Alfredo Arreguín was born in Morelia, Michoacán, Mexico, and developed as an artist in Seattle (BA 1967, MFA 1969 University of Washington), where he has resided since 1956. Arreguín has a long and distinguished list of accomplishments that spans close to four decades. In 1979, he was selected to represent the United States at the 11th International Festival of Painting at Cagnes-sur-Mer, France, where he won the Palm of the People Award. In 1980, he received a fellowship from the National Endowment for the Arts. In 1988, in a competition that involved over 200 portfolios, he won the commission to design the poster for the Centennial Celebration of the State of Washington; the image chosen for the poster was his painting Washingtonia. That same year, he was invited to design the White House Easter Egg. A climatic moment in his career came in 1994, when the Smithsonian Institution acquired his triptych Sueï¿½o (Dream: Eve Before Adam) for inclusion in the permanent collection of the National Museum of American Art. A year later, in 1995, Arreguín received an OHTLI Award, the highest recognition given by the Mexican government to distinguished individuals who perform extended activities that contribute to benefit the Mexican community abroad. In 2000, he received a Distinguished Alumnus Award from the University of Washington's Multicultural Alumni Partnership, which also established The Alfredo Arreguín Scholarship in 2006. In 2007, his fame was cemented when he was invited by the Smithsonian National Portrait Gallery to show his work at the Portraiture Now: Framing Memory exhibition in Washington, D.C. One of his paintings included in the show, The Return to Aztlï¿½n, was kept in the permanent collection of the Gallery. In 2008, the University of California at Riverside honored him with the Tomï¿½s Rivera Lifetime Achievement Award. In 2011, he received a Timeless Award from the University of Washington's College of Arts and Sciences. In January of 2013, the State of Michoacán organized an Homage to Alfredo Arreguín ï¿½to recognize his distinguished trajectory in the arts and his dedication as promoter of Mexican culture at the international level.ï¿½ The homage included an exhibition of his works organized by the Museo de Arte Contemporï¿½neo ï¿½Alfredo Zalceï¿½ at the Centro Cultural Clavijero. In 2014, Arreguín was invited to participate in a collective show, Imagining Deep Time, hosted by the National Academy of Sciences, in Washington, D.C. More recently, in 2015, a sample of his work has been shown in three solo exhibitions in Spain; first at the Palacio del Conde Luna, in the city of Leï¿½n, then at the Museo de Amï¿½rica, in Madrid, and lastly in the Museo Provincial de Cï¿½diz. In 2017, the Municipal Government of Morelia, capital of the Statwe of Michoacï¿½n, awarded him The Keys to the City and declared him Distinguished Guest. In 2018, the Bainbridge Island Museum of Art hosted a retrospective exhibition of his works, Alfredo Arreguín: Life Patterns, and more recently, in 2019, his painting The Return to Aztlï¿½n, which forms part of the Smithsonian National Portrait Gallery permanent collection, was featured in the collective show, Emiliano. Zapata despuï¿½s de Zapata, at the Museo del Palacio de Bellas Artes, in Mexico, D.F.
Carina A. del Rosario is a cultural worker who uses visual art, writing and teaching to build community. Her art has been exhibited in various venues and supported with grants from Seattle Office of Arts and Culture, 4Culture and Puffin Foundation.
She teaches youth to express their experiences and advocate for what matters to them through art. She serves on Seattle Public School's Antiracist Arts Education Task Force and the Washington Teaching Artist Training Lab faculty. She specializes in arts integration at Arts Corps, and she produced a series of arts-based STEM lessons available at cadelrosario.com, with support from Sound Transit. KCTS presented her with its 2020 Golden Apple Award.
Gary Faigin, co-Founder and Artistic Director of Gage Academy of Art in Seattle, trained at the Art Students League of New York and at the Ecole nationale superieure des beaux-arts in Paris.
