Last week I had the distinct honor of meeting Kris Lewis, who currently holds the esteemed position of John S. Behnke Director at the Henry Art Gallery. Having taken the reins of the Henry just ten months ago, Kris has already begun to make her mark on this internationally renowned art museum. With the museum’s 100th anniversary approaching in 2027, Kris has been proactive in developing a strategic plan to further elevate this gem of a museum on the international contemporary art stage.
Kris Lewis hails from a family that has always held a deep appreciation for passion assets. In particular, her father was an avid collector of Corvettes. This early exposure to the world of collection and curation likely influenced her career path. She received her formal education at Denison University, where she studied Art History. She further honed her skills and knowledge at NYU’s Steinhardt School, earning a master’s degree in visual arts administration. Today, she often returns to her alma mater as a guest lecturer, sharing her insights and experiences with the next generation of art administrators.
Kris brings a wealth of experience to her role at the Henry, with a career spanning 28 years in visual arts organizations. Of these, 17 years have been dedicated to strategic fundraising and high-level donor relationship management in museum settings. Her extensive experience and unique skill set make her an invaluable asset to the Henry as it looks forward to its centennial celebrations and beyond.
Generously, Kris gave me a tour of the current shows at the museum. We started in the Gwathmey-Siegel designed gallery addition viewing the Raúl de Nieves: A window to the see, a spirit star chiming in the wind of wonder… exhibition. The commissioned installation by the Mexican born, Brooklyn, NY based artist is delightfully colorful like the stained-glass cathedrals of Europe. Khaki colored carpet covered ziggurat like benches arranged through the gallery invite the viewer to recline to view the massive “stained glass” murals hovering above the gallery. The benches, making us feel like giants in a pale colored desert landscape, provide the platform for perfectly viewing the magical windows.
As we continued our journey through the Lower Galleries, we found ourselves stepping into the realm of the Kelly Akashi: Encounters commissioned installation. This is a multi-sensory experience that engages viewers in silica-based materials, photography, and video. As a visiting artist at Pilchuck Glass School, the artist created delicate thorny vines made of glass that are held in place with truncated bronze castings of the artist’s fingers and hands. Each work is wrapped in sheets of fired clay that were created in the 3D4M ceramics studio at the University of Washington School of Art. This partnership allowed for a fusion of ideas and techniques, resulting in a truly unique artistic expression.
Upon returning to the historic Carl F. Gould building, we had the opportunity to immerse ourselves in the captivating photographs of Martine Gutierrez, displayed in the Monson photography lecture gallery. Kris shared insights into Gutierrez’s unique approach to self-portraiture, drawing parallels with the iconic Cindy Sherman. Gutierrez’s work explores the cultural and socio-political dimensions of beauty, with a particular focus on desirability and the tragic narratives of Hollywood’s fallen blonde starlets. Her powerful imagery invites viewers to reflect on societal norms and expectations, challenging us to see beyond the surface and engage with the deeper themes at play.
The powerful LOVERULES exhibition showcases the work of renowned artist Hank Willis Thomas. The exhibition, occupying the six upper galleries of the museum, is made possible through the generosity of Jordan D. Schnitzer and his family foundation, a supercollector from Portland, Oregon. Schnitzer’s passion for art and his commitment to sharing it with the public has brought this poignant collection to the forefront, allowing visitors to engage with Thomas’s thought-provoking pieces. The LOVERULES exhibition serves as a testament to the transformative power of art and its ability to spark meaningful conversations.
These exhibitions spawn deep conversations and Kris is the Director the Henry needs to lead it into the next 100 years. I encourage you all to visit the Henry Art Gallery at the University of Washington to see these exhibitions and future shows and events.
Disclosures: https://www.avantiamfo.com/post-disclosures
Comments