DOCSLIB.ORG

Planning West 5NKTLDÐÐlð-TLADQÐÐlð2tlldqð

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Planning West 5NKTLDÐÐlð-TLADQÐÐlð2tlldqð Planning West 5NKTLDÐÐlÐ-TLADQÐÐlÐ2TLLDQÐ /(!"Ð"NMEDQDMBDÐ/GNSNR Ð /(!"Ð V@QCR /TAKHBÐ QS "QNVCRNTQBHMF MCÐLNQD /QDRHCDMSiRÐ,DRR@FD by Joan Chess-Woollacott, MCIP It is a great honour to be stepping into the role of President of our professional Institute for the next two years; admittedly with a mixture of excitement as well as a bit of “yikes—here we go!” First, I wish to thank all of our out-going Council members for their contribu- tions over the past two years—and longer in many cases—and look forward to working with our new Council. Second, I wish to extend my congratulations to the 2011 conference organizers for providing a fabulous event in Nanaimo and attracting the largest number of delegates in PIBC’s history. One thing that continues to strike me, whether in talking to PIBC colleagues or others during my day job, is the immense variety in the communities, landscapes and planning issues across BC and the Yukon. Within this variety however are many common themes—working with communi- ties, elected decision makers, all orders of government, volunteer organizations, the private sector, budgets, time lines and professionals from other disciplines. Working beside you is PIBC—promoting excellence in planning practice, provid- LQJVHUYLFHVWR\RXWKHPHPEHUVDQGUDLVLQJWKHSURíOHRIRXUSURIHVVLRQ To help Council focus its efforts for the next two years, we’ll be holding an orientation and strategic planning session in August. There are many exciting changes and challenges ahead. The newly approved CIP bylaws on membership stan- dards and processes stemming from the major Planning for the Future project will also require PIBC to amend its bylaws DQGSURFHVVHVIRUFRQVLVWHQF\$VZHOOWKHUHDUHDQXPEHURIRQJRLQJVLJQLíFDQWLQLWLDWLYHVVXFKDVFRPPXQLFDWLRQV and outreach, exploring professional legislation, and further enhancing our Continuing Professional Development (CPD) system and programming. There’s never a dull moment, and I look forward to working with everyone, and on your behalf in the coming years. + "NMSDMSR Editor’s Note ........................................................ 3 Exploring Resiliency in the Fraser Valley ..........15 Crowd Sourcing ................................................. 16 %D@STQDR Legal update ......................................................17 New BC FCIP .........................................................3 PIBC 2011 Conference Photo Highlights ............4 (MRSHSTSDÐ-DVR PIBC 2011 Conference Highlights .......................5 2011 AGM Notes ............................................... 19 PIBC 2011 Awards ................................................8 PIBC Council Notes ............................................ 21 Green Neighbourhoods .................................... 12 Membership Committee Report .......................23 Healthy Communities Conference ................... 14 Ð /K@MMHMFÐ6DRS $CHSNQiRÐ-NSD by Siobhan Murphy, MCIP For our summer issue, the cover features a shot of part of a public art installation that is part of the Seattle Public Utilities drainage channel improvements that border the Thornton Place property, which is a new Town Centre in North Seattle. These are called the “Bad Buoys”, which DUHODUJHRUDQJHDQGEOXHEDOOVWRSSHGZLWKVSLUHVRIGLVNVWKDWîRDWLQWKHPLGGOHRIDSRQG Please see Allyson Friesen’s article on Public Art and Neighborhood Revitalization in this issue. The photo was taken by John Steil. his issue is also jam packed with the outcomes from our Congratulations to all the winners! There are also articles re- annual PIBC Conference. It was held over three days at garding the outcomes from the Annual General Meeting that Tthe end of May, beginning