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Five Women Artists in the Collection: Helen A. Loggie

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Helen A Loggie; Hemlock Forest, ca. 1955; Etching. Whatcom Museum no. 1976.8.1

The Whatcom Museum is featuring five women artists from its collection throughout the month of March—Women’s History Month—in conjunction with the #5WomenArtists campaign. The campaign is organized by the National Museum of Women in the Arts. This week we’re highlighting Helen A Loggie, whose work was last exhibited in the Whatcom Museum’s 2016 show, Just Women, as well as in the 2010 exhibition Show of Hands: Northwest Women Artists, 1880-2010.

Helen A Loggie early years

Helen A Loggie (1895–1976) was best known for her etchings depicting the Pacific Northwest landscape of the early- to mid-twentieth century, and particularly the trees that occupied her surroundings.

Loggie’s family settled in Bellingham the year she was born to operate a lumber mill at the mouth of Whatcom Creek. Surrounded by the lumber industry and forests, trees became central to Loggie in her later work. But her initial interests in art centered on portraiture.

Portrait of Helen A Loggie, 1913. Whatcom Museum no. 1995.0010.000013.

In 1916 she moved to New York City to study at the Art Students League where she took her first formal courses in drawing and painting. It was there she learned the etching process that would later become the basis of her life’s work.

Travels and interest in Renaissance art took her to Europe numerous times during the 1920s where she sketched bustling city scenes. But the Pacific Northwest called her home. She settled in Bellingham in 1927 and found “a clarity of vision” within the landscape and culture of her childhood.

Life in Bellingham

Her practice was to draw outdoors during the spring and summer on Orcas Island or in the mountains. Using her drawings as her source imagery, she worked on her etchings during the fall and winter in her studio in Bellingham, though it was not uncommon for her to draw in nature even in the coldest months.

Many of her images are of specific places and even specific trees, which she infused with anthropomorphic qualities. For instance, a gnarled and twisted juniper tree she often depicted, which was located on a small island off the coast of her Orcas Island home, was called King Goblin. A version of Goblin resides in the Metropolitan Museum of Art.

Hemlock Forest was one of the last etchings that Loggie completed before her death. It took her three to five years to complete. The dense, overall composition and areas of scribbled, calligraphic marks and vertical texture make it one of the more abstract works and conveys a certain spiritual quality. As in this and many other works, Loggie’s trees are both intimate portraits and elaborate cathedrals of the natural world.

-Compiled and written by Amy Chaloupka, Curator of Art

Five Women Artists in the Collection: Tabitha Kinsey

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Foot logs provided by nature across fir bordered trout brook, 1926. Photo by Darius Kinsey, hand-tinted by Tabitha Kinsey, Whatcom Museum #1981.53.10.

The Whatcom Museum is featuring five women artists from its collection throughout the month of March—Women’s History Month—in conjunction with the #5WomenArtists campaign. The campaign is organized by the National Museum of Women in the Arts. This week we highlight Tabitha Kinsey, whose original hand-tinted work is currently on display in the Old City Hall exhibit Kinseys in Color.

Tabitha Kinsey

Tabitha May Pritts was born in Waverly Mills, Minnesota, on May 24, 1875, the daughter of Samuel and Elizabeth (Berg) Pritts. She and her five siblings came west with their parents, who homesteaded in Whatcom County, Washington.

In 1896, Tabitha married Darius Kinsey, a commercial photographer. He taught her the techniques of developing negatives and making prints. While his exceptional camera work has a deserved legacy, Tabitha’s role was just as vital to their 45-year business. They were a husband and wife photographic team.

While Darius took the photos, it was Tabitha who processed the black & white negatives, created the prints, including burning and dodging, and made the critical aesthetic decisions on final quality. The clarity and detail of the photographs came from making contact prints off large negatives, including glass plates up to 20 x 24 inches.

Studio portrait of Tabitha Kinsey by Darius Kinsey, c. 1896 / Photo by Darius Kinsey, Whatcom Museum no. 1978.84.3763

Page from Kinsey sales catalog. Collection of the Whatcom Museum.

The distinctive caption and Kinsey name on the bottom of 11 x 14 prints is Tabitha’s handwriting. Written in black ink on the front of nitrate negatives, it would appear as white script on each subsequent print.

