BIMA is following all current COVID-19 recommendations.

Within/Earshot playlist to keep you swinging!

I was thrilled to be invited to create the accompanying soundtrack to BIMA’s Within/Earshot Jazz Festival this year.

Perusing the program of live performances, film, and lectures, I went to work weaving a tapestry of sound which highlights just a fraction of the rich fabric that is jazz. Here’s everything from the modern, improvised sounds of Ill Considered, Web Web, and Gecko&Tokage Parade—to the classic sounds of Betty Carter, Thelonious Monk, Kenny Burrell, and Ahmad Jamal—to contemporary beatmakers/producers like Makaya McCraven and Kansado.

Whenever creating a playlist, I dig in a bit to find female artists to supplement the imbalanced gender representation I see in nearly every music genre. I thoroughly enjoyed discovering contemporary artists like Aziza Mustafa Zadeh and Linda Fredriksson, learning more about pioneers such as Mary Lou Williams, and being floored by the Gloria Coleman Quartet.

Since 1986 when I bought my first Green Pajamas record at Cellophane Square, I’ve enjoyed supporting local musicians whenever and wherever I can. Here, shoulder to shoulder with artists from around the globe, are Seattle music makers like The Billy Tipton Memorial Saxophone Quartet, McTuff, Eric Verlinde, and Industrial Revelation.

I hope you have been able to attend as many Within/Earshot events as you can, and that you’ll let this soundtrack be something to accompany you and well after this stellar festival. Enjoy.

Listen to the full playlist here!

About the DJ Sidecar

DJ Sidecar, AKA Gary Bedell, is a graphic designer, silk screener, vinyl DJ, and community builder creating and residing on Bainbridge Island, WA.

Art & Environment Lab camp recap with Fiona & Evelyn

Summer campers Fiona Livingston (9) and Evelyn Hale (10) were kind enough to give us a short recap of their week-long adventure exploring art and environment with instructor Pamela Dhramsey Lee. Thank you, Fiona and Evelyn, and we’re so happy to hear about all the fun you had at camp this summer!

In camp, we’ve been working on different types of sustainable buildings. First we made drawings, second made paper models, then we made our buildings. We had to think about what to do with grey water and what we could do with solar power. We thought about how to reuse our materials both within our design and within our houses.

Sustainable = Economy + Environment + Culture, meaning our houses had to be affordable to build and to maintain. They have to respond to their environment and to support the culture of the people who live in them, such as courtyards for communal living.

We looked at buildings of architects Zaha Hadid, Shigeru Ban and Abeer Seikaly. Matthew Coates designed the building of Bainbridge Island Museum of Art. Matthew gave us a tour and we learned how to make a sustainable building look inviting. How to hide doors, play with light, and control sound – plus much more!

We learned that buildings need to survive earthquakes and protect the environment that supports them. We also took a tour of Matthew’s architecture studio Coates Design. There we learned many things you can do with houses!

We looked at photos in Earth from Above by Yann Arthus-Bertrand which showed us environmental problems and environmentally based structures. The movement of dance can inspire architecture, so we studied some choreographic forms of Doris Humphrey. Lastly, we had an exhibition of our work. A lot of successes in one week here at BIMA summer camp!

Learn more about BIMA 2021 lineup of summer camps here!

BIMA & Hiatus: A Tiny Song for Brian Doyle by Adele Donovan

As part of the 2021 Momentum Festival, BIMA is once again partnering with our friends at Hiatus Magazine, an online compilation of quarantined teenagers’ most creative works. Throughout the two-week festival, we will be featuring pieces from Hiatus’ three issues that highlight our natural world, including written works featured here on BIMA’s blog and visual work featured as a #DailyMomentOfBeauty on our Instagram and Facebook feeds.

Be sure to visit Hiatus Magazine’s website to explore their most recent issue, Beginnings: Winter 2021.

Now on to today’s featured work!


