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Seattle100 PORTRAIT OF A CITY PHOTOGRAPHS & WORDS BY CHASE JARVIS For Kate Seattle100 PORTRAIT OF A CITY New Riders 1249 Eighth Street Berkeley, CA 94710 510/524-2178 510/524-2221 (fax) Find us on the web at www.newriders.com To report errors, please send a note to [email protected] New Riders is an imprint of Peachpit, a division of Pearson Education Copyright 2011 © by Chase Jarvis All book photographs © Chase Jarvis Artist bio photo © Mitch Moquin Editor: Ted Waitt Production Editor: Lisa Brazieal Interior Design: Lou Maxon Indexer: James Minkin Cover Design: Lou Maxon Cover Images: Chase Jarvis Notice of Rights All rights reserved. No part of this book may be reproduced or transmitted in any form by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. For information on getting permission reprints and excerpts, contact [email protected]. Notice of Liability The information in this book is distributed on an “As Is” basis without warranty. While every precaution has been taken in the preparation of the book, neither the author nor Peachpit shall have any liability to any person or entity with respect to any loss or damage caused or alleged to be caused directly or indirectly by the instructions contained in this book or by the computer software and hardware products described in it. Trademarks Many of the designations used by manufacturers and sellers to distinguish their products are claimed as trademarks. Where those designations appear in this book, and Peachpit was aware of a trademark claim, the designations appear as requested by the owner of the trademark. All other product names and services identified throughout this book are used in editorial fashion only and for the benefit of such companies with no intention of infringement of the trademark. No such use, or the use of any trade name, is intended to convey endorsement or other affiliation with this book. ISBN 13: 978-0-321-74372-5 ISBN 10: 0-321-74372-5 9 8 7 6 5 4 3 2 1 Printed and bound in China Acknowledgements Had it not been for a lot of people coming together over the course of two years, this project would still be just a kernel of an idea bouncing around inside my little brain. Of course, thank you to the 100—actually the 106—who are in this book. Thank you all for making time out of your busy schedules to sit (or stand or roll around on the floor) for me, and to share your ideas on who else in your circles might be a good fit for the project. Ultimately, it was all of you who helped the intimation of a list in my head grow into what’s found in these pages. Thank you. It’s unlikely that anyone who’s not involved with feature film productions or large-scale project management could easily understand what a colossal cluster it is to produce a project like this. Put aside my traveling 150,000 miles per year for a moment, and just consider the schedules of these 106 subjects. And many of these subjects are actually 3, 5, 10, or more people in and of themselves. You get the picture. I want to thank my team that started this project, as well as the team that finished it. As such, the wrangling of all this couldn’t have happened without absolutely superstar production, to which I owe a huge debt of gratitude. Thank you, Kate. You have been amazing. My wife, my rock. Mikal, your wrap-up on this book has been a true gift. Were it not for the producers keeping this project on track, I’d still be floundering over the first round of subjects, and we wouldn’t have eaten a thing or had even one glass of champagne. Thank you. To my photo crew: Scott, Dartanyon, Norton, and Erik. I owe you guys, big time. You must have thought I was nuts when we launched the project, but thanks for sticking with it. Managing the data was an enormous undertaking in its own right. Terabyte after terabyte. Picture after picture. Video clip after video clip. I’m quite certain we shot over 30,000 images for this humble little project, not to mention the hours of behind-the-scenes video. And to edit a project like this? I wouldn’t wish it on my worst enemy. Narrowing hun- dreds of pictures for each subject down to an essential one or two or three was grueling. One. At. A. Time. ’Twas torture, really. But in a sicko sort of way, I loved it and I hope you did, too. Of course, each digital file still needs massaging into the right balance of blacks and whites. On a deadline, no less. I am sad that we had to leave so many gems out of the book... Which brings me to the website—a whole other endeavor. I’m grateful that so many more pictures get to reside there. However, the creation of the digital aspect of this project is/was a monster unto itself, as well. You’re starting to get the picture. The list goes on. And finally, how is it that a project that’s been in the works for two years requires packaging and shipping it off to the printer in a two-week window? I take the blame for that one. But it made us stronger. And it made the photos more cohesive. And, strangely, I believe it made the project better. Thank you, thank you everyone. To the hair and makeup artists who were there for us so many times, at all hours, on all days: thank you. Alvin Stillwell, you did a lot of the heavy lifting. Gracefully. Dawn