Her custom-tinted photos

Tabitha introduced the option of custom-tinted pictures. In this process, a black & white, fiber-based photo is meticulously painted with “the best quality of water colors” to create a color photograph. This extra work doubled the print’s retail value. Each hand-tinted photograph is a unique work of art.

The luminous effect of tinting tends to be more idealized than realistic. Some describe them as dramatic, others say romantic. While Darius preferred darkened tones, Tabitha sought to brighten the mood of photos.

You can read more about Tabitha and Darius Kinsey and view a selection of Kinsey photographs in this online virtual gallery.

-Written by Jeff Jewell, Photo Archives Historian

Five Women Artists in the Collection: Helmi Dagmar Juvonen

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Helmi Dagmar Juvonen; Untitled (Eskimo Adam & Eve), Tempera; 13″ x 10″. Gift of Ron Kellen.

Helmi Dagmar Juvonen, Vantage, circa 1975-1976; Gouache on rice paper. Gift of Dr. Ulrich & Stella Fritzsche.

The Whatcom Museum is featuring five women artists from its collection throughout the month of March—Women’s History Month—in conjunction with the #5WomenArtists campaign. The campaign is organized by the National Museum of Women in the Arts. This week we highlight Helmi Dagmar Juvonen, whose work was last exhibited in the Lightcatcher in 2015.

Helmi Dagmar Juvonen

Helmi Dagmar Juvonen (1903-1985), was a Seattle-based artist who found success capturing the culture of Native American tribes across the Pacific Northwest. She was a persistent artist who strove to create art in a time where being a female artist was tough. Even as she struggled with poverty and mental illness, she continued to create art until her final days.

Drawn to Northwest Coast native culture, she developed a rapport with the Lummi, Swinomish, Makah, and Yakama chiefs, who invited her to participate in their ceremonies. Aboriginal art and ritual nurtured her creative spirit, empowering her to transcend gender bias, poverty, and decades confined to an asylum for mental illness.

Mary Randlett, Photograph of artist Helmi Dagmar Juvonen, 1983. Whatcom Museum #1986.0017.000001.

With an avid interest in anthropology, she believed in the importance of documenting Native American spiritual life. As a result, she forged a unique style, merging Northwest aboriginal culture with modern art. The artist also conjured “imaginary things.” Many of her works reflect the dark and light sides of the human psyche.

In many ways, Helmi was ahead of her time. Her graffiti-like abstraction, mixed-media compositions, and paper cutouts relate to trends in contemporary art.

The Museum’s collection of her work numbers 250 objects. It includes some of her finest pieces, such as paintings of petroglyphs from Central Washington and watercolors of Lummi masked dancers. You can view a selection of her work in this online virtual gallery and read more about her life on the Museum’s blog.

Compiled from curatorial narrative and research by Barbara Matilsky.

Wire, metal foil work by Lesley Dill

Five Women Artists in the Collection: Lesley Dill

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The Whatcom Museum is featuring five women artists from its collection throughout the month of March—Women’s History Month—in conjunction with the #5WomenArtists campaign, organized by the National Museum of Women in the Arts. The Museum highlights women artists whose artwork spans a variety of media, genres, and eras. We hope you will share our #5WomenArtists on social media, and celebrate the important contributions these women have made to the arts.

Lesley Dill

Lesley Dill; Shimmer, 2005 – 2006; Wire, metal foil, 12 ft. x 60 ft. x 15 ft. Whatcom Museum # 2015.17.1

The work of contemporary American artist Lesley Dill combines imagery and language, fine art and poetry, and allegory and metaphor.

Born and raised in Maine, Dill received her Master of Arts from Smith College in 1974, and her Master of Fine Arts from Maryland Institute College of Art in 1980.

In pursuit of a career in painting, the artist moved to New York after graduation. Her eyes were opened to new modes of expression and she soon emerged prominently as a sculptor and multi-media artist.

Her interest in language and allusions to strong feminine identity reflect her friendship with the late artist Nancy Spero (1926 – 2009). Spero used text and depictions of the female form, often appropriated as classical goddesses, in her scroll paintings.

Dill’s work

In her piece Shimmer (2005 – 2006),  Lesley Dill uses metal and wire to create an allegorical sculpture that resembles human hair and incorporates imagery and poetry. The piece emerges from a body of work that explores the motif of waterfalls using materials such as wire thread, gauze, cut metal figures, and words that stretch across and down a wall.

