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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. -
U.S. Pavilion Fact Sheet
U.S. PAVILION FACT SHEET The U.S. Pavilion at the Venice Biennale is a Palladian-style structure built in 1930 by the architects William Adams Delano and Chester Holmes Aldrich. The pavilion is situated within the Castello Gardens that house all the national pavilions of the Venice Biennale. In 1986, the Solomon R. Guggenheim Foundation purchased the U.S. Pavilion from The Museum of Modern Art, New York with funds provided by the Peggy Guggenheim Collection Advisory Board. Beginning in 1986 the Peggy Guggenheim Collection worked with the United States Information Agency (USIA) (1986-1999), the Fund for U.S. Artists at International Festivals and Exhibitions (1986-2003) and the U.S. Department of State (2000- present) in the organization of the visual arts and architecture exhibitions at the U.S. Pavilion. The official U.S. representation at the 52nd Venice Biennale has been organized by the Solomon R. Guggenheim Museum and is presented by the Bureau of Educational and Cultural Affairs of the U.S. Department of State. U.S. PAVILION COMMISSIONS 1986 - 2007 1986 42nd International Exhibition of Art Isamu Noguchi What is Sculpture? Organized by P.S.1, The Institute for Art and Urban Resources, Inc., Long Island City, New York Commissioner: Henry Geldzahler 1988 43rd International Exhibition of Art Jasper Johns Work since 1974 Organized by the Philadelphia Museum of Art Commissioner: Mark Rosenthal 1990 44th International Exhibition of Art Jenny Holzer The Venice Installation Organized by the Albright-Knox Art Gallery, Buffalo, New York Commissioner: -
Hans Ulrich Obrist a Brief History of Curating
Hans Ulrich Obrist A Brief History of Curating JRP | RINGIER & LES PRESSES DU REEL 2 To the memory of Anne d’Harnoncourt, Walter Hopps, Pontus Hultén, Jean Leering, Franz Meyer, and Harald Szeemann 3 Christophe Cherix When Hans Ulrich Obrist asked the former director of the Philadelphia Museum of Art, Anne d’Harnoncourt, what advice she would give to a young curator entering the world of today’s more popular but less experimental museums, in her response she recalled with admiration Gilbert & George’s famous ode to art: “I think my advice would probably not change very much; it is to look and look and look, and then to look again, because nothing replaces looking … I am not being in Duchamp’s words ‘only retinal,’ I don’t mean that. I mean to be with art—I always thought that was a wonderful phrase of Gilbert & George’s, ‘to be with art is all we ask.’” How can one be fully with art? In other words, can art be experienced directly in a society that has produced so much discourse and built so many structures to guide the spectator? Gilbert & George’s answer is to consider art as a deity: “Oh Art where did you come from, who mothered such a strange being. For what kind of people are you: are you for the feeble-of-mind, are you for the poor-at-heart, art for those with no soul. Are you a branch of nature’s fantastic network or are you an invention of some ambitious man? Do you come from a long line of arts? For every artist is born in the usual way and we have never seen a young artist. -
The Artists' View of Seattle
WHERE DOES SEATTLE’S CREATIVE COMMUNITY GO FOR INSPIRATION? Allow us to introduce some of our city’s resident artists, who share with you, in their own words, some of their favorite places and why they choose to make Seattle their home. Known as one of the nation’s cultural centers, Seattle has more arts-related businesses and organizations per capita than any other metropolitan area in the United States, according to a recent study by Americans for the Arts. Our city pulses with the creative energies of thousands of artists who call this their home. In this guide, twenty-four painters, sculptors, writers, poets, dancers, photographers, glass artists, musicians, filmmakers, actors and more tell you about their favorite places and experiences. James Turrell’s Light Reign, Henry Art Gallery ©Lara Swimmer 2 3 BYRON AU YONG Composer WOULD YOU SHARE SOME SPECIAL CHILDHOOD MEMORIES ABOUT WHAT BROUGHT YOU TO SEATTLE? GROWING UP IN SEATTLE? I moved into my particular building because