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History of the Washington Legislature 1965 – 1982
HISTORY of the WASHINGTONWASHINGTON LEGISLATURELEGISLATURE 19651965 -- 19821982 by Don Brazier HISTORY of the WASHINGTON LEGISLATURE 1965-1982 HISTORY of the WASHINGTON LEGISLATURE 1965-1982 by Don Brazier Published by the Washington State Senate Olympia, Washington Published by the Washington State Senate Olympia, Washington 98504-0482 © 2007 Don Brazier. All rights reserved. No portion of this book may be reproduced or used in any form, or by any means, without prior written permission of the author. 10 9 8 7 6 5 4 3 2 1 printed and bound in the United States Cover photos top to bottom: John L. O’Brien Building The Twelve Labors of Hercules John A. Cherberg Building Alden Mason mosaics Cover background photo: Washington State Legislative Building Contents Preface 1965............................................................................................................................... 1 1967............................................................................................................................... 5 1969............................................................................................................................. 10 1970............................................................................................................................. 13 1971............................................................................................................................. 14 1972............................................................................................................................ -
Michael Spafford Seattle Art Museum
DOCUDlents NorthW"est: The PONCHO Series Michael Spafford Seattle Art Museum January 9-February 2,1986 ~chaelSpafford For over twenty-five years Michael Spafford has found inspiration in the heroic mythology of the Western classical tradition. Drawing on the imagery of myths such as Hercules, Icarus, and Leda and the Swan, Spafford has created a body ofwork of rare intelligence and power. He presents the supernatural gods and demigods of ancient legend, whose antics once illuminated the mortal world, as vehicles for his exploration of human and spiritual values in the eighties. For Spafford, art itself is a heroic endeavor, the pursuit of that which is redemptive, an act of renewal. Spafford received his formal training at Pomona College in Claremont, California, and at Harvard University. Exposure at Pomona to the great Jose Clemente Orozco mural, The Triumph of Prometheus, and works exhibited by Rico Lebrun and Leon Golub in Los Angeles provided young Spafford with models that were contemporary yet based on art historical sources. After graduating from Harvard, he abandoned the formal study of art history and moved to Mexico to concentrate solely on painting. There he had the opportunity to study firsthand the masterpieces of the Mexican muralist movement; their juxtaposition of bold, often brutal imagery with a highly cultivated aesthetic became a strong influence on Spafford's own style. Moved by the deep, abiding humanism evident in the muralists' work (especially Orozco), Spafford sought to develop a personal vision that would integrate his knowledge of art historical precedent and his insistence on emotional and social relevance. -
School of Art + Art History + Design
_. Spring 2007 .........University of Washington I Seattle USA School of Art UWSCHOOL OF ART The State of the Art School Christopher Ozubko, Director Oi'lfslonofArt Facutty Master of Fine Arts Paul Berger WE WANT TO HEAR FROM YOU! il<ody After many years of publlsh1ng th1s newsletter, Art1facts, we want Thesis Exhibition 2007 Lou0""" Cabeen to hear your feedback about 1t. Please take our survey at The MFA Class of 2007 will present its Rebecca Cummins thesis exhibition at the Henry Art Gallery, Ann Gao http://art.washington.edu/artifacts . It w1ll only take a few mmutes, 12 May- 17 June. The show features Ellen Garvens and 1t w1ll help us ta1lor Artifacts to the mterests of the ma1onty of layne Goldsmith works representing two years of graduate 1ts readers. Philip Govedare studies and is presented in partial Denz~ Hurley If you would rather take the survey on paper. simply contact Doug Jeck fulfillment of the Master's degree Notes from the Director Curtlabitzke Lynn Bazarmc at 206.685.2442 or [email protected], requirements. This year's class consists ZhiUn and she w1ll ma1l you a copy As always, there is far too much information about Helen OToole of twenty-four students. We are pleased Shirley Sche1er In order for us to 1mplement changes for our autumn 2007 to announce that this year's exhibition the terrific events, awards, and opportunities at the Akio Takamori issue, we need to hear from you by 30 June 2007 . Thank you! opens two weeks earlier, giving students SoA, and too little space in our newsletter to do them Jamie Walker JohnYounlj! additional time to showcase their talents. -
MICHAEL C. SPAFFORD Born Palm Springs, CA, 1935 Education: 1994 Professor Emeritus, University of Washington School of Art, S
