The annual聽聽with the 91探花聽聽brings together the dreamy and the practical to cohabit at the . This year’s exhibit features the work of 10 artists and 11 designers, and will be at the Henry through June 23.

Read more in the related聽.

A skeletal house-like structure of thoughtfully gathered parts, a room suffused with horizontal stripes, lush oil paintings of ravaged landscapes, intimate portraits in pencil, an interactive statement on plastic-addicted consumer culture 鈥�

And more: Art meets information with a toolkit for preparing college lessons, a mashup of woodworking and augmented reality, a way to remember and document the city’s disappearing spaces, a fabric piece remembering the victims of gun violence 鈥� and more.

The annual with the 91探花 reliably brings together the dreamy and the practical to cohabit at the Henry Art Gallery. This year’s exhibit features the work of 10 artists and 11 designers, and will be at the Henry through June 23.

“The range of work can be any thing from a small drawing to a large scale installation 鈥� it’s a really large mix,” said Jes Gettler, the Henry’s exhibition designer and lead preparer, who worked with the students to display their projects to best advantage in the museum. “It’s such a fun show, and it’s special treat to see everyone helping each other out through the process.”

The show’s full name is the School of Art + Art History + Design鈥檚 Master of Fine Arts and Master of Design Thesis Exhibition, but it goes by 2019 MFA + MDes for short. These works represent the last step in the 91探花journey for these talents, who will go on to become teachers or pursue art and design professionally or pursue related fields.

, professor and director of the school of art, praised the students in brief remarks to press and friends before a May 24 exhibition preview. Calling the Henry “one of the most beautiful spaces on campus,” he said the artists and designers employ “careful attention to the use of space and scale” in the exhibition.

“This year, almost all of the students seemed very aware of how they are presenting their work in the space that they were selected to use,” he said. “They’re really trying to figure out ways to communicate ideas that they are passionate about.”

The 2019 MFA + MDes Thesis Exhibition will be on display through June 23.

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The Henry Art Gallery is open 11 a.m. to 4 p.m. Wednesday, Friday, Saturday and Sunday. Admission is $10 general, $6 for seniors and free to 91探花students, staff and faculty. And it鈥檚 free to all on Sundays. For more information, visit .

• Video by Kiyomi Taguchi, 91探花News

A forest scene of a slumbering wizard. A poem occupying a wall in hand-cut lettering. A design for environmental advocacy. A thin wooden circle standing on end trailing netting like a veil. A faux “machine” filled with paper airplanes.

Art and design can amaze, inform, entertain, challenge or even gently baffle the viewer 鈥� and the annual thesis exhibition for at the Henry Art Gallery reliably offers a little of each.

More: A dark gallery with illuminated, cathedral-like arches. An “internet-of-things” design protocol for nonserious home use. Augmented reality for making digital models. A dark and stormy work in crayon, graphite and ink. Big sculptures of inner feelings expressed. A grouping of clothes and other items riffing on the Henry’s own employee handbook.

The full name is the School of Art + Art History + Design’s Master of Fine Arts and Master of Design Thesis Exhibition, but it goes by 2018 MFA + MDes for short. Both are two-year programs, and these works represent the last step in the 91探花journey for these artists and designers.

The MFA candidates for 2018 are David C. Burr, Nate Clark, Ian Cooper, Daniel Hewat, Alex Kang, Erin H. Meyer, Christian K艒un Alborz Oldham, Katie Schroeder and Caitlyn Wilson. The Master of Design candidates are Aubree Ball, Joe Costello, Emma Teal Laukitis and Christopher Seeds.

This is the 60^th year for the exhibition, as , director of the art school, told those gathered for an early press preview. “Watching it through the decades has been pretty amazing,” he said. “All of the movements, trends, styles, processes in the world of contemporary art and design that have transpired during that time period.”

And yet each year’s show is very personal for those showing their work.

“It’s one of those moments in life as an artist or designer that really sticks with you” he said, when the work, long pondered in private, “suddenly becomes very, very public.”

The students got advice and assistance in mounting their pieces from Jes Gettler, the museum’s exhibit designer and lead preparator, who said the exhibit process starts as early as December of the preceding year, and is among her favorites.