A Tiny Song for Brian Doyle by Adele Donovan

White-dust on the little woolen teeth of the spine and the clock stops in observation of the frigid ash cooled into bony tongues across our brows and for a burnished moment as thin as the flakes of Old Bay on our teeth the world slides into itself like honey, the page looming and rugged and red where the wind lashes it and smelling like a wasp’s-sting, that papery glove nestled between fronds of verdant scales and hornets rolling in the wild-fennel with infectious joy as their carapaces glisten black as the fetid pool where the flat-worms cavort in Last Summer’s leaves and the watchful birches start to peel their pale husks off and slough away their foliage and sing with the breeze bringing salt in from the Sound, creating over knife-faced barnacles and pungent bladders of rock-weed, mumbling a senseless reel in a voice of liquid bronze.


Be sure to follow Hiatus Magazine at their Instagram and check out all the work on their website here.

BIMA & Hiatus: Named for a Flower by Aster Isaacson

As part of the 2021 Momentum Festival, BIMA is once again partnering with our friends at Hiatus Magazine, an online compilation of quarantined teenagers’ most creative works. Throughout the two-week festival, we will be featuring pieces from Hiatus’ three issues that highlight our natural world, including written works featured here on BIMA’s blog and visual work featured as a #DailyMomentOfBeauty on our Instagram and Facebook feeds.

Be sure to visit Hiatus Magazine’s website to explore their most recent issue, Beginnings: Winter 2021.

Now on to today’s featured work!


Named for a Flower by Aster Isaacson

She was named for a flower.
And like a flower her time in my life was temporary.
The time we spent together meant almost nothing,
not in the wide lens that sums up a lifetime.

But with all beautiful things, temporary things,
there are moments that come back to me late at night,
or when I’m reading someone else’s words
yet all that my mind can do is put together my own.

She took my hand and placed it on her heart.
The cold night air made the tips of her fingers like ice,
but mine were warm and we just stood there.
Her heart was pounding but she breathed deep
and seemed to slow it almost at will.
Slowed so quickly she seemed almost not human.
In that moment when her heart had slowed
mine had done the opposite but

I could not slow it.
And I did not want to.

And it didn’t matter because she couldn’t feel it
Because she was named for a flower
And like a flower was unaware of her surroundings
Apart from light and dark, summer and fall

So my beating heart remained untouched by her cold fingers
But they laced in mine and pulled me along,
Crammed in cars and shivering in the rain
They drew lines on my face and took selfies on my phone

Sometimes I think they could have frozen my heart
If I’d let them, if I’d wanted them to
But less than sixty beats per minute isn’t really my style
And girls named for flowers
Don’t have that much power over me
Except the ones that do,
but thing is that I’m not named for a flower
And my heart is not cold because

I do not show it
And I do not want to


Be sure to follow Hiatus Magazine at their Instagram and check out all the work on their website here.

BIMA & Hiatus: The Fisherman by Chloe Hansen

As part of the 2021 Momentum Festival, BIMA is once again partnering with our friends at Hiatus Magazine, an online compilation of quarantined teenagers’ most creative works. Throughout the two-week festival, we will be featuring pieces from Hiatus’ three issues that highlight our natural world, including written works featured here on BIMA’s blog and visual work featured as a #DailyMomentOfBeauty on our Instagram and Facebook feeds.

Be sure to visit Hiatus Magazine’s website to explore their most recent issue, Beginnings: Winter 2021.

Now on to today’s featured work!


The Fisherman by Chloe Hansen

A fisherman lies awake on the slats of his boat
He admires the gentle silence of the planks
As they cradle him in sleeplessness.

He floats in dark solitude under a heavy midnight
He listens to the whispered platitudes of stars
Moving in immeasurable intentionality.

To a fisherman, their song is the bite of a huntsman’s knife
Against a well worn river rock
Borne from deep clear water.

In this river all thoughts are inconsequential
Nothing comes or goes in the mind
Time dances upon the surface
And diffuses.

Our fisherman watches as the stars grow softer
And the corners of the horizon grow burnished
And he knows, even as he reaches for his oars
That he has found his way to the bottom of the river.

He returns to his cabin to light the fireplace
To fasten a wide wooden button
Or lace tall brown boots.

In every gesture he is building his riverbed
And every day it is its most perfect self
Until he lays his last stone
And sleeps upon it.


Be sure to follow Hiatus Magazine at their Instagram and check out all the work on their website here.