MICHAEL C. SPAFFORD Born Palm Springs, CA, 1935 Education: 1994 Professor emeritus, University of Washington School of Art, Seattle, WA 1963-1994 Professor of Art, University of Washington School of Art, Seattle, WA 1960 M.A. Harvard University, Cambridge, MA 1959 B.A. Pomona College, Claremont, CA Awards and Grants 2017 Lifetime Contribution to Northwest Art Award (with Elizabeth Sandvig), Museum of Northwest Art, La Conner, WA 2006 Mayor’s Art Award, Family of Northwest Artists: Spike Mafford, Elizabeth Sandvig, Michael C. Spafford, Seattle, WA 2005 Artist-in Residence, Dartmouth College, Hanover NH 2005/2006 Award for Visual Artist, Flintridge Foundation, Pasadena. CA 1999 Lifetime Achievement in the Arts Award, Corporate Council for the Arts, Seattle, WA 1996 Neddy Artist Award, The Behnke Foundation, Seattle, WA 1995 Hassam, Speicher, Betts, and Symons Purchase Award, American Academy and Institute of Arts and Letters, New York, NY 1987 Centrum Print Commission, Fort Worden, WA 1983 Arts Award, American Academy and Institute of Arts and Letters, New York, NY 1979 King County Arts Commission’s Honors Award, Seattle, WA 1967-1969 Rome Prize and Fellowship, American Academy, Rome, Italy 1965-1966 Louis Comfort Tiffany Foundation Grant, New York, NY Solo Exhibitions 2013 Hercules and other Greek Legends, Study and Print Study Center, Hallie Ford Museum of Art, Willamette University, Salem, OR; curated by Ann Nicgorski 2010 Prints and Monoprints, Francine Seders Gallery, Seattle, WA 2009 Images from “The Odyssey,” Francine Seders Gallery, -
Jacob Lawrence Catalog Essay
Jacob Lawrence came of age during the Harlem Renaissance. He was surrounded by a galaxy of brilliant people including W.E. B. Dubois, founder of the NAACP, and outspoken writer on racism; Alain Locke who wrote The New Negro, a book that called on artists to construct positive images that rejected racist stereotypes, Langston Hughes, the poet who used jazz and blues rhythms in his poetry to celebrate being a negro, blues singers Bessie Smith. jazz singer Ella Fitzgerald, anthropologist Zora Neale Hurston, and many more. Lawrence had the opportunity to study art at federally-funded workshops during the 1930s with major artists like painter Charles Alston, and sculptor Augusta Savage. It was also in Harlem that he met his future wife, the artist Gwen Knight. He would also have been inspired by the sweeping murals of the Mexican muralists, Diego Rivera and Jose Clemente Orozco, both of whom were working in New York City in the 1930s. Aaron Douglas completed his most famous mural, Aspects of Negro Life, in 1934 at the Schomburg Library where Lawrence frequently did historical research. Douglas constructed narratives with modern principles flattened space and bright colors with a reference combined with the symbolic abstractions of African art, an approach which would contribute to Lawrence’s own approach to art. Lawrence made a rapid ascent as an artist. He began by painting “American scene” images of Harlem, like Street Orator’s Audience (1936) that emphasized the real life of the streets of Harlem that he saw around him. By 1941he was already recognized and had completed five historical series, four of them about the life of heroes in African American history, Toussaint L’Ouverture,1938, Frederick Douglass, 1939, Harriet Tubman, 1940, and John Brown 1941. -
Motion 10603
, ". December 2, 1998 artplan LARRY PHILLIPS Introduced By: .. Louise Miller clerk 12/3/98 Proposed No.: 98-730 1 MOTION NolO 60 3 .i 2 A MOTION approving the 1999 King County Public Art 3 Program Annual Plan. 4 5 WHEREAS, the King County public art commission is required by Ordinance 6 12089 to present for approval by the King County council an annual program plan which 7 identifies. and describes art projects to be initiated during the next budget year, and -8 II WHEREAS, the King County public art commission has prepared a document 9· II entitled 1999 King County Public Art Program Annual Plan describing public art projects 10 II and program activities in response to Ordinance 12089, and 11 II WHEREAS, the King County co.uncil finds that the 1999 King County Public Art 12 II Program Annual Plan is in conformity with the council's intent for use of designated public 13 II art program funds; - 1 - " 10603 ~ 1 'NOW, THEREFORE BE IT MOVED by the Council of King County: 2 The attached 1999 King County Public Art Program Annual Plan is hereby 3 approved. ~ 4 PASSED by a vote of ~to 0 thIS I tf day of De.ee, ~ /; "f'te- 5 19 if. 6 KING COUNTY COUNCIL 7 KING COUNTY, WASHINGTON 8 ~~~ 9 Chair 10 ATTEST: 1'21111 ~Clerk of the Council 13 II Attachments: '" 14 II Attachments: A. 1999 King County Public Art Program Annual Plan - 2 - IKe ?..:b~:'c ?lan 1999 [Fi~,al] ~2!l/98 2:30 ;'.. .'1 =-'ige ~ (11 ' .. , + King Count)' Public Art Commission TVritten: November 1998 ~ n Cuntv ~ ulc'rt r rm 1115 Smith Tower, 506 Second Avenue Seattle, WA 98104-2311 1\ (206) 296-7580 ~. -
1 Interview with Jacob Lawrence at His Home in Seattle, April 2000 JF
Interview with Jacob Lawrence at his home in Seattle, April 2000 The Phillips Collection Archives © The Phillips Collection