of June, with approximately was held during the conference including our newly elected 450 planners attending. There were excellent keynote speakers, PIBC Council. diverse sessions and social activities; something for a range of planning tastes. Many thanks to Mark Holland, Greg Mitchell, Finally, there is a selection of reviews on planning issues such John Steil, Ione Smith, Aviva Savelson, Cariad Garratt, Rich- as Health and Community Design, a one-day conference put on ard Giele and Mark Pickersgill for their contributions! Other by the PIBC Fraser Valley Chapter on Resiliency and a review conference-related articles feature the PIBC Awards for Plan- on CrowdSourcing—which is a new way to utilize technology to + ning Excellence, and the new Planner of the year for 2011. get community input. Enjoy! New BC Fellow of Canadian Institute of Planners ,@QS@Ð%@@QU@@F At the Canadian Institute of Planners National Conference in St. John’s, Newfoundland (July 10-13), BC practitioner Marta Faarvaag was recognized for her achievement in profes- sional practice and community and leadership in the profession. Marta Farevaag is a partner of Phillips Farevaag Smallenberg, a Vancouver-based con- VXOWLQJíUPLQ3ODQQLQJ8UEDQ'HVLJQDQG/DQGVFDSH$UFKLWHFWXUHZLWKDZDUGZLQQLQJ SURMHFWVDFURVV&DQDGDDQGLQWHUQDWLRQDOO\0DUWDSDUWLFLSDWHVLQPDQ\RIWKHíUPªVPXO- tidisciplinary urban design projects as the urban planner on the team, often with a role in community consultation and communications. Her areas of expertise include major park and university campus master plans, downtown and waterfront redevelopment, cultural and heritage landscapes, and public realm strategies. 0DUWDKDVEHHQDFWLYHLQXUEDQLVVXHVLQFOXGLQJUROHVDVD'LUHFWRURIWKH9DQFRXYHU/HDJXH organizing free public lectures by noted designers, a member, and Chair in her last year, of WKH9DQFRXYHU&LW\3ODQQLQJ&RPPLVVLRQDQGDPHPEHURIWKH9DQFRXYHU8UEDQ'HVLJQ Panel and the Chinatown Historic Area Planning Committee. She is currently the Chair of the Vancouver Heritage Foundation. Congratulations, Marta! 2TLLDQÐÐ PIBC 2011 Conference in Nanaimo /GNSNÐ'HFGKHFGSR Nearly 450 members and delegates gathered in Nanaimo, BC, between May 31st and June 3rd for the PIBC 2011 Annual Conference & AGM. The Planning Tapestry: Weaving Our Way Together was the conference theme, framing the wealth of plenary sessions, keynote speakers, workshops, presentations, and mobile tours that made up the conference program. Clockwise from top left: PIBC Past President & CIP Representative Hazel Christy, MCIP speaks about the local winners of CIP’s Great Canadian Places program. Mountain biking Chili Cook-off Planners kayak around Newcastle Island on Wednesday, June 1st Exhibitors and sponsors displaying their services and connecting with delegates at the conference. Felice Mazzoni, MCIP, of conference sponsor Focus Corporation, and 2011 Conference Chair Deborah Jensen, MCIP attending the gala reception & banQuet. Felice is wearing most of his gorilla costume, which was a big feature in his Guerrilla Planning and Public Engagement in BC Communities presentation. Focus Corporation practitioner Jason Niles worked with the Jasper Sustainability Club for Youth during the conference to produce a video about Planning over 24 hours and present it. Then they drove all the way back to Jasper for their high school graduation: Doug Matthews, Heidi Schaefer, Chris Gil, Felice Mazzoni (Focus), Adam Robb, Jason Niles (Focus), Lisa Moffatt (Focus), Richard Giele (Focus), Geoff Dick, Siobhan Murphy (Focus) Ð /K@MMHMFÐ6DRS PIBC 2011 Conference in Nanaimo "NMEDQDMBDÐ'HFGKHFGSR he annual PIBC conference is a time to meet with col- our lives. The Story of Stuff has been so successful that there leagues, learn new things and have some fun. This year’s is a website with additional information