CASINO: A PALIMPSEST
Solo Exhibition
Frye Art Museum 2017

Art In America Review By Minh Nguyen

“…Sidestepping exhibition standards, “Casino” demonstrated what Webber and curator Miranda Belarde-Lewis consider an “Indigenizing” approach that prioritizes Native American values. For instance, Webber divested from singular authorship by showing her family members’ photographs alongside her own. In the poem “All My Daddy Were Butches,” she attributes the way she moves through the world to her kin, writing: “I mixed you with them other butches. . . . I ain’t met a darkened street I can’t walk.” Rather than erect divisions between personal art and historical archives, “Casino” considered the intangible properties by which art and poetry are connected to family, ancestry, language, and public memory, revealing intergenerational, underground histories of resilience.” READ MORE

Frye Art Museum - AUGUST 5 – OCTOBER 29, 2017

”The Frye Art Museum is proud to present Casino: A Palimpsest, the first solo museum exhibition of Seattle-based performance artist and poet Storme Webber. Through family photographs, archival records, and poetry, Webber unearths a personal history of one of the oldest gay bars on the West Coast, the Casino. As with a palimpsest, on which writing that has been erased remains visible under new script, the historical documents in this exhibition reveal some of the many histories that lie beneath Seattle’s streets.

Beginning in the late nineteenth century, saloons, bars, and diners on Seattle’s Skid Row (present-day Pioneer Square) provided a haven for poor folks, lesbian mothers, urban and displaced Natives, gay servicemen, working girls, hustlers, achnucek (two spirits), butches, femmes, drag queens, and the city's working class long before the creation of "safe spaces" for LGBTQ people. Establishments such as the Double Header, the Busy Bee Café, and the Casino—all located near the corner of South Washington Street and Second Avenue South—provided refuge for many, including Webber's own family. 

The artist's family lines draw us in, displaying the warmth, strength, and resilience of people who are well accustomed to adapting to change and new environments. Webber is descended from Sugpiaq (Alutiiq) women with origins in Seldovia, Alaska, and from Black and Choctaw women from the Deep South of Texas and Louisiana. They personify the perseverance displayed by Black and Indigenous peoples in all eras. In a city where history is vanishing daily, Webber's work stands as a corrective witness, seeking to restore narratives that have been lost in the evolving myth of Seattle. 

In addition to the objects and documents on view, a series of dynamic programs including performances, readings, and workshops occurring throughout the duration of the exhibition will incorporate the performative and collaborative aspects of Webber’s practice.”

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