure during the pandemic, we’ve taken the opportunity to update the exhibit to include new content covering the military coup that happened in February 2021.

SAM presents American Art: The Stories We Carry, a transformation of its American art galleries, created through a wide-ranging collaboration among SAM curators and staff, artists, and advisors from the Seattle community. Funded primarily by a $1 million grant from The Mellon Foundation and a $75,000 grant from the Terra Foundation for American Art, the project features work from SAM’s collection and new works and curation by contemporary artists, and it deepens the museum’s commitment to inclusive exhibition-planning practices with a shared-authorship model that reflects and responds to community knowledge.

Each new generation of artists responds to and builds on the art of earlier periods. Bringing together artworks that bridge decades, Reverberations seeks to spark a hum between historical works and those by artists working today. Organized in thematic groups, Reverberations introduces a different topic in each gallery, ranging from landscape and lyrical abstraction to the use of the body in addressing psychological, social, and political concerns. As you move through the modern and contemporary galleries, you will encounter harmonies and dissonance as younger artists stake their claim. In turn, works from earlier decades will acquire new meaning and new layers of relevance.

This installation draws from SAM’s growing collection and incorporates many works acquired in recent years, by artists including Margarita Cabrera, Dana Claxton, Senga Nengudi, Rashid Johnson, Woody De Othello, Jenny Saville, Sarah Sze, and Naama Tsabar. Many works are on view for the first time. Among the modern classics, viewers will find works by Francis Bacon, Alberto Giacometti, Franz Kline, Joan Mitchell, Mark Rothko, and David Smith on view. The museum’s ongoing commitment to building a collection with equity and diverse points of view can be seen when perusing the galleries.

Featuring the work of the Guma’ Gela’, a queer CHamoru art collective made up of members from the Marianas and in the diaspora. The exhibit explores their motto “part land, part sea, all ancestry” through a broad spectrum of media, including sculpture, soundscape, writing, printmaking, weaving, costume design, adornments, and more, to build a connection with CHamoru life, history, and traditions.

Do you ever wonder how Bruce Lee developed the philosophy behind his most iconic quote?

This incredible interactive exhibit invites viewers to step into the mind, body, and spirit of Bruce Lee to see how his unquenchable pursuit of knowledge informed his philosophy and life.

Follow Bruce’s path beginning with his revelations on water, through the wealth of knowledge found in his 2,800-book personal library, to his philosophy on self-understanding and self-expression.

The exhibition’s interactive technology interweaves beautiful imagery with Bruce’s personal objects and books to bring his journey to life.

What do late 18th- to 19th-century Edo (present-day Tokyo) and late 19th-century Paris have in common? This exhibition, which can only be seen in Seattle, uncovers the shared renegade spirit that characterized the graphic arts and social cultures of these two dynamic cities. On view are over 90 Japanese ukiyo-e woodblock prints and paintings from SAM’s Japanese collection alongside private loans of works by Henri de Toulouse-Lautrec (1864–1901).

In addition to the intriguing formal and thematic parallels between these two collections of graphic arts, the exhibition reveals the social impulses behind their burgeoning art production. As both cities faced challenges to the status quo from the rising middle classes, subversive impulses gave rise to vibrant cultures of theatregoing, pleasure seeking, and new forms of visual art.

Considering both the presence and absence of Black artists is critical to understanding the breadth of Black artistic production in Oregon—even in the midst of historic exclusion—as well as how the impact of that history affects our understanding of American art history and the history of the Pacific Northwest. This exhibition serves to deepen our awareness of the talented artists who have shaped and inspired artists regionally and nationally, and it will be the first of its kind to consider the work of Black artists collectively in Oregon.