it’s across the street from Uptown I performed in musical theater as a kid at a venue in the Seattle Center. I was Espresso. One of the real draws of Seattle for me was the quality of the coffee, I nine years old, and I got paid! I did all kinds of shows, and I also performed with must say. the Civic Light Opera. I was also in the Northwest Boy Choir and we sang this Northwest Medley, and there was a song to Ivar’s restaurant in it. When I was HOW DOES BEING A NON-DRIVER IMPACT YOUR VIEW OF THE CITY? growing up, Ivar’s had spokespeople who were dressed up in clam costumes with My favorite part about walking is that you come across things that you would pass black leggings. -
Oral History Interview with Jon Shirley, 2018 August 7-8
Oral history interview with Jon Shirley, 2018 August 7-8 Funding for this interview was provided by Barbara Fleischman. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a recorded interview with Jon Shirley on August 7 and 8, 2018. The interview took place at the home of Jon Shirley in Medina, Washington, and was conducted by Mija Riedel for the Archives of American Art, Smithsonian Institution, and the Frick Collection. Jon Shirley and Mija Riedel have reviewed this transcript. Their corrections and emendations appear below in brackets with initials. This transcript has been lightly edited for readability by the Archives of American Art. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview MIJA RIEDEL: This is Mija Riedel with Jon Shirley at his home in—Medina? JON SHIRLEY: Yes. MIJA RIEDEL: Medina, Washington, on August 7, 2018, for the Archives of American Art, Smithsonian Institution, and the Frick Collection. This is card number one. So, thank you for making time today and for showing me the extraordinary collection before we started. That was a real treat. JON SHIRLEY: Well, you're welcome. MIJA RIEDEL: So this house, as we were saying, was built in 2001 to house your collection. JON SHIRLEY: That's right. MIJA RIEDEL: Are the cars here as well? JON SHIRLEY: No, the cars are in a warehouse—that's about 12 minutes away. MIJA RIEDEL: Okay. -
Former Unocal Seattle Marketing Terminal, 3001 Elliott Avenue, Seattle, Washington
Imagine the result Chevron Environmental Management Company 2010 Summary Report and Risk Evaluation Former Unocal Seattle Marketing Terminal 3001 Elliott Avenue Seattle, Washington February 1, 2011 Table of Contents Acronyms and Abbreviations vi Executive Summary ES-1 1. Introduction 1 2. Site Background 2 2.1 Constituents of Concern 2 2.2 Elliott Avenue Area 3 2.3 Offsite Area 5 2.4 Geology and Hydrology 7 2.4.1 Elliott Avenue Area Geology 7 2.4.2 Offsite Area Geology 8 2.4.3 Groundwater Flow Direction and Gradient 8 2.4.4 Tidal Effects on Groundwater 9 2.5 Historical LNAPL Characterization 9 2.6 Second Semiannual Groundwater Monitoring Results 10 3. Subsurface Microbiological Characterization 11 4. Natural Attenuation Monitoring 13 4.1 Results 14 4.1.1 Elliott Avenue Area 14 4.1.2 Offsite Area 15 4.2 Capacity for Intrinsic Biodegradation of Petroleum Hydrocarbons 18 5. Piezometer Installation 20 5.1 Offsite Area Piezometer Installation 20 5.2 Elliott Avenue Piezometer Installation 21 5.3 Piezometer Installation Analytical Results 22 5.3.1 Offsite Area 22 5.3.2 Elliott Avenue Area 23 2010 Summary Report and Risk Evaluation_Former Unocal Seattle Marketing Terminal_020111 i Table of Contents 6. Well Development 24 6.1 New Piezometer Development 24 6.2 Existing Monitoring Well Redevelopment 25 7. Surfactant-Enhanced LNAPL Recovery Pilot Testing 26 7.1 Injection Methods 26 7.2 Injection Monitoring 26 7.3 Surfactant Extraction 28 7.4 Surfactant Monitoring Results 29 7.5 Surfactant-Enhanced LNAPL Recovery Pilot Test Conclusions 30 8. Hydraulic Conductivity Testing 31 8.1 Oil-Water Separator Maintenance 31 8.2 Pumping Tests 31 8.2.1 Step Drawdown Testing Field Methods and Results 31 8.2.2 Constant Rate Pumping Tests 35 8.3 Constant Rate Pumping Test Data Analysis 36 8.4 Constant Rate Pumping Test Results 37 8.5 MW-205 LNAPL Observation 40 9. -
Eun Sun Kim Conducts Prokofiev Price & Tchaikovsky
