The way we disappear

Blending in / Standing out

1/ Three Beauties: Kayo of Kyoto, Hitotsuru of Osaka, Kokichi of Tokyo, 1877
Woodblock print, ink and colour with metallic pigments
Kobayashi Kiyochika, 1847-1915
Meiji period, 1868-1912

There is a poem card above on the right, decorated with gold flakes, and inscribed with a haiku, which reads:

Oh to see moon and snow together
In the mountain of cherry blossoms

Works by Australian Aboriginal Artists: photos 2/ to 5/

2/Untitled, 1997
Synthetic polymer paint on canvas
Yala Yala Gibon Tjungurrayi

3/Untitled: Munglipa, 2014
Synthetic polymer paint on canvas
George Tjungurrayi

4/Swamps West of Nyirripi, 2006
Synthetic polymer paint on canvas
Ngoia Napaltjarri Polland

5/Yuparli (Bush Banana), 1993
Synthetic polymer paint on canvas
Dorothy Napangardi

6/- end
Project 42: Jono Vaughan 
Seattle -based artist Jono Vaughan’s series Project 42 addresses the pattern of violence against transgender people in the United States, providing both a form of memorialization and an entry point for engagement and discussion. Begun in 2012, the project’s name is taken from the short life expectancy of transgender individuals in the United States, which the artist estimates is forty-two years, based—in lieu of official census data, which excludes trans identities—on third-party texts and research. Eventually the artist plans to make forty-two individual works.

Each of the three dresses in this exhibition memorializes the life and death of a transgender person who was murdered: Myra Ical, Deja Jones, and Lorena Escalera Xtravaganza. Vaughan alters images of the murder locations and turns them into abstract textile prints, which she then sews into a garment. The style of the garment is inspired by the life and history of the individuals. A collaborator wears each dress in a performance that commemorates and celebrates the individual, an act that Vaughan describes as “the returning of humanity and the sharing of missed opportunities.”

Seattle Art Museum

June 15th, 2018

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