Victoria Haven

Support for Acquisitions

Subtitles 1-100 install at PDX_detail view

April 2016
Subtitles 1-100 (var. ed. 2/4), 2015
100 woodblock prints on Fabriano paper
12” x 27.75” each
Recipient: Portland Art Museum
Selected by: Bonnie Laing-Malcolmson, The Arlene and Harold Schnitzer Curator of Northwest Art

The Foundation purchased Subtitles 1-100 for the Portland Art Museum. Regarding the acquisition, Bonnie Laing-Malcolmson, Arlene and Harold Schnitzer Curator of Northwest Art stated: The Portland Art Museum (PAM) is delighted to be adding Victoria Haven’s major graphic work, Subtitles to the museum’s permanent collection, thanks to the generous assistance of Seattle’s New Foundation. Subtitles was included in the highly competitive 2016 Contemporary Northwest Art Awards exhibition at PAM (February 13-May 8, 2016) and employs words and geometric spatial relationships to illustrate the fragmented bombardment of technology on the human psyche. Haven’s process is meticulous and time-consuming, yet the formal result of her intense occupation paradoxically belies her labors. Subtitles is a cleanly elegant work which is hauntingly thought provoking–using words pulled from a year’s worth of cell phone messaging. It is a randomly metaphorical script for the new millennium which, just as Shakespeare’s use of language tells a story of the 16th and early 17th centuries, will in time help to tell the story of the 21st.


January 2013
Portable Monument-There’s No Place…, 2009-12
Acrylic paint on sheet rock with wooden 2x4s
Recipient: Seattle Art Museum
Selected by: Catharina Manchanda, Jon & Mary Shirley Curator of Modern & Contemporary Art

The sculpture Portable Monument – There’s No Place… was included in the solo exhibition Proposed Land Use Action (2012-2013) curated by Catharina Machanda at Seattle Art Museum.

Living and working in Seattle, Haven also incorporates her personal relationship to spaces in the city. Proposed Land Use Action is the familiar harbinger of upcoming development, and as the artist has moved studios in Seattle half a dozen times because of redevelopment, the changing environment—much like the drawings and objects she creates—becomes a marker of time and lived experience. Read more from the essay, “Ephemera and Monuments” by Catharina Manchanda.




About the artist
Victoria Haven employs drawing, sculpture, and photography to mine the fertile ground between two- and three-dimensions. A solo exhibition of her work, Proposed Land Use Action, was included in the Elles: SAM component of Seattle Art Museum’s 2012 Elles programming, and has been included in shows at the Drawing Center, Henry Art Gallery, and Austin Museum of Art, among others. Her awards include a MacDowell Colony fellowship, grants from the Pollock-Krasner Foundation, the Seattle Art Museum’s Betty Bowen Award, and a Stranger Genius Award. She has been a visiting artist/lecturer at the University of Washington, Cornish College of the Arts, Cal State Fullerton, and Illinois State University.

Learn more about Victoria’s work by reading Hit the North, a monograph published by Publication Studio.

Wynne Greenwood

Support for Exhibitions 

Tracy + the Plastics, Parts (still), 2001/2014. Performance and video, sound, color, 26:28 minutes. Courtesy Wynne Greenwood.

September 2015
Wynne Greenwood’s Kelly opens September 16 at the New Museum. Kelly is an exhibition and six-month residency in which Greenwood will premiere the complete, recently re-performed and newly mastered archive of Tracy + the Plastics’ performances alongside new work. Greenwood’s residency will include a conversation series that will address topics such as queer archives, legacies of feminist video production, and the role scripts play in performance, as well as a music series that will invite artists to perform as one-night-only bands, among other programs.

Kelly is co-curated by Johanna Burton, Keith Haring Director and Curator of Education and Public Engagement, the New Museum, and Stephanie Snyder, John and Anne Hauberg Curator and Director, the Douglas F. Cooley Memorial Art Gallery, Reed College, Portland, Oregon, with Sara O’Keeffe, Assistant Curator, the New Museum. An earlier iteration of this project, Stacy, was presented at the Douglas F. Cooley Memorial Art Gallery in the summer and fall of 2014 and was curated by Snyder.