Walker added that though these graduating student artists and designers may have had doubts along the way 鈥� a normal part of the process 鈥斅� they “are now considered professionals.”

The 2018 MFA + MDes Thesis Exhibition will be on display through June 24 at the Henry.

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The Henry Art Gallery is open 11 a.m. to 4 p.m. Wednesday, Friday, Saturday and Sunday. Admission is $10 general, $6 for seniors and free to 91探花students, staff and faculty. And it’s free to all on Sundays. For more information, visit .

Absurdity and abstraction, artistic dualisms, long-held family memories 鈥� and even some gentle voodoo 鈥� mingle together in the annual exhibition by 91探花 art and design graduate students, on display through June 25 at the Henry Art Gallery.

, an annual spring rite at the Henry, displays thesis work by graduate students finishing up their degree at the . The artworks 鈥� paintings, sculptures, installation pieces and design demonstrations 鈥� fill the Henry’s upper galleries. Many of the artists were on hand to discuss their work at a recent preview.

Prominently placed, for good reason, are three expansive oil paintings on canvas by . These are bountifully colorful scenes of immigrant farmworkers, burdened, weary and perspiring, one even injured. Their gaze meets the viewer’s.

“I’m definitely interested in trying to channel the humanity of immigrant workers, so I hope that comes across,” Morales said. The paintings, she said, respond to the current political landscape in the United States. “There so much negativity, and we are profiled. I saw this because I am part of this minority group as well. These are not only my experiences but also my friends and family.”

Familial feelings and memories underlie much of the art this year, including ‘s piece, “From Ashes,” employing living room-style elements like a comfy armchair and ottoman and a scattering of ghostly-pale shoes: “It’s a kind of vignette to a fragment of a memory,” she said, “Based on a true space that I can actually still visit.”

Across the room, other family sentiments found expression in text messages embroidered on the leaves of two artificial ferns in a waiting room setting in ‘s “I Love You Are You OK.

“This is a conversation between my dad and I, so this work is about our relationship,” Ross-Gotta said. “One plant has my messages and the other has my dad’s.” A waiting room, she said, is ” a space where nothing progresses, it’s like a stagnant place. That’s describing the quality of our relationship. Furthermore the artificial plants are fake, right? They can’t grow.”

Nevertheless, family is family, and she said her messages “are more or less limited to ‘I love you, are you okay?'” 鈥� which became the title.

At the room’s center is ‘s mixed media sculpture “Pantheon: A Never Union,” comprising several pedestals arranged in a circle on which sit variously altered stuffed animals.

“I started off thinking about comfort objects and object of sentimental value. These objects in particular are symbolic through the manipulations that I’ve put them through. I practice voodoo, so that sort of comes out through these.”

Wait 鈥� voodoo? “It’s more of an internal thing,” she added. “All the objects have to do with me, I’m not affecting anybody else. It鈥檚 more about me looking for clarification.”

Visitors pass ‘s two large, many-layered abstract oils “Splay” and “Shift” as they enter: “My paintings tend to be quite emotive or energetic,” the artist said. “I try to get away from the representational aspects of the work and let the paint itself hold the content. I like to bring attention to the paint quality.”

In a small gallery to one side of the entryway, has used cylindrical papier-m芒ch茅 structures, videos and shadowy lighting for an installation piece called “The inevitable questions regarding 鈥� or, transformation of 鈥� self (part 1-5).” It springs from recent thoughts of “the idea of living in the absurd, and a way of coping as well.” Across the hall, filmmaker and performance artist “Hermeneutics I, II” ponders the duality of masculine and feminine with video and pun-heavy word play.

‘s “Deity Humanity Materiality” is a triptych of paintings bright with hues of blood and organs 鈥� at center a premature infant, to the right, meat packaged in cellophane. “My work is like a question,” he said. “The question is, what’s the relationship between the three things? Where’s the boundary between the three things?”

And nearby, ‘s funereal sculpture “Antiphon” is, the artist said,聽 “like a call and response to history 鈥� it loosely references a medieval tomb sculpture, and brings that into the present with more contemporary materiality.”