and links, including Tconference was jam-packed with excellent key note educational curriculum for children, and a leadership train- speakers, outdoor activities, and diverse sessions on a range of ing program through the Rockwood Institute. Check it out at planning issues. There was also our premiere gala event where www.storyofstuff.com/teach.php we honour our colleagues by recognizing their planning excel- OHQFHLQDUDQJHRIFDWHJRULHVWKDWUHîHFWWKHGLYHUVHDUHDVRI The following morning kicked off with a presentation from our profession. (see Noha Sedky’s article on the PIBC Awards in Wendy Holm on the issue of food security and food sover- this issue). Congratulations to all the winners and to all of the eignty. Beginning with a discussion of the increased interest excellent submissions that were received this year! in food related issues (check out the millions of people now playing online Farmville), Wendy provided an overview of the 2XU FRQIHUHQFH IHDWXUHG íYH H[FHOOHQW NH\QRWH VSHDNHUV 7R political challenges related to local versus large scale food pro- kick off the conference on Wednesday morning, renowned duction. She also provided a number of examples from Canada public speaker and Planner of the Year 2010, Mark Holland and around the world (for example, Cuba) to emphasize some At keynote made the case that “planning” is the profession of of these issues, ranging from milk products to pork to local the 21st century. However, he stressed that we must separate IRRGSURGXFWLRQ8OWLPDWHO\VKHFKDOOHQJHGSODQQHUVWRDGGUHVV our “job descriptions” as planners from the deeper ethos and some of these issues not normally the main focus of ‘planning’, imperative of being a “planner.” The core assumptions behind and pushed us to strengthen the connection between urban and the civilization we have built are now being challenged as we rural development and food security, thereby improving our íQG RXUVHOYHV QRW RQO\ PDQDJLQJ RXU FRPPXQLWLHV DQG RXU KHDOWKDQGVHOIVXIíFLHQF\ economy, but increasingly we are now managing a planet. On Thursday afternoon, Christ Turner, the author
Load more

Recommended publications
  • Bustersimpson-Surveyor.Pdf
    BUSTER SIMPSON // SURVEYOR BUSTER SIMPSON // SURVEYOR FRYE ART MUSEUM 2013 EDITED BY SCOTT LAWRIMORE 6 Foreword 8 Acknowledgments Carol Yinghua Lu 10 A Letter to Buster Simpson Charles Mudede 14 Buster Simpson and a Philosophy of Urban Consciousness Scott Lawrimore 20 The Sky's the Limit 30 Selected Projects 86 Selected Art Master Plans and Proposals Buster Simpson and Scott Lawrimore 88 Rearview Mirror: A Conversation 100 Buster Simpson // Surveyor: Installation Views 118 List of Works 122 Artist Biography 132 Maps and Legends FOREWORD WOODMAN 1974 Seattle 6 In a letter to Buster Simpson published in this volume, renowned Chinese curator and critic Carol Yinghua Lu asks to what extent his practice is dependent on the ideological and social infrastructure of the city and the society in which he works. Her question from afar ruminates on a lack of similar practice in her own country: Is it because China lacks utopian visions associated with the hippie ethos of mid-twentieth-century America? Is it because a utilitarian mentality pervades the social and political context in China? Lu’s meditations on the nature of Buster Simpson’s artistic practice go to the heart of our understanding of his work. Is it utopian? Simpson would suggest it is not: his experience at Woodstock “made me realize that working in a more urban context might be more interesting than this utopian, return-to-nature idea” (p. 91). To understand the nature of Buster Simpson’s practice, we need to accompany him to the underbelly of the city where he has lived and worked for forty years.
    [Show full text]
  • 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.
