Calendar

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 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

Guitars tuned. Mic checked. Get ready to rock! This darkly funny, electric new play with music tells the story of a Khmer Rouge survivor returning to Cambodia for the first time in thirty years, as his daughter prepares to prosecute one of Cambodia’s most infamous war criminals. Backed by a live band playing contemporary Dengue Fever hits and classic Cambodian oldies, this thrilling story toggles back and forth in time as father and daughter face the music of the past. Lauren Yee brings us an intimate rock epic about family secrets set against a dark chapter of Cambodian history.

Children under 5, including babes in arms, will not be admitted.

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.

Please join us and our partners @TlingitHaida, @GoldbeltHeritage @JuneauSchoolsFamilyEngagement, and #JuneauMontessoriSchool as our community gathers together to observe events for Orange Shirt Day 2023.

Orange Shirt Day is an annual International Day of Remembrance for the children removed from their families by the U.S. Indian Boarding School system’s forced assimilation policy. It is a time to honor those who returned home and mourn those who did not, a time for truth-speaking, and for Indigenous and non-Indigenous people to heal as a community.

The Orange Shirt Day Gathering & Indigenous Pop-Up Market will be on Friday, September 29th, 5:00 – 8:00 PM at Harborview Elementary, and will be an evening of community connection and healing through cultural arts.

The Orange Shirt Day Mid-Morning Wave will be Saturday, September 30, from 9:00 – 11:00 AM at the Mendenhall Wetlands Turnout on Egan Highway (Near Sunny Point.) Community members are invited and encouraged to wear the color orange, wear their regalia, bring a drum, and bring banners and signs with loving messages of awareness. Coffee and donuts will be provided.

Applications are available now for Jack Straw’s 2024 Artist Support, New Media Gallery, and Writers programs! Learn more and apply at https://www.jackstraw.org/programs/residency-programs-faq/
Learn about these programs and how to apply for them, and enjoy live readings and music from Jack Straw artists Ebo Barton, Jim Cantú, Ching-in Chen, and Claudia Castro Luna.

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!

Remember when it was all about groovy dances, alumni reunions, and the thrill of that first football game, maybe even a parade rolling down? Oh, the nostalgia!

This year’s 🍂 Falltactular 🍂 homecoming theme isn’t just a callback – it’s a roaring comeback! After laying low during the global pandemic, it’s time to burst back into the scene, showing off our fabulous fits, celebrating our achievements, and proving that we’re dancing through the storm–confetti and all!

Think of this as the homecoming re-do! 🌟 No date? No problem! Always dreamed of being homecoming royalty? Now’s your chance! Be the king, queen, duke, duchess, or even joker. Round up your friends, community, allies, peers, coworkers and family to be a part of it.

Whether you’re rocking heels or sneakers, coming solo or with your partner-in-crime, this homecoming is all about YOU.

So, put on your dancing shoes, and let’s make memories! Welcome back to the community that adores every bit of you.

🎈 Let’s Homecoming like never before! 🎈

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.

Northwest Translators and Interpreters Society is proud to present its 2023 Annual Conference (#NOTIS2023) in honor of International Translation Day (#ITD2023). This lively event brings together translation & interpretation professionals throughout the Pacific Northwest. Come join us for a fun day of networking, conference sessions, panel discussions, and more with the best in the business!

As the United Nations states on their website, “International Translation Day is meant as an opportunity to pay tribute to the work of language professionals, which plays an important role in bringing nations together, facilitating dialogue, understanding and cooperation, contributing to development and strengthening world peace and security.” This is precisely what NOTIS endeavors to do—all year round—and we couldn’t do it without you.

So come on out and celebrate with us on September 30, won’t you? Don’t miss this opportunity to meet your present and future colleagues, earn CEUs, and learn more about the state of T&I in the Pacific Northwest and around the world!

Join HTL for our September Ḵaa Tukax̱saké Héende Cross-Sector Equity Cohort! This month, we’ll learn about and engage in healing practices as we prepare for Orange Shirt Day on Sept. 30. Sign up now at the link in our bio, and for more info, contact htl@awareak.org.

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 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.

Columbia Basin Allied Arts, in collaboration with the Moses Lake Public Library, City of Moses Lake Museum & Art Center, Moses Lake Creative District, Downtown Moses Lake Association, EDUBS C/S, and Artisans Co. present the 2nd Annual UMANI Festival. The event will include a low-rider parade, live music, creative workshops, and more! All celebrating the amazing diversity of Hispanic cultures.

