• Exhibitions
  • Programs
  • Collections
  • Resources
  • About
  • Support
  • Visit
  • Become a Member
  • E-Newsletter
  • Press
  • Terms and Conditions
  • Privacy Policy
  • All
  • Exhibitions
  • Permanent Installations
  • Henry OffSite
  • All
  • Talks & Performances
  • Events
  • Screenings
  • Henry Teen Art Collective
  • Henry Art Liaisons
  • All
  • Contemporary Art
  • Photography & Prints
  • Costume & Textiles
  • About the Henry
  • People
  • Publications
  • Opportunities
  • University
  • Press
  • Membership
  • Donate Now
  • Funders & Sponsors
  • Hours & Admission
  • Accessibility
  • Group Visits
  • Reed Collection Study Center
  • Things to Do Nearby

    everything was beautiful, and nothing hurt.

     
    North Galleries
    July 23, 2022 — January 08, 2023
    This exhibition of moving image installations, drawn from the Henry collection, spans a wide range of style and conceptual approaches. The title references Kurt Vonnegut’s seminal anti-war novel Slaughterhouse-Five, a non-linear, meta-fictional narrative in which the protagonist struggles to come to terms with the devastating realities of human existence. The author poses fundamental questions that we must all combat, ever more so in the present moment in history. How do we deal with tragedy and pain? How do we explain it? Can we prevent it? Are there laws to life, and if so, do humans have any say in what these are? Does free will even exist?
    ARTISTS
    Lutz Bacher
    Sue de Beer
    Candice Breitz
    Nayland Blake
    Guy Ben-Ner
    Slater Bradley
    Dora García
    Rashid Johnson
    Shirin Neshat
    Kaari Upson
    Gillian Wearing

    “And I asked myself about the present: how wide it was, how deep it was, how much was mine to keep.”

    Kurt Vonnegut, Slaughterhouse-Five
    Both satirical and yet deeply moving, the title phrase is imagined as the character’s epitaph and summarizes the contradictions of his individual experience as well as the fragile concurrence of our collective existence: it is both impossibly false and yet deeply true. everything was beautiful, and nothing hurt. thus references a common thread running throughout this exhibition— the frailty, trauma, loss, and cruelty of the human condition that nonetheless is girded by an irrepressible desire for beauty, love, and connection. Via a myriad of formats and approaches, the artists in the exhibition suggest that we, as human beings, are ultimately responsible to acknowledge the heart-wrenching truth of life and still strive to create meaning within it.

    Publication

    CREDITS

    everything was beautiful, and nothing hurt. is organized by Shamim M. Momin, Director of Curatorial Affairs. Support for this exhibition is provided by a gift from Charlotte Feng Ford. Media sponsorship provided by The Stranger.

    the stranger logo

    Related Content

    • Low-Vision / Large Print Guide

    Related Programs

    <p>Nina Chanel Abney, <em>Black People (BP)</em>, 2022. Triptych collage on panel. &copy; Nina Chanel Abney. Photo courtesy of the artist and Pace Prints.</p>
    Events

    Patron Preview: New Exhibitions

    September 30, 2022
    <p>Sue de Beer, <i>Dark Hearts</i> [detail], 2003–2004. Henry Art Gallery, gift of Charlotte Feng Ford, 2021.61, Installation view of <i>everything was beautiful, and nothing hurt.</i>, 2022, Henry Art Gallery, University of Washington, Seattle. Photo: Jonathan Vanderweit.</p>
    Events

    Public Opening: New Exhibitions

    September 30, 2022