Groups shows, older work
Bed Bath & Between, 2015
By Julie Alexander, Nicholas Nyland and Matthew Offenbacher, and including work by Katrin Bremermann, Maria Britton, Dawn Cerny, Terry Green, Margie Livingston and Mathieu Wernert.
SOIL Gallery, Seattle, February 5 - February 28, 2015
“My wallpaper and I are fighting a duel to the death. One or other of us has got to go.” —Oscar Wilde’s reputed last words
top to bottom, left to right: 1) Matthew Offenbacher with wallpaper by Nicholas Nyland, 2) Installation view, 3) Julie Alexander, Maria Britton, Nicholas Nyland, Julie Alexander with wallpaper by Julie, Nicholas and Matthew.
photos by Nicholas Nyland
read Erin Langner’s review
International Supermarket Survey, 2015
During a 2014 bicycle tour in Western Europe, Whitney Ford-Terry collected notes, maps, tickets, pamphlets and other ephemera which she mailed to correspondents in Seattle, asking us to interpretate them in some way. The results were posted on a website and were to be published in a book that never got made. Other correspondents included Molly Mac, Anastasia Hill, Alex Kostelnik, Tessa Hulls, Matt Hilger and Robert Mittenthal.
Organized by the The New Foundation Seattle
A Mural about European Unity for behind the bar, 2014
Kunstweekend Charlois, July 2014
Foundation B.a.d, Rotterdam, the Netherlands
The Neddy at Cornish, 2013
tempera and acrylic paint on concrete
7.5' circumference x 13' high
Site-specific painting for the Cornish College Gallery, Seattle
The Neddy at Cornish is a $25,000 unrestricted award in memory of Ned Behnke. It is awarded annually to two artists from the Puget Sound region. The 2013 recipients were Matthew Offenbacher and Victoria Haven. The exhibition also featured finalists Julie Alpert, Jack Daws, Emily Gherard, Andrea Heimer, Dan Webb and Robert Yoder.
visit the Neddy at Cornish site
read the City Arts interview
untitled drawing, 2011
Being There, Cornish College, 2011
Ribbon Memory Board
foam, paper, wood, ribbon, tacks, exhibition announcements
67 x 24 1/2 x 1.5", 2010
Exhibited in “Being There”, April 2011, Cornish College of the Arts, Seattle, Wa. Curated by Sierra Stinson.
The Pajama Game, Nepo House, 2011
distemper on stainguard cotton
52 x 45", 2010
“The Pajama Game”, February 2011, Nepo House, Seattle, Wa. Curated by Jason Hirata, with work by Gretchen Bennett, Daphne Stergides, Sol Hashemi, Matthew Offenbacher and Ian Toms.
visit the Nepo site for more pictures
Reclaimed, Seattle Art Museum, 2011
“Reclaimed: Nature and Place through Contemporary Eyes”, Seattle Art Museum, June – September 2011. A selection of post-1970 work from the museum collection curated by Marisa Sánchez. This shows the final room of the exhibition including enlargements of La Especial Norte #4 on the left. Photo by Nathaniel Wilson.
The Arc of Picasso, Greg Kucera Gallery, 2010
exhibited in “The Arc of Picasso”, October 8 - November 13, 2010, Seattle, Wa.
Intellectual Property, 2010
What makes an intellectual? What is the basis of property? What is the relationship between the life of the mind and the sensual world?
Organized with Yoko Ott for the Hedreen Gallery, Seattle University. Including work by PJ Alaimo, Ken Allan, Cris Bruch, John Carter, Richard Gray, Wynne Greenwood, Mandy Greer, Heide Hinrichs, Robin Held, Isaac Layman, Susie J. Lee, Christine Luscombe, Philip Miner, Saya Moriyasu, Emily Pothast, Philip Thurtle, Charles Tung, Ben Waterman, Dan Webb, Lindsay Whitlow, Greg Wilson, Kathleen Woodward, Jason Wirth and Claude Zervas.
visit the project site
Studio Sale BBQ Biennial, 1128 Poplar Place, 2010
Deb Baxter, Gretchen Bennett, Ian Toms, Jason Hirata, Jenny Heishman, Joey Veltkamp, Matthew Offenbacher, Nicholas Nyland, Sol Hashemi, Wynne Greenwood
visit the project site
Second Peoples, 2009
Gretchen Bennett, Jenny Heishman, Heide Hinrichs, Matthew Offenbacher
“It has always been a place of abundance. Long before the arrival of European settlers, the area's resources allowed indigenous peoples to develop uncommonly rich artistic traditions. Once settlers arrived, these same resources—timber, fish, rich land—enabled economic prosperity.” (Alaska Airlines Inflight Magazine, October 2007)
We have coined the name ‘second peoples’ to describe the people who arrive late on the scene, after the beginning, after the abundance, after the traumatic event, after everything’s been said and done, after, even, the end. We are the second peoples. Chances are, you are too.
This is an exhibition dealing with what it means to be second. We inhabit a landscape of iteration, reverb, elision, and generational noise. Our corner of North America—these mountains, that timber, this rich land—belonged to someone else. Our popular culture—those TV shows, that movie sequel, this new band that is so retro they’re cool—belonged to some other time. Our art is that way, too: this gesture to Donald Judd, that nod to Philip Guston, that Eva Hesse wink.
We are interested in locating the coordinates of this second position. How did we end up here? What is our responsibility for what happened before us? What is our responsibility for the things that happen now in our names? Like Simone de Beauvoir argues in “Second Sex”, we think we should be free to transcend ourselves as subjects, to not be confined to existential leftovers.
Contemporary art is concerned with this alchemy, trying to turn second-handedness into first-handedness, reversing the flow of energy, presenting not representing, creating value from valuelessness. We think this is a worthwhile activity. We also think it is a fraught activity. The work in this exhibition exposes some of the fractures created by this ceaseless turning, and also dreams of a third position, a reification of our desire to escape, a momentary place to stop.
Helm Gallery, Tacoma, Washington, 2009
read the Stranger review
A Special Project for Bard Hall, 2005
A Special Project for Bard Hall
The work in this show asks simple questions about color, line and pattern. For instance, what if the relationship between foreground and background were inverted? What would it look like to fix the shape of the sky, seen through the windows, from a single point in the room? What if you focused on the mortar rather than the bricks? The shape of the wall hangings are based on how the ocean looks between houses, fences, cars and other things that get in the way of a view. How does a broken pattern suggest the part that is missing? These questions involve paying attention to visual boundaries. I hope posing them here, in the community hall of a church, suggests thinking in a metaphorical way about other sorts of boundaries.
Light show, polyester color filters, 2004
Fabric wall drawings, fabric and thread, 2002
Skyline, acylic paint on static cling vinyl, 2003-4
Net, nylon rope and metal brackets, 2004
First Unitarian Universalist Church, San Diego, California
untitled drawing, 2008