David Chatt: Two Hands, Twenty Years and a Billion Beads. The fully illustrated catalog is written by Bellevue Arts Museum curator, Stefano Catalani, and is a comprehensive look at Chatt’s work. One of the leading artists working with glass beads today, Seattle-based David Chatt is recognized both nationally and internationally for his role as a technical innovator. His work has brought the bead medium into the contemporary art world where it can unfold its full potential both visually and expressively.

David Chatt: Two Hands, Twenty Years and a Billion Beads

Arts & Photography

Stefano Catalani

Michael Monroe

Individual Artists

Bellevue Arts Museum

The chair holds an enduring fascination as the ultimate design challenge. Artists, craftspeople, designers, and architects have relentlessly sought the perfect solution: an ideal chair blending ergonomic, aesthetic, and material considerations - all in the hope of enticing us to sit. Never one to shy from challenges, Garry Knox Bennett has for more than 30 years been one of America's most important and influential furniture makers. This full color, 96 page catalogue is a beautiful companion to the exhibition Garry Knox Bennett: Call Me Chairmaker , which debuted at the Bellevue Arts Museum, and featured 52 chairs which exemplify Bennett's boisterous bravado and professed disdain for validated technical and artistic practices. The works in Call Me Chairmaker also reveal the essence of Bennett's artistic personality and his passion for pursuing the many possibilities the chair presents. Inspired by past and present famous architects and designers of chairs, Bennett lets his raucous humor, sly wit, and visual puns dance with full abandonment. His free-spirited, irreverent oeuvre forsakes not only conventional principles of art and design but, even more, the canons of furniture craftsmanship. 
Includes essays by Deputy Head of Research from Victoria and Albert Museum, Glenn Adamson, art critic and philosopher Arthur C. Danto, and independent art critic and curator Matthew Kangas. Also included is an interview with Garry Knox Bennett conducted by curator Stefano Catalani.

Garry Knox Bennett: Call Me Chairmaker

Arthur C. Danto

Glenn Adamson

Matthew Kangas

Garry Knox Bennett

Dim Sum at the On-On Tea Room: The Jewelry of Ron Ho is the second in a series of monographs published by Bellevue Arts Museum featuring leading Pacific Northwest figures important in the contemporary art movement. The catalogue and its accompanying exhibition trace the remarkable richness and diversity of the achievements of this Seattle-based artist. This publication examining Ho's full career as a practicing artist represents the first comprehensive presentation of the artist's work spanning over 40 years. The 51 pieces of jewelry presented in this exhibition catalogue bring together elements from his rich collection of exotic Asian memorabilia amassed during his many years of international travel. Ho's insightful way of finding and incorporating these small treasures has long been the hallmark of the inventive and multicultural pieces that spring to life through his skilled craftsmanship. His unique approach has earned him a special place in the world of contemporary jewelry and is beautifully laid out in this full color 72 page catalogue. This exhibition catalog was awarded an honorable mention by the American Association of Museums for the 2007 AAM Museum Publications Design Competition.

Dim Sum at the On-On Tea Room: the Jewelry of Ron Ho

Ben Mitchell

Bellevue Arts Musuem

Published in conjunction with the exhibition originated by Bellevue Arts Museum, A Tapestry of Memories: The Art of Dinh Q. Lê is a fully illustrated, 88-page color catalog featuring twenty-four pieces from the first major survey on the photographic and conceptual work of American-Vietnamese artist Dinh Q. Lê.  Lê s tapestries and video installations reveal a two-decade-long introspective journey in which the artist has brought his vision to bear on the dislocation and cultural displacement he experienced, first in fleeing his homeland, then with his immersion in American culture, and ultimately upon the return to his estranged and yet familiar country. Through his art, Lê has sought to negotiate the differing perspectives he holds Vietnamese, American-Vietnamese, and American on Vietnam, the Vietnam War, and his place in the two societies in which he finds both belonging and alienation.  Featured in this publication are three essays: A Tapestry of Memories by the curator of the exhibition Stefano Catalani; Impossible to Forget, Difficult to Remember: Vietnam and the Art of Dinh Q. Lê by Viet Thanh Nguyen, professor of English and American Studies & Ethnicity at the University of Southern California; and;The Obdurate History of Mot Coi Di Ve (Spending One's Life Trying To Return Home); by Moira Roth, Trefethen Professor of Art History at Mills College and internationally recognized contemporary art historian. Also included is a in-depth interview with the artist by Stefano Catalani.

A Tapestry of Memories: The Art of Dinh Q. Le

VIET THANH NGUYEN

Moira Roth

Dinh Q. Le

Dominic Di Mare pioneered dimensional weaving in the 1960s and forgednew sculptural directions with cast paper in the 1970s. He receivedfurther acclaim from the 1970s through the 1990s for expanding the useof mixed media in intimate sculptures: first by combining knotted linenwith clay, and later by combining branches with delicate feathers,beads, paper, and horsehair. Though these are simple materials, in DiMare's hands they were transformed into works seen as intensely poetic,enigmatic, or relaying a spiritual presence. In the past few decades,the object maker reset his compass to explore luminous watercolor onpaper in a singular way. He made precise cutouts in his unique artist'sbooks to provide alluring clues for subsequent pages, while in the flatwatercolors of his surreal self-portrait series, he painted such densecompositions that there is an illusion of dimensional realms. While hismastery in a wide range of media is stunning, it is the continuity ofpersonal references-his very own sea of ideas-that makes Di Mare's workso compelling, relevant, and meaningful. His materials, processes, anduniversal symbols poetically encode memories of early life as the eldest son of a Sicilian-born fisherman in Monterey, California. In Di Mare'sartwork, a uniform Greek cross bears meaning both as the cruciform mastof his father's boat and as a symbol of Mediterranean Catholicism, while his ever-present triangles allude to the boat's pointed prow carvingthrough the sea as a place of vision. A line, a strand, a string, apiece of fiber-they all represent his metaphoric, connective thread tothose early experiences and, by extension, to ancestral experiences. The very name Di Mare translates as "of the sea" and is the legacy of hisforebears. This handsome coffee table book consists of 176 pages filledwith beautiful images featuring the artist's work in a number ofmediums.

Anchors in Time: Dominic Di Mare

Signe Mayfield

W.S. di Piero

Fine Arts Press

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Books by Michael Monroe