Composed of more than two million feet of fine wire, Shimmer was originally inspired by the reflection of light on the Atlantic Ocean. Forming an immense, silvery curtain, a 60-foot cascade descends from a fragment of a mystical poem by the Catalan poet Salvador Espriu (1913 – 1985):

“You may laugh, but I feel

within me, suddenly, strange

voices of God and handles,

dog’s thirst and message of

slow memories that disappear across a fragile

bridge.”

Artist Lesley Dill.

Nature and the divine mingle in the artist’s work, as does the link of the human form to nature. Dill fashions tiny foil figures that cavort among words of poetry spread across the wiry “falls” that stretch downward. Dill notes, “In its silver, Rapunzel-like way, Shimmer, the sixth and last in a series, emerged from decades of making white thread water fall pieces…it captures light, not gravity-bound, implies energy, and feminine virility-like hair.”

Shimmer was exhibited at the Museum in Lesley Dill’s Poetic Vision: From Shimmer to Sister Gertrude Morgan. The show ran Oct. 23, 2011 – March 4, 2012 and was curated by Barbara Matilsky. Learn more about this exhibition and read the Lesley Dill Exhibition Catalog.

Dill’s artworks are in the collections of more than 50 museums, including the Metropolitan Museum of Art. The artist lives and works in Brooklyn, New York.

Photo by Mary Randlett

5 Women Artists in the Whatcom Museum’s Collection: Mary Randlett

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Mary Randlett, Photograph of artist Helmi Juvonen, 1983. Whatcom Museum #1986.0017.000001.

This is the final installment of our 2018 #5WomenArtists articles, inspired by the National Museum of Women in the Arts’ challenge, “Can you name five women artists?” The Museum featured five female artists from its collection throughout the month of March—Women’s History Month. Share our posts with your followers on social media and tag your posts #5WomenArtists. This week we feature the life and work of Mary Randlett (1924 – 2019).

Mary Randlett early years

They say a picture is worth a thousand words. If that’s the case, Mary Randlett has spoken hundreds of thousands of words about the Pacific Northwest and the people in it. Through her powerful photography, Randlett has captured the beauty of the Pacific Northwest.

Born in Seattle on May 5, 1924, art has always played a central role in Randlett’s life. Her mother was active in the arts and crafts movement, and Randlett had contact with early Northwest artists such as Kenneth Callahan, Morris Graves, and Mark Tobey from a young age. At the age of 10, she received her first camera, a small Kodak. Within a few years she had produced her first photo album. She continued to take photographs throughout high school at Queen Anne High.

It wasn’t until college that Randlett really developed her photography skills. In the basement of Whitman College’s darkroom, Randlett experimented with different development techniques. In 1947 she graduated with a bachelors in political science.

Her career

Following graduation, Randlett worked at a small Seattle store. She was fired after she spoke up about female wage discrimination and demanded a pay raise. After this, she apprenticed with fashion photographer Hans Jorgensen in Seattle. In 1949, Randlett took photographs of Slo-Mo-Shun IV, the world’s fastest boat at the time. The photos gave her a great deal of publicity and helped launch her career as a professional photographer.

Mary Randlett; Photograph, 1968. Whatcom Museum #1976.0022.000001.

In 1963, Randlett started a project taking portrait photographs of Northwest artists. During the project, she photographed Theodore Roethke, a Pulitzer Prize-winning poet and University of Washington professor. Her photos of Roethke were the last photos taken of him before he died two weeks later from a heart attack. They gave her further acclaim, thus securing her career.

A year later, Randlett entered an agreement with the University of Washington Press to take photos focused on Pacific Northwest landscapes, art, artists, and architecture for their publications.

“I still get chills when an image appears and I’m able to catch it on film,” said Randlett in an article on Whitman College’s website. “I suppose I like to shoot landscapes most of all. The coastal light in the Northwest — there’s nothing like it.”

Throughout her life, Randlett also took photos of artists such as Morris Graves, Mark Tobey, Jacob Lawrence, and George Tsutakawa, as well as writers such as Tom Robbins, Henry Miller, and Colleen McElroy.

Her impact

Through dedication and her creative spirit, Randlett forged a prolific career in photography. So prolific in fact, that Don Ellegood, former director of the University of Washington Press, called her “beyond question the leading photographer in the Northwest.”

