{"id":1405,"date":"2009-12-24T12:57:54","date_gmt":"2009-12-24T20:57:54","guid":{"rendered":"http:\/\/www.artsjournal.com\/anotherbb\/wp\/2009\/12\/at_the_end_of_09_-_up_and_at_e\/"},"modified":"2009-12-24T12:57:54","modified_gmt":"2009-12-24T20:57:54","slug":"at_the_end_of_09_-_up_and_at_e","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/anotherbb\/2009\/12\/at_the_end_of_09_-_up_and_at_e.html","title":{"rendered":"At the end of ’09 – up and at ’em"},"content":{"rendered":"

At the edges of art, energy moves inward. It clears plaque from arteries and makes way for new images to hit us in the heart. Two exhibits roto-rootering into the new year in Seattle are Rattle My Cage<\/i> at Vermillion<\/a> and This Is The Future The Rest Is History<\/i> at TARL<\/a>.<\/p>\n

Rattle<\/i><\/b><\/p>\n

All the artists in Rattle<\/i> (curated by Sierra Stinson<\/a>) were students of the dazzling Gretchen Bennett<\/a> when she taught at Cornish. Rattle<\/i> has no duds although possibly a few too many toenails. The artists include: Amelia Layton<\/a> who paints the unraveling world (geometries that trail off into recycling, birds who’ve wandered out of their forests, hipsters who’ve forgotten their lines in the play);  Michael Rioux<\/a>, who has a fresh appreciation of decay, and Brett Walker<\/a> , who is hilarious. (Also, Morgan Johnson, Joel Kvernmo, Rosa Lazzarini, and Mckenzie Porritt, along with a sculpture and colored drawing from Bennett, both worth the trip all on their own.<\/p>\n

Rioux:<\/p>\n

\"michaelriouxruin.jpg\"<\/a>(Taking over from Chris Crites<\/a>, Stinson will be curator of Joe Bar<\/a> starting in January. That’ll be fun.)

<\/i><\/b>The Future<\/b><\/i>
<\/b>
TARL is the underground version of the recently demised Crawl Space<\/a>, which, as its title suggests, knew its way around the back entrances to things. TARL currently exists basement of Jessica Powers<\/a> and Matt Browning<\/a>‘s Capitol Hill home but looks forward to a nomadic existence.(TARL organizers are Powers, Browning, Rebar Niemi<\/a>, Anne Mathern<\/a> and Brendan Jansen<\/a>.)<\/p>\n

First up at TARL are Raymond Boisjoly<\/a> and Ryan Peter<\/a>. Their charmingly insufficient back-to-the-future installation starts with a musical question: How else to build a future but from a child’s version of the past? It features a plywood dinosaur with a tape playing the sound of a garbled human voice freely impersonating a dionosaur’s as a tribute to Robert Morris’s Box with the Sound of Its Own Making<\/i><\/a> (1961) at Seattle Art Museum<\/a>.<\/p>\n

I’m in love with their wood-grain prints of similar ancestor figures, some of which are sliding off the wall.<\/p>\n

\"tarlwoodprnt.jpg\"Now that Yoko Ott is winding up her tenure at the Hedreen Gallery<\/a> (She left to direct Open Satellite<\/a>), Seattle University needs a Hedreen Gallery director. I nominate Powers. She’d be perfect.<\/p>\n

<\/div>\n","protected":false},"excerpt":{"rendered":"

At the edges of art, energy moves inward. It clears plaque from arteries and makes way for new images to hit us in the heart. Two exhibits roto-rootering into the new year in Seattle are Rattle My Cage at Vermillion and This Is The Future The Rest Is History at TARL. Rattle All the artists […]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[1],"tags":[],"class_list":{"0":"post-1405","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-uncategorized","7":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/posts\/1405","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/comments?post=1405"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/posts\/1405\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/media?parent=1405"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/categories?post=1405"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/tags?post=1405"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}