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All Exhibitions

What can you see on view at the Henry? Here's the full roster.

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This Week

<p>Sadie Barnette, <i>Room to Live</i>, 2019. Mixed media installation, holographic vinyl sofa, metal flake TV, archival inkjet prints, metal flake security cameras. Courtesy of the artist. Installation view of <i>In Plain Sight</i>, 2019, Henry Art Gallery, University of Washington, Seattle. Photo: Mark Woods.</p>
Exhibitions

In Plain Sight

November 23, 2019 – Ongoing
<p>Dola Mae Litzenburg. <em>Portrait of Mrs. Horace C. Henry</em>. 1900-1910. Oil on canvas. Henry Art Gallery, Horace C. Henry Collection, 26.165.<br /></p> <p><p>With the billowing red curtain and the throne-like chair, as well as her formal dress and stiff posture, this portrait of Mrs. Horace C. Henry (née Susan Elizabeth Johnson) references traditions of royal portraiture that were adopted by the wealthy, and checks most of Freeland’s boxes.</p></p>
Exhibitions

Eyes on the Collection: What Makes a Portrait?

Spring/Summer 2020
<p>Jean-François Millet was committed to the role of art in representing agricultural practice and peasant life in the nineteenth century. Two issues significant to nineteenth-century social history that intersect in his study of rural life include the status of the working classes and the position of women. In the prints pictured here, Millet depicts women outside in pastoral fields as well as within humble interiors, performing childcare and domestic crafts such as knitting. Millet portrays the female figure as nurturer and dutiful laborer, emphasizing ideological definitions of femininity and virtue. In nineteenth-century France amid the Industrial Revolution, the peasant woman embodied a positive image associated with a return to innocence. Identified with the uncorrupted realm of nature, the pastoral woman symbolizes the personification of sanctity in opposition to the perceived moral threat of the urban woman, as well as that of the urban environment to a woman’s innocence. The intimate prints emphasize the acts of spinning, sewing, or knitting, and caregiving as devotional, quasi-religious activities, connecting holiness to rural and domestic labor.</p> <p><p>Image credit: Jean-François Millet, <em>La Cardeuse (The Woolcarder), </em>1855-1856. Etching on laid paper. Henry Art Gallery Stimson Collection, gift of Dorothy Stimson Bullitt, 77.129.</p></p>
Viewpoints

A Dialogue Between Jean-François Millet and Jeanne Dunning

Spring/Summer 2020
<p><p>Imogen Cunningham, untitled (Children Playing), 1959. Gelatin silver print. Henry Art Gallery, gift of Gryffyd and Janet Partridge, in memory of Imogen Cunningham, 96.6.&nbsp;</p><p>Balancing her identities as an artist and mother of three boys, Cunningham focused on subjects within her home&mdash;her children and backyard&mdash;in her earlier work. This image of children playing in the garden marks Cunningham’s return to a familiar theme, and perhaps guides us to find inspiration as we continue to stay at home.<br></p> <p></p></p>
Exhibitions

Eyes on the Collection: The Need to Play

Summer 2020

This Month

Upcoming

<p>Bambitchell. Set Documentation of <em>Bugs &amp; Beasts Before the Law. </em>2019. Courtesy of the artists. Photo: Florian Clewe.<br /> </p>
Exhibitions

Bambitchell: Bugs & Beasts Before the Law

Fall 2020
<p>Honoré Daumier, <em>Le Ventre Législatif</em>, Henry Art Gallery, Gift of Albert A. Feldmann, 2018.357. </p>
Exhibitions

Illustrating Injustice: The Power of Print

Fall 2020
<p>Math Bass. <i>Newz!.</i> 2020. Gouache/canvas. Courtesy of the artist.<br /></p>
Exhibitions

Math Bass

Fall 2020
<p>Diana Al-Hadid. <em>Smoke Screen. </em>2015. Polymer gypsum, fiberglass, steel, gold leaf, plaster, pigment. Courtesy of the artist. Photo: Joshua White.</p>
Exhibitions

Diana Al-Hadid


Fall 2021

Past

<p>Samantha Scherer. <em>06-117</em>. 2009-10. Watercolor on stained paper. Henry Art Gallery, purchased with funds from the Ambrose M. and Viola H. Patterson Endowment Fund, 2016.12.19. © Samantha Scherer. </p>
Viewpoints

These Are Their Stories by Samantha Scherer

12/07/19 – 04/12/20
<p>Carrie Yamaoka. <em>UV/VU</em>. 1992. Etched glass and mirrors. Courtesy of the artist.</p>
Exhibitions