Beginning in the 1880s and spanning through today, Black Artists of Oregon captures the Black diasporic experiences particular to the Pacific Northwest with 67 artists and over 200 objects. Artists represented in the exhibition will include Thelma Johnson Streat, Al Goldsby, Charlotte Lewis, Isaka Shamsud-Din, Ralph Chessé, Charles Tatum, Arvie Smith, Shedrich Williames, Harrison Branch, Bobby Fouther, and Carrie Mae Weems, among others. The exhibition and programming will also include the works of contemporary and younger artists working now, functioning as bright threads and offering intergenerational conversation throughout the exhibition, including sidony o’neal, Jeremy Okai Davis, damali ayo, Sharita Towne, Melanie Stevens, Lisa Jarrett, Tristan Irving, Ebin Lee, and Jaleesa Johnston.

Through the narrative flow of the exhibition, visitors will experience work by Black artists across decades and generations. Particular attention is given to the works of Black artists who were producing work during the Black Arts Movement of the late 1960s, ’70s, and early ’80s, such as Portland-based painter Isaka Shamsud-Din. The exhibition will also mark regional artistic connections with global movements for Black liberation, as seen in the work of Charlotte Lewis alongside Portlanders Organized for Southern African Freedom and artists like Sadé DuBoise, whose “Resistance” poster series contributed to Portland’s 2020 George Floyd protests. Without chronological constraints, the exhibition is grounded by the work of elder artists, intergenerational conversations, and live activation in the exhibition galleries.

Black Artists of Oregon builds upon exhibition curator Intisar Abioto’s original research since 2018 exploring the lineage and legacy of Black artists in Oregon. The exhibition will continue Abioto’s research, which is grounded in Black American practices of listening, keeping, and passing on each others’ stories.

“Far from isolated or ancillary, Black arts and cultural production in Oregon has been in conversation and interchange with the world, and a part of its arts and cultural movements, all this time,” says Abioto. “Black Artists of Oregon is a heralding of Black presence, interchange, influence, and impact.”

Curated by artist Jaune Quick-to-See Smith (Citizen of the Confederated Salish and Kootenai Nation), this exhibition brings together works by an intergenerational group of nearly 50 living Native artists practicing across the United States. Their powerful expressions reflect the diversity of Native American individual, regional, and cultural identities. At the same time, these works share a worldview informed by thousands of years of reverence, study, and concern for the land.

Through a variety of practices—including weaving, beadwork, sculpture, painting, printmaking, drawing, photography, performance, and video—these artists visualize Indigenous knowledge of land/ landbase/ landscape. Together, the works in The Land Carries Our Ancestors underscore the self-determination, survivance, and right to self-representation of Indigenous peoples.

On view March 21, 2023 through Spring 2024
Art of the North Galleries, Third Floor, East Wing

Good Medicine brings together Indigenous healers and medicine people to collectively create, share knowledge, and practice in community. Unfolding over the course of a year with the work of different Alaska Native healers, this multi-disciplinary exhibition offers diverse opportunities for gathering and exchange.

Colonialism has attacked and suppressed medicine people and Indigenous knowledge systems for hundreds of years. This exhibition addresses harmful legacies and shows how the revitalization of healing practices and traditions provides ways of being in alignment with oneself, with community, and with our planet.

Curated by Tlingit traditional healer Meda DeWitt, Good Medicine emphasizes spiritual renewal, cultural renascence, and the importance of co-creating futures where nature can thrive.

Frank S. Matsura: Portraits from the Borderland features studio images by Washington-based Japanese photographer Frank Sakae Matsura (1873-1913) alongside period-specific American Indian regalia from the Columbia Plateau. Exploring Indigenous representation through a multi-dimensional lens, the photographs and objects on view detail some of Matsura’s most culturally significant work against a backdrop of regional transformation.

This exhibit features the work of Skokomish artists Denise Emerson and Hailey Brown. Inspired by their shared background as Skokomish tribal members, the exhibit is an exploration and conversation across generations and mediums. The artworks represent the hearts and minds of their makers and the endurance and transformation of what it means to be Skokomish.