MARCH 2020 THOMAS DAUSGAARD, MUSIC DIRECTOR EUN SUN KIM CONDUCTS PROKOFIEV PRICE & TCHAIKOVSKY DAUSGAARD CONDUCTS STRAUSS’ SALOME ALSO THIS MONTH AUBREY LOGAN COUNT BASIE ORCHESTRA Trim: 8.375” x 10.875” Bleed: 8.625” x 11.125” My legacy. My partner. You have dreams. Goals you want to achieve during your lifetime and a legacy you want to leave behind. The Private Bank can help. Our highly specialized and experienced wealth strategists can help you navigate the complexities of estate planning and deliver the customized solutions you need to ensure your wealth is transferred according to your wishes. Take the first step in ensuring the preservation of your wealth for your lifetime and future generations. To learn more, please visit unionbank.com/theprivatebank or contact: Bjorn Stehr Director, Private Wealth Advisor 206-793-4120 [email protected] Wills, trusts, foundations, and wealth planning strategies have legal, tax, accounting, and other implications. Clients should consult a legal or tax advisor. ©2020 MUFG Union Bank, N.A. All rights reserved. Member FDIC. Union Bank is a registered trademark and brand name of MUFG Union Bank, N.A. CONTENTS MARCH 2020 4 / Calendar 6 / The Orchestra 54 / Benaroya Hall Guide FEATURES 5 / Community Connections 7 / Meet the Musicians 10 / On a High Note 12 / In Conversation with Thomas Dausgaard 55 / The Lis(z)t CONCERTS 14 / March 3 Aubrey Logan with the Seattle Symphony 17 / March 6 & 7 Bach & Telemann 23 / March 8 Celebrate Asia 26 / March 12 & 14 Tchaikovsky Symphony No. 5 AUBREY LOGAN 31 / March 13 14 Tchaikovsky Untuxed 33 / March 19 & 21 R. -
Press Release
PRESS Press Contact Rachel Eggers Manager of Public Relations [email protected] RELEASE 206.654.3151 JUNE 15, 2016 SUMMER AT SAM RETURNS TO OLYMPIC SCULPTURE PARK JULY 7—AUGUST 27, 2016 Activities and performances every Thursday and Saturday with highlights including Dog Night, Bike Night, and Sculptured Dance SEATTLE, WA – The Seattle Art Museum presents another season of Summer at SAM, held at the Olympic Sculpture Park July 7—August 27, 2016. Free activities and performances combining visual art, music, and community will take place every Thursday and Saturday. This year’s season is inspired by SAM’s special exhibitions at all three locations: Graphic Masters: Dürer, Rembrandt, Hogarth, Goya, Picasso, R. Crumb at the Seattle Art Museum; Mood Indigo: Textiles From Around the World at the Asian Art Museum; and Tamiko Thiel’s Gardens of the Anthropocene and Victoria Haven’s Blue Sun at the Olympic Sculpture Park. Highlights of this year’s Thursday evenings include Dog Night on July 21, Bike Night on August 4, and Sculptured Dance—created in partnership with the Pacific Northwest Ballet—on August 11. Saturdays now include additional 8 Limbs yoga sessions at 9 am and 10:30 am. Families are particularly encouraged to attend Family Field Day on July 23. Programming at the Olympic Sculpture Park is generously supported by Maggie & Doug Walker and Martha Wyckoff & Jerry Tone. All Summer at SAM programs are free, open to the public, and all-ages. For more information or to check the latest updates, head to visitsam.org/summer. Full schedule is below. 2 SUMMER AT SAM SCHEDULE All events at the Olympic Sculpture Park THURSDAY, JULY 7, 6 – 8 pm: Summer at SAM Kickoff Presented with Friends of Waterfront Seattle SAM Performs: 6:30 – 8 pm Deep Sea Diver Deep Sea Diver urgently and deliberately moves you from rock experimentation to dreamy soundscapes, from drum and bass grooves to angular danciness, and from full-fledged orchestration to bare bones simplicity. -
Sitelines.2014: UNSETTLED LANDSCAPES a Reimagined Biennial with a New Focus on Contemporary Art from the Americas
FOR IMMEDIATE RELEASE SITE Santa Fe Announces New Commissions and Opening Weekend Programming for SITElines.2014: UNSETTLED LANDSCAPES A reimagined biennial with a new focus on contemporary art from the Americas OPENING EVENTS JULY 17–19, 2014 IN SANTA FE, NEW MEXICO Santa Fe, New Mexico – May 29, 2014 - SITE Santa Fe is pleased to announce the new works and commissions and opening weekend programming for SITElines.2014: Unsettled Landscapes, the first edition of SITE Santa Fe’s new biennial series with a focus on contemporary art from the Americas opening July 20, 2014 and on view through January 15, 2015. Preview events will be held on July 17 - 19. SITElines signifies a radical rethinking of SITE Santa Fe’s