CoCA Digital Archive:
1990-1995
1990
Sound Vision
Exhibition Dates: March 22 - May 12
Location: 1309 First Ave, Seattle
Curator: David Berger
Artist: Bette Alexander, Marc Barreca, Warner Blake, Bill and Mary Buchen, Paul DeMarinis, Darrell DeVore, Dennis Evans, Jack Dollhausen, Kurt and Debla Geissel, Susie Kozawa, Alan Lande, Chico MacMurtrie, Trimpin, Melanie Walker, John Tandenberg, Patrick Zentz, and Susan Stone.
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Sound Vision represents one of CoCA's attempts to exhibit art with a sonic component, a gimmick that had hitherto not won much popularity in years past. CoCA's secret weapon in this case was a family friendly component, with interactive works such as Darrell Devore's bamboo and stick instruments. Described by Paul de Barros, an art reporter at The Seattle Times as “intriguing” and “freewheeling and inclusive,” Sound Vision brought not just the sights of art, but also the sounds, to those who were brave enough to keep an open mind…and an open ear! The exhibit also featured live performances from Trimpin and Linda Montano.
Added 4/22/2019
Survival Research Laboratories: A Carnival of Misplaced Devotion
Event Date: June 23, 1990
Location: Union Pacific Lot at Royal Brougham Street in Seattle's SODO neighborhood.
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Based at the time in San Francisco, Survival Research Laboratories (SRL; Mark Pauline, Founder) had gained a national attention for staging complex, spectacle-style events that featured large scale, often anthropomorphic, mechanical constructions operated by remote control to perform acts of mayhem and robot action; it was “industrial vaudeville” as Cathy Ragland summarized in the Seattle Weekly on June 20, 1990. Invited to perform at CoCA during the summer, SRL received permits to take over a large parking lot near the Kingdom, adjacent to the Viaduct. Well documented by video clips, photography, and interviews, A Carnival of Misplaced Devotion captures CoCA’s interest in the limits of contemporary art, prompting some reviewers to ask whether this was "art" at all. In a pattern that would be repeated throughout the 1990s, CoCA also revealed a strong west-coast connectivity that would see it curating not just from the Bay Area, but reaching down to L.A. (and by the end of the 1990s, out to New York). The archives mention an earlier 1986 appearance at CoCA, likely also curated by Larry Reid, but that file could not be located.
As with many CoCA experiences, A Carnival of Misplaced Devotion coincided (co-occurred?) with a group exhibition opening about a week later (Low Technology), and a case could be made that they belong together as a single curatorial nexus (the event/exhibition complex) that Reid and others seemed to pull together as a response to the Goodwill Games, Ted Turner’s "pet Olympics" that debuted in Seattle in the summer of 1990. Low Technology similarly showcased room-size art-machines such as Liz Turner’s Neglected Fixations, a giant hamster wheel. (Decades later, Turner would receive a 2016 Guggenheim Fellowship). Like many of CoCA’s early shows, artists would go on to later fame, included (in Low Technology), Donald Fels, Clark Weigman, Mark Rudis, and many more. Sky Cries Mary played the opening for Low Technology.
As Reid wrote in the press release: “These artists use the tools and devices of industry and science to comment on a world dominated by the machine. They are heir to a tradition reaching back to the Futurists at the turn of the century.”
Amazing video of the Seattle SRL event directed and edited by Leslie Asako Gladsjo. Were you in the audience?
Survival Research Laboratories Photo Archive
Added 12/30/17
Low Technology: Artist Made Machines
Exhibition Dates: July 3 - August 12
Location: 65 Cedar St. SeattleCurator: Larry Reid
Artists: Clair Colquitt, Lorna Jordan, Clayton Bailey, Chico MacMurtie, and Liz Young.
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Low Technology (also known as Low Technology: Artist Made Machines) was an irreverent collection of art that sought black comedy out of the rising role of technology in civilization. While some people were predicting that mankind would be transfigured by new technologies, the artists participating in this exhibition bet on the perhaps prescient possibility that mankind's inner darkness and corrupt nature would drag it down, no matter how advanced the technology it possessed. Created in conjunction with the Goodwill Arts Festival, Low Technology was described by Seattle Times art critic Karen Mathieson as a “chutney…to the main dish of brotherhood served in Seattle [by the festival.]