Carrie Yamaoka: recto/verso

07/13/19 – 11/03/19
<p><em>Beverly Semmes</em> [Installation view, Henry Art Gallery, University of Washington, Seattle]. 2019. Photo: Mark Woods.</p>
Exhibitions

Beverly Semmes

06/22/19 – 10/13/19
<p><em>2018 University of Washington MFA + MDes Thesis Exhibition</em>. [Installation view, Henry Art Gallery, University of Washington, Seattle, 2018.] Photo: Chona Kasinger.</p>
Exhibitions

2019 University of Washington MFA + MDes Thesis Exhibition

05/25/19 – 06/23/19
<p>Karl Haendel (U.S., born 1976). <em>Mazel Tov Group</em> (<em>New Yorker Cartoon Drawing #27). </em>2007. Pencil drawing on Arches paper with MDF frame. Henry Art Gallery, gift from the Gail and Stanley Hollander Collection, 2016.183. © Karl Haendel.</p>
Viewpoints
Mazel Tov Group by Karl Haendel
05/11/19 – 11/03/19
<p><em>Cecilia Vicuña: About to Happe</em>n [Installation view, Henry Art Gallery, University of Washington, Seattle]. 2019. Photo: Mark Woods.</p>
Exhibitions

Cecilia Vicuña: About to Happen

04/27/19 – 09/15/19
<p>Edgar Arceneaux. <i>Library of Black Lies</i>. 2016. Wood, mirrored glass, mylar, newspaper, hard-bound books, sugar crystals, lighting fixtures, audio component. [Installation view, Yerba Buena Center for the Arts, 2017]. Courtesy Yerba Buena Center for the Arts. Photo: Charlie Villyard.<br /></p>
Exhibitions

Edgar Arceneaux: Library of Black Lies

11/17/18 – 06/02/19
<p><em>Viewpoints: Untitled Prints by Bruce Conner</em>. [installation view, Henry Art Gallery, University of Washington, Seattle]. 2018. Photo: Mark Woods</p>
Viewpoints
Untitled Prints by Bruce Conner
11/10/18 – 04/28/19
<p>Caitlin Berrigan (U.S., born 1981). <i>Imaginary Explosions</i> (video still). 2018. HD video. Image courtesy of the artist.</p>
Exhibitions

Between Bodies

10/27/18 – 04/28/19
<p>Mickalene Thomas. <i>La leçon d’amour.</i> 2008. © Mickalene Thomas. Courtesy of the artist; Lehmann Maupin, New York and Hong Kong; and Artists Rights Society (ARS), New York.<br /></p>
Exhibitions

MUSE: Mickalene Thomas Photographs and tête-à-tête

07/14/18 – 09/30/18
<p><em>Martha Friedman: Castoffs</em> [installation view, Henry Art Gallery, University of Washington, Seattle]. 2018. Photo: Mark Woods, courtesy of the Henry. </p>
Exhibitions

Martha Friedman: Castoffs

06/15/18 – 02/10/19
<p><em>2018 University of Washington MFA + MDes Thesis Exhibition</em>. [Installation view, Henry Art Gallery, University of Washington, Seattle, 2018.] Photo: Chona Kasinger.</p>
Exhibitions

2018 University of Washington MFA + MDes Thesis Exhibition

05/26/18 – 06/24/18
<p>Mungo Thomson (U.S., born 1969). <i>Composition for 52 Keys</i>. 2018. Custom code, computer components, Yamaha Disklavier piano. Henry Art Gallery, Commissioned by and Gift of William and Ruth True, 2018.1. Yamaha Disklavier piano provided complements of Classic Pianos Bellevue.  Image courtesy of the artist. Photo: Mark Woods.  </p>
Exhibitions

Mungo Thomson: Composition for 52 Keys

05/26/18 – 09/09/18
<p><em>Viewpoints: Her Story by Elizabeth Murray and Anne Waldman.</em> [installation view, Henry Art Gallery, University of Washington, Seattle]. 2018. Photo: Mark Woods </p>
Viewpoints

Her Story by Elizabeth Murray and Anne Waldman

05/05/18 – 11/04/18
<p>Demian DinéYazhi' (born 1983). <i>American Bondage West (slide 51)</i>. 2016 Image courtesy of the artist.</p>
Exhibitions

The Brink: Demian DinéYazhi´ 

04/14/18 – 09/09/18