In community with arnaq, hana’ack, smɁem, Creation Story celebrates indigenous women and their stories. With this exhibit, Columbia City Gallery continues the growing movement to support the art and culture of Indigenous peoples in the Pacific Northwest. Curated by Lena Ishel Rodriguez, proud Mexican of Nahua descent in her solo curatorial debut. Previously Lena contributed to Cosmic Beings in Mesoamerican and Andean Art at Seattle Art Museum, and Inside the Mask at the Hammer Museum.

I paint from historical photographs of people; the majority of them had no name, no bio, no story left. Nothing. I feel they are kind of lost souls, spirit-ghosts. My painting is a memorial site for them.
—Hung Liu

Groundbreaking Chinese American artist Hung Liu (1948–2021) made highly narrative images that foregrounded workers, immigrants, refugees, women, children, and soldiers in haunting, incandescent portraits that mingle Chinese and Western artistic traditions. Liu was born in Changchun, China, and her childhood and youth coincided with one of the most tumultuous periods in Chinese history. After her arrival in San Diego, California, in 1984, Liu became one of the first Chinese artists to establish a career in the United States. Decades later, she would be justly celebrated for establishing novel frameworks for understanding visual art’s relationship to history by focusing on communities misrepresented and marginalized by official narratives.

Liu experienced political revolution, exile, and displacement before immigrating to the United States. She came of age during Mao Zedong’s Cultural Revolution (1966–76) and was consequently forced to labor in the fields in her early twenties. After studying art in Beijing, she left China to attend graduate school at the University of California, San Diego. There, the experimental tendencies of the students and faculty, most notably those of performance artist Allan Kaprow (1927–2006) and art historian Moira Roth (1933–2021), helped cultivate her conceptual approach to portraiture.

Featuring highly experimental painting, printing, and weaving techniques, Liu’s challenging yet accessible oeuvre has been aptly characterized by her husband, the art critic Jeff Kelley, as a species of “weeping realism.” Titled A Question of Hu, after China scholar Jonathan Spence’s 1988 book The Question of Hu, the exhibition reintroduces Liu’s remarkable art to the Pacific Northwest, while demonstrating—as few artistic oeuvres can—an expanded view of citizenship in an era of seismic change that is also fundamentally marked by evolving ideas of artistic solidarity and collaboration.

An anchor event for Converge 45’s citywide 2023 biennial, Social Forms: Art As Global Citizenship, the exhibition WE ARE THE REVOLUTION plumbs the depth of commitment of Jordan Schnitzer to the art of his time, while tapping into a living history of social expression through art in diverse media—from monumental paintings to free-standing sculpture to works on paper. Designed in part to explore ways in which the art of the past meets and affects the art of the present, the exhibition gives voice to art as both aesthetic experimentation and social commentary from the 1960s to today. Driven by the conviction that history is constructed through both continuity and discontinuity, the exhibition strives to establish unexpected juxtapositions and revealing connections among historical and contemporary artists and artworks.

Mi Centro and Tacoma Art Museum (TAM), with support from Tacoma Creates, is excited to partner together to present special guest speaker Cheech Marin and “El Noroeste” art exhibit highlighting over 20 local Chicano/Latine art from across Washington State.

The exhibit dates will be Saturday September 23 – October 1, 2023. The free opening reception and Cheech Marin speaking engagement are scheduled to take place on Saturday, September 23rd from 2-5 p.m., with our guest speaker starting at 3 p.m. Both the exhibit and the opening reception with guest speaker will take place at the Tacoma Art Museum. This is a standing room only event with limited seating. Attendees can register for FREE

The Halluci Nation is hitting the road again this fall!!
Tag your crew and tell them what city they’ll get to see your beautiful faces at!!

Check the more info link for details regarding concert locations, times, and tickets.

This course, open to the public, will introduce Chinese medical theories, treatments, history, the basics of holism, and research.