BIMA & Hiatus: The Dog Feeder by Eileen Miller

As part of the 2021 Momentum Festival, BIMA is once again partnering with our friends at Hiatus Magazine, an online compilation of quarantined teenagers’ most creative works. Throughout the two-week festival, we will be featuring pieces from Hiatus’ three issues that highlight our natural world, including written works featured here on BIMA’s blog and visual work featured as a #DailyMomentOfBeauty on our Instagram and Facebook feeds.

Be sure to visit Hiatus Magazine’s website to explore their most recent issue, Beginnings: Winter 2021.

Now on to today’s featured work!


The Dog Feeder by Eileen Miller

Esha woke up at dawn to the unfamiliar silence of a city on edge. Weeks earlier she would have woken up naturally at this time to prepare for school. Now she followed a different routine.

She slipped on her clothes for the day. Too light for the slightly chilly morning, but she would be thankful for them by midday when the sun bore its hot gaze down on the city. Their air conditioner broke down a week earlier as well. Dressing lightly was the best solution for keeping cool.

She went to the kitchen and filled a kettle with water, placed it on the stove, and turned the stove on. Her father would wake up soon and take it from there.

Esha herself wouldn’t have tea for at least another hour. She would normally go to the tea cart down the road with her sister on their way to school. It was only a couple of rupees for a cup of tea from which they would share scalding sips as they wormed their way through ever more crowded streets.

There would be no scalding tea today. The tea cart was gone and the streets once bustling with people would be empty as she passed through them.

She took a banana from the fruit bowl. The warming temperatures had turned it mushy and spotted. From beside the counter she grabbed the bag of the feed she had prepared with her sister the afternoon before.

Deepa would not be joining her that day.

Before she left she grabbed a cloth face mask off a hook by the door. Her aunt sent a couple of handmade ones in the mail the week before. They were a required accessory now.

Opening the door of her family’s apartment, Esha felt the warm outside air brush over her. It was already warmer than it had been fifteen minutes earlier when she opened her window. That was the coolest it would be all day.

Out in the street, stray dogs lounged lazily. Three monkeys sat on the steps of her apartment. They turned to look at her as she approached. The dogs in the street perked up too, their ears twitching and tails curling into spirals.

Esha went down the steps, flanked by the monkeys, and approached the dogs.

The streets were empty, and the dogs had taken full advantage. They were cautiously relaxed, splayed out in the middle of the street like kings, but their eyes watched Esha with a desperate glint.

She reached into her bag and pulled out a handful of feed—rice, lentils, and some leftovers her mother had permitted her to take—and flung it at the dogs’ feet.

The empty streets filled with barking as the dogs leapt up to get the food.

Esha tossed a few more handfuls down to the ground, and directed a few towards the monkeys who had been watching enviously, but knew better than to take from the dogs. Then she left, the street animals too distracted by their meal to follow her.

Other dogs nearby, ones dozing in alleyways, perched on the steps of buildings, or under store awnings, joined the feasting canines.

You weren’t supposed to feed the dogs. At least, you weren’t supposed to before the virus hit. The dogs weren’t exactly beloved neighbors. They were a nuisance, but had some benefits. While they ate the pests before they got into people’s homes and stores, they also stormed the dumpsters between apartment blocks, leaving behind messes of the garbage they left uneaten.

They weren’t enough of a bother to be removed and had lived in the city for as long as it had been established. Most likely they arrived with the first people to settle here, eating the garbage people produced and keeping rodent populations low.

But now pickings were thin and the dogs had slimmed down. Hardly overfed before the city shut down, you could always tell they were in want of a meal, but now their ribs poked painfully through stretched skin and their movements were sluggish and tired.

No one went outside now. Weeks earlier, Esha watched on the news as other cities went quiet, their streets emptied. Cities shut down. Quarantines were imposed on travelers. She hadn’t realized it would happen here as well. The virus hadn’t seemed quite real. News anchors promised it wouldn’t come here. She could still remember the excuses they gave, citing their climate, their culture, and that anyways, it was nothing more than a cold.

At school her classmates traded theories and rumors. Her teachers held enough of the students’ trust to dispel these rumors, but were torn between parroting the government’s reassurances or putting honest fears into their heads. They remained silent.

Within days, it felt like all life that once existed in the city had dried up under the unceasing glare of the sun. Going outside was strictly forbidden unless you had a pass and there was little willingness to go out anyway. Now everyone was afraid.

