11th Annual 10x 10x 10x Tieton, curated by Marina Pacini and Timothy Standring selected Kathleen’s painting, PROJECT 12, with a juror’s award for art on paper. Exhibition runs August 8 to October 11, 2020
An exhibition of Kathleen Rabel’s work is scheduled to open 2021 at Aunt Dofe Gallery in Willow Creek, Montana.
- Twelve local and regional artists under the production of Mountain Time Arts teamed with water conservationists and scientists to present original art installations in Main Street business windows in downtown Bozeman, Montana, 16-30 June 2017.
Angles of light, shadows and reflections found me in a separate dimension of observation in the studio at Vivenda Santa Iria, in Penedo, an ancient village in Portugal. This light has revealed itself in my work repeatedly over years of visits. Tangible and rich in its presence, it clarifies the vision of a human sprit that the larger consumerist world can obscure. In this project, I seek the sense of sanctuary rising from the calçada-paved lanes, rough shadowed whitewashed walls, quiet people moving through light.
Kathleen Rabel’s work on paper, Voz, has been selected for the exhibition Artist’s Search for Meaning at Seattle University’s Vachon Gallery opening on 25 February 2017.
From the Artist’s Eye, an exhibition curated by Kathleen Rabel and Lisa Young for The Museum of Northwest Art in La Connor, WA, is on view July 4 – September 23, 2015. www.museumofnwart.org
“The Master M+S” (named for the 15th C. engraver Martin Schoengauer), a double geared intaglio press with a throw of bed of 23 x 42 inches. Built on order for Stephen Hazel in London in 1964 and shipped to Kalamazoo, Michigan. Works printed on this press are to be found in collections of the Library of Congress, the Philadelphia Museum, the Detroit Art Institute, Wadsworth Atheneum and Seattle Art Museum to name a few.
Cut gunmetal a`volant gearing, bronze bushings and nickel-steel wear faces are the modern concessions to be found in this apogee of press design by Wm. C. Kimber, press builders; reputed to be an exact duplicate of Whistler’s press made by these same machinists in the last century. Among the over twenty times this press has been moved, it should be noted that it served in a producing studio installed during the “SEVEN FROM WASHINGTON” exhibition at the Henry Art Gallery, University of Washington in 1970, a watershed event in the growth of interest in prints in Seattle, and an exhibition that traveled for the Smithsonian Institute for several years.