Participants will learn about acupoints, herbal medicine, acupuncture, moxibustion, massage, gua sha, cupping, and bleeding. Dietary therapy, channel system, organ networks, along with yin/yang theory, Chinese pathology, and concepts of qi will be explored as well. This five-week online class is presented by esteemed OCOM faculty members, all teaching their specialized perspectives via lecture, demonstration, and discussion.

Native Action Network is proud to present the exhibition One With the Waters featuring artwork by Sarah Folden. A member of the Cowlitz Tribe, Sarah creates contemporary Coast Salish art inspired by her connection to place. Her work celebrates the vitality of Cowlitz people, their bold and colorful spirits, ancestral waters, animal relatives and all connected in nature. Cowlitz people are water-going people who refused to sign treaties with the federal government. This has created a diverse population. Over time many have traveled from their ancestral waters, some even across oceans, but much like our salmon relatives, there is an instinctive drive that calls Native people home. Sarah Folden’s artwork is created in honor of those still here, those who have made that voyage and those who are awakening to their internal calling to return.

Wednesday, September 27 at 7:30, the XVII Portland Latin American Film Festival will kick off at the @hollywoodtheatr

Prepare to be captivated by the unique fusion of North African blues and contemporary rhythms as the revolutionary band, Bab L’ Bluz takes the Great Hall Stage.

Fronted by Yousra Mansour, an African-Moroccan woman in a traditionally male role, Bab L’ Bluz is a driving force in reclaiming the blues for North Africa. Their music echoes with the spirit of the Moroccan ‘nayda’ youth movement, infusing rich local heritage with a modern rebellious attitude.

Experience the ancient and current, the funky and rhythmic, all amplified by Arabic lyrics, soaring vocals, and bass-heavy grooves. Bab L’ Bluz’s music pulses from the heart of the Maghreb, transcending borders and bringing people together through the universal language of music.

Don’t miss this exceptional night of cultural celebration and musical revolution at Town Hall Seattle!

We invite community to join us in the Fall for workdays on the land, starting 9/15 – 11/19.

These workdays have been great opportunities for us to introduce ourselves to the land and to foster our relationships to it. Volunteers can help in a number of ways, like tending to Native plants, clearing invasive ones like ivy, envisioning futures, and getting the land ready for upcoming gatherings. We also invite you to help by just spending time on this site. Sit and relax by the trees and Mapes Creek, use our art supplies to create, help us collect & save seeds for gifts, or just take a moment from your week and spend time in greenspace.

Open to Native/BIPOC: Fridays, Sept 15 – Nov 19, from 2 – 6pm
Open to All: 1st Saturdays, October & November, from 11am – 3pm

Visit https://bit.ly/3qaL3AR or hit the link in our bio to register.

*Tools, a porta potty, limited drinking water, and light snacks will be provided. All ages and experience levels welcome. Note, our site does not have running water or power, and is unfortunately not yet ADA accessible. We can’t wait to see you on the land!

Chief Seattle Club is proud to present the fall exhibition in ʔálʔal Café featuring artwork by Naomi Parker. Naomi comes from the Makah, Yakama, and Chippewa/Cree people. Drawing on her intertribal ancestry, she uses oil paint on canvas to create scenes of far flung Native relations coming together at pow wow grounds and campsites. Through images of friendly faces and joyfully clasped hands, Naomi shows the power we have to create community wherever we gather.

Through the long haul of writing alongside or in voices that are outside of the personal “I”, this 3-day intensive navigates balancing research, ethics, representation, and publishing contracts while holding onto your own authentic voice. If you aspire to improve your craft, come learn from seasoned writers that are equipped to challenge, engage, and inform.

Dive deep into the stories and science that surround the magnificent orca, apex predator of all oceans.
Follow the currents of ecological activism, popular culture, and Indigenous beliefs to gain a new appreciation of these sophisticated animals, long feared in Western cultures as “Killer Whales.”
Orcas: Our Shared Future includes more than 100 original artifacts and specimens, featuring life-size Orca replicas, fossils, films, objects from popular culture, and original artwork from the Indigenous peoples of the North American west coast.
Discover the complex social structure of orca society and reflect on the surprising consequences of captivity. Learn which orca populations are thriving and which are at risk, and resurface with a new understanding of how orcas and humans are inextricably connected.