    [Show full text]
  • WATERFRONT Photographic Interlayer
    • 61, 64 67 Seattle Cloud Cover, DENNY WAY Myrtle Teresita Fernández, 2006. Edwards Park Laminated glass wall with C1 WATERFRONT photographic interlayer. Seattle Art Museum BAY ST Collection. ON RAILROAD OVERPASS. • 63 MYRTLE EDWARDS PARK WATERFRONT, NORTH OF BAY STREET. • 62 EAGLE ST 68 Father and Son, Louise Olympic 61 Undercurrents, Laura 64 Adjacent, Against, Sculpture Bourgeois, 2005. Stainless Park Haddad and Tom Drugan, Upon, Michael Heizer, steel and aluminum • 67 BROAD ST 2003. Stainless steel, concrete, 1976. Concrete and granite • 66 • 65 fountain and bronze • 68 stone and landscaping. King sculpture. bell. Seattle Art Museum County Public Art Collection CLAY ST Collection. ALASKAN WAY AND (4Culture). BROAD STREET. CEDAR ST BELL STREET PIER VINE ST 69 Bell Harbor Beacon, Ron Fischer, 1996. Painted steel WALL ST and light sculpture. Port of Seattle Art Collection. BELL ST ALASKAN WAY BETWEEN LENORA AND VIRGINIA STREETS. BLANCHARD ST SEATTLE AQUARIUM ALASKAN WAY PIER 59 AND PIER 60. 70 The Wave Wall, Susan Zoccola, 2007. White paneling. Seattle Parks LENORA ST PHOTO: MICHAEL HEIZER. and Recreation Collection. RECEPTION AND FOYER. SEATTLE ART MUSEUM, OLYMPIC SCULPTURE PARK 69 • VIRGINIA ST 2901 WESTERN AVE. SELECTED ARTWORKS AT LOCATION. WATERFRONT PARK ALASKAN WAY AND UNION STREET. 62 Eagle, Alexander Calder, 65 Neukom Vivarium, Mark 1971. Dion, 2006. Painted steel sculpture. Mixed-media 71 Waterfront Fountain, Seattle Art Museum Collection. WATERFRONT installation and custom James Fitzgerald and Z-PATH BETWEEN NORTH AND WEST greenhouse. Seattle Art 1974. MEADOWS. Margaret Tompkins, Museum Collection. ELLIOTT AVE. Seattle 74 Aquarium • AND BROAD STREET. Bronze fountain. • 70 PIKE ST 63 Wake, Richard Serra, 2004.
    [Show full text]
  • Essay by Paul Nelson | Update 6 the MUD Proposal 2019
    The MUD Proposal 6th Update, Dec 2019 Neukom Vivarium Variations & Yard Work Paul E. Nelson Seattle Poetics Lab • Seattle, Washington The MUD Proposal 6th Update, Dec 2019 Published by: Seattle Poetics Lab Seattle, Washington www.PaulENelson.com www.Splab.org Neukom Vivarium Variations & Yard Work: Poetry Copyright 2018 Paul E. Nelson All rights reserved. No part of this work may be reproduced or transmitted in any form or by any means, electronic or mechanical, photocopying, recording, or by any information retrieval or storage system without the express written permission of the author except in the case of short excerpts used in critical review. Printed in the United States of America Front cover image: Bryan King The MUD Proposal 6th Update, Dec 2019 These Days whatever you have to say, leave the roots on, let them dangle And the dirt Just to make clear where they come from - Charles Olson The MUD Proposal 6th Update, Dec 2019 Neukom Vivarium Variations Prelude The Neukom Vivarium’s open when it wants to be when train traffic the slowest ever train traffic when train traffic shuts down Broad at Alaskan a volunteer docent may be winding their way there. More salmon ladder than Calder Mark Dion’d say speaks of Nurse Log as dead tree art more idea than product, more “sculpture as process” as the living feeds on dead and dying (like capitalism.) The BNSF freight train lurches to a start starts a chain reaction of boxcars clinking “GO.” Motorists idle engines, wipers wipe away rain blocks view of no cars moving, inch forward / wait closer.