Somewhere along the line, someone remembered the dogs. They would die without their supply of restaurant garbage scraps; rodents weren’t enough. The monkeys were clever—and agile—enough to sneak through opened windows and climb up fruit trees to survive, but the stray dogs would be doomed. At some point in the drafting of the official list of ‘essential’ businesses and tasks, feeding the strays was added. All they needed were people to do the job.

With little else to do, Esha and her sister applied for passes that permitted them to go out and feed the dogs. Esha’s, an orange slip of paper with her permitted ‘essential’ task printed on it clearly, was tucked in her pocket, easily accessible if she were to be stopped. Her sister’s was at home.

The government had made it clear that dog feeders would have to provide their own food. Esha’s parents only let her bring a limited amount of food with her so she had to make it last. When she and her sister went together to feed the dogs, they stuck to the streets around their apartment, never straying too far so that they could return home for breakfast.

Today, she had to make her supply stretch even further.

Her pass, tucked away in her pocket, held less power than the stuffed bag of feed she had slung over her shoulder. If a police officer were to stop her, her pass would let her off easily, but to the residents of the apartments above her, it was her bag that let them know what she was up to, and stopped them from reaching for their phone to report her.

Normally she wouldn’t be concerned about being reported but today, not getting caught was essential to the task she needed to accomplish.

She left her neighborhood, venturing into territory where she was an unfamiliar face. She fed the dogs along the way but made sure to keep enough food to make her reason for going further from her house a legitimate one.

She passed by an empty vegetable stand, where a pack of young dogs, hardly a few months out of puppyhood, were resting. Too small to fight other dogs for food, they seemed dejected, resting at the place they once received regular meals from.

Esha felt guilty walking past hungry dogs with a bag half-full of food so she tossed them a few handfuls. Good deeds would hopefully make her next task easier.

She left the young strays with their food and turned down into an alleyway. Finally she had reached her destination.

Temples were closed. Or as closed as you could close a temple. But this one was outdoors, protected from the weather by the eaves of the apartments above. It was unprotected however, from potential temple goers.

A pair of monkeys sat on the altar, grooming each other’s fur.

Esha lured them away with a handful of feed and then focused her attention on the shrine.

She rang a bell that hung from the roof of the shrine, and then took out the spotted banana from her bag and placed it in front of a statue of the deity.

Dhanvantari, she said quietly, kneeling before the god. She focused her gaze on the god’s face, his four arms that crossed the air, and the necklace of wilting marigolds someone had placed around his neck.

Closing her eyes, she began to pray. She asked that he protect her city from the worst of the virus, that her country win its battle against it quickly, and that the whole world recover with as few people dying as possible. She spoke quickly, letting the pleas that had been holed up in her head for the past few days tumble out. Taking a breath, she slowed down. It did not matter to her if her other prayers were not answered, so long as this one was. Esha brought up her sister, who lay in bed back at their apartment. She had fallen sick suddenly. Fine in the afternoon, only to turn clammy and cold before dinner. No one knew how she had become sick, but no information could be gained from Deepa. Within hours she struggled to speak, and spent all her energy focusing on her breathing. Esha asked the medicine god to let the illness that had struck her sister be nothing more than a cold, not the virus that her family feared, but that if it was, to allow her sister to heal as soon as possible and keep the rest of her family safe. Whatever had infected Deepa could be inside Esha too at that very moment. She felt guilty, feeling fine while her sister coughed through the night, and feared that she may return home to find her entire family sick.

How many prayers similar to this had Dhanvantari heard in the past couple of weeks, Esha did not know. But she had to pray for her sister too, and hope that he, for all the other prayers he was receiving at the moment, would listen to her and allow Deepa to recover.

Esha stood up, bowed once more, and then slung her bag of food over her shoulder. It was half full, but she doubted she would make it home for breakfast today. There were still many dogs who needed to be fed.


Be sure to follow Hiatus Magazine at their Instagram and check out all the work on their website here.

A time to reflect

As the museum reopens more fully this spring, and we again sense the pleasure of being a gathering place with art as the centering experience, we are also called to reflect.

