Curating in Conversation: A Panel Series on Sharing Northwest Native Art and Art History with the Public

Photo: Andrew Waits
Photo: Andrew Waits

Date & Time

Monday, April 12
7 PM PT

 

 

This event is in the past.

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Location

VIRTUAL EVENT
Join us from your home!

In the second of a three part series, this panel discussion features Kathryn Bunn-Marcuse, Curator of Northwest Native Art at the Burke Museum, in conversation with Tlingit artist and co-curator of the Northwest Native Art Gallery Alison Bremner and Karen Duffek, Curator of Contemporary Visual Arts & Pacific Northwest at the Museum of Anthropology at the University of British Columbia. The program will include an overview of Bremner’s work as an artist fellow.

Panelists:

Kathryn Bunn-Marcuse is the Director of the Bill Holm Center for the Study of Northwest Native Art and Curator of Native Art at the Burke Museum and an Assistant Professor of Native Art in the Division of Art History at the University of Washington.

Alison Bremner is a Tlingit artist born and raised in Southeast Alaska. Bremner is believed to be the first Tlingit woman to carve and raise a totem pole. She has studied under master artists David R. Boxley and David A. Boxley in Kingston, Washington. Painting, woodcarving, regalia and digital collage are a few of the mediums the artist employs. In addition to her contemporary art practice, Bremner is committed to the revitalization of the Tlingit language and creating works for traditional and ceremonial use. Her work is included in the permanent collections of, among others, the Burke Museum, Seattle; Portland Art Museum, Oregon; Château Musée Boulogne-sur-Mer, France; Frye Art Museum, Seattle; and the British Museum in London.

Karen Duffek is the Curator of Contemporary Visual Arts and Pacific Northwest at MOA. Committed to supporting the activation of Northwest Coast Indigenous collections inside and outside the museum, she focuses her research, exhibitions, and publications on the relationships between historical and contemporary art practices, museum collections, communities, and art markets.

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Supported by the Simpson Center for the Humanities. Co-sponsored by the Bill Holm Center and the Canadian Studies Center at the University of Washington.


For more information or questions, please contact Bridget Johnson at bkj86@uw.edu.