For many Native communities throughout the High Desert, what constitutes art spans beyond the walls of a gallery or a museum. Objects are alive, tied to purpose and intrinsic to thriving communities. Art is at once utilitarian and ceremonial, as well as part of the continuation of Native traditions.

Opening on January 28, 2023, Creations of Spirit will immerse High Desert Museum visitors in the Indigenous Plateau worldview, reflecting knowledge systems of tribes along the Columbia River and its tributaries.

Six Native artists commissioned for this new, original exhibition are creating artwork that will be used in Native communities before arriving at the Museum. A seventh artist is creating an interactive piece for the center of the gallery. Creations of Spirit will be a one-of-a-kind, celebratory experience featuring the stories of these living works of art. Videos, audio and large projections will immerse visitors in the landscapes and communities in which these objects are used, highlighting the theme of artwork as alive, full of stories and created for specific purposes and people. The original works will be supplemented with nine cultural items on loan from the Smithsonian’s National Museum of the American Indian in Washington, D.C.

Explore the second run of this past exhibit with stories sourced from the local Burmese / Myanmar community. With the original exhibit run cut short due to our closure during the pandemic, we’ve taken the opportunity to update the exhibit to include new content covering the military coup that happened in February 2021.

SAM presents American Art: The Stories We Carry, a transformation of its American art galleries, created through a wide-ranging collaboration among SAM curators and staff, artists, and advisors from the Seattle community. Funded primarily by a $1 million grant from The Mellon Foundation and a $75,000 grant from the Terra Foundation for American Art, the project features work from SAM’s collection and new works and curation by contemporary artists, and it deepens the museum’s commitment to inclusive exhibition-planning practices with a shared-authorship model that reflects and responds to community knowledge.

Each new generation of artists responds to and builds on the art of earlier periods. Bringing together artworks that bridge decades, Reverberations seeks to spark a hum between historical works and those by artists working today. Organized in thematic groups, Reverberations introduces a different topic in each gallery, ranging from landscape and lyrical abstraction to the use of the body in addressing psychological, social, and political concerns. As you move through the modern and contemporary galleries, you will encounter harmonies and dissonance as younger artists stake their claim. In turn, works from earlier decades will acquire new meaning and new layers of relevance.

This installation draws from SAM’s growing collection and incorporates many works acquired in recent years, by artists including Margarita Cabrera, Dana Claxton, Senga Nengudi, Rashid Johnson, Woody De Othello, Jenny Saville, Sarah Sze, and Naama Tsabar. Many works are on view for the first time. Among the modern classics, viewers will find works by Francis Bacon, Alberto Giacometti, Franz Kline, Joan Mitchell, Mark Rothko, and David Smith on view. The museum’s ongoing commitment to building a collection with equity and diverse points of view can be seen when perusing the galleries.

Featuring the work of the Guma’ Gela’, a queer CHamoru art collective made up of members from the Marianas and in the diaspora. The exhibit explores their motto “part land, part sea, all ancestry” through a broad spectrum of media, including sculpture, soundscape, writing, printmaking, weaving, costume design, adornments, and more, to build a connection with CHamoru life, history, and traditions.

Do you ever wonder how Bruce Lee developed the philosophy behind his most iconic quote?

This incredible interactive exhibit invites viewers to step into the mind, body, and spirit of Bruce Lee to see how his unquenchable pursuit of knowledge informed his philosophy and life.

Follow Bruce’s path beginning with his revelations on water, through the wealth of knowledge found in his 2,800-book personal library, to his philosophy on self-understanding and self-expression.

The exhibition’s interactive technology interweaves beautiful imagery with Bruce’s personal objects and books to bring his journey to life.