Wynne Greenwood. Stacy. Photo by Douglas F. Cooley Memorial Art Gallery at Reed College.

March 2015
Wynne Greenwood will hold her first one-person museum exhibition this fall at the New Museum, New York, in the highly dynamic and experimental context of the New Museum’s education and research programs overseen by curator and scholar Johanna Burton. The exhibition incorporates elements of Greenwood’s immersive residency and one-person exhibition at Reed College’s Cooley Gallery in the summer and fall of 2014. Cooley curator Stephanie Snyder states: “It is deeply meaningful for us at the Cooley to collaborate with Johanna Burton and the New Museum, buoyed by the generosity of the New Foundation, as we collectively support the evolution of Wynne’s visionary work.”

The New Museum exhibition will allow Greenwood to continue to evolve her archival work with Tracy and the Plastics while expanding the poetics of her sculpture, video, and performance work. Part of Burton’s 2015 Research and Development Season examining the thematic of “Persona,” Greenwood’s six-month residency project will include extensive public programs and performances by a host of invited artists and musicians. As part of the research season, Snyder will participate with Greenwood and Burton in New York, both on the exhibition and related programs, including participating in the Museum’s afterschool program for teens. Greenwood’s residency will extend from July—December, 2015. Her exhibition will be on view from September 16, 2015—January 10, 2016.

Burton states: “I couldn’t be more thrilled to be working with both Wynne and Stephanie on this historic project,” said Burton. “Wynne’s work, as Tracy, and beyond, has generously challenged and expanded the ways in which queer feminism impacts culture. Her work has always been ahead of its time, which is why looking back at it now will be so valuable.”

Greenwood’s New Museum exhibition is organized jointly by Johanna Burton, Keith Haring Director and Curator of Education and Public Engagement, New Museum, New York; and Stephanie Snyder, Anne and John Hauberg Curator and Director, Douglas F. Cooley Memorial Art Gallery, Reed College, Portland, Oregon.

A comprehensive book will accompany the exhibition, a co-publication of the Cooley Gallery and the New Museum. The book contains immersive imagery, ephemera, and performance transcriptions chronicling Greenwood’s performance work as Tracy + the Plastics, and exploring her subsequent sculpture and video work. The publication bridges and expands the connection between Greenwood’s 2014 exhibition at the Cooley and her forthcoming project at the New Museum. The book includes writing by curators Stephanie Snyder and Johanna Burton, Wynne Greenwood, Emily Roysdon and author Sara Jaffe. The book is designed by Heather Watkins in Portland, Oregon, and is made possible through the generous support of The New Foundation Seattle. Greenwood is represented by Fourteen30 Contemporary in Portland, Oregon.


Publication Support

Wynne Greenwood. Stacy. Photo by Douglas F. Cooley Memorial Art Gallery at Reed College.

October 2014
A full-color book will be published at the close of Wynne Greenwood’s exhibition, Stacy, at the Cooley Gallery, Reed College. The book will document Stacy and the wider context of Greenwood’s work, with texts by the artist, Stephanie Snyder, and invited authors. Designed by Heather Watkins, Portland, Oregon.

About Stacy 
September 2 – October 19, 2014, Cooley Gallery, Reed College
Curated by Stephanie Snyder and Wynne Greenwood
Stacy is part of PICA’s 2014 TBA Festival

Wynne Greenwood transforms the Cooley Gallery into a studio and performance space in order to re-engage her groundbreaking art band Tracy + the Plastics in relationship to her most recent experimental video, installation, and object-based work. Over the past two years Greenwood has re-created each of Tracy’s performances—completing this archival rebirth while in residence at the Cooley. Stacy nurtures Tracy + the Plastics into contact and conversation with its own future, creating a queering space of intimacy, humor, and hope. 