Added 4/29/2019
Not Funded by the NEA/Piercing Visions in the Shadows
Exhibition Dates: July 28 - September 15
Location: 1309 East Ave, Seattle
Performers: Lamar Van Dyke, Leslie Gladsjo, V. Vale, Andrea Juno, Annie Sprinkle and David Wojnarowicz
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Not Funded by the NEA/Piercing Visions in the Shadows featured a series of performances from Lamar Van Dyke, Leslie Gladsjo, V. Vale, Andrea Juno, Annie Sprinkle and David Wojnarowicz. One of the focuses of these performances were topics that were outside the mainstream of typical modern thought. Annie Sprinkle brought a frank discussion of pornography and how it could be actually beneficial to American society. Lamar Van Dyke, a tattoo artist, attempted to destigmatize the art of tattooing and the people who saw their own bodies as their canvas. David Wojnarowicz put on a performance called "It's So Fomo" where he addressed the AIDS epidemic and the harmful stigma it was causing to homosexual people.
Added 5/8/2019
1991
Misfit Lit
Exhibition Dates: March 15 - May 4, 1991
Location: 1309 First Ave. Seattle
Curator: Gary Groth and Kim Thompson
Artists: Lynda Barry, R. Crumb, Jim Woodring, Carol Moisewitsch, Peter Bagge, and Gilbert and Jaime Hernandez
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Comic art has long been dismissed as mass-produced, artistically meaningless hokum by both art critics and the general public. Very few people thought that the medium that brought us such things as Batman and Superman had much to offer the public. Curator Gary Groth and Kim Thompson of Fantagraphics Books disagreed, and so Misfit Lit came to be. Rather than focus on conventional comic book art, Groth and Thompson sought out the radicals in the industry, those who sought to carve a path that was both individualistic and radically innovative.
Featured Image: Cover Girl by Paul Mavrides
Added 5/1/2019
Natural Selection
Exhibition Dates: June 14 - July 27, 1991
Location: 1309 First Ave, Seattle
Curator: Nancy Weekly
Artist: Christy Rupp
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Curated by Nancy Weekly, Natural Selection is a solo exhibition solely featuring works from Christine Rupp dating from 1979 to 1990. Rupp’s work leans heavily into environmental issues, including urban ecology, our perception of nature, and the harmony or lack thereof between mankind and the world around us. A long time activist not just for environmental but also social issues, Rupp rose to prominence in the late 1970s with her work entitled “The Rat Patrol,” which drew attention to unsanitary conditions in New York City.
Featured Image: Convalescing Staple Crops & Recreational Export Crops By Christy Rupp
Added 4/15/2019
1992
From Media to Metaphor: Art About AIDS
Exhibition Dates: June 19 - August 8
Location: 1309 First Ave, Seattle
Curator: Independent Curators International (local component curated by Carl Smool)
Artists: Artist Listed Below
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From Media to Metaphor: Art about AIDS features a mixture of works from local and New York artists highlighting the emotional resonance left behind in the wake of the AIDS epidemic of the 1980s and early 1990s. Matthew Kangas said of this exhibition that it would "startle even the sympathetic and may shock into recognition the reluctant. In that sense, it does exactly what contemporary art should do." AIDS is a disease that was once heavily associated with members of society that were frequently dehumanized. By bringing highly charged emotional stories of the epidemic into the mix, artists therefore helped to rehumanize these marginalized members of society.
Artists: Ross Bleckner, Kathe Burkhart, Nancy Burson, Steven Evans, General Idea, Félix González-Torres, Gran Fury, Keith Haring, Adrian Kellard, Peter Kunz-Opfersei, Rudy Lemcke, Robert Mapplethorpe, Paul Marcus, Duane Michals, Donald Moffett, Frank Moore, Ellen B. Neipris, Diane Neumaier, Nicholas Nixon, Bebe Nixon, Gypsy Ray, Rod Rhodes, Jane Rosett, John Sapp, Dui Seid, John Shane, Rosalind Solomon, Masami Teraoka, Doug (Bruno) Hammett, Max Torque, Kathy Vargas, Brian Weil, David Wojnarowicz, Thomas Woodruff, Juan Alonso, Fried Birchman, Tom Cantwell, Cheryl Comstock, Marita Dingus, Michael Ehle, Kevin Harvey, David Hartz, Sylvain Klause, Mary Molyneaux, Nancy Morrow, Barbara Quah, Grego Rachko, Kathy Ross, Harriet Sandowicz, Tom Schworer, T. Ellen Sollod, Tom Thein, David Wickland, Peter Toliver, Mike Walsh, Alice Wheeler
Featured Image: Adam and I Finally Went to Key West by John Sapp
Added 4/15/2019
Decolonizing the Mind
Exhibition Dates: September 4 - October 9, 1992
Location: 1309 1st Ave in downtown Seattle
Curator: Joe Feddersen, and Gail Tremblay Artist: Artist Listed Below
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Decolonizing the Mind: End of a 500 Year Era featured Native North American art with an emphasis on Decolonization in art. Artists were selected from a variety of different North American tribes from 1990 to 1991.The objective of the exhibit was to "bring forward the issues and inconsistencies found in the celebration of Columbus", and bridge the gap between Native American culture and exhibit viewers. Its tagline was "No One Culture Encapsulates Reality".