Randlett’s photography will live on in history, showing the beauty of the Pacific Northwest. But above all she fought the discrimination that has been prevalent in the workplace and art world. She challenged the status quo and demanded an equal place.

Female artists have played a vital role in the formation of art throughout history. Often those contributions are forgotten or overshadowed. Yet their work serves not only as a history lesson but as inspiration for many young women now and into the future.

–Written by Colton Redtfeldt, Marketing Assistant

5 Women Artists in the Whatcom Museum’s Collection: Dale Gottlieb

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Dale Gottlieb; Tuskegee Airmen, 1995; Hand-knotted wool rug, 8 x 5 ft. Purchased with funds donated by Chuck and Dee Robinson, WM #2004.28.1

Inspired by the National Museum of Women in the Arts’ challenge, “Can you name five women artists?” the Whatcom Museum is highlighting five female artists whose work is featured in our collection throughout the month of March—Women’s History Month. Follow us on social media and share our posts with your followers, or tell us your favorite women artists. Don’t forget to tag your posts #5WomenArtists.

Dale Gottlieb

Dale Gottlieb was born in Brooklyn, New York in 1952. From an early age she was frequently exposed to the art world. Almost every Saturday morning she would go to the Brooklyn Museum of Art. It was at this museum that Gottlieb became heavily inspired by African art. She also drew inspiration from her environment growing up. Raised in Brooklyn during the 1950s, Gottlieb was constantly surrounded by people with a range of religious beliefs, races, and sexual orientations.

Up until the 8th grade, she attended Brooklyn’s Ethical Culture School. This alternative school emphasized a curriculum based on philosophy and humanitarianism.

Gottlieb attended the School of Art and Design at Alfred University, in New York, in the 70s. At the age of 20, she postponed her studies for a couple of months to travel to India and stay at a Hindu ashram. While in India, she was deeply touched by the spiritual rituals. She considered staying, but eventually decided that continuing her work as an artist was her true calling. She returned to Alfred University and finished her degree with honors in 1975.

Her art

Using what she had learned from her experiences, Gottlieb began to paint. As time went on, she refined her style and discovered new mediums. In 1990, Gottlieb met a Tibetan Buddhist named Lobsang Tenzing. He and his family create hand-knotted rugs using a traditional Tibetan carpet technique. In 1993, the two began collaborating to make a variety of artistic rugs. Gottlieb would create the designs, and Tenzing and his family would weave the rugs and send them to Gottlieb. The entire process could take up to three months.

“It blew my socks off!” Gottlieb said when she saw the first rug, according to the book Story Rugs: Tales of Freedom. “I thought they were wizards—it was so beautiful…when you know that you’re looking at eighty knots per square inch, and then you look at how large an eight-by-ten-foot rug is, it’s amazing to realize the effort and skill that’s gone into it.”

The collaboration between Gottlieb and Tenzing continues today, more than two decades later.

In addition to her Story Rugs and paintings, Gottlieb has also written, as well as illustrated, 28 children’s books. She has created illustrations for publications, including The New York Times, The Atlantic Monthly, Sports Illustrated and Esquire.

In 2003, the Whatcom Museum curated the exhibition Story Rugs: Tales of Freedom: the work of Dale Gottlieb. Gottlieb lives in Bellingham and continues to create her art and rug designs. Her pieces tell a story of happiness, pain, and triumph that extends through history. They demonstrate cooperation and collaboration. Above all, they depict the human experience for all that its worth.

For more information about Gottlieb’s work, visit her website, http://www.dalegottlieb.com/.

–Written by Colton Redtfeldt, Marketing Assistant

5 Women Artists in the Whatcom Museum’s Collection: Doris Totten Chase

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Inspired by the National Museum of Women in the Arts’ challenge, “Can you name five women artists?” the Whatcom Museum is highlighting five female artists whose work is featured in our collection throughout the month of March—Women’s History Month. Read on to learn about Doris Totten Chase.

Doris Totten Chase; Sun Disc, 1980; Silkscreen print, 22 x 30 in. Gift of Doris Totten Chase, Whatcom Museum # 2003.51.12.

Doris Totten Chase early years

Doris Totten Chase was an influential figure in early computer-generated art. Her early experimentations helped defined the future of the medium and expressed themes about the lives of women.