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.

Experience holistic healing, cultural performances, food, fashion, vendors and stories from Seattle’s BIPOC communities.

Join us for a soulful journey at the Future Ancient Soul Healing Festival! This one-of-a-kind event will take place at Judkins Park in Seattle, WA, USA on Saturday September 30th 2023 from 12-8pm. Immerse yourself in a day filled with ancient healing practices and futuristic vibes.

It’s that exciting time of the year once more! Our annual Pista sa Nayon is set for September 30th. We’re thrilled to announce that this year’s event is proudly sponsored by the City of Spokane, allowing us to share the beauty of Filipino culture with our wonderful community. This is a free event, so we invite everyone to join us and savor the delightful food, captivating entertainment, and all the fun brought to you by FAAIE.
Food is available in limited quantities and will be served on a first-come, first-served basis until supplies last.

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.

Resource Fair • Vaccination • Mercadito
Food & Clothing Pantry • Music • Games • and much more!
—
Feria de Recursos • Vacunación • Mercadito
Despensa de Comida y Ropa • Música • Juegos • y mucho más!

Eres un Vendedor o tienes tu propio negocio? Estamos buscando vendedores para los eventos de Pachanga & Mercadito cada mes. El evento se llevara acabo cada ultimo sabado del mes!
Para llenar la forma simplemente vaya al enlace que esta disponible https://www.jotform.com/form/230435029488055
si ocupa asistencia o tiene preguntas por favor de llamar al (509) 239-5818.

Walk the Block is back and bigger than ever.
Walk The Block is Wa Na Wari’s annual outdoor visual and performing arts festival that transforms Central District homes, businesses, parks, porches, and other common spaces into art installations and performance sites. Participants enjoy visual 2d and sculptural art, video installations, live music, dance parties, community stories, and more as they stroll the neighborhood with family and friends. Walk the Block is a chance to experience a slice of African American culture that defined the Central District as the hub for Black life in Washington State for over 70 years. Walk the Block brings visibility to a community that continues to adapt and grow in place, while creating a bridge to new residents who have recently arrived.
Walk the Block is also an important player in the revitalization of Seattle’s cultural community and economy at large. Development led to the displacement of working class people across the city, artists in particular. For a city whose international renown is partly anchored in the contributions of its artists, this continues to be a local challenge. Re-seeding the cultural landscape with opportunities for artists to live, work, and present is increasingly a public policy priority. Walk the Block is a draw for art lovers at large, and for public officials looking to support this vital sector and keep Seattle accessible and diverse all while helping to raise funds and build community with Wa Na Wari.Participants can arrive and begin the walk anytime between 2pm and 5:30pm. Dress warm and wear comfortable shoes.
Participating Artists:
Ephraim Asili (Filmmaker), Rashida Bumbray (Performance), Ayana Evans (Performance), Kevin Jerome Everson (Filmmaker), Ka’ila Farrell Smith Klamath Medoc (Painting), Ryan Feddersen (Performance/Sculpture) Femme Noire ( a Collaboration Between Black Puffin, Seattle Art Museum and Wa Na Wari with artists: Sheila Pree Bright, Jordan Casteel, M. Florine Démosthène, Eva Diallo, Adji Dieye, Marita Dingus, Esiri Erheriene-Essi Angèle Etoundi Essamba, Aramis O. Hamer , Bonnie Hopper, C. Davida Ingram, Rugiyatou Jallow, Lisa Jarret, Rachel Marsil, Thandiwe Muriu, Chidinma Nnoli, Chelsea Odufu, zakkiyyah najeebah dumas – o’neal, Ebony G. Patterson, Zandile Tshabalala, Kiki Turner), Mary Friesen Cree (Photography), Erin Genia Sisseton-Wahpeton Oyate Dakota (Sculpture), Christopher Harris (Filmmaker), Aisha Harrison (Sculpture), Charlene Komunale (Artist), Kent Monkman Fisher River Cree Nation in Treaty 5 Territory (Manitoba) (Multi-Media Artist), Melanie Stevens (Multi-Media Artist), Yirim Seck and Architects without Borders (Multi-Media Artwork), Ric’kisha Taylor (Multi-Media Artist), Thaddeus Turner (Music), The Last of the Red Hot Mamas (Music), Ya Tseen Tlingit and Unangax̂ (Music). Curated Stages:
Arte Noire, Fat’s Chicken & Waffles …..and more
Sponsors:
4Culture, BECU, Central Area Collaborative, Chihuly Garden & Glass, Converge Media, Gates Foundation, Inatai Foundation, Lululemon, Nesholm Foundation, One Reel, PCC Markets, Salal Credit Union, Seattle Art Museum, Seattle Space Needle, ScandiuzziKrebs, Social Justice Fund, Sup Pop, Team Diva Real Estate, Titos Vodka, Uplift Investment Group and Visit Seattle.
With Funding provided by the Seattle Office of Economic Development
Ticket Packages:
All pre-sale tickets will include a cookie from Shikorina Bakery. (Berbere Caramel or Vegan Gluten free Chocolate Chip.)
Early Entry Run/Walk (Comes with drink ticket)
$50
With this ticket, participants can run or walk the Walk the Block route to try and get their best time, or beat the crowds. This ticket allows for registration at 12:30pm with event access at 1:00pm.
Walk and Art: Map
$30
Enjoy the art walk with map.
Food Ticket
$50
Enjoy food from one Wa Na Wari’s Love Offering Chefs.
Walk the Block Tee-Shirt
$30
Get the 2023 Walk the Block Tee-Shirt with artwork by Amanda Howell Whithurst.
Walk the Block Sweatshirt
$65
Get the 2 we 023 Walk the Block Sweatshirt with artwork by Amanda Howell Whithurst.
FAQ:
When is Walk the Block?
Saturday, September 30th, 2023 from 2pm-6pm. Participants can arrive and begin the walk anytime between 2pm and 5:30pm.
​Where does the event start?
Registration is on the rooftop of Medgar Evers pool located at 500 23rd Ave, Seattle, WA 98122. Medgar Evers is directly across the street from Ezells Fried Chicken at 23rd and Jefferson, just north of Garfield High School. We are not able to ship Walk the Block purchases. If you miss Walk the Block, we can hold hoodies for you at Wa Na Wari, where you can pick them up during our open hours. We are not able to refund food & drink tickets or unused admission tickets.
We are within walking distance of the #2, #48, #3, and #4 buses.
What is the deadline to purchase tickets?
You can purchase tickets up to the day of. For swag tickets the deadline is September 24th, 2023.
Can I get a refund because of the weather, COVID, or my plans have changed?
We’re very sorry but all registrations are final. This event will go on rain or shine. If you can no longer attend your registration can be a donation. Please contact us for a tax receipt if you can’t attend.
How do I get my swag (Race Bib, Map, Drink & Food Tickets, and Umbrella?)
Cookies, food tickets, t-shirts and hoodies will be available for pickup at registration on the day of the event. Registration is on the roof of Medgar Evers Pool, not at Wa Na Wari.
How far is the walk? What if I get tired or need to use the bathroom?
The total distance of the walk is about .8 miles. You can walk, ride a bike, or drive. Rest and bathroom spots will be located on the event map. ​

