The permutations of color and image in Ted Kincaid’s photogravures raise, and politely refuse to answer, some heavy questions about modernist seriality and the identity of an individual artwork I’d be tempted to say that Kincaid’s works calculate a post-Warholian logic of pluralized identities and sameness beneath their surfaces, except that it’s nearly impossible to think that there is anything behind the ink on the paper: Like shadows, the gravures live only on the surface, which is appropriate given the light-based chemistry of the photo-intaglio process.

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Much has been written about Dale Chihuly’s startling accomplishments as an artist—he is widely regarded as having single-handedly paved the way for glass to be accepted as a medium for serious art—but relatively few know about the 1963 Puget Sound alum’s Tacoma roots and his continuing commitment to his hometown.

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