We continue to be profoundly grateful for the generosity of our extended community. Through gifts of time, talent and resources, efforts large and small, deep commitment and hard work, and a thousand strokes of luck, BIMA has been able to reopen when many other arts organizations remain shuttered. We are grateful to be here, conscious of our good fortune, and are working to help other organizations back to their feet—reminded every day that we can pay forward this gratitude by fostering connection, healing, challenge, and inspiration through art.

This moment is also one of profound change, marked by unfathomable and continued examples of racial and social injustice, inequity, and violence across the US. BIMA’s response to this inflection point begins with self-inquiry and a commitment to make visible the values that we hold close. With that, we’re working to do and be better, to cultivate and support safe spaces, and to ensure that all voices are heard, valued, and welcomed.

As we lean into this learning, we turn first to the artists who can lead the way for us all. As a museum, we are both privileged and responsible to be the best spotlight, platform, and petri dish that we can, particularly for contemporary artists of the Puget Sound region. In BIMA’s front Beacon window right now hangs “Song for Generations” a particularly relevant piece of work by artist Michelle Kumata, a comment on the legacy of harm related to the Japanese American incarceration. This work captures the complexities of a shameful and wrenching historical trauma within this community and the country while serving as a poignant reminder that racially motivated violence still exists. At BIMA, we are proud to champion and support voices like hers, voices that help keep these issues present in our minds and hearts as a foundation to mitigating harm.

Thank you for joining us at the museum, for immersing yourself in the pleasures and perspectives of the artists we showcase, for sharing the values we hold, for lending a hand as we put our cultural community back together, and for working together to lean into the work that we have in front of us.

Untold Stories: Films to Watch

As part of BIMA’s Untold Stories online festival, staff put together their recommendations for must-watch films featuring stories that bring light to stories, histories, and experiences that have often gone untold. These stories inspire, empower, and educate through the art of storytelling.

Learn more about the Untold Stories festival here.

Crip Camp
A groundbreaking summer camp galvanizes a group of teens with disabilities to help build a movement, forging a new path toward greater equality.
Available to watch on Netflix.

Black Is The Color
The “Harlem on My Mind” fiasco is emblematic of the barriers Black artists have faced when it comes to having their work exhibited and collected. Black is the Color highlights key moments in the history of African-American visual art, from Edmonia Lewis’s 1867 sculpture Forever Free, to the work of contemporary artists such as Whitfield Lovell, Kerry James Marshall, Ellen Gallagher, and Jean-Michel Basquiat.
Available to watch on Prime Video.

The Sit-In: Harry Belafonte Hosts the Tonight Show
In early 1968, as riots rock American cities and the Vietnam War escalates, the legendary entertainer and activist Harry Belafonte takes over `The Tonight Show’ for one week. With a guest list that includes Bobby Kennedy, Aretha Franklin, Rev. Dr. Martin Luther King Jr. and Sidney Poitier, Belafonte introduces a fractured, changing country to itself for five historic nights.
Available to watch on Peacock.

Mala Mala
Winner of the audience award for documentary film at the Tribeca Film Festival, “Mala Mala” tells the story of three non-binary individuals living and working in Puerto Rico.
Available to watch on Vimeo.

Joe’s Violin
In the award-winning short documentary film, Joe’s Violin, a donated musical instrument forges an improbable friendship between 91-year-old Holocaust survivor Joe Feingold and 12-year-old Bronx school girl Brianna Perez, showing how the power of music can bring light in the darkest of times and how a small act can have a great impact.
Available to watch on the New Yorker.

On the Way to School
They live in the four corners of the Earth and share a common thirst for learning. Instinctively, they know their survival and their happiness rest on knowledge and education. Jackson, Zahira, Samuel and Carlito are the heroes of On the way to school, a feature-length adventure documentary about four young schoolchildren forced to surmount a multitude of obstacles in order to get to school. On taking their amazing paths that lead to learning, they will leave childhood behind and begin a journey fraught with pitfalls and surprises.
Available to watch on Prime Video.

Waste Land
Located just outside Rio de Janeiro, Jardim Gramacho, Brazil, is the world’s largest garbage landfill. Modern artist Vik Muniz works with the so-called catadores, the men and women who pick through the refuse, to create art out of recycled materials. Muniz selects six of the garbage pickers to pose as subjects in a series of photographs mimicking famous paintings. In his desire to assist the catadores and change their lives, Muniz finds himself changed as well.
Available to watch on PBS.

