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Square Feet 2013
Square Feet 2013 Wrap-up Report Square Feet 2013 : a wrap-up report Published by the Seattle Office of Arts & Culture in January 2014 Edited by Matthew Richter Event Photographs by Jenny Crooks Introduction Square Feet 2013 convened on Monday, November 18, 2013 to explore the idea of Cultural Districts as a way to support the work of artists and arts and cultural organizations in Seattle. The event was produced by the Seattle Office of Arts & Culture and 4Culture. Centered on a keynote address from creative placemaking expert Anne Gadwa Nicodemus, the day also featured presentations from twenty local projects in motion, and a working session that resulted in a $10,000 investment by the Office of Arts & Culture in an idea generated by the day’s attendees. Over 150 people, representing arts organizations, independent artists, funders, developers, property owners, architectural designers and consultants, universities, and local government took part in the day, which was hosted by the Lee Center for the Arts, the Northwest Film Forum, and the Velocity Dance Center, all on 12th Avenue on Capitol Hill. A note about the text of this report: We solicited the presenters’ remarks following the event for inclusion in this report. Some of the speakers had prepared remarks, some spoke from general notes, and some spoke extemporaneously. We have attempted to present all of these in a format that makes sense to the reader. Matthew Richter, Cultural Space Liaison from the Office of Arts & Culture, started the day with some opening remarks: Welcome to Square Feet 2013, a day-long event produced by the Seattle Office of Arts & Culture and 4Culture. -
On the Edge Nceca Seattle 2012 Exhibition Guide
ON THE EDGE NCECA SEATTLE 2012 EXHIBITION GUIDE There are over 190 exhibitions in the region mounted to coincide with the NCECA conference. We offer excursions, shuttles, and coordinated openings by neighborhood, where possible. Read this document on line or print it out. It is dense with information and we hope it will make your experience in Seattle fulfilling. Questions: [email protected] NCECA Shuttles and Excursions Consider booking excursions or shuttles to explore 2012 NCECA Exhibitions throughout the Seattle region. Excursions are guided and participants ride one bus with a group and leader and make many short stops. Day Dep. Ret. Time Destination/ Route Departure Point Price Time Tue, Mar 27 8:30 am 5:30 pm Tacoma Sheraton Seattle (Union Street side) $99 Tue, Mar 27 8:30 am 5:30 pm Bellingham Sheraton Seattle (Union Street side) $99 Tue, Mar 27 2:00 pm 7:00 pm Bellevue & Kirkland Convention Center $59 Wed, Mar 28 9:00 am 12:45 pm Northwest Seattle Convention Center $39 Wed, Mar 28 1:30 pm 6:15 pm Northeast Seattle Convention Center $39 Wed, Mar 28 9:00 am 6:15 pm Northwest/Northeast Seattle Convention Center $69 combo ticket *All* excursion tickets must be purchased in advance by Tuesday, March 13. Excursions with fewer than 15 riders booked may be cancelled. If cancelled, those holding reservations will be offered their choice of a refund or transfer to another excursion. Overview of shuttles to NCECA exhibitions and CIE openings Shuttles drive planned routes stopping at individual venues or central points in gallery dense areas. -
C Ulture Office Of
OFFICE OF CULTURE Letter from the Mayor 02 Contents Letter from Randy Engstrom and Michael Seiwerath 04 Creative | Youth 08 Creative | Community 14 Creative | Space 24 Staff 35 Seattle Arts Commission 36 Financials 38 Contact Us 41 I want Seattle to become one of the best arts cities in the world. —Mayor Ed Murray As Mayor, I am committed to helping Seattle to become one of the best arts cities in the world. Our city is already one of the most vibrant and creative in the nation. People are drawn to Seattle’s thriving arts and music scenes and the rich diver- sity of its communities. Businesses are attracted to Seattle because we are an international cultural hub. We understand both the real human value of art and its economic potential. Here in Seattle, we make the arts a priority. Last year, the City invested almost $2.5 million in the arts. We funded more than 300 different arts and cultural organizations and artists that reached over 1.5 million people. This year our support for the arts is growing. With support from City Council, we have added $150,000 for our Arts Mean Business program, which underwrites jobs for cultural organizations serving historically under-represented communities. And as part of the Creative Advantage program, we are investing $500,000 to bring arts education back to the classroom. These investments in the arts improve educational opportunity and achievement, foster economic development, and contrib- ute to our ongoing pursuits of social and economic justice. Thank you for supporting our city with your time, energy and vision. -
Arts in Seattle