Chase was born in Seattle on April 29, 1923. In 1941 she graduated from Roosevelt High School and began to study architecture at the University of Washington. Soon after, she met Elmo Chase, a lieutenant in the US Navy, and dropped out in 1943.

Chase’s introduction to the art world came after the birth of her first child. After suffering from an emotional breakdown, Chase decided to explore new interests and discovered a talent for painting.

She originally studied oil panting under prominent Northwest artists like Jacob Elshin, Nickolas Damascus, and Mark Tobey. She found her first success in 1948 when one of her paintings was accepted into the Seattle Art Museum’s Northwest Annual Exhibition.

Chase continued to work in the Pacific Northwest and make a name for herself. Gradually, she shifted mediums, going from oil painting to cement work to outdoor sculptures. Her artwork began to include interactive elements that invited viewers to move the art around for further exploration. One of her more recognized pieces was the sculpture Changing Form, in Kerry Park on Queen Anne Hill in Seattle. The sculpture, which was made at a time when sculpting was considered a man’s art, became one of Seattle’s most widely recognized pieces of art.

Her video work

Doris Totten Chase; Late Autumn, 1997; Glass and metal, 14.75 x 20 x 2 in. Gift of the artist in honor of Mr. & Mrs. Arch Talbot, Whatcom Museum # 2003.51.9.

In 1969, acclaimed dancer Mary Staton used one of Chase’s circular sculptures in a dance routine. This inspired Chase to collaborate with Boeing on a project dealing with a medium she had never used before: video. Using Boeing’s mainframe super computer, Chase created Circles, a video depicting multiple multi-color hoops transforming and multiplying on a black background.

Later, she used parts of the video to create Circles 2. It depicted a woman rolling around in multiple multi-color hoops while classical music played. The video garnered acclaim at the 1973 Sundance Film Festival.

Wishing to focus more on her video work, Chase moved to New York City in 1972 and rented room 722 at the Chelsea Hotel. The room had been the residence for many famous artists and authors, including Janis Joplin, Mark Twain, and Dylan Thomas.

During her time in the city, Chase continued to work on computer-generated videos. Most of her early work involved integrating dancers with her sculptures, then using computer-generated effects to create a dreamlike atmosphere.

Chase also created videos that explored themes such as feminism. One of her most widely regarded works is By Herself (1985). The piece is a series of 30-minute video dramas regarding older women’s autonomy. Other works exploring similar themes include Table for One (1985), Dear Papa (1986), and Sophie (1989). Dear Papa won first prize at the Women’s International Film Festival in Paris in 1986.

In 1989, Chase returned to Seattle. She continued to create videos until she passed away on Dec. 13, 2008.

Chase left a lasting legacy in the world of art. Her early explorations of computer-generated video art helped pave the way for future artists.

–Written by Colton Redtfeldt, Marketing Assistant

 

 

 

5 Women Artists in the Whatcom Museum’s Collection: Maria Frank Abrams

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Inspired by the National Museum of Women in the Arts’ challenge, “Can you name five women artists?” the Whatcom Museum is continuing the tradition it started last year and highlighting five female artists whose work is featured in our collection throughout the month of March—Women’s History Month. Read on to learn about Maria Frank Abrams.

Maria Frank Abrams, (1924-2013); Untitled, 1977; Graphite on paper, 13.25 x 21.25 in. Whatcom Museum #2008.78.3. Gift of the artist.

Maria Frank Abrams early years

Maria Frank Abrams’ life was one of tragedy, perseverance, and beauty. Her powerful paintings were seen by people around the world and touched the hearts of those in the Pacific Northwest.

Born in 1924 to a Jewish family, Abrams grew up in Debrecen, Hungary. At 5 years old, she began to paint. However, her life was forever changed when, at the age of 19, her family was taken to the Auschwitz-Birkenau concentration camp in Poland in 1944.

According to the Washington Jewish Museum, Abrams was able to find pencils and paper during her time in the camp. Women in the camp would ask her to draw what they looked like before the war. From this experience, she said she was able to find some sort of reality in the “unreal tortured world that we lived in.” By the end of the war, she had lost 33 relatives. Only one cousin had survived.