Artists: Lawrence Ullaaq Ahvakana, Marty Avrett, Rick Bartow, Susie Bevins "Qimmiqsak", Bob Boyer, ROn Carraher, Elvira and Hortensia Colorado, Jesse Cooday, Richard Glazer Danay, Harry Fonesca, Ric Gendron, Ronald A. Hilbert, Tanis Maria Hinsley, Conrad House, James Lavadour, George Longfish, Truman Lowe, Leatrice Mikkelsen, Kay Miller, Phil Minthorn, Theodore Moran, Ramon Murillo, Ed Archie Noisecat, Caroline Orr, Ernest Pepion, Lillian Pitt, Jolene Rickard, Tom Rudd, Beverly R. Singer, Juane Quick-to-See Smith, Kathryn Stewart, Theodore B. Villa, Kay Walkingstick, Phil Young
Featured Image: Photographer: Unknown
Added 05/02/18
1993
Irwin: Neue Slowenische Kunst
Exhibition Dates: January 29 - March 13, 1993
Location: 1309 First Avenue in downtown Seattle
Curator: Miran Mohar
Artists: Dusan Mandic, Andrej Savski, Roman Uranjek, Borut Vogelink, and Miran Mohar
Performers: Laibach, Red Pilot
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For its first exhibition of the 1993 season, CoCA was pleased to present the five-member artist group IRWIN. IRWIN consisted of Slovene painters Dusan Mandic, Andrej Savski, Roman Uranjek, Borut Vogelink, and Miran Mohar, who also acted as the show’s curator. CoCA hosted the artists on their last stop of a month-long RV tour, titled "TRANSNACIONALA: A Journey From the East to the West Coast." Their project, entitled “Social Installation,” was a multi-media installation grown out of their year-long project in Moscow titled “Apt-Art” (apartment art), which focused on the concept of an apartment functioning as an exhibition space, aimed at recontextualizing the identity of Soviet and eastern European art which had been exhibited outside the public cultural sphere.
In conjunction with the exhibition, CoCA presented a concert by the music group Laibach on February 12 at the Moore Theater. LAIBACH, along with IRWIN and theatre group Red Pilot, comprised the artist collective Nueu Slowenische Kunst or NSK (New Slovene Art). IRWIN held five other events from July 26 to July 28, including an open reception on at the Kline-Galland Mansion, presentations and discussions with local and visiting artists at Gallery 154 in Fremont, a screening of “Predictions of Fire” with a director discussion at the Linda Cannon Gallery, a private Tesla Coil demonstration and party at the Dale Travous Laboratory, and “Recapitulation,” a review of TRANSNACIONALA and electronic link-up at the Speakeasy Cafe on Second Avenue.
For the show’s opening on January 29, curator Miran Mohar held an artist talk and slide presentation at 3 pm where he discussed Slovenia’s underground and the NSK. This was followed by a reception from 8 to 11:30 pm that featured music by the Jet Setters (of Sky Cries Mary), and the Black Cat Combo. Support for the show was provided by the Republic of Fremont, JUXTAPOZ Magazine, The Wyman Youth Trust, Messrs. Morris Graves and Robert Yarber, and Mr. Greg Escalante.
Featured Image: Photographer: Unknown
Added 05/10/17
Off Course
Exhibition Dates: June 4 - August 14, 1993
Location: 1309 First Ave. Seattle
Artists: Artist Listed Below
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Off Course featured 18 works of art around the theme of golf, arranged and created in such a manner that they served as a functional golf course, with patrons actually able to play golf using the artwork. In an effort to raise money, CoCA created a Century Club for wealthy patrons to funnel money into the exhibition, including a upscale gala called the Black and White Ball. The club was initially successful, attracting such personages as the president of the Seattle Art Museum board of directors, but seems to have fizzled out shortly after the exhibition. Off Course itself was markedly more successful, receiving large amounts of acclaim from the press, with Seattle Times art critic Deloris Ament praising the exhibition as “the most fun you could legally have in the city.”