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

Guitars tuned. Mic checked. Get ready to rock! This darkly funny, electric new play with music tells the story of a Khmer Rouge survivor returning to Cambodia for the first time in thirty years, as his daughter prepares to prosecute one of Cambodia’s most infamous war criminals. Backed by a live band playing contemporary Dengue Fever hits and classic Cambodian oldies, this thrilling story toggles back and forth in time as father and daughter face the music of the past. Lauren Yee brings us an intimate rock epic about family secrets set against a dark chapter of Cambodian history.

Children under 5, including babes in arms, will not be admitted.

Come celebrate the start of Filipino American History Month with a 2-day festival of arts, culture, food, and entertainment!
Day 1 – Saturday: there will be art, music, and dance; there will be food, and there will be FILIPINO CULTURE
Day 2 – Sunday: the Market Day with 10 food vendors and over 20 retail vendors inside the FCC Ballroom
GET YOUR TICKETS TODAY!!!
the2ndpalengkeatFCSnight.eventbrite.com for Day 1
the2ndpalengkeatFCS.eventbrite.com for Day 2

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.

Let’s support our Maui ʻohana!

Alaska for Maui is a benefit concert featuring the Hawaiian Reggae band H3. Join us for an evening of fun as we come together to give back to our Maui neighbors who have lost so much.

JOIN US!

A fundraiser to support the Hawaii Community Foundation’s Maui Strong Fund. The fund is providing financial resources to support the immediate and long-term recovery needs for the people and places affected by the devastating Maui wildfires.

Food trucks, cake auction, silent auction, Hawaiian dance performances, and H3. All of the proceeds will go directly to the Maui Strong Fund. If you cannot attend the concert, you can still make a donation to Maui Strong Fund. https://www.hawaiicommunityfoundation.org/strengthening/maui-strong-fund

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.