Ron Stallworth is the first African-American detective to serve in the Colorado Springs Police Department. Determined to make a name for himself, Stallworth bravely sets out on a dangerous mission: infiltrate and expose the Ku Klux Klan. The detective soon recruits a more seasoned colleague, Flip Zimmerman, into the undercover investigation of a lifetime. Together, they team up to take down the extremist hate group as the organization aims to sanitize its rhetoric to appeal to the mainstream.
Available to watch on Prime Video.

Short Term 12
Calm and competent, Grace is a young counsellor at a California care unit for at-risk teens. However, her cool facade begins to crack in the pressure cooker atmosphere as she and some of the unruly residents are reminded of past and present abuses.
Available to watch on Prime Video.

From Executive Producers Jason Momoa and Brian Mendoza comes this new film, which follows the stories of Native Americans on the frontlines of a growing movement to reconnect with spiritual and cultural identities that were devastated by genocide. An Indigenous chef embarks on a ambitious project to reclaim ancient food ways on the Apache Reservation; in South Dakota a gifted Lakota high school student raised on a buffalo ranch is proving her tribe’s Native wisdom through her passion for science; and a group of young men of the Yurok tribe in Northern California are struggling to keep their culture alive and rehabilitate the habitat of their sacred salmon. All these stories combine to show how the reclaiming and recovery of ancient food ways is a way forward for Native Americans to bring back health and vitality to their people.
Available to watch on Vimeo.

Learn more about the Untold Stories festival here.

Call for Proposals: Art & Craft Instructional Videos

Bainbridge Island Museum of Art (BIMA) invites proposals from Puget Sound region visual artists and craftspeople to produce short, instructional videos for BIMA’s ongoing virtual program, Art in Action #BIMAfromHome.

Program Overview
BIMA has created over 70 videos to engage learners of all ages. These short video lessons explore techniques and concepts related to contemporary art and craft, with an emphasis on using materials easily accessible at home. Videos premiere and are archived  on BIMA’s Facebook and YouTube page. This library is accessed by individuals, families, and K-12 teachers in our region and beyond.

We are seeking artists to produce 1-5 videos for the Art in Action program (3-5 minutes each, in length), between February  and May 2021. Qualified applicants will  be experienced teaching artists (arts integration and social-emotional learning emphasis a plus). Artists must be comfortable teaching on camera and will negotiate either filming using their own video production equipment (smartphone or web camera) from home; or on-site with BIMA staff support and equipment.

This project is supported by a Community Consortium grant from the Washington State Arts Commission (ArtsWA). Contracted artists will receive honoraria ($150 per video, up to $750 total) for their work, as well as publicity (in the form of hyperlinks to the artist’s website or social media) through BIMA’s social media channels.  An additional transportation stipend  is available for those traveling to BIMA for recording.

Please email Emma Cantrell, School & Youth programs manager, with the subject line “Art in Action Proposal”. Please include:

  1. Your resume, including teaching experience
  2. 5-10 Images of your work or website link
  3. A one page cover letter describing:
    1. Your experience with producing digital videos
    2. Your preference for producing videos from home (with your own equipment) or working with BIMA staff and equipment on-site.
    3. 3-5 ideas for video topics* related to your practice *Before drafting your proposal, please review BIMA’s library of videos, to ensure you are proposing topics that have not yet been made into videos for this series.

Preference will be given to proposals received by February 15.

Bainbridge Island Museum of Art is an equal opportunity employer. Individuals from all cultures and communities are encouraged to apply.

Watch Previous Art in Action Videos

Embracing the New Year: BIMA’s Winter/Spring Exhibitions

BIMA launches into this most unusual and unpredictable new year, partnering with several artists to embrace reality and relevance in these times. We kick off 2021 with a range of exhibitions addressing race equity and social justice, situational irony, reflections on nature, and even beauty for beauty’s sake.

Besides the COVID-19 pandemic, political disharmony, and economic turmoil for many, 2020 stands out as a pivotal year of reckoning in America. In response to relentless attacks on race equity and civil rights, BIMA presents Breathe. This group exhibition is inspired by the legacy of Dr. Martin Luther King, Jr.