About the artist 
Wynne Greenwood is a queer feminist artist who incorporates video, performance, music, and object-making to practice, in the artist’s words “culture-healing.” Greenwood’s performances, installations, and object-based works have been included in exhibitions at independent and institutional spaces across the globe including: the Tate Modern, London; the 2004 Whitney Biennial, NYC; The Kitchen, NYC; the Frye Art Museum, Seattle; Susanne Vielmetter, Los Angeles; Soloway, Brooklyn; Henry Art Gallery, Seattle; and Lawrimore Project, Seattle. From 1999–2006, Greenwood performed the celebrated multimedia art band Tracy + the Plastics. Since 2006, Greenwood has shifted her focus to installation and object-based work. Most recently, Greenwood participated in Anti-Establishment, a group exhibition at Bard College’s Center for Curatorial Studies, and released the full-length music album A Fire To Keep You Warm. Greenwood teaches performance and video in colleges and schools in Seattle and across the country.

Christa Bell

Support for Exhibitions 

Still image from HDYSYIA?s Good Stock on the Dimension Floor: An Opera, 2014. Video, color, sound; 1:04:53. Courtesy of the artists.
Still image from HDYSYIA?s Good Stock on the Dimension Floor: An Opera, 2014. Video, color, sound; 1:04:53. Courtesy of the artists.

January 2015
In the spring of 2015, Christa will co-curate The YAMS Collective’s first European show at Witte de With, Center for Contemporary Art in Rotterdam, where she will also have a performance installation. This winter, the Foundation is bringing HOWDOYOUSAYYAMINAFRICAN? collective members to the Northwest to join Christa and create new work for the Witte de With exhibition. Collective members recently took part in a unique residency created by the Foundation at Bear Creek Studio in Woodinville and are currently participating in a series of exhibitions and events around Seattle.



About the artist
Christa Bell is a conceptual and performance artist, writer and a producer of feminist culture. She holds a BA in Creative Writing from San Francisco State University and an MA in Cultural Studies from the University of Washington Bothell. Her creative practice and performance work is primarily concerned with feminist imaginings of the divine as well as how women’s spiritual self-esteem impacts their participation in the political processes that govern their lives. Her artistic and theoretical interests include identity and representation, African American/African Diaspora Art and Culture, Black feminist theory and genealogies, womanist theologies, feminist cultural production, performance studies and North American cultural intersections of race, gender, culture and theology.

Christa is a founding member of the global, black, queer arts collective HOWDOYOUSAYYAMINAFRICAN?, who premiered their first film, as a collective, “Good Stock on the Dimension Floor”, at the 2014 Whitney Biennial.

Her individual performance work has been featured at hundreds of performance venues, globally, most recently at The Seattle Art Museum and The Whitney Houston Biennial, where she performed her endurance Mantra, 1001 Holy Names for Coochie. In addition to her on-gong contributions to the work of HDYSYIA?, Bell is also working on a new performance installation as well as two memoir projects.

Isaac Layman

Support for Acquisitions


December 2014
Untitled, 2011
Photographic construction, archival inkjet print
Recipient: Museum of Contemporary Art Chicago
Selected by: Michael Darling, James W. Alsdorf Chief Curator

In December, the Foundation purchased Untitled, 2011 for the Museum of Contemporary Art Chicago. The work was selected by Michael Darling who has championed Isaac’s work for the last decade.

The MCA Chicago has a rich collection of conceptual photography, to which we are continuously adding, as this continues to be a strong vein of contemporary artistic practice. Isaac Layman’s highly considered and labor-intensive approach to the making of his images fits into this tradition seamlessly, so it was with great enthusiasm that we were able to bring one of his recent works into the collection with the help of The New Foundation Seattle. A recent exhibition here highlighting this type of work was titled “Think First, Shoot Later” and I think Isaac’s relationship to image-making fits this ethos very well. -Michael Darling, James W. Alsdorf Chief Curator


October 2012
Oven, 2010
Photographic construction, ink-jet on paper
Recipient: Walker Art Center
Selected by: Siri Engberg, Curator

Oven was included in Lifelike, a 2012 group exhibition curated by Walker Art Center curator Siri Engberg. It traveled to New Orleans Museum of Art, Museum of Contemporary Art San Diego, Blanton Museum of Art at the University of Texas at Austin, and Phoenix Art Museum.