ARTS IN SEATTLE ARCHITECTURE AND DESIGN ................................................................................................................................2 EXPERIENCE MUSIC PROJECT..........................................................................................................................................2 SEATTLE PUBLIC LIBRARY , CENTRAL..............................................................................................................................4 SMITH TOWER ......................................................................................................................................................................5 CHAPEL OF ST. IGNATIUS ..................................................................................................................................................7 OLYMPIC SCULPTURE PARK ..............................................................................................................................................9 SEATTLE ART MUSEUM....................................................................................................................................................11 GAS WORKS PARK ............................................................................................................................................................12 SPACE NEEDLE..................................................................................................................................................................13 SEATTLE ARCHITECTURE FOUNDATION, -
Velocity's Annual Bash Made in Seattle
FOR IMMEDIATE RELEASE Kill Date: April 10, 2014 Leah Vendl Communications Coordinator For images / information T 206.325.8773 E [email protected] VELOCITY PRESENTS VELOCITY’S ANNUAL BASH MADE IN SEATTLE TAKING DANCE TO THE MASSES CELEBRATING SEATTLE AS A RADIATOR OF RISK + INNOVATION velocitydancecenter.org/bash Seasonal Dinner by Ravishing Radish Catering ♥ Craft Cocktails Open Bar ♥ Dessert by The Kingfish Cafe THURSDAY, APRIL 10, 2014 AXIX Pioneer Square | 308 1st Avenue South | Seattle, WA 98104 “How did Velocity and its support of local dancers contribute to my career? In every way possible.” — Corrie Befort, Salt Horse (Seattle) — A big ol’ Seattle love fest party in honor of Velocity Dance Center. Made in Seattle is Velocity’s signature fundraiser of the year. Party with purpose with guests of honor Mark Haim and The Paul G. Allen Family Foundation, performances by Shelby Earl, Amy O’Neal, Ezra Dickinson, Cherdonna Shinatra, Kate Wallich and Matt Drews — and an open bar with craft cocktails by Eater Seattle’s Bartender of the Year Adam Fortuna. Funds raised infuse Velocity’s pivotal programs — crucial for Seattle dance artists to train, create, present and develop their careers; and to build a city where dance is a vital part of the cultural landscape. It’s no secret that dancers struggle to build sustainable careers. Velocity serves thousands of artists, ages 14 – 84, from those new to dance, to established professionals. And Velocity is uniquely there throughout all the ups and downs of artists’ creative careers. In 2013, Velocity provided $197,815 in direct and in-kind support to artists, presented more than 150 original works by leading regional talent and inter/national innovators, and fostered excellent training with daily classes in a diverse range of movement styles — 365 days a year. -
NEA Chronology Final
THE NATIONAL ENDOWMENT FOR THE ARTS 1965 2000 A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS President Johnson signs the National Foundation on the Arts and the Humanities Act, establishing the National Endowment for the Arts and the National Endowment for the Humanities, on September 29, 1965. Foreword he National Foundation on the Arts and the Humanities Act The thirty-five year public investment in the arts has paid tremen Twas passed by Congress and signed into law by President dous dividends. Since 1965, the Endowment has awarded more Johnson in 1965. It states, “While no government can call a great than 111,000 grants to arts organizations and artists in all 50 states artist or scholar into existence, it is necessary and appropriate for and the six U.S. jurisdictions. The number of state and jurisdic the Federal Government to help create and sustain not only a tional arts agencies has grown from 5 to 56. Local arts agencies climate encouraging freedom of thought, imagination, and now number over 4,000 – up from 400. Nonprofit theaters have inquiry, but also the material conditions facilitating the release of grown from 56 to 340, symphony orchestras have nearly doubled this creative talent.” On September 29 of that year, the National in number from 980 to 1,800, opera companies have multiplied Endowment for the Arts – a new public agency dedicated to from 27 to 113, and now there are 18 times as many dance com strengthening the artistic life of this country – was created. panies as there were in 1965. -
Fire + Earth Catalogue