Please join us and our partners @TlingitHaida, @GoldbeltHeritage @JuneauSchoolsFamilyEngagement, and #JuneauMontessoriSchool as our community gathers together to observe events for Orange Shirt Day 2023.

Orange Shirt Day is an annual International Day of Remembrance for the children removed from their families by the U.S. Indian Boarding School system’s forced assimilation policy. It is a time to honor those who returned home and mourn those who did not, a time for truth-speaking, and for Indigenous and non-Indigenous people to heal as a community.

The Orange Shirt Day Gathering & Indigenous Pop-Up Market will be on Friday, September 29th, 5:00 – 8:00 PM at Harborview Elementary, and will be an evening of community connection and healing through cultural arts.

The Orange Shirt Day Mid-Morning Wave will be Saturday, September 30, from 9:00 – 11:00 AM at the Mendenhall Wetlands Turnout on Egan Highway (Near Sunny Point.) Community members are invited and encouraged to wear the color orange, wear their regalia, bring a drum, and bring banners and signs with loving messages of awareness. Coffee and donuts will be provided.

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.

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.

Seattle Aquarium invites you as they welcome members of the Hispanic and Latinx community in celebration of Hispanic Heritage Month!

Explore the Aquarium’s habitats and enjoy a variety of themed activities, as well as talks with Spanish language interpretation.

Full schedule to come.

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 annual Pacific Northwest celebration of Croatian heritage and culture

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.

Directly from Mexico, @internationalseattlecatrinasfestival bring to Seattle the renowned world-class sculptor and artist, Mr. Hermes Arroyo, will be organizing a beautiful and spectacular exhibition of giant skulls, handcrafted and hand-painted, called “Seagiantskulls.”

The ribbon-cutting ceremony will take place on Sunday, October 1st, at 1:00 PM in Westlake Park, and this art exhibition will be open to the public free of charge from October 1st to October 31st in the following Seattle parks:

2+U, Bell Street Park, McGraw Square, Occidental Park, Pioneer Park, and Westlake Park.

Join us for a FUN & FESTIVE afternoon! Enjoy delicious bites and libations, live entertainment, and a stirring paddle raise in support of Pacific Bonsai Museum!

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

Guitars tuned. Mic checked. Get ready to rock! This darkly funny, electric new play with music tells the story of a Khmer Rouge survivor returning to Cambodia for the first time in thirty years, as his daughter prepares to prosecute one of Cambodia’s most infamous war criminals. Backed by a live band playing contemporary Dengue Fever hits and classic Cambodian oldies, this thrilling story toggles back and forth in time as father and daughter face the music of the past. Lauren Yee brings us an intimate rock epic about family secrets set against a dark chapter of Cambodian history.

Children under 5, including babes in arms, will not be admitted.

Come celebrate the start of Filipino American History Month with a 2-day festival of arts, culture, food, and entertainment!
Day 1 – Saturday: there will be art, music, and dance; there will be food, and there will be FILIPINO CULTURE
Day 2 – Sunday: the Market Day with 10 food vendors and over 20 retail vendors inside the FCC Ballroom
GET YOUR TICKETS TODAY!!!
the2ndpalengkeatFCSnight.eventbrite.com for Day 1
the2ndpalengkeatFCS.eventbrite.com for Day 2

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!

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.

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.

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.

Guitars tuned. Mic checked. Get ready to rock! This darkly funny, electric new play with music tells the story of a Khmer Rouge survivor returning to Cambodia for the first time in thirty years, as his daughter prepares to prosecute one of Cambodia’s most infamous war criminals. Backed by a live band playing contemporary Dengue Fever hits and classic Cambodian oldies, this thrilling story toggles back and forth in time as father and daughter face the music of the past. Lauren Yee brings us an intimate rock epic about family secrets set against a dark chapter of Cambodian history.

Children under 5, including babes in arms, will not be admitted.

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

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.

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.

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.

Guitars tuned. Mic checked. Get ready to rock! This darkly funny, electric new play with music tells the story of a Khmer Rouge survivor returning to Cambodia for the first time in thirty years, as his daughter prepares to prosecute one of Cambodia’s most infamous war criminals. Backed by a live band playing contemporary Dengue Fever hits and classic Cambodian oldies, this thrilling story toggles back and forth in time as father and daughter face the music of the past. Lauren Yee brings us an intimate rock epic about family secrets set against a dark chapter of Cambodian history.