Tunnell, Erin Skipley, Stacy Canon, and Tara Correll: thank you for your skills and your flexibility. A debt I owe. All of you stylists faced the 10-hour days and the 30-minute days, and you just kept at it, regardless of my requests for powder or a hurried touch-up. You refreshed the 100 when they needed it, and you stayed true to those who just wanted that errant pimple covered up, and others still whom you made up as if it were their finest hour. Thank you. To Lou Maxon, the firepower behind the design of this gorgeous pile of paper: thanks for the long hours on a short timeline. I love where it ended up. To Mitch Moquin, thank you for my bio photo. To my editor, Ted. You are the finest editor there is. Hands down. Thank you for helping me make the book that I wanted to make. The intense final hours of this project won’t soon disappear from my mind. And to the rest of the Pearson crew: thank you for helping me go to press, make this unique dream come true and, especially, to democratize the price point of this book. Yes, I know a 240-page, large-format art book should cost twice as much as this does—or more. I know it’s against all models and all P&Ls, and that it doesn’t pencil out. But thank you for helping me make a book that is more affordable for a wider range of the world. Of course, to my family, core and extended: your unending support has been a driving force in my life. Thank you. I love you. To all: what matters most is that we didn’t just talk about it, we did it. About the Artist Born, raised, and currently residing in Seattle, Chase Jarvis is well known as a visionary photographer, director, pro- vocateur, and social artist with a consistent ambition to break down—even explode—the traditional silos where ideas reside, especially including the traditionally opposed notions of fine art and commercial art. While much of his focus is, on the surface, based in visual and representational art, his most profound interests lie in conceptual and informa- tional art—and where they intersect. His personal work has earned the attention of gallerists and curators in the USA and abroad, he has won numerous awards for his commercial campaigns, and he is widely recognized for his entrepreneurial acumen. Chase has been featured in print, web, and broadcast—including photography, film and video trades, celebrity, news, and popular culture media—worldwide. A gifted leader with boundless energy, Chase finds time amidst his creative ambitions to cultivate communities, unite disparate cultures, and volunteer with numerous organizations around the globe. And he wants you to know that, while he approved this statement, his publisher wrote it with all the right pizzazz and buzz words. Introductory Remarks and Artist’s Statement I’ve told this backstory 100 times already—once to each of the And then I broke through. The project I was seeking wasn’t with individuals or groups featured herein—and now this 101st time to you. someone on the list, the project was the list. And that list needed to grow and be shared. Background The majority of the work I do making photographs and films happens far Photographically, this project was launched for myself. It was a personal away from Seattle. Whether it’s fine art or advertising work, Seattle is not project—not commissioned, not guided, and with no objective goal in the hub that cities like New York, Los Angeles, London, or Tokyo are for sight. However, as the project grew and evolved, it became clear that these sorts of things, so it’s in those cities and others like them where I what I was aiming to create was more than a series of portraits.
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    tEbe ~a~bington J}i~torical auarterlp CHIEF SEATTLE AND ANGELINE Seattle, whose name the Queen City so proudly bears, as a yriJ!; :-- man was large of stature, dignified presence, of much natural po.' ,~ItiJ- .d a recognized leader among the tribes on Puget Soun" The environment of the natives of Washington, west of the Cascade Mountains, did not serve to bring out great capacity of leadership, or of nobility of character. Since their history has been known they were always a subject people. Before the coming of the whites they were hemmed in by fierce, treacherous, warlike and maurauding people on the north, and by an equally warlike and dominant, though not so bloodthirsty, people east of the mountains. With the latter there was some intermarriage and usually amicable relations. Their life was one of little more than bare existence. Food they had in plenty; the waters of the Sound and of its rivers abounded with all kinds of fish and shellfish in all seasons of the year; multitudes of aquatic and land birds were everywhere; elk and deer roamed in all directions and were alike the prey of the Indian hunter and the cougar and wildcat; berries grew luxuriantly in the forests and the prized camas bulb in quantities on the prai­ ries. In the summer time little raiment was worn, and for winter garments skins and furs, supplemented by blankets woven from feathers, hair and the inner bark of the cedar served at least to cover their nakedness. Long after the coming of the Hudson's Bay Company there was no money in circulation; all interchange of commodities was by barter.