What do late 18th- to 19th-century Edo (present-day Tokyo) and late 19th-century Paris have in common? This exhibition, which can only be seen in Seattle, uncovers the shared renegade spirit that characterized the graphic arts and social cultures of these two dynamic cities. On view are over 90 Japanese ukiyo-e woodblock prints and paintings from SAM’s Japanese collection alongside private loans of works by Henri de Toulouse-Lautrec (1864–1901).

In addition to the intriguing formal and thematic parallels between these two collections of graphic arts, the exhibition reveals the social impulses behind their burgeoning art production. As both cities faced challenges to the status quo from the rising middle classes, subversive impulses gave rise to vibrant cultures of theatregoing, pleasure seeking, and new forms of visual art.

Considering both the presence and absence of Black artists is critical to understanding the breadth of Black artistic production in Oregon—even in the midst of historic exclusion—as well as how the impact of that history affects our understanding of American art history and the history of the Pacific Northwest. This exhibition serves to deepen our awareness of the talented artists who have shaped and inspired artists regionally and nationally, and it will be the first of its kind to consider the work of Black artists collectively in Oregon.

Beginning in the 1880s and spanning through today, Black Artists of Oregon captures the Black diasporic experiences particular to the Pacific Northwest with 67 artists and over 200 objects. Artists represented in the exhibition will include Thelma Johnson Streat, Al Goldsby, Charlotte Lewis, Isaka Shamsud-Din, Ralph Chessé, Charles Tatum, Arvie Smith, Shedrich Williames, Harrison Branch, Bobby Fouther, and Carrie Mae Weems, among others. The exhibition and programming will also include the works of contemporary and younger artists working now, functioning as bright threads and offering intergenerational conversation throughout the exhibition, including sidony o’neal, Jeremy Okai Davis, damali ayo, Sharita Towne, Melanie Stevens, Lisa Jarrett, Tristan Irving, Ebin Lee, and Jaleesa Johnston.

Through the narrative flow of the exhibition, visitors will experience work by Black artists across decades and generations. Particular attention is given to the works of Black artists who were producing work during the Black Arts Movement of the late 1960s, ’70s, and early ’80s, such as Portland-based painter Isaka Shamsud-Din. The exhibition will also mark regional artistic connections with global movements for Black liberation, as seen in the work of Charlotte Lewis alongside Portlanders Organized for Southern African Freedom and artists like Sadé DuBoise, whose “Resistance” poster series contributed to Portland’s 2020 George Floyd protests. Without chronological constraints, the exhibition is grounded by the work of elder artists, intergenerational conversations, and live activation in the exhibition galleries.

Black Artists of Oregon builds upon exhibition curator Intisar Abioto’s original research since 2018 exploring the lineage and legacy of Black artists in Oregon. The exhibition will continue Abioto’s research, which is grounded in Black American practices of listening, keeping, and passing on each others’ stories.

“Far from isolated or ancillary, Black arts and cultural production in Oregon has been in conversation and interchange with the world, and a part of its arts and cultural movements, all this time,” says Abioto. “Black Artists of Oregon is a heralding of Black presence, interchange, influence, and impact.”

Curated by artist Jaune Quick-to-See Smith (Citizen of the Confederated Salish and Kootenai Nation), this exhibition brings together works by an intergenerational group of nearly 50 living Native artists practicing across the United States. Their powerful expressions reflect the diversity of Native American individual, regional, and cultural identities. At the same time, these works share a worldview informed by thousands of years of reverence, study, and concern for the land.

Through a variety of practices—including weaving, beadwork, sculpture, painting, printmaking, drawing, photography, performance, and video—these artists visualize Indigenous knowledge of land/ landbase/ landscape. Together, the works in The Land Carries Our Ancestors underscore the self-determination, survivance, and right to self-representation of Indigenous peoples.

On view March 21, 2023 through Spring 2024
Art of the North Galleries, Third Floor, East Wing

Good Medicine brings