    [Show full text]
  • Olympic-Sculpture-Park.Pdf
    Peer Reviewed Title: Olympic Sculpture Park - Seattle, WA by Weiss/Manfredi Architecture/Landscape/Urbanism [EDRA/Places Awards 2008 -- Design] Journal Issue: Places, 20(3) Author: Huber, Nicole Publication Date: 2008 Publication Info: Places Permalink: http://escholarship.org/uc/item/0m63s4h1 Acknowledgements: This article was originally produced in Places Journal. To subscribe, visit www.places-journal.org. For reprint information, contact [email protected]. Keywords: places, placemaking, architecture, environment, landscape, urban design, public realm, planning, design, volume 20, issue 3, design, award, 2008, Weiss, Manfredi, Urbanism Copyright Information: All rights reserved unless otherwise indicated. Contact the author or original publisher for any necessary permissions. eScholarship is not the copyright owner for deposited works. Learn more at http://www.escholarship.org/help_copyright.html#reuse eScholarship provides open access, scholarly publishing services to the University of California and delivers a dynamic research platform to scholars worldwide. Olympic Sculpture Park—Seattle, WA Weiss/Manfredi Architecture/Landscape/Urbanism When the Seattle Art Museum decided to build a down- tion but also creating sustainable new landforms, nurtur- town sculpture park in 1996, its plans could be described ing native plantings, reclaiming a section of shoreline, and only as extraordinarily ambitious. The site chosen was rebuilding underwater habitat. an 8.5-acre industrial brownfield incorporating a drop of Backed by significant operating endowment from the more than forty feet from street level to the waterfront, family of Microsoft’s former CEO Jon Shirley and large sliced into three by active railroad tracks and an arterial capital donations by others, and with the assistance of the road. Yet, in addition to restoring public access to the Trust for Public Land, the Seattle Art Museum bought city’s waterfront across this site and establishing it as a the property in 1999.
    [Show full text]
  • The Role of Art in the Global Climate Change Movement
    THE ROLE OF ART IN THE GLOBAL CLIMATE CHANGE MOVEMENT BY AMANDA GORSEGNER THE ROLE OF ART IN THE GLOBAL CLIMATE CHANGE MOVEMENT A Thesis Submitted to the Faculty of Drexel University by Amanda Gorsegner in partial fulfillment of the requirements for the degree of Master of Science in Arts Administration March 2016 © Copyright 2016 Amanda Gorsegner. All Rights Reserved. ii DEDICATIONS Dedicated to my daughter, Dottie Bear, who brings fresh perspective to my world every day, to my supportive husband, Brian, who grounds me when my ambitions are a little too grandiose, and for the Earth, that is vital for life and inspiration—worth the daily struggle of advocacy. iii ACKNOWLEDGMENTS I would like to thank my advisors, Dr. Jean Brody and Dr. Andrew Zitcer, for their guidance and instruction during the past year in the creation of the work herein. I would also like to acknowledge the pivotal role that Dr. Joe Smith played in the initial direction of this paper. His insights and vast experiences at the intersection of culture and climate change opened up my brain to new ways of thinking about the role and function of arts and culture in the contemporary global climate change movement. Lastly, I would like to thank all seven conversational partners who allowed me their time, experiences and opinions during in-depth interviews. iv TABLE OF CONTENTS LIST OF FIGURES .................................................................................................................................... V ABSTRACT ..............................................................................................................................................
    [Show full text]
  • Performing Ecological Loss in Contemporary Art
    The Art of Losing: Performing Ecological Loss in Contemporary Art Hana Nikčević Department of Art History and Communication Studies McGill University, Montreal, Quebec March 2021 A thesis submitted in partial fulfillment of the degree of Master of Arts in Art History © Hana Nikčević, 2021 TABLE OF CONTENTS ABSTRACT ...................................................................................................................................... 3 ACKNOWLEDGEMENTS .............................................................................................................. 4 INTRODUCTION: The art of losing............................................................................................... 5 Loss and representation ............................................................................................................................. 7 Performing loss........................................................................................................................................ 12 Three-chapter structure............................................................................................................................ 13 CHAPTER ONE: The arts of noticing: Mark Dion’s The Life of a Dead Tree ............................ 16 Ecological noticing .................................................................................................................................. 21 Seeing like a naturalist; seeing like an ethnographer .............................................................................