‘s “Lonely Mountains” is an installation piece with bright colors and soft, stuffed mountain-shapes suspended from the ceiling and rainbows along the walls. Frankel said she’s interested in “power dynamics, and specifically trying to figure out what sort of power exists in things that are awkward or cute. I guess you could say that a mountain is something grand and not at all cute 鈥� so, what happens in the reverse if you make something like that cute, soft and huggable?”

The show also includes the work of students earning their Master of Design, but these designers had a conflict and were unable to attend the preview. They are with “Landmark: Participatory Experiences in Commemorative Places”; , “Speaking Up: Communicating with Authorities Through Positive Disruptions”; , “Cloudent”; and with “Envisioning the Museum Voice: Gaze and Speech as Methods of Interacting with Art.”

Both the Master of Fine Art and Master of Design are two-year programs. The press preview began with introductory remarks by , professor and director of the School of Art + Art History + Design, and Jes Gettler, exhibition designer and lead preparator.

The exhibit is free. The Henry Art Gallery is open 11 a.m. to 4 p.m. on Wednesday, Friday and Saturday and 11 a.m. to 9 p.m. Thursday, closed on Monday and Tuesday.

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For more information about this exhibit contact Dana Van Nest, Henry Art Gallery associate director of marketing, communications and public relations, at 206-616-9625 or press@henryart.org.

Step right up, ladies and gentlemen, for student sculpture and paintings from introspective to interactive with a sort of sideshow feel, intriguing photos and design pieces that seek to wrangle the world of data and assist in decision making.

It’s the annual exhibit of thesis work by 14 students graduating from the 91探花 ‘s Master of Fine Arts and Master of Design programs. The exhibit’s works of art and design are on display at the Henry Art Gallery through June 26.

‘s “Look Out, Kid, They Keep it All Hid,” a painting comprising dozens of layers of vinyl and oil paint, uses a Bob Dylan song as inspiration and brings the sense of a county fair or similar Americana 鈥� a notion chillingly underscored by the presence of a large handgun. A second painting by Robertson titled “Johnny’s in the Basement Mixing Up the Medicine” continues the artist’s Dylan-inspired “Subterranean Homesick Blues” series.

On a nearby wall, ‘s painted moody urban scene, “Sky View,” reveals a drippingly dark night view from Seattle’s Columbia Center towers.

“It’s a coffin-cradle 鈥� sort of a storytelling device,” said of the wooden structure before him, in which he invites participants to lie, listen and feel. Gale-Schreck held a small sheet of slate saved from a 19th century rail station.

“I kind of charge it 鈥� or conjure the system by sitting on this stump and rubbing the slate and calling people into the piece,” he said. He creates a soundscape by moving the microphone on the slate that is tuned to deep vibrations felt by the prone participant. As he does this he tells a calming story, as he would to one of his own two children.

“A lot of my work is about taking things I learned from my father, to not just preserve it but bring it forward for my children,” Gale-Schreck said.

‘s large wooden structure, appropriately titled “Balance,” looks a little like a massive teeter-totter. The piece involves the artist himself in performance, as he ferries his own weight in black clay from one side of the piece to the other. If he should fall 鈥� and that does happen, he said 鈥� the clay stays where it has landed.

Baughman says the piece reflects a sort of “deconstructing my own position in society.” With this piece, he said, he is attempting to “understand the role of the individual in relation specifically聽 to agency, and power, and change.”

Sculptor ‘s “Borderlands” involves clear, vacuum-formed plastic molds of obsidian rocks, a video of the artist and accompanying poem to which viewers listen on headphones. “What is being expressed is kind of an idea of unification of oppositions through a process of change,” she said.

Photographer said her striking large-format photos are meditations on the everyday domestic world with the common theme of “aging and decay 鈥� something I am really drawn to.”

Now, having seen such innovations, should we express our feelings about them on social media? ‘s design piece “Should I Share This?” seeks to provide an answer. Hwang designed a hypothetical app she calls a social media filter that reviews your old posts to advise you whether the post you are about to share is appropriate. In her artist’s statement she wrote that the intent is to “give users more control without cluttering the sharing experience.”