Table of Contents Artists Robert Archambeau ................................................1 Ann Mortimer.....................................................112 Loraine Basque........................................................4 Diane Nasr..........................................................115 Alain Bernard..........................................................7 Ingrid Nicolai......................................................118 Robert Bozak ........................................................10 Agnes Olive.........................................................121 John Chalke ..........................................................13 Walter Ostrom ....................................................124 Ruth Chambers.....................................................16 Kayo O’Young.....................................................127 Victor Cicansky.....................................................19 Greg Payce ..........................................................130 Jennifer Clark........................................................22 Andrea Piller .......................................................133 Bonita Bocanegra Collins ......................................25 Ann Roberts........................................................136 Karen Dahl ...........................................................28 Ron Roy..............................................................139 Roseline Delise......................................................31 Rebecca Rupp .....................................................142 -
Contemporary American Ceramics: from the Dean Thompson Collection
Contemporary American Ceramics: From the Dean Thompson Collection July 24 - Aug. 31, 1994 Johnson County Community College • Gallery ofArt Contempora1y American Ceramics: that he was '·fascinated by Takamori's From th e Dean Th omp so n Collec tion sensual, graphi c images and sculptural forms." Thomp son's initial pur chases , On my first visit to Dean Thompson's combined with his involvement at the London apartment in 1981, I was struck Art Institute, ignited his interest in by the range and quality of the ceramic formin g a collection of co ntemporary and glass works that he had collected. American ceramics. By 1986, as a col His apartment was filled with art. Floor lector for more than 20 yea rs, he was to ceiling glass shelves displayed brightly kee nly awa re of the compl exity of col colored and ecce ntrically shaped works by Clarice Cliff Equally arresting were lecting contemporary art. Undaunted, severely reductive vessels by Keith he began to pur sue major wo rks by Murray, stylized Rene Lalique vases, artists such as Betty Woodman, Ken richly enameled Faure pieces , Geo rg Price, Richard DeVore, Beatrice Wood, Jensen silver and delicately colored Toshiko Takaez u, Kenneth Ferguson pate-de-verre works by G. Argy-Roussea u and Adrian Saxe. Thompson was once and Almeric Walter. I quickly realized again immersed in a transformation of that Thompson was utterly obsessed his collection and home. Belove d pieces with art. After accompanying him to from the first half of the 20th centur y various galleries, antique markets and we re sent to auction. -
Tribes Encore Arts Seattle
MARCH 2017 Mar 3—26, 2017 BY NINA RAINE Photo by Dawn Schaefer DIRECTED BY JOHN LANGS March 2017 TICKETS FROM Volume 13, No. 5 $ 21 CAD Paul Heppner Publisher SPRING 2017 Sara Keats, Jonathan Shipley Encore Stages Editors Susan Peterson Design & Production Director Ana Alvira, Robin Kessler, Contents Shaun Swick, Stevie VanBronkhorst Production Artists and Graphic Design Dialogue Mike Hathaway 4 Encore Stages in Sales Director conversation with the Brieanna Bright, Joey Chapman, Ladies Musical Club Ann Manning, Rob Scott Seattle Area Account Executives Mix and Match Marilyn Kallins, Terri Reed San Francisco/Bay Area Account Executives 9 A look back at City Arts' Jonathan Shipley innovative Genre Bender Ad Services Coordinator event Carol Yip Intermission Brain Howard Family Stage Sales Coordinator Sara Keats, Jonathan Shipley Transmission Online Editors 15 Test yourself with our trivia quiz Under the Tents • Vanier Park, Vancouver, Canada June 1 – Sept 23 Leah Baltus 1-877-739-0559 • bardonthebeach.org Editor-in-Chief Paul Heppner Encore Stages is an Encore Arts Publisher Program that features stories about Dan Paulus our local arts community side-by-side Art Director with information about performances. Gemma Wilson, Jonathan Zwickel Encore Arts Programs are publications Senior Editors of Encore Media Group. Learn more at Amanda Manitach encoremediagroup.com Visual Arts Editor Barry Johnson Associate Digital Editor Encore Stages features the following organizations: Paul Heppner President Mike Hathaway Vice President Genay Genereux Accounting & Office Manager Sara Keats Marketing Manager Ryan Devlin Business Development Manager Corporate Office 425 North 85th Street Seattle, WA 98103 p 206.443.0445 f 206.443.1246 [email protected] 800.308.2898 x105 www.encoremediagroup.com Encore Arts Programs is published monthly by Encore Media Group to serve musical and theatrical events in the Puget Sound and San Francisco Bay Areas. -
AKIO TAKAMORI Represented by Frank Lloyd Gallery
