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Shows & Live Appearances
2025 KringFlower song lyric poetry book.
2025 Recording second album with Supaflower on Interactive Jack Records.
2025 Live music performances at Mirkwood Pub, Central Saloon, and more!
2025 Pre-pre-production of Goddess Kring documentary (ask about auditions!).
2024 Kringonian Pizzaz Poetry Book
2024 working on Documentary Film: The Story of Goddess Kring
2024 Full LP music album recording with Interactive Jack Records
2024 Profile of Goddess KRING in Seattle Magazine
2023 Art Car featured in Everett Herald "What's Up with That?"
2023 Burien Arts Association Vision Gala
2023 Fircrest Funfest
2023 Wedgwood Art Festival
2023 Fresh Paint Art Fair Everett
2023 Wallingford Kiddie Parade
2023 "Reignition 2023" Rites of Spring
2023 Fremont fair Seattle Art Car Blowout
2023 Jet Blast Bash Seattle Museum of Flight
2023 SeaScare and Porch Light Parade
2023 Lake City Summer Festival and Parade
2022 Fremont fair Seattle Art Car Blowout
2021 Fremont fair Seattle Art Car Blowout
2021 Online Art Model, video and radio shows weekly. Art Car project
2020 Figure Modeling and Art Sharing online
2020 Art Piece "kringamorphosis" part of Art Auction Women of Wisdomconference Seattle
2019 Featured Visual Artist Cabrini Medical Tower Suite 850 Seattle
2018 Goddess KRING Music/spoken word Weekly Hollow Earth Radio
2018 Gage Drawing Jam Featured Art Model
2018 Featured Visual Artist Cabrini Medical Tower Suite 850 Seattle
2018 Featured Visual Artist ArtFX 420 N. 35th St.Seattle
2017 Featured Visual Artist Cabrini Medical Tower Suite 850 Seattle
2017 Seattle Art Museum Appearance as "Helga" Andrew Wyeth Show
2017 Actor in: Twin Peaks Live, Part 3: Now BOB woN (West of Lenin Theatre Seattle)
2017 Goddess KRING Podcasts Weekly Hollow Earth Radio
2017 Goddess KRING music part of Seattle Public Library "playback"
2017 Guest Performer "House of Julie" Good Shepard Center Seattle
2016 Art Model Gage Drawing Jam
2016 Weekly Podcast on Mixcloud, Bandcamp, Youtube, Patreon
2016 Weekly Podcast on Hollow Earth Radio
2016 Live Model Drink and Draw Capitol Cider
2016 Live Model Folklife Festival
2015-16 Alien She Museum of Contemporary Craft Portland Oregon
2015 Seattle Torch Light Parade Gage Float Model "The Kiss"
2015 Scrarecrow Video Channeling Yourself Preview Screening
2015 Live Model Drink and Draw Capitol Cider
2015 Live Model Westlake Plaza Family Fun Days
2015 Live Model Folklife Festival
Bio:
Multi Media Artist Shannon Kringen grew up in San Diego California and Whidbey Island Washington. She is a self taught photographer with a background in Graphic Design. She has worked as a figure model in Seattle since 1992. She completed her BA degree in Arts and Literature from Antioch University in 2013. She sees her creative expression as a tool to connect with community and a way of increasing self awareness and tap into a deeper wisdom within.
Artist Statement:
I work with cameras and paint improvisationally. I am very kinesthetic and use my whole body when I create.
In my photography, I fall in love with shape, texture, and light while out wandering. I like to capture what is naturally there but in a way that abstracts it and allows the viewer to notice something new and different about ordinary physical reality. I carefully compose all my photos spontaneously as I am shooting, moving the camera angle until I see what looks like a balanced, dynamic composition.
In my painting, I allow my hands to move intuitively on the canvas creating shapes and textures that feel right. I repeat patterns and choose colors from somewhere beyond my thinking mind. I am very inspired by the repeating patterns I see in nature. Plants and animals move me a great deal.
I am taping into my unconscious and go into a dream like state when I create art.
I needed a picture of Round Valley for the NJ Audubon Important Bird Areas guide so I dug this one out from 2001. My old Canon Pro IS90 digital generated some noise, so I cleaned it up with Noise Ninja and ended up with this effect.
Creating art using the bright colors and patterns in the building, tables, and other objects in a playground/park in Fajardo, Puerto Rico.
Abstracted black & white images of plants being pollinated are projected onto the plants, so that as they enjoy the "porn" they can photosynthesize. Jonathon Keats received a Prixxx Arse Elektronika 2009 for this installation.
Tuan Andrew Nguyen,
The Island, 2017, single-channel video, color, 5.1 surround sound; 42:00 minutes,
Artist Tuan Andrew Nguyen creates multimedia installations that blend fact, memory, myth, and mysticism and use lush imagery to draw out these entanglements. By digging deep into archives and collaborating with communities, his projects weave together many voices to reveal other truths about — and strategies of repair from — colonial violence. In this Washington, DC debut, his video work The Island (2017) is shown for the first time with Bidong Spirit I, a sculpted headdress Nguyen created for the film. The titles of both artworks refer to the tiny Malaysian island of Pulau Bidong, a primary destination for Vietnamese escaping by boat after the collapse of South Vietnam in 1975.
While this history is ever present in Nguyen’s video, he sets his story in an imagined future. The main character has lived his entire life on the island. From the late 1970s through the early 1990s, Pulau Bidong was the largest, longest running refugee camp and, at peak population, the densest place on earth. Born to parents who hid when the camp was cleared in 1991, he has been entirely alone for many decades, tending to the spirits that remain. One day, a United Nations scientist washes ashore. She informs him that they are the only survivors of nuclear conflicts that made “refugees out of the entire world.” As they explore the island, they debate their responsibility to learn from the island's past, and whether its teachings can save the future. As viewers, we too are invited to ponder these questions. Press characterizations of refugees, found in the archival news reports and first-person testimonies woven throughout, suggest striking parallels to the forced global migrations happening today.
This focused exhibition features the video recently added to SAAM’s collection as part of a longstanding time-based media art initiative. It is presented in a dedicated gallery for immersive media art installations that opened in 2023. This forty-two minute film runs continuously and can be entered at any time.
The presentation is organized by Saisha Grayson, curator of time-based media at the Smithsonian American Art Museum.
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"Women, queer artists, and artists of color have finally become the protagonists of recent American art history rather than its supporting characters. This is the lesson to be learned from the programming at New York’s Whitney Museum of American Art since it reopened in 2015, and it is now the big takeaway in the nation’s capital, at the Smithsonian American Art Museum, whose contemporary art galleries have reopened after a two-year closure.
During that time, architect Annabelle Selldorf refurbished these galleries, which have the challenge of pushing art history’s limits without going too far. Her interventions in these spaces are fairly inoffensive. Mainly, she’s pared down some of the structural clutter, removing some walls that once broke up a long, marble-floored hallway. To the naked eye, the galleries are only slightly different.
What is contained within, however, has shifted more noticeably—and is likely to influence other museums endeavoring to diversify their galleries. For one thing, I have never encountered a permanent collection hang with more Latinx and Native American artists, who, until very recently, were severely under-represented in US museums. That unto itself is notable.
It is a joy to see, presiding over one tall gallery, three gigantic beaded tunics courtesy of Jeffrey Gibson, a Choctaw artist who will represent the US at the next Venice Biennale. Printed with bombastic patterning and hung on tipi poles, they hang over viewers’ heads and allude to the Ghost Shirts used by members of the Sioux to reach ancestral spirits. One says on it “WITHOUT YOU I’M NOTHING.” That statement can also be seen as a confession on behalf of SAAM’s curators to the artists now included in this rehang: a multiplicity of perspectives is more nourishing than having just one.
Something similar can be seen in Judith F. Baca’s Las Tres Marías (1976). The installation features a drawing of a shy-looking chola on one side and an image of Baca as a tough-as-nails Pachuca on the other. These are both Chicana personae—the former from the ’70s, the latter from the ’40s—and the third component, a long looking glass, sutures the viewer into the piece. It’s no surprise this piece is shaped like a folding mirror, an item used to examine how one may present to the outside world. Baca suggests that a single reflection isn’t enough. To truly understand one’s self, many are needed.
It is hardly as though the Smithsonian American Art Museum’s collection ever lacked diversity. Nam June Paik’s Electronic Superhighway: Continental U.S., Alaska, Hawaii (2002), a video installation featuring a map of the country with each state’s borders containing TV monitors, is a crown jewel of the collection. It has returned once more, where it now faces a 2020 Tiffany Chung piece showing a United States strung with thread. So, too, has Alma Thomas’s magnum opus, Red Azaleas Singing and Dancing Rock and Roll Music (1976), a three-part stunner showing an array of petal-like red swatches drifting across white space.
But the usual heroes of 20th century art history are notably absent. Partly, that is because the Smithsonian American Art Museum doesn’t own notable works by canonical figures like Andy Warhol, Jasper Johns, and Robert Rauschenberg. (For those artists, you’d have to head to the National Gallery of Art.) Yet it is also partly because the curators want to destabilize the accepted lineage of postwar American art, shaking things up a bit and seeing where they land.
There is, of course, the expected Abstract Expressionism gallery, and while works by Willem de Kooning and Clyfford Still are present, those two are made to share space with artists whose contributions are still being properly accounted for. The standouts here are a prismatic painting by Ojibwe artist George Morrison and a piquant hanging orb, formed from knotted steel wire, by Claire Falkenstein.
This being the nation’s capital, there is also an entire space devoted to the Washington Color School. Come for Morris Louis’s 20-foot-long Beta Upsilon (1960), on view for the first time in 30 years, now minus the pencil marks left on its vast white center by a troublemaking visitor a long time ago. Stay for Mary Pinchot Meyer’s Half Light (1964), a painting that features a circle divided into colored quadrants, one of which has two mysterious dots near one edge.
From there, the sense of chronology begins to blur. The Baca piece appears in a gallery that loosely takes stock of feminist art of the 1970s; a clear picture of the movement’s aims fails to emerge because the various artists’ goals appear so disparate. It’s followed by an even vaguer gallery whose stated focus is “Multiculturalism and Art” during the ’70s and ’80s. Beyond the fact that all five artists included are not white, the gallery doesn’t have much of a binding thesis.
This partial view of recent art history leads to gaps, which is both a good thing and a bad thing. It’s a good thing because it offers due recognition for art-historical nonpareils. Audrey Flack is represented by Queen (1976), a Photorealist painting showing a view of a sliced orange, a rose, photographs, a playing card, and trinkets blown up to a towering size. It’s both gaudy and glorious. Hats off to the curators for letting it shine.
Then there are two totem-like sculptures by the late Truman Lowe, a member of the Ho-Chunk Nation, that are allowed to command a tall space of their own. They feature sticks of peeled willow that zigzag through boxy lumber structures, and they refuse to enjoin themselves to any artistic trend. Later on, there are three deliciously odd paintings by Howard Finster, of Talking Heads album cover fame. One shows Jesus descended to a mountain range strewn with people and cars who scale the peaks. Try cramming that into the confines of an accepted art movement.
That’s just three lesser-knowns who make an impact—there are many others on hand, from Ching Ho Cheng to Ken Ohara. And yet, herein lies this hang’s big problem: its gaping omissions in between them all, which are likely to be visible not just to the literati of the art world but to the general public, too.
Despite the focus of these new galleries being the 1940s to now, Pop, Minimalism, Conceptualism, and their resultant offshoots are skipped over entirely as the curators rush through the postwar era in order to get closer to the present. The Paik installation aside, there is almost no video art in this hang (although there is a newly formed space for moving-image work where a Carrie Mae Weems installation can be found), and no digital art or performance documentation at all, which is a shame, given that the museum owns important works by the likes of Cory Arcangel and Ana Mendieta, respectively. The AIDS crisis of the 1980s and ’90s and its devastating impact on the art world isn’t mentioned a single time in the wall text for these new galleries, and queer art more broadly is a blind spot.
Protest art periodically makes the cut, but any invocation of racism, misogyny, colonialism, and the like is typically abstracted or aestheticized. That all makes a work like Frank Romero’s Death of Rubén Salazar (1986) stand out. The painting depicts the 1970 killing of a Los Angeles Times reporter in a café during an unrelated incident amid a Chicano-led protest against the high number of Latino deaths in the Vietnam War. With its vibrant explosions of tear gas (Salazar was killed when a tear gas canister shot by the LA Sheriff Department struck his head) and its intense brushwork, it is as direct as can be—a history painting for our times. So, too, in a much different way, is Consuelo Jimenez Underwood’s Run, Jane, Run! (2004), a piece that ports over the “Immigrant Crossing” sign, first installed near the US-Mexico border in Southern California in the 1990s, and remakes it as a yellow tapestry that is threaded with barbed wire.
In general, this presentation could use more art like Romero and Jimenez Underwood’s. Yet the curators at least cop to the fact they’re seeking to hold handsome craftmanship and ugly historical events in tension, and the methods on display are productive in that regard.
By way of example, there’s Firelei Báez 2022 painting Untitled (Première Carte Pour L’Introduction A L’Histoire De Monde), which features a spray of red-orange paint blooming across a page from an 18th-century atlas documenting Europe’s colonies. One could say Báez’s blast of color recalls the bloodshed of manifest destiny, but that seems like an unfair interpretation for a work that provides so much visual pleasure. Rather than re-presenting the violence of a bygone era, Báez beautifies it. The result allows history to begin anew—on Báez’s own terms."
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