Asked what prompted the idea, Hwang said, “My own mistake!” In years past, out of a wish to be nice, she friended people on social media. “Then a few years later I ended up with 500 friends, and most of them I’ve never met in person.”

also used design to enhance and assist in her practical and real-world piece, “Engaging in Aging.” She spent a couple of months visiting a local senior center and encouraging ideas to help the problem of social isolation, which many such residents experience.

“The idea for this is based on the belief that everyone is creative and has something to offer,” Lim said. With seniors at the center, she created a set of intervention strategies to treat social isolation and helped the residents with a website to organize outings. Key to the success of the project was, as the title explains, engaging with the seniors and respecting their ideas.

“I think the important thing is, if I went in and observed, did interviews and made assumptions, I probably would have come up with different things,” Lim said, adding that the participants were “very generous with their time and their perspectives.”

studied principles of visual perception to create “Navigating 3d Scatter Plots in Immersive Virtual Reality,” which uses a virtual reality headset to help the viewer navigate and “see the overall structure” of data in a three-dimensional world. “It鈥檚 like a tool for exploration,” he said.

Other artists showing their work were , , , and . All the student artists were encouraged to treat this show as a professional installation.

Greeting and talking with visitors at the press preview were Jamie Walker, director of the School of Art + Art History + Design; and Jes Gettler, the Henry’s exhibition designer and lead preparator.

“This is indicative of what we do,” said Walker to those gathered for the exhibit’s press preview. “We support artists and designers as individuals engaged in independent creative research.”

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For more information on the exhibition or Henry Art Gallery, contact Dana Van Nest, associate director of marketing, communications and public relations, at danavn@henryart.org or 206-616-9625.

The 91探花 is being transformed into a vast art gallery for a six-week campuswide exhibition called “Mad Campus.”

From Sept. 13 through Oct. 25, will team with the local organization MadArt for an outdoor public art exhibit that spans about 2 陆 miles around campus and encourages visitors to discover art in unexpected places.

The exhibition will feature 12 large-scale, temporary, site-specific works inspired by their locations, from hidden nooks to well-frequented vistas. The exhibited works will include art by eight 91探花alumni, one of whom, Julia Chamberlain, is pursuing a second undergraduate degree.

Students in the 鈥� the school’s new name as of this year 鈥� are helping Mad Campus artists as they prepare their pieces, designing promotional materials, acting as docents and even documenting the artists’ process with a video project.

Come the start of school, several courses will integrate Mad Campus into their curricula.

“It’s a great opportunity for our students to get a close-up view of the entire process behind the creation and installation of a dozen unique sculptures on their own campus,” said Jamie Walker, director of the school.

MadArt is a privately funded organization founded by 91探花art history alumna Alison Milliman. It is dedicated to supporting emerging artists and sharing their work in unexpected settings. The Mad Campus project was Milliman’s idea.

Milliman and MadArt Director Tim Detweiler, working with 91探花staff members, invited several dozen artists to send in proposals, and chose 13 Pacific Northwest artists to come to campus and create their temporary installations.

Milliman started MadArt after spending a year in Melbourne, Australia, where she found a lively art scene filled with emerging artists whose works were often down alleys and in unusual parts of the city.

The group’s first show was in Seattle’s Madison Park in 2009, and the next year it produced , followed by in 2011. That year the group also opened the in South Lake Union, where large-scale artwork is created and the process can be viewed by the public.

In a press preview tour Thursday cheerfully led by Detweiler, Walker said he was proud that the 91探花quickly agreed to support the project.

As he began the preview tour, Detweiler said there had been no “curatorial hammer” in the process of working with the artists. “We just turned the artists loose on campus. They’re all incredibly professional and have been working hard for a long time.”

Maps of the Mad Campus exhibit will be available online and at the 91探花Visitors and Information Center, and are available as well.

• UW-trained artists participating in Mad Campus:
• , Master of Fine Art.
• , Bachelor of Science, working on Bachelor of Fine Art.
• , Bachelor of Fine Arts.
• , Bachelor of Fine Arts.
• , Master of Communication in Digital Media.
• , Master of Fine Art.
• , Bachelor of Fine Art.
• , Bachelor of Fine Art.