Children under 5, including babes in arms, will not be admitted.

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.

Join Langston in celebrating the literary legacy of Octavia E. Butler on the 30th anniversary of the groundbreaking novel “Parable of the Sower.” Explore the cultural impact of this visionary work with our esteemed panelists, including adrienne maree brown, a transformative justice advocate and Octavia E. Butler scholar; Ayana Jamieson, founder of the Octavia E. Butler Legacy Network; and Daniel Simon, editor of Octavia Butler’s novels and champion of dispossessed voices. Moderated by queer Afrofuturist Isis Asare, this interactive discussion will delve into the power of Butler’s storytelling and its relevance today.

In October 1993, Four Walls Eight Windows published the first edition of Parable of the Sower by Octavia E. Butler. At the time, Butler was at the height of her literary career. The 1995 MacArthur Fellow already published the Patternist Series, Kindred – which would sell over 1M copies and the Xenogenesis Series with Doubleday & Company.

Parable of the Sower – the first book in an unfinished series – would be followed by Parable of the Talents in 1998. Set in a dystopian California in 2024, Parable of the Sower tells the story of how 15-year-old Lauren Oya Olamina creates community and develops a philosophy centered on the belief that God Is Change.

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.

One of the oldest students-operated troupes in Poland will visit Seattle with their newest show “Sentymentalne Metamorfozy”.
This playful musical describes romantic relationship’s challanges in skits written by Julian Tuwin, Stefania Grodzieńska i Maria Hemara. Music selection includes classic Polish hits and songs written exclusively for the Teatr Hybrydy.

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.

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.

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 us for the 27th annual Trailing of the Sheep Festival October 4-8, 2023 to celebrate the history of sheep ranching in Idaho and the West!

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.

Guitars tuned. Mic checked. Get ready to rock! This darkly funny, electric new play with music tells the story of a Khmer Rouge survivor returning to Cambodia for the first time in thirty years, as his daughter prepares to prosecute one of Cambodia’s most infamous war criminals. Backed by a live band playing contemporary Dengue Fever hits and classic Cambodian oldies, this thrilling story toggles back and forth in time as father and daughter face the music of the past. Lauren Yee brings us an intimate rock epic about family secrets set against a dark chapter of Cambodian history.

Children under 5, including babes in arms, will not be admitted.

Join the Unbroken Circle​! Students in this program will have the opportunity to explore heritage through the personal, local, and cultural history of the people in the group. Students will showcase what they’ve learned at the Rhapsody Showcase during the NW Folklife Festival.

Who: ​For ages 11 and up

When: October 4 – December 6, 2023, Wednesdays at 4 pm

How much: sliding scale $0-$300

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

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.

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.

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 us for the 27th annual Trailing of the Sheep Festival October 4-8, 2023 to celebrate the history of sheep ranching in Idaho and the West!

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.

Please join the Asian Jewish Initiative of Seattle in the Sukkah for “Stories in the Sukkah” on Thursday, October 5 from 1:00-3:00PM PT at @templedehirschsinai on Capitol Hill! Open to members of the Asian and Jewish communities of Seattle, this program will include background on the Jewish holiday of Sukkot, a harvest holiday focused on agriculture and welcoming guests, followed by group conversations around themes of storytelling, food, and culture. Vegetarian food and drinks will be served and spots are limited. Please register here by September 28! https://tinyurl.com/4nndhdzx

The Asian Jewish Initiative of Seattle is an effort started in 2022 with the goals of fostering community, advancing civil rights, and fighting discrimination. Member organizations include @adlpnw, Chinese Information and Service Center (CISC), American Jewish Committee (AJC) Seattle, @hchseattle, @support_ichs, Khalsa Gurmat Center, @jfs_seattle, the Washington State Commission on Asian Pacific American Affairs (CAPAA), @seattlejacl, @jcrcseattle, @ocagreaterseattle, Temple de Hirsch Sinai, Temple Beth Am, the @wsjhs, and @winglukemuseum.

Guitars tuned. Mic checked. Get ready to rock! This darkly funny, electric new play with music tells the story of a Khmer Rouge survivor returning to Cambodia for the first time in thirty years, as his daughter prepares to prosecute one of Cambodia’s most infamous war criminals. Backed by a live band playing contemporary Dengue Fever hits and classic Cambodian oldies, this thrilling story toggles back and forth in time as father and daughter face the music of the past. Lauren Yee brings us an intimate rock epic about family secrets set against a dark chapter of Cambodian history.