Artists: Bob Lucas, Hotsy Totsy, Lynn Votaw, Martin Tatarka, Robert Rakita, Will Gundy, Clair Colquitt, Ruth Tomlinson, Mark Skenandore, Alan Lande, Art Donnelly, Anne Crary, Ken Turner, Jason Starkie, Marita Dingus, the collaborative partnership of Monique Mynleiff and Robert Gray, and the Zimmer, Gunsel, Frasca Partnership.
Featured Image: Perception is the Question by Robert Rakita
Added 5/6/2019
Urgent Nostalgia
Exhibition Dates: September 16 - October 30,1993
Location: 1309 First Ave. Seattle
Artists: Jacques Moiteret, Kay French, Paul Harcharik, Peter Edlund, Gloria de Arcangelis, Laurie Hogin, Francesca Sundsten, Claudia Marchini, and Teun Hocks.
Curator: Prudence Roberts
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Curated by Prudence Roberts, Urgent Nostalgia combined the art styles of the past – with painters imitating the art styles of days of yore, specifically focusing on the Victorian era or European Renaissance paintings – with the anxiety and fears of the present for the future. Images of placid landscapes become the aftermath of nuclear fallout; images of cityscapes representing the most fervent desires of the Industrial Revolution become scenes of destruction and desolation. Urgent Nostalgia received largely positive reviews from the press with Seattle Times art critic Deloris Ament referring to the exhibition as “extraordinary.”
Featured Image: Installation View by Tim Crosby
Added 5/6/2019
1994
Northwest Annual
Exhibition Dates: January 28 - March 12, 1994
Location: 1309 First Avenue in downtown Seattle
Curator: Joel-Peter Witkin
Award Winners: Jack Gunter, Kathy Fridstein, Deborah F. Lawrence, Jena Scott, Francesa Sundsten
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The Northwest Annual was a tradition first established in 1912 in Seattle and was presented by the Seattle Art Museum until 1979, when it was canceled by the chief curator. CoCA revived the Annual in 1989, with 1994 being CoCA’s sixth year of keeping up the tradition. Joel-Peter Witkin was the juror for the 1994 Northwest Annual and selected 104 Washington-based artists out of the 603 who applied. Of those 104 artists, 5 were given a $1,000 cash prize, as awarded by Witkin whose own work, according to the CoCA promo materials, specialized in subjects ranging from death and sexual pariahs to circus freaks, and “physical prodigies of all kinds.”
The Northwest Annual was regarded as a show that concentrated on emerging artists rather than top names, and the 1994 exhibition stayed true to that sentiment. The exhibition ran from January 28 to March 12 at CoCA’s 1309 First Avenue location in downtown Seattle. A lecture, slide presentation, and Q&A of Witkin’s work was held on January 16 at Kane Hall on the University of Washington campus.
We found this interesting promotional item on Esty. If you would like to purchase and donate it to CoCA, we would be eternally grateful.
Some Annuals were clearly more successful than others. Check out this review by art critic Mathew Kangas about the 2006 Annual (Seattle Times, December 8, 2006)
For a dive down the history of CoCA and the organization's influence on (then) emerging artists, search for "northwest annual" AND "Center on Contemporary Art."