signature biennial exhibition, originally established in 1995. It represents a collaborative structure for planning biennials, a vision for continuity between biennials, a commitment to community and place, and a dedication to new and under recognized art. Unsettled Landscapes is the first exhibition in the SITElines series. Unsettled Landscapes looks at the urgencies, political conditions, and historical narratives that inform the work of contemporary artists across the Americas. Through three themes—landscape, territory, and trade—this exhibition expresses the interconnections between representations of the land, movement across the land, and economies and resources derived from the land. "Today, following the phase of intensive self-examination, SITE Santa Fe’s biennial has been transformed,” said Irene Hofmann, Phillips Director and Chief Curator of SITE Santa Fe. “It now looks to SITE Santa Fe | 1606 Paseo de Peralta | Santa Fe, NM 87501 | T 505.989.1199 | sitesantafe.org geography as a structural framework, to the history of New Mexico as an inspiration, and to the Americas as a vast territory for exploration. -
Tony Oursler CV
Tony Oursler Lives and works in New York, NY, USA 1979 BFA, California Institute for the Arts, Valencia, CA, USA 1957 Born in New York, NY, USA Selected Solo Exhibitions 2021 ‘Tony Oursler: Black Box’, Kaohsiung Museum of Fine Arts, Kaohsiung City, Taiwan 2020 ‘Hypnose’, Musée d’arts de Nantes, Nantes, France Lisson Gallery, East Hampton, NY, USA 2019 ‘电流 (Current)’, Nanjing Eye Pedestrian Bridge, Nanjing, China ‘Tony Oursler: Water Memory’, Guild Hall, East Hampton, NY, USA ‘The Volcano & Poetics Tattoo’, Dep Art Gallery, Milan, Italy 2018 ‘predictive empath’, Baldwin Gallery, Aspen, CO, USA ‘Tear of the Cloud’, Public Art Fund, Riverside Park South, New York, NY, USA ‘TC: the most interesting man alive’, Lisson Gallery, New York, NY, USA 2017 ‘Paranormal: Tony Oursler vs. Gustavo Rol’, Pinacoteca Giovanni e Marella Agnelli, Turin, Italy ‘Sound Digressions: Spectrum’, Galerie Mitterand, Paris, France ‘Tony Oursler: b0t / flOw - ch@rt’, Galerie Forsblom, Stockholm, Sweden ‘Tony Oursler: L7-L5 / Imponderable’, CaixaForum, Barcelona, Spain ‘Unidentified’, Redling Fine Art, Los Angeles, CA, USA 2016 ‘Tony Oursler: The Influence Machine’, University of Edinburgh, Edinburgh, United Kingdom ‘A*gR_3’, Galería Moisés Pérez De Albéniz, Madrid ‘M*r>0r’, Magasin III Museum & Foundation for Contemporary Art, Stockholm, Sweden ‘Tony Oursler: The Imponderable Archive’ Hessel Museum of Art, Bard College, Annandale-On-Hudson, NY, USA ‘Imponderable’, Museum of Modern Art, New York, NY, USA ‘TC: The Most Interesting Man Alive’ Chrysler Museum, Norfolk, -
Of Public Art in Richland?
2020 Richland, WA Public Art Survey SurveyMonkey Q1 What are your favorite example(s) of public Art in Richland? Answered: 427 Skipped: 7 Murals/sculptur es on the si... Artistic design... Sculptures placed in... Performance Art/Special... Art placed in roundabouts Vinyl Art Wraps on... Other (please specify) 0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100% ANSWER CHOICES RESPONSES Murals/sculptures on the side of buildings 64.64% 276 Artistic design incorporated into infrastructure (ex: benches, bridges, fences, etc) 58.55% 250 Sculptures placed in parks, along trails or at City facilities 56.67% 242 Performance Art/Special Events supporting Art 46.84% 200 Art placed in roundabouts 34.43% 147 Vinyl Art Wraps on Traffic Utility Cabinets 29.27% 125 Other (please specify) 5.15% 22 Total Respondents: 427 1 / 69 2020 Richland, WA Public Art Survey SurveyMonkey # OTHER (PLEASE SPECIFY) DATE 1 public glassblowing 1/15/2021 12:52 PM 2 Ye Merry Greenwood Faire 1/13/2021 12:18 PM 3 Spaces for litterateur and dialogue 1/12/2021 2:36 PM 4 Privately funded art 1/12/2021 2:05 PM 5 Skateparks 1/11/2021 9:01 PM 6 Folk art by residents in yards etc 1/11/2021 8:30 PM 7 Any examples of public art only adds to the enhancement of our community and moves us into 1/11/2021 3:52 PM the realm of cultural awareness and appreciation. It shows a level of sophistication and thinking and awareness of a larger picture than merely that of our own lives and self-centered thinking. -
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.