Abrams immigrated to the United States in 1948. Continuing her work as an artist before World War II, she decided to study art at the University of Washington (UW) on a Hillel scholarship. It was during her time at UW that she developed her artistic style. Oil paintings were her preferred medium. The cool hues of paint that covered her canvases often depicted landscapes and geometric patterns.

Her career

Following graduation from the university, Abrams created a successful career for herself. The Otto Seligman Gallery, a former Seattle-based gallery, invited Abrams to show her work. Her art was particularly sought after by distinguished members of the local art community including her early mentor, Mark Tobey, and Richard Fuller, the founder of the Seattle Art Museum.

Maria Frank Abrams, (1924-2013); City Structures, 1959; Tempera and ink on paper, 21 x 24 in. Whatcom Museum #2008.78.2. Gift of the artist.

During her career, Abrams received many awards and showcased her artwork in exhibitions at the Seattle Art Museum, the San Francisco Museum of Art, the Denver Art Museum, the Oakland Municipal Art Museum, and others.

In both 1966 and 1975, Abrams was included in the Governor’s Invitational Exhibition, which was shown in Kobe, Japan, and throughout Washington. She died in 2013, at the age of 88.

Abrams drew inspiration from the Northwest landscape, expressing the beauty of her new homeland, but she also combined imagery and family ephemera into her art, representing her Holocaust survival and experience. According to her obituary in the Mercer Island Reporter on April, 8, 2013, Abrams once explained that her much of her inspiration came from the “subtle, ever-changing hues of the light over Lake Washington.”

“The Northwest affects my work very, very much,” she said. “Most of my work is inspired by the landscape around me, and by the colors around me.”

–Written by Colton Redtfeldt, Marketing Assistant

Ella Higginson

5 Women Artists in the Whatcom Museum’s Collection: Ella Higginson

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Inspired by the National Museum of Women in the Arts’ challenge, “Can you name five women artists?” the Whatcom Museum is highlighting five female artists whose work is featured in our collection throughout the month of March—Women’s History Month. Read on to learn about Ella Higginson.

Ella Higginson

Whatcom Museum #1968.24.208

Ella Higginson was a prominent Bellingham author whose books, essays, and poems are regarded as iconic to early Pacific Northwest literature. Her writing, which detailed the vast wilderness landscapes and inherent beauty of the region, introduced many readers to the Pacific Northwest for the first time.

Higginson was born in Council Grove, Kansas, but her family soon moved to Oregon. As a young girl, Higginson showed a talent for the written word. When she was 14, she published her first piece of work and by her late teens her work was being published in newspapers around Portland.

In 1885 she married Russell C. Higginson, and in 1888 they moved to Bellingham. Soon after they moved, Higginson began to make a new literary life for herself.

Her career

In 1889, some of her poetry was published in national magazines such as Collier’s Once a Week and Harper’s Magazine.

Her career really started to take off in 1894 when she won McClure’s Magazine’s writing contest for her short story, “The Takin’ In of Old Mis’ Lane.”

Following the contest, Higginson released multiple books of poetry and continued to write until her declining health slowed her down. Some of Higginson’s most significant works include A Bunch of Western Clover (1984), When the Birds Go North Again (1902), Mariella of Out West (1902), and The Vanishing Race and Other Poems (1911).

In 1931, the Washington State chapter of the General Federation of Women’s Clubs named Higginson the first honorary poet laureate of Washington State, securing her legacy in Northwest literary history.

Outside of her literary accomplishments, Higginson was a strong supporter of the arts, education, and women’s rights. Through her efforts, she helped establish the city’s first library. She also helped elect the first woman to the Washington State House of Representatives, Frances Axtell.

Higginson’s impact on the Bellingham community is still felt by many people today, and it distinguishes her as one of Bellingham’s most successful female literary artists.

–Written by Colton Redtfeldt, Marketing Assistant

 

Four-Leaf Clover

I know a place where the sun is like gold,

And the cherry blooms burst with snow,

And down underneath is the loveliest nook,

Where the four-leaf clovers grow.

One leaf is for hope, and one is for faith,

And one is for love, you know,

And God put another in for luck—

If you search, you will find where they grow.

But you must have hope, and you must have faith,

You must love and be strong – and so—

If you work, if you wait, you will find the place

Where the four-leaf clovers grow.

 

Published in When the Birds Go North Again (The Macmillan Company, 1898). It is in the public domain.