Isaac Layman’s hyperreal photographic tableaux are made with a large-format 4 x 5 inch camera with a scanning back, with which he documents ordinary nooks and crannies in his Seattle home. Seemingly straightforward, his large-scale images, such as Oven, are actually deftly constructed collages that often weave together high-resolution pictures made from the same vantage point but with varying depths of focus. In a dreamlike way, this layering of day-to-day subjects into a singular image creates perceptual confusion, a heightened sense of the real, and a compelling jumping-off point into abstraction. 

The above text by Siri Engberg is excerpted from the catalog for Lifelike, which is available through the Walker Art Center’s online store.


Art Zone Shuffle: Isaac Layman
Produced by Nancy Guppy and Seattle Channel



About the artist
Since 2006, Isaac Layman has slowly and steadily explored every aspect of his home, filtering the experience through the lens of his camera. The photographs he makes are depictions of how the unremarkable things surrounding him become monumental, contemplative spaces to get lost in. The Frye Art Museum recently presented his first solo exhibition. His work has been included in exhibitions at the Walker Art Center, deCordova Sculpture Park and Museum, and Portland Art Museum. Among Isaac’s awards and honors are the Betty Bowen Award from Seattle Art Museum and Portland Art Museum’s Contemporary Northwest Art Award.

Leo Saul Berk

Support for Exhibitions

Leo Saul Berk, Carousel, 2011. Single channel HD video, 2:34 minutes. Courtesy of the artist.

May 2014
The Uncertainty of Enclosure: Leo Saul Berk
June 7 – August 17, 2014
INOVA, Institute of Visual Arts, Peck School of the Arts UWM
Curated by Sara Krajewski

Can a house make you who you are? The Uncertainty of Enclosure asks this question as it explores the impact of an unconventional residence — Bruce Goff’s Ford House in Aurora, IL — on the art of Leo Saul Berk. Berk has created a body of work informed by his childhood experience growing up in the house, his historical research, and his ongoing reflection on the house’s pivotal role in the development of his artistic vision. The resulting sculptures, photographs, and videos reimagine architect Bruce Goff’s radical choice of materials, unusual volumes, and organic forms, and resonate at the intersection of craft and expressivity, intuition and measure.

It has been incredibly rewarding to offer Leo an opportunity to focus his energies on a significant moment of his personal history and transform his memories, research and the present day conditions of the Ford House into a beautiful array of work, several of which were completed in a creative burst over the past few months. I believe it is a watershed moment in his career. -Sara Krajewski



About the artist
Born in 1973, Leo Saul Berk received a BFA from the University of Illinois, Champaign-Urbana, in 1997 and an MFA from the University of Washington in 1999. Berk has had solo exhibitions at INOVA in Milwaukee, Lawrimore Project, the Lee Center, and Howard House in Seattle, cherrydelosreyes in Los Angeles, and the Bellevue Art Museum. His work has been included in group exhibitions at the Frye Art Museum in Seattle, Galleri Erik Steen in Oslo, Edward Cella in Los Angeles, d.u.m.b.o. Arts Center in Brooklyn, Tacoma Art Museum, and California State University, Long Beach. Berk has received grants and awards from the Seattle Art Commission, Artist Trust (2010 Artist Innovator recipient), and 4Culture. His work is in numerous public, private, and corporate collections.

Whiting Tennis

Support for Acquisitions


October 2013
Wolf, 2008
Acrylic and collage on canvas
Recipient: Orange County Museum of Art
Selected by: Dan Cameron, Chief Curator

Whiting was included in Orange Country Museum of Art’s newly imagined California-Pacific Triennial curated by Dan Cameron. A number of paintings were featured including Wolf, which Dan selected for OCMA’s permanent collection.