Selected Artists: Allison Agostinelli, Scott Aho, Sam Albright, Judy Allen, Jano Argue, Lauren Atkinson, J. Wesley Bailey, Alex O. Baker, Jacqueline Barnett, Deborah Bell, Catherine Bell, James Brown, Jamie Buchanan, Lisa Buchanan, Blake Carlson, Wenamto Candra, Katherine Childs, Paul Conrad, Norman Courtney, Nancy Cubbage, Michael David, Drake Deknatel, Michael Deshler, Dianne Dickeman, Alex Eyre, Leiv Fagereng, Richard C. Ferguson, Logan L. Fox, Steffani Frideress, T. Michael Gardiner, David George, Aristotle Georgiades, Jon Gierlic, Bonnie Greenburg, Peter Gross, Ted Grudowski, Martin Halliwell, Thomas Harris, David Hartz, Virgil Howard, Billy Howard, Lyn Hudson David, Salise Hughes, William Johnson, Curtis R. Johnson, Stuart Judd, Rik Katz, Denis R. Kempe, Doug Keyes, John F. Kieltyka, Stefan Knorr, L.H. Kuniyuki, Doug Lane, John Leahy, Helen Lessick, Carl Leirman, Gerald Lonning, Robert Lucas, Jeff Maher, Rachel Maxi, Randal McCoy, Daniel S. McKay, Mercury McMurray, Melanie Menke, Sultan Mohamed, Nancy Morrow, Chuck Moses, Mark Mueller, Fran Murphy, Paula Nutter, Klindt Parker, Issa Parker, Cyndia Pickering, Ellyne Plotnick, Russell Prather, Annabelle Richardson, Andrew Rigsby, Mia Roozen, Martha Shade, Lisa Sheets, Daniel Shurman, Timothy Siciliano, Anne Siems, Carol Skvorak, Cindy Small, Daniel R. Smith, Jere Smith, Stafford Squier, Martin Tatarka, Signature Theship, Lance Thorton, Friese Undine, Mark Van S., Gaje Wagner, Patrick Walsh, Randy Warren, Anna Weaver, and Elizabeth White.
Featured Image: Joel-Peter Witkin, juror | Photographer: Unknown
Added 05/10/17
Kustom Kulture
Exhibition Dates: April 8 - June 4, 1994
Location: 1309 First Avenue in downtown Seattle
Curators: Larry Reid and Charles Krafft
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Larry Reid and Charles Krafft curated "Kustom Kulture": the true story of the revved-up legends of the pin striping, customizing and comix cult of the 50’s, 60’s and 70’s and how they supercharged the artistic generations that followed.
The Grand Opening on April 8 featured live music by Los Hornets and The Splashdowns. The closing event held on June 4, 1994 entitled “Kustom Kulture Klimax”, featured live music by the Mono Men & The Del Lagunas (side project of Gas Huffer).
Check out the Art Chantry designed exhibition poster held by Cooper Hewitt.
This April 1994 article by Patrick MacDonald in the Seattle Times archive describes the exhibition and events in detail.
Featured Image: Band: Del Lagunas | Photographer: Unknown
Added 05/10/17
Cult Rapture
Exhibition Date: September 9 - October 9, 1994
Location: 1309 First Ave, Seattle
Curator: Adam Parfrey
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Cult Rapture examines "apocalyptic belief and its aftermath in a myriad of individuals, sects, and cults." With the millennium near, the collective dread and expectation in America was cranked up to a fever pitch, providing a unique experience for the "connoisseur of apocalyptic phenomena." This exhibition examined such things as death worship, anti-government conspiracies, mass media hysteria, and post-apocalyptic visions. Did the increase in the activities of cults truly derive from anxiety and fear about a new era that was looking increasingly recognizable or was this societal trend just hysteria ramped up by a media hungry for a story? Only through art, curator Adam Parfrey suggests, can we gain an answer to that question.
Artists: Dr. Jack Kevorkian, Joe Coleman, Paul Loffoley, Robert N. Taylor, Rodney Vanworth, Dick Kramer, George Highman, Leilah Wendall, Charles Manson, Rex Diablos Church, Charles Krafft, Jeffrey Dixon, Unarius, Prtridge Family Temple, Universal Order, Christian Patriots
Featured Image: From Street Graphic Intervention Series By Ed Roth
Added 4/15/2019
1995
Northwest Annual
Exhibition Date: May 1995
Location: Bellevue Art Museum, Bellevue Washington
Juror: Laura Trippi
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The Northwest Annual was a tradition first established in 1912 in Seattle and was presented by the Seattle Art Museum until 1979, when it was canceled by the chief curator. CoCA revived the Annual in 1989, with 1995 being CoCA’s seventh year of keeping up the tradition. Laura Trippi, curator of New York's Museum of Contemporary Art was the juror for the 1994 Northwest Annual.