Children under 5, including babes in arms, will not be admitted.

Join the Unbroken Circle​! Students in this program will have the opportunity to explore heritage through the personal, local, and cultural history of the people in the group. Students will showcase what they’ve learned at the Rhapsody Showcase during the NW Folklife Festival.

Who: ​For ages 11 and up

When: October 4 – December 6, 2023, Wednesdays at 4 pm

How much: sliding scale $0-$300

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.

Join Us
We are witnessing a new era of whitewashing. Book bans, censorship, and attempts to sanitize our nation’s past are all on the rise – so it’s more important than ever that we raise our voices and collectively refuse to be silenced. Join us for a conversation with “Love in the Library” author Maggie Tokuda-Hall, who bravely stood up against Scholastic Inc. earlier this year when they attempted to censor her use of terms like “racism” in an author’s note about her grandparents’ incarceration experience.

Documenting stories and fearlessly speaking the truth is core to what we do at Densho. And while we uplift the voices of thought leaders like Maggie and WWII incarceration survivors alike, we need your help in carrying that work into the future. Please join us for this evening of conversation, performance, and capacity-building for Densho.

This one-hour virtual program is free to all who register. In addition to a featured conversation between Maggie Tokuda-Hall and Densho Executive Director Naomi Ostwald Kawamura, the program will include a live musical performance by Tomo Nakayama, a poetry reading by traci kato-kiriyama, and will be hosted by Erin Shigaki and Brady Wakayama.

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.

ABC Seattle is now trying out ramen outside for just meet ups! Everyone is still welcome to self-organize a ride from your neighborhood via discord. weather is looking clear to ride as of today!

LOCATION: figurehead brewing (4001 21st Ave W unit b, Seattle, WA 98199) for @yonaka63

*midnite ramen is brought to you by elmer komagata and his wife, izumi. the ramen ‘yatai’ or ramen foodcart started as early as the 1900’s in japan. these carts served from sunset ’til dawn, often known as ‘yonakisoba’ or midnight ramen. they are currently working on construction for a permanent location on stoneway!

WHAT TO BRING: if you plan on riding, bring lights and extra warm layers for when the sun sets! it’s getting cold early now. feel free to bring your own dinner.

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

Unkitawa is excited to announce that their Culture kitchen this Thursday, class is on sugar pumpkins and corn.

Chef Marci is preparing crab, pumpkin frybread and wild rice. The remainder of the class is to teach about all the uses of corn throughout the season and the many health benefits.

Their are looking forward to seeing everyone and share a meal with good conversations.

Join NAAM for our October First Thursdays program, an advanced film preview of the Seattle Black Panthers Fight for Justice and Freedom Documentary Film. Following the film preview, there will be a Q&A session with activist, author, and former captain of the Seattle Chapter of the Black Panther Party, Mr. Aaron Dixon and director and producer of the documentary film, Mr. Rick DuPree. Mr. Aaron Dixon will also discuss and sign copies of his book My People are Rising: Memoir of a Black Panther Party Captain.

The Northwest Orchestra and MEXAM NW Festival invite you to this classical and chamber music concert that will take place at Good Shepherd Chapel.

Wednesday, September 27 at 7:30, the XVII Portland Latin American Film Festival will kick off at the @hollywoodtheatr

In the spirit of “gathering (n. / v.), To Gather supports and elevates the work of artists who use movement to excavate the rich stories that exist within the Black and Brown dancing body.

To Gather is a celebration of dance artists residing and creating along the West Coast. Over two weekends, guest curators Nia-Amina Minor and David Rue invite choreographers and performers to convene and present new work to the Seattle community. To Gather supports and elevates the work of artists who use movement to excavate the rich stories that exist within the Black and Brown dancing body. In the spirit of “gathering (n. / v.),” this program encourages audiences and artists alike to witness, engage, and commune while supporting new works.

Week 1 features the work of guest choreographer Maurya Kerr (tinypistol) & local Seattle artists, including Akoiya Harris, Symone Sanz, and Cipher Goings + Benjamin Hunter.

Week 2 features the work of guest choreographer Bernard Brown (bbmoves) & local Seattle artists, including Jade Solomon Curtis, Emma Wambui, and Umalalengua Okan + Milvia Berenice Pacheco Salvatierra in collaboration with Naomi Macalalad Bragin.

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.

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.

Each new generation of artists responds to and builds on the art of earlier periods. Bringing together artworks that bridge decades, Rev