Mount Analogue’s Art Series began in Summer 2016 with the desire to connect the literary and visual art communities in Seattle. Originally called the ‘Summer Art Series’, Mount Analogue's Art Series curates and organizes multidisciplinary and immersive art shows and readings around the greater Seattle area.
In August 2017, the Art Series will move into its permanent gallery home inside of Mount Analogue’s publication studio / small press book shop / community & gallery space, 300 S Washington St 98104.
FUMETTI FOR THE MOTHERSHIP
Stephanie Passantino & Colleen Louise Barry • September 7th - September 28th
A large-scale installation as well as a collaborative photo-comic, FUMETTI FOR THE MOTHERSHIP is interested in mimicking the contrast and revealing the limitations of defining our world in such terms as TEXT/IMAGE, NATURAL/UNNATURAL, REALITY/HALLUCINATION (and so on).
FUMETTI FOR THE MOTHERSHIP began with a year-long weekly exchange of disposable camera photos and poems between Stephanie Passantino and Colleen Louise Barry as a part of Conversations with Women. These exchanges became a kind of comic about the ways that nature is represented to and by us in daily life, and about the ways it responds in kind.
Within the installation are two contrasting environments: one inside the mothership, and one outside, throughout the rest of Mount Analogue. Both environments are meant to be inhabited and touched, and they feature: smoke, plants (both real and fake), photo prints, suspended textile, soft altars, and neon lights.
The weekly exchanges will be printed as a limited-edition perfect bound & full-color comic book, published by Mount Analogue.
WOMEN IN THE STYLE OF TACO BELL
Mary Anne Carter • August 3rd - August 30th
Mary Anne Carter’s installation “Women in the Style of Taco Bell” thrusts the viewer into a pastel-hued fever dream that juxtaposes femininity and corporate identity. Equal parts playful and uncanny, the installation features a kaleidoscopic display of costumes, sculptures, 2D work, and performance art set to the backdrop a shit-ton of gold-dipped pool noodles. In keeping with Carter’s larger body of work, the installation glitter bombs the patriarchy with humor and flamboyance.
Mary Anne Carter is a queer, feminist artist, educator, and community organizer. If you didn’t have the opportunity to gaze at her glitter encrusted chest on the cover of City Arts’ February 2017 issue, you’ve likely spied her award winning screen print “This Bitch Face Does Not Rest” adorning the chest (or handbag) of a passerby.
Carter’s body of work is diverse—in the last year alone, she launched her aforementioned collection of screen printed apparel; performed in City Arts’ Genre Bender; illustrated a weekly column for Jetspace Magazine; and screen printed a series of unique broadsides sold at the NY Art Book Fair.
Outside of the studio, she teaches at Pratt Fine Arts Center; serves as a contributing editor for Gramma Poetry; and curates a popular market series that hosts over 150 artists annually.
www.jesusmaryannejoseph.com • www.thisismaryannecarter.com
RSVP HERE // ALL ARE WELCOME
p.s. this poster gif was featured on Women of Graphic Design !
Mount Analogue and The Factory are excited to present BLOW UP, a group show of inflatable art works featuring Amanda James Parker, Peter Dodds, Seattle Design Nerds, and Guy Merrill. Each artist has created a work that inflates in some way, ranging from a large-scale tunnel installation to a soundscape about nuclear war to a video projection about the sky to a gang of shape-shifting handmade balloons.
MORE ABOUT THE SHOW HERE:
The Stranger: 'Inflatable Art is About to 'Blow Up''
Seattle Weekly: 'This Art Is Full of Hot Air at BLOW UP'
PHOTOS FROM THE SHOW !
“The door to the invisible must be made visible…” is a phrase taken from René Daumal’s 1952 novel Mount Analogue. This novel records the first-ever use of the word peradam: something which reveals itself only to those who seek it.
As an exhibition, The Door to the Invisible Must Be Made Visible is interested in exploring the subjectivity of experience, mystic visions, time, and the connection between technology and reality.
The Door to the Invisible Must Be Made Visible was the final show in the 2016 Summer Art Series, hosted by Mount Analogue and Megan Harmon Studio and was a part of the Black Box 3.0 Festival and the October Georgetown Art Attack.
With work by: Andrea Coates, Anne Beck, Chris Bolduc, Chris Boyko, Colleen Louise Barry, Eric Carson, Jennifer Covington, Kaia S., Klaus Pinter, Megan Harmon, Ryan Medlin, Taylor Hanigosky, Ted Larson, Shelby Handler & Cat Cunningham, & the Mount Analogue's Twitter Artists-in-Residence
A show comprised of photo & video projections and light installations, formed by a number of different technologies including: anyone’s smart phones, overhead projection, digital projection, and a number of collaborative, hand-made Mystery Machines.
Mount Analogue created an environment in which everything was both a projection and a surface to be projected on, covering the gallery space in various recycled, reflective materials. Participation was the installation itself, with everyone using their smart devices to directly project their photos, videos, and gifs with the Mystery Machines on to myriad textures and colors and movements throughout the show.
With featured video work by: Amanda James Parker, Abe Murley, Joe Milazzo, Mel Carter, Emily Siegenthaler, Megan Harmon, Chris Lott, Lisa Jaech, Nicolas Miller, Coley Mixan, & Mount Analogue Poetry-Commercials
Installation built by: Colleen Louise Barry (Mount Analogue), Megan Harmon, Laura Crisler, David Rivas, Grace Travaglini, Lisa Jaech, Christina Montilla, & Julieta Renteria
An art show and reading event highlighting the amazing cross-genre work of comics and poets and poet-comics.
With visual art by: Aidan Fitzgerald, Colleen Louise Barry, Gabrielle Bates, Bianca Stone, Ted Powers, and Catherine Bresner
With readings by: Amaranth Borsuk, Willie Fitzgerald, Gabrielle Bates, and Catherine Bresner