    [Show full text]
  • USACE Existing Conditions Report
    Existing Conditions Report Alaskan Way Seawall Replacement Project Feasibility Study U.S. Army Corps of Engineers October 2008 Existing Conditions Report Alaskan Way Seawall Replacement Project Feasibility Study Environmental Impact Statement—Existing Conditions Prepared for: U.S. Army Corps of Engineers Seattle District 4735 East Marginal Way South Seattle, WA 98124 Contact: Pat Cagney 206/764-3654 October 2008 Table of Contents Chapter 1. Introduction .......................................................... 1-1 Chapter 2. Existing Conditions .......................................... 2.1-1 2.1. Transportation..................................................................2.1-1 2.1.1. Introduction and Overview .....................................2.1-1 2.1.2. Study Area .............................................................2.1-1 2.1.3. Methodology ..........................................................2.1-2 2.1.4. Highways and Streets ............................................2.1-4 2.1.5. Parking.................................................................2.1-10 2.1.6. Movement of Goods.............................................2.1-13 2.1.7. Transit..................................................................2.1-13 2.1.8. Waterborne Transportation ..................................2.1-15 2.1.9. Non-motorized Transportation..............................2.1-18 2.1.10. Railroad Operation.............................................2.1-23 2.2. Land Use and Shorelines.................................................2.2-1
    [Show full text]
  • Guide S3cover
    Serra, Smith, Stockholder, Wilson Serra, Smith,Stockholder, Wilson Lin, P and Soloists visit: ic statestandards forallfeaturedlessonplans.T linkstospecif- andPerforming Arts. OnlineLesson Library providesconnectionsto thenationalstandardsandWeb Social Studies,and Visual The EducationStandards National andState Ar Subject Area Title Artists Subject Area Title Ar Subject Area T www.pbs.org/art Ritual &Commemoration Ar Subject Area Title Ar Subject Area T Ar Subject Area Title www.pbs.org/art Labor &Craftsmanship Artists Subject Area Title Artists Subject Area Title Artists Subject Area Title www.pbs.org/art Abstraction &Realism Smith, Suh,W Chin, Hamilton,Murray Hawkinson, Marshall,Rothenberg,Walker W Rothenberg, Sugimoto, Walker Ritchie, Puryear, Osorio, Pettibon, www.pbs.org/art map site library online lesson itle itle alker tists tists tists tists tists www T New Rituals Honoring HeroesandHistory Remaking My Converging Media Dictators, Collaborators,Managers, Looking atLikeness C ettibon, P Describing theReal raditional Crafts,ContemporaryIdeas artoon Commentary Antoni, Mann,Puryear Antoni, Nauman,Oro Bourgeois, Herring,Lin,Puryear, Hancock, Ritchie,Sikander Antoni, Applebroog,Barney Antin, Barney Antin, Hamilton,Hancock, Herrera,Marshall,Pettibon, Ford, Herrera,Murray, Ali, Antin,Ford, .pbs.org/art odiczko V Social Studies Language Arts Visual/Performing Social Studies Language Arts Visual/Performing Social Studies Language Arts 21 feiffer 21 21 isual/P 21 /education/abstraction /education/ritual /education/labor /education/onlinelessonlibrary.html
    [Show full text]
  • Jen Graves, “The 25 Greatest Works of Art Ever Made in Seattle (In No
    The 25 Greatest Works of Art Ever Made in Seattle(In No Particular Order) by Jen Graves March 3, 2009 Clockwise from top right: Details from works by Jeffry Mitchell, Alden Mason, Minoru Yamasaki, Alice Wheeler, and Dale Chihuly. For a slideshow of works mentioned below, click here. Alice Wheeler, Girl with Bowie Shirt, Hempfest, Seattle, 2005 Alice Wheeler has been taking extraordinary photographs for almost three decades, and every one is pure Wheeler. She's most known for her visions of Nirvana at their most innocent (many, unfortunately, in black- and-white), but her later works apprehend what didn't die with Kurt Cobain: the low-down, pioneer-meets- meth-lab weirdness of the Northwest behind the corporate facades. Girl with Bowie Shirt, Hempfest, Seattle has all the Wheeler hallmarks: the genderfucking, the masking and projection of identity, the nuclear color, the beautiful landscape harboring histories of wiped-out natives and Green River killer victims. Above all these, the vital element is the two-way gaze—one outsider (Wheeler) recognizing another outsider. Ann Hamilton, Accountings, 1992 Two hundred yellow-and-black-striped canaries flew free—in a museum. White walls had turned dark and warm by the sooty licks of a billion candles, wood floors were covered with hand-placed metal plates, and freestanding glass vitrines held piles of cast wax heads. The entire place was made strange and symbolic. This ineffable promenade of installations—people are still murmuring about it—happened because the Henry Art Gallery, under the direction of Richard Andrews, removed all typical resistance and gave itself completely to the artist.