Whiting Tennis
Photo credit: Arthur Evans

August 2012
Painting, 2011
Acrylic and collage on canvas
Recipient: Tang Teaching Museum and Art Gallery at Skidmore College
Selected by: Ian Berry, Director

The Foundation purchased Whiting’s Wilderness Painting for the Tang on the occasion of his solo exhibition Opener 22: Whiting Tennis, curated by Ian Berry.

Drawing grounds Tennis’s practice, providing a starting point for his idiosyncratic forms that often combine paint with woodblock prints cut to reference the surface texture of plywood, tree bark, or shingles. His work also incorporates repurposed materials, such as discarded wood, cardboard, concrete, plaster, paint, asphalt, and tar, embraced for their individual particularities and histories. While slick design and technological invention are praised in consumer culture, Tennis’s contemplative and tender view of the disregarded suggests an alternative way of considering the world around us. 

You can read more of Ian’s essay and an interview with Whiting in a publication produced by the Tang Museum.


The Tang also produced a video interview of Whiting Tennis:




About the artist
Whiting Tennis’s art celebrates the everyday materials and eccentricities of vernacular architecture. His work was recently featured in a solo exhibitions at the Hallie Ford Museum and Frances Young Tang Teaching Museum and Art Gallery at Skidmore College. His work has been included in exhibitions at Tacoma Art Museum, the Aldrich Contemporary Art Museum, Portland Art Museum, and Seattle Art Museum. Tennis has received the Neddy, an Arlene Schnitzer Visual Arts Prize, and grants from Joan Mitchell Foundation and the Pollock-Krasner Foundation.

Jeffry Mitchell

Support for Acquisitions

September 2013
Not Waving, but Drowning, 2012
Glazed earthenware
Recipient: Frye Art Museum
Selected by: Scott Lawrimore, Deputy Director, Collections and Exhibitions and Jo-Anne Birnie Danzker, Director
Not Waving, but Drowning was featured in the museum’s recent group exhibition Mw [Moment Magnitude].

Photo credit: R.J. Sánchez.

March 2013
Within a Motherfucking Budding Grove, 1993
Cast plastic on Plexiglas
Recipient: Henry Art Gallery
Selected by: Luis Croquer, Deputy Director of Exhibitions and Collections and Sylvia Wolf, Director

Within a Motherfucking Budding Grove was included in Jeffry’s expansive 2012-13 mid-career retrospective, Like a Valentine: The Art of Jeffry Mitchell, curated by Sara Krajewski.

The catalog for Like a Valentine: The Art of Jeffry Mitchell can be purchased from Henry Art Gallery’s online store. Excerpt:

Once you know Mitchell, it becomes quite difficult to separate the art objects from the artist. Something ineffable happens when you experience his work. Maybe you understand its technique and materials on a basic level, or you find yourself empathizing with the subject or relishing how unabashed the emotional content can be. Whatever it is, you come to recognize that Mitchell is in there. The point to his art is self-examination. He mines his autobiography the way his hero, the singer/songwriter Joni Mitchell, mines here: uncovering starkly personal, soul-baring sentiments that call on us to connect our individual experiences to the important questions about what it means to be human. The folk, then, in gay folk artist lends itself to another reading: embracing all human folk.  –Sara Krajewski




Art Zone Shuffle: Jeffry Mitchell
Produced by Nancy Guppy and Seattle Channel.



About the artist
Jeffry Mitchell has produced idiosyncratic drawings, prints, and sculptures for over twenty-five years. His oeuvre seamlessly combines high and low references that span religion, sex, nature, fine art, and folk and decorative arts traditions. Jeffry’s work has been included in exhibitions at Seattle Art Museum, Portland Art Museum, Tacoma Art Museum, Missoula Art Museum, DiverseWorks, the Fabric Workshop and Museum, the New Museum, Henry Art Gallery, and the Institute of Contemporary Art, Philadelphia. He is the recipient of numerous awards, including a Louis Comfort Tiffany Foundation Grant, Joan Mitchell Foundation grant, The Neddy, and a Stranger Genius Award.