AKIO TAKAMORI Represented by Frank Lloyd Gallery Born in 1950, Nobeoka, Miyazaki, Japan Studio in Seattle, WA Professor University of Washington, Seattle EDUCATION 1976-78 MFA, New York State College of Ceramics, Alfred University 1974-76 BFA, Kansas City Art Institute, Kansas City, Missouri 1972-74 Apprentice, Traditional Domestic Production Pottery, Koshiwara, Japan 1969-71 Musashino Art College, Tokyo, Japan HONORS AND AWARDS 2011 The USA Ford Fellowship 2008 Neddy Artist Fellowship for Painting and Ceramics, Seattle, Washington 2006 Joan Mitchell Foundation 2003 Flintridge Foundation Awards for Visual Artists 2001 Virginia A. Groot Award 1996 Fellowship at Keramisch Werkcentrum, s’Hertogenbosch, The Netherlands 1993 Fellowship at Keramisch Werkcentrum, s’Hertogenbosch, The Netherlands EXHIBITIONS One Person 2014 New Work, Frank Lloyd Gallery, Santa Monica, California 2013 Portraits Ordinaires, Ariana Museum, Geneva, Switzerland Akio Takamori, Collection Ateliers d’Art de France, Paris, France Lust, Red Star Studios, Kansas City, Missouri Ground, James Harris Gallery, Seattle, Washington 2012 Equivalents, Kunstforum Solothurn, Solothurn, Switzerland People/Alphabet, Barry Friedman Ltd, New York 2011 Boys, James Harris Gallery, Seattle, Washington 2010 A Recent Survey, Harvey/Meadows Gallery, Aspen, Colorado 2009 Europeans, James Harris Gallery, Seattle, Washington Alice/Venus, Barry Friedman, Ltd, New York Figures, Witte Zaal, Sint-Lucas Beeldende Kunst, Gent, Belgium Akio Takamori, Page 2 2007 New Work, Frank Lloyd Gallery, Santa -
Equalizing the Arts and the Humanities in San Francisco Nicole C
The University of San Francisco USF Scholarship: a digital repository @ Gleeson Library | Geschke Center Master's Projects and Capstones Theses, Dissertations, Capstones and Projects Winter 12-16-2016 History in Collaboration: Equalizing the Arts and the Humanities in San Francisco Nicole C. Meldahl University of San Francisco, [email protected] Follow this and additional works at: https://repository.usfca.edu/capstone Part of the American Art and Architecture Commons, Arts Management Commons, Comparative Philosophy Commons, Cultural History Commons, History of Philosophy Commons, Intellectual History Commons, Other Public Affairs, Public Policy and Public Administration Commons, Policy History, Theory, and Methods Commons, Political History Commons, Public Affairs Commons, Public History Commons, Real Estate Commons, Strategic Management Policy Commons, United States History Commons, and the Urban Studies Commons Recommended Citation Meldahl, Nicole C., "History in Collaboration: Equalizing the Arts and the Humanities in San Francisco" (2016). Master's Projects and Capstones. 470. https://repository.usfca.edu/capstone/470 This Project/Capstone is brought to you for free and open access by the Theses, Dissertations, Capstones and Projects at USF Scholarship: a digital repository @ Gleeson Library | Geschke Center. It has been accepted for inclusion in Master's Projects and Capstones by an authorized administrator of USF Scholarship: a digital repository @ Gleeson Library | Geschke Center. For more information, please contact [email protected]. History in Collaboration: Equalizing the Arts and Humanities in San Francisco Keywords: museum studies, city government, nonprofit, public-private partnerships, humanities, San Francisco history By Nicole Christin Meldahl Capstone project submitted in partial fulfillment of the requirements for the Degree of Master of Arts in Museum Studies Department of Art + Architecture University of San Francisco Faculty Advisor: Stephanie A. -
Public Art Boot Camp
Seattle Office of Arts & Culture Public Art Boot Camp 2015 - 2018 Grass Blades, John Fleming; Black Teen Wearing Hoodie, Jasmine Brown; A Salish Welcome, Marvin Oliver; Bamboozled, Shawn Parks photo credits: Minh Carrico, Ben Benschneider, Marvin Oliver, Minh Carrico 2 PUBLIC ART BOOT CAMP The Seattle Office of Arts & Culture (ARTS) was the second US city to adopt a percent for art program in 1973. As the city has grown and expanded; so too has the public art program and the Office itself. One current goal of the public art program is to address historic and current institutional racism, or at the very least the paucity of artists of color working in the public realm. Beyond fixing education at its most basic level and addressing economic disparity, there are steps that a local arts agency can take to train and help the next generation of public artists. ARTS has been tackling this problem through capacity building. In 2003, ARTS created its first public art training program known as the Emerging Public Artists Roster program, designed to introduce regional artists to the idea and practice of public art. In 2015, ARTS transformed the program into Public Art Boot Camp, but this time the goal was to advance racial equity by centering artists of color and providing them the information and experience they needed to enter the niche world of public art. ARTS staff focused the program on artists of color because public art and the art world overall are predominately white, in administration, policy, and art making. In order to advance racial equity in Seattle’s public art program, we needed to provide training and opportunities to artists of color who otherwise aren’t able to access the same knowledge and resources.