    [Show full text]
  • Olympic Sculpture Park
    MAP & GUIDE WELCOME TO SEATTLE ART MUSEUM’S OLYMPIC SCULPTURE PARK SEATTLE’S GREEN SPACE FOR ART AND PEOPLE The award-winning Olympic Sculpture Park is downtown Seattle’s largest green space. Free and open to the public, the sculpture park provides a welcoming outdoor space year-round for everyone to experience art and the natural beauty of the Northwest. Wander the park to discover sculptures among native plants, dip your toes in Elliott Bay, or bike along the waterfront, taking in stunning views over Puget Sound to the Olympic Mountains. Stroll along the 2,200-foot Z-shaped path that zigzags from the pavilion to the water’s edge to tour the park and its surroundings. “We aspired to create a sculpture park at the intersection of the city and the water, and to define a new model for bringing art to the public,” said Marion Weiss of Weiss/Manfredi, the lead designers for the park. As a former industrial site, the sculpture park’s nine acres have undergone extensive restoration, achieving a range of environmental goals including brownfield redevelopment, creation of a Chinook salmon habitat and a pocket beach, extensive use of native plantings, and the capture and use of onsite rainwater. The sculpture collection features major works by influential artists from the past half-century up to the present day. Temporary art installations during summer months add vibrancy and an element of surprise to the park experience. The Olympic Sculpture Park was made possible by a public and private partnership that began with a collaboration between the Seattle Art Museum and the Trust for Public Land.
    [Show full text]
  • Exploring Sculpture Conservation in Seattle Margaret Burlingame
    Exploring Sculpture Conservation in Seattle Margaret Burlingame Greutert A thesis Submitted in partial fulfillment of the requirements for the degree of Master of Arts University of Washington 2017 Committee: Angelina Ong Jessica Luke Wilson O’Donnell Elizabeth Brown Program Authorized to Offer Degree: Museology © Copyright 2017 Margaret Burlingame Greutert University of Washington Abstract Exploring Sculpture Conservation in Seattle Margaret Burlingame Greutert Chair of Supervisory Committee: Jessica J. Luke, Ph.D. Museology Contemporary public sculptures in Seattle, at a glance, look everlasting, but they are difficult to maintain given material, environmental, social, and funding challenges. To make matters more complicated, they are also managed by different organizations—government, private, and public museums. At some point, these organizations will need to make maintenance and conservation decisions which will affect the future of sculpture in the area. This case study examines the conservation practices and philosophies of six Seattle art organizations representing government, private, and public museum collections. Semi-structured interviews were conducted with seven museum professionals. Results suggest that each type of art organization faces different circumstances that affect how they maintain their sculptures and they are starting to implement new conservation practices to maximize fixed resources. This study addresses a need to start examining organizational sculpture conservation practices and create a foundation to examine other aspects of public art conservation. EXPLORING SCULPTURE CONSERVATION 1 Acknowledgements This thesis would not have been possible without the constant support of my Museology cohort and my thesis advisor Angelina Ong lifting me up throughout the process. I want to thank my thesis committee Angelina Ong, Jessica Luke, Wilson O’Donnell, and Elizabeth Brown for all their constructive feedback during the design process, on the manuscript, and in our discussion during the defense.
    [Show full text]