Artists: Mark Abrahamson, Judy Allen, Arthur Aubry, Rick Austin, L. L. Balmuth, Jean Behnke, Patricia Dacey, Henry Deposit, Karen Ford, David George, Madge Gleeson, Joan Howard-Will, Daniel John, Leon Johnson, Laurie Leclair, Monika Lidman, Terrell Lozada, Calder Martin, Cameron Martin, David McMurray, Ann Mendenhall, Patrick Orr, Virginia Paquette, Martha Parrish, Lois Pierris, Michelle Ross, Amy Scherer, Karin Schminke, Jake Seniuk, Kathleen Stone, Jay Burton Tracy, Eileen Ward, Laurie Cinotto, Kevin Wilson, Robert Yoder, Candace Zebell, and Margaret Zydek
Featured Image: "Stones and Holes", "Spills", "Blown Glass" By Michelle Ross
Added 4/8/2019
Home Remedies and Magnificent Obsessions
Exhibition Dates: July 27 - August 19, 1995
Location: 65 Cedar St, Seattle
Curator: Susan Purves
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Home Remedies and Magnificent Obsessions, also known as Home Remedies, is a collection of "conceptually based work often with a satiric view but firmly based in daily life." It demonstrates the collision of the absurdity of commercialism with the fact that it is a mundane, day to day part of our lives, through the inclusions of works that are inspired by every life but often with an absurd tinge. How magnificent can an obsession be? Is there a line between fine art and a waste of time? Home Remedies attempted to answer these questions and many more.
Artists: Thomas O'Day, Wilbur Hathaway, Juniper Tedhams, Janice Kerbel, Jeanne Voltura, Germaine Koh, Raymond Materson, Scott MacGregor
Featured Image: Untitled by Jeanne Voltura
Added 4/17/2019
Kunstkabinett
Exhibition Dates: July 27 - August 19, 1995
Location: 65 Cedar St, Seattle
Curator: Sean Elwood
Artists: Portia Munson, Connie Catch, Jeffry Mitchel, Nole Giulini, Marita Dingus, Dan Eskanzi, Fred Gibbons, and David Ireland
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Kunstkabinett is a German word originally meaning curiosity cabinet, a fixture in which naturalists and explorers during the 18th and 19th centuries would display their findings. The curiosity cabinets found in CoCA's exhibition portray collections from all walks of life, from black and white photographs of Washington State Ferries to a collection of nails gathered from those offered at an estate sale. Running parallel to Home Remedies and Magnificent Obsessions, Kunstkabinett seeks to explore how mundane objects can have importance to their owners and collectors that is anything but mundane. Kunstkabinett attempts to ask questions like “What truly determines the worth of an object?” and “Is an object elevated because of an artist’s devotion to it, or does that elevation come from outside sources?”
Featured Image: The Pink Project by Portia Munson
Added 4/17/2019
Garden of Virtue and Vice
Exhibition Dates: November 19 - December 31, 1995
Location: 65 Cedar Street in Seattle's Belltown neighborhood
Artist: Timothy Siciliano
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"The Garden of Virtue and Vice" was CoCA’s first exhibition in its Belltown gallery location. This was an explicit exhibition, conceived of by “naughty artist” and exhibition essayist Jim Jones, that explored and challenged themes of male sexuality. Artist Timothy Siciliano, who self-identified as an AIDS survivor, used his work to investigate our culture’s sense of sexual shame, which was heightened by the AIDS crisis. Rajkhet Dirzhud-Rashid of the Seattle Gay News said about the installation, “Siciliano’s art is not about viewing pretty paintings on a wall, then turning away smugly reassured. His work is confrontational, full of many levels of expression… definitely disturbing on some level, but never boring.” Siciliano worked with ten other people over the course of two months to install the formal-English-like garden, complete with vistas, homo-erotic topiaries, and atmospheric sound (produced by sound artist Mike Fink). Due to the sexual nature of the garden, CoCA hung a sign reading, “Please note, the Garden of Virtue and Vice contains material of an explicit sexual nature. Parents should preview the exhibition.”
The show’s opening reception, held on November 18 from 8 pm to midnight, featured musicians Michael Flint, Tony Driscoll, and Animal Gods. Stokeley Towles and Drew Pisarra performed their pieces "An Archaeology of Manhood" and "Fickle," respectively, on December 1st and 2nd. A gallery talk with Timothy Siciliano, exhibition essayist Jim Jones, and Zero Hour Press was held on December 7. This exhibition overlapped with CoCA’s Museum Store (December 9-24) and a New Year’s Celebration at CoCA, involving drag wrestling, magic, artist-made piñatas, and more.
Here's a review of the exhibition by Robin Updike that we found in the Seattle Time's archive.
Featured Image: Photographer: Unknown
Added 05/10/17