While living in New York (1976-1991), Faigin taught figure drawing upon the retirement of his teacher, Robert Beverly Hale, at the Art Students League, a program he presented continuously over the next decade. Concurrently, he taught Perspective and Portrait Drawing at the newly founded New York Academy of Art, the National Academy School of Design, the School of Visual Art and Parsons School of Design. He opened his own studio in Hell's Kitchen and began personal work focused on self-portraits and still lifes.
In the summer of 1984, Faigin began a ten-year summer residence in Santa Fe, NM, a locale that afforded him exposure to the burgeoning realist painting scene of the Southwest. His works included pastel landscapes and printmaking with shows at the Frank Croft and Realist Art galleries.
Faigin has exhibited widely with solo exhibitions in Seattle and Santa Fe, including a retrospective of his work at Seattle's Frye Art Museum and the Coos Museum of Art in Oregon. A master of drawing and painting, his images typically explore his two favorite themes: altering one's perception of the commonplace and developing mood through intense contrasts of light and dark.
As a promoter and observer of historic and contemporary art in the Northwest, Faigin serves on the Board of Director of the newly-opened Cascadia Art Museum in Edmonds and reviews regional museum and gallery exhibits as the Seattle Times guest art critic. He is represented by the Harris/Harvey Gallery in Seattle.
Zhi Lin has shown his work in many museums in the United States, United Kingdom, and China, including the Princeton University Art Museum, the Museum of Modern Art in New York, the Nelson-Atkins Museum of Art, the Missouri Museum of Art and Archaeology, the Oakland Museum of California, the Asian Art Museum of San Francisco, the Frye Art Museum, the University College London Art Museum, the Cambridge University, Oxford University Ashmolean Museum of Art and Archeology, the Contemporary Arts Institute in London, the China Academy of Art Museum, and the National Fine Art Museum of China. Lin's work is included in the collections of the Princeton University Art Museum, the Frye Art Museum, the Oxford University Ashmolean Museum, the University College London Art Museum, and the National Fine Art Museum of China in Beijing.
Lin has been the recipient of many prestigious national and international recognitions, fellowships, and awards, including the Fellow in the Humanities Council and the Tang Center for East Asian Art at Princeton University, the University of Washington Royalty Research Scholar and Research Fund, Creative Capital Foundation Grant in Painting, Lila Wallace-Reader's Digest Artists at Giverny France Grant, Art Matters Foundation Fellowship, National Endowment for the Arts Visual Artist Fellowship in Painting, NEA/Midwest Regional Artists' Project Grant, Washington State Arts Commission Fellowship, Missouri Arts Council Visual Artists' Biennial Grant, and Delaware State Arts Council Individual Artist Fellowship. His works were reviewed and published by many national and international print and online media, among them the New York Times, the Philadelphia Inquirer, the Chicago Tribune, the Los Angeles Times, Artnews, Art in America, American Arts Quarterly, Artweek, American Artist Magazine, and Art Review.
Besides his appointment in the School of Art + Art History + Design, he has been Affiliated Faculty at the Jackson School of International Studies at the University of Washington since 2001.
MFA, University of Delaware, 1992
MFA, Slade School of Fine Art, University College London, 1989
Postgraduate studies, China Academy of Art, 1987
BFA, China Academy of Art, 1982
Gage Academy of Art acknowledges the Coast Salish Peoples as the original inhabitants of this area and connecting waterways. We understand the land that Gage occupies is unceded territory and that today many Indigenous peoples live here and without their stewardship, we would not have access to this space. We honor the Coast Salish Peoples’ sovereignty, rights to self-determination, culture and ways of life. Since time immemorial, Indigenous peoples have called this territory their sacred land. We commit to learning, educating others and repairing the legacy of historically harmful relationships between non-Native and Native peoples in King County. In doing so, we will be honest, and recognize the experiences of Native peoples to include genocide, forced relocation, forced assimilation, and land theft. We also acknowledge Native peoples are survivors, present in today’s world, thriving. We encourage everyone here today to ask themselves: what can I do to support Indigenous communities?
In an effort to be transparent, Gage is contemplating this call to action and re-working how to best support Indigenous communities.