Artists include Humaira Abid, Cory Bennett Anderson, Eileen Jimenez, Michelle Kumata, Marilyn Montufar, Susan Point, Roger Shimomura, Carletta Carrington Wilson, and Linda Wolf. The artists highlight historical and current injustices, and survival and hope, honoring Dr. King’s dreams—still far out of reach for so many.

Paul Rucker’s FOREVER series is displayed in part with thirteen new works in BIMA’s Permanent Art Collection.  In this powerful work, Rucker acknowledges civil rights martyrs that will probably never appear on US postage stamps. Included are Four Little Girls, victims of the 1963 church bombing in Birmingham, Alabama, and Edwin T. Pratt, former Executive Director of the Seattle Urban League murdered in 1969 at his home. Both Breathe and FOREVER are part of BIMA’s Untold Stories series this winter.

Paul Rucker, Four Little Girls

Kimberly Trowbridge: Into the Garden is a large solo exhibition featuring a diverse, yet cohesive, body of paintings. The work reflects images, ideas, and methods developed over the past two years as a Creative Fellow at Bloedel Reserve on Bainbridge Island.

Kimberly Trowbridge (Seattle), Sea of Ferns (Bloedel), 2019, oil on paper, 22 " x 30", Courtesy of the Artist, @kimberly_trowbridge

Water Is… is co-curated by Cynthia Sears, BIMA Founder, and Catherine Alice Michaelis.  This water-themed exhibition draws from the Cynthia Sears Collection of Artist’s Books. Artists include Amandine Nabarra-Piomelli and Shu-Ju Wang.

In later February, we open Nancy Callan and Katherine Gray: The Clown in Me Loves You. Callan and Gray have collaborated for over four years on this new series of glass sculptures. They combine Venetian glassblowing techniques with contemporary commentary on the roles of, and reactions to, clowns. Initially it all seems like light-hearted fun, but multiple layers of feelings and social realities emerge upon taking a closer look at these fascinating pieces.

Nancy Callan and Katherine Gray, The Dreamer, 2018, blown and sculpted glass with enamels, 13”h x 8”w x 8”d, Courtesy of the Artists

Trimpin: Hear & Now also opens in later February. Trimpin is an acclaimed artist, composer, and musician. He collaborated with student artists from Path With Art in Seattle to create this large-scale kinetic sound sculpture. The work incorporates an antique, hand-pulled wagon, originally built by Trimpin’s father in Germany. Hear & Now aims to reveal human experiences encompassed in homelessness. In Trimpin’s words, the piece is “a metaphor for being in constant transition.”

Trimpin: Hear & Now

While BIMA is temporarily closed due to COVID restrictions, we’re excited to bring ways for you to experience these exhibitions from afar until we can reopen our doors. Check our website calendar for upcoming exhibition-related events and join our email list to receive information about video and other digital content coming up.

Images (top to bottom):

Kimberly Trowbridge (Seattle), Camelia Walk III (detail), 2020, oil on linen on panel, 48″h x 96″w, Courtesy of Linda Hodges Gallery,

Michelle Kumata (Seattle), Resilience, 2019, acrylic on paper, 11”h x 14”w, Collection of the Artist,, @michellekumata

Paul Rucker, Four Little Girls, Fujicolor Crystal Archive emulsion sealed between solid recycled aluminum and a high-gloss UV protective laminate, 40″h x 30″w each, Edition of 18, BIMA Permanent Art Collection

Kimberly Trowbridge (Seattle), Sea of Ferns (Bloedel), 2019, oil on paper, 22 ” x 30″, Courtesy of the Artist,, @kimberly_trowbridge

Shu-Ju Wang (Portland, OR), Water, 2014, meandering book structure, silkscreen (Print Gocco), gouache, color pencils, letterpress by Diane Jacobs, text: two poems by Emily Newberry, #31 of 40, 5.375″h x 5.25″w closed; 21.5″h x 25″w open, photo credit: Bill Bachhuber, Cynthia Sears Collection of Artists Books

Nancy Callan and Katherine Gray, The Dreamer, 2018, blown and sculpted glass with enamels, 13”h x 8”w x 8”d, Courtesy of the Artists

Trimpin, Hear & Now, Mixed media sound installation on antique hand-built cart

Image carousel of installation process for Michaelle Kumata’s Song for Generations in BIMA’s Beacon Window