New Archives

March 12, 2020  /  review

travelish, part 2

by mario lemafa

On Inye

Exuding a tempered passion, warmth, and wit, I learned from Inye that Wa Na Wari (WNW) received little to no resistance in its founding. Apart from a very antagonistic next door neighbor (they would call the police, intimidate youth visiting the space, complain how loud a backyard event meant to gather and connect community was, to name a few trifles) who has since moved– “when the gentrified outlast the gentrifier” as Inye put it– Wa Na Wari has been met with exuberant support. The number of flowers and potted plants inhabiting the space from a neighbor is one of many physical evidences of the love placed here. Currently, Inye is doing deep organizing with local black homeowners to shift policies so that the Central District community does not experience tremendous barriers to do what WNW does. While local artist community might be enthusiastic to do organizing, Inye noted that some older black homeowners may be reticent to engage in deep, prolonged organizing work on the account of commitments, energy, and other factors. Due to current policy, there are several limitations as to what an artist can do with a domestic property. When re-approached to contribute thoughts to this interview Inye mentioned the following:

The allowable land use based on current zoning laws is somewhat complex. I would not say that hosting open studios is expressly prohibited; it is not. Artists Al Dogget and Esther Ervin have studios in their Madrona Park home and regularly host open studio gatherings and other small arts events. These are private and by invite only, which makes them allowable under the current law. When thinking about creating cultural spaces that are open, communal, and serve a greater public benefit, we are looking at how artists open their spaces for drop-ins and public gatherings/events. Under the current laws, this kind of activity is not allowable. This is just one example of the kind of thing we would like to be possible. Wa Na Wari has external signage, publicly advertised events and open hours, hosts large public gatherings, etc. This model is not currently allowable without going through a very expensive and lengthy re-zoning application process. A process that doesn't guarantee approval in the end.

In time, Inye hopes to eliminate these barriers. For the livelihood of this region, I dearly hope so too.

On Elisheba

Thinking of the exhibition after my initial visit, I realized that although there were no clear thematic entries to explain away the relationship between the works, it was refreshing to experience work that just made a felt sense with one another. Speaking with WNW’s curator Elisheba Johnson in an interview, those sentiments were confirmed. Elisheba describes her process as partly intuitive– thinking of the best artists locally, nationally and internationally in relation to one another with the priority to showcase the most excellent black art. When I asked Elisheba her current perspective on the work she is doing, she felt she was doing her best work. I would agree with this assessment. Part of Elisheba’s capacity to be able to produce shows of this caliber is due to the relationship building between institutions, organizers, curators, and gallerists, such as Tracy Cilona at Virago Gallery, whom Elisheba has collaborated with on exhibitions. While Virago Gallery hosts an artist’s work for one month, Wa Na Wari is able to extend the visibility of the curatorial choices Cilona is making by partnering and showing the work at Wa Na Wari. The move to produce and curate shows that run for 8 weeks is part of Elisheba’s sustainability efforts to prevent burnout.

There is a lot of love poured into this project, this space, this community and I wouldn’t be surprised at all if and when Wa Na Wari’s model becomes a litmus for communal efforts across the continents.

A person walks up the steps of an early twentieth-century home, a banner hung from the porch displays the Wa Na Wari logo.
Wa Na Wari, Central District, Seattle.
New Archives: February-December 2020
February 13

mission

Satpreet Kahlon
March 2

note from the editor

Satpreet Kahlon
March 3

I have it; you can borrow it

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March 5

travelish

mario lemafa
March 8

YES IS A FEELING

Matthew Offenbacher
March 10

I have it; you can borrow it

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March 12

travelish, part 2

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March 14

what is exciting right now?

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March 15

950 Gallery

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April 30

an unplanned hiatus

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May 4

Art at Home

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May 7

The Girl and the 101st View of Mt. Fuji

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May 11

A dark storm is passing

Tom Eykemans
May 14

Missing Rhoda

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May 18

Ask a Conjure Women

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May 21

Garden of Delight

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May 27

Humiliation kitchen towel

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May 29

Seamstress

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May 31

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June 2

Reading Lists for the Revolution

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June 18

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June 25

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July 22

note from the editor

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July 23

I Don’t Like Art

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August 19

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August 25

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September 1

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September 8

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September 11

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September 15

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November 10

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November 17

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November 24

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December 1

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December 4

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