The Behnke Family Gallery is a new exhibition venue at Cornish College of the Arts which includes a ground-level gallery space and an outdoor exhibition space, the Ivey Art Wall, currently featuring the work of Professor Emeritus Preston Wadley. The inaugural show in the gallery was the 2022 Neddy Artist Award Exhibition. The 2023-24 exhibition season was curated by Cornish Art professor Robert Campbell and featured the work of Mary Sheldon Scott, Gary Hill, Preston Wadley, Gala Bent, and Laura Hart Newlon. The 2024-25 exhibition season, also curated by Cornish Art professor Robert Campbell, featured the work of Design Faculty Susan Boye, the Cornish Art Faculty, Seattle artist Brent Watanabe and Cornish Design alum Victor Melendez.
The Behnke Family Gallery
The Behnke at Cornish
1077 Lenora Street (corner of Lenora and Boren)
Seattle, WA 98121
Gallery hours: Thursdays – Saturdays, 12 – 5 PM
About
2025-2026 Exhibit Calendar
Christopher Paul Jordan – underhand, overhand, backstops, tree tops, zaps | Oct. 2nd – Oct. 30th
Mothership Collective| Nov. 13th – Dec. 18th
Hernan Paganini | Jan. 22nd – Feb. 26th
Soo Hong | Mar. 12th – April 9th
Platforms of Exchange | April 23rd – May 6th
2027 Neddy Artist Award Exhibition | June 3rd – TBD
Coming Soon
underhand, overhand, backstops, tree tops, zaps
Opening Reception
October 2nd, 4:30 – 7:00 PM
On View
Oct 2nd – Oct. 30th, 2026
Gallery Hours
Wednesday – Saturday – 12pm – 5pm
The Behnke Family Gallery presents underhand, overhand, backstops, treetops, zaps by Christopher Paul Jordan. This exhibition is a window through memories—memories of our shared stories and experiences, personal and collective, that are ever present, never lost, and often quietly linger throughout our lives, only becoming noticeable, palpable, and real to us when we allow ourselves a moment to peer into their depth.
Christopher Paul Jordan works with the fractured remnants of peeled, dislocated paintings, reassembling their remains using window screens and salvaged canvases to explore questions around community, history, and home. Jordan’s work traces these varied back-and-forth paths of memories and their trajectories, transforming the gallery exhibition space into an interactive time capsule, pulling from coloring books, playgrounds, murals and neighborhood artifacts to pictured histories of Hilltop and the greater Puget Sound. The centerpiece of this exhibition, therefore, is essentially participatory, drawing on childhood rituals to usher forsaken memories back into circulation. The exhibition instigates embodied recollection, where images and community heirlooms steeped in history offer touchstones to renegotiate present and future possibilities.
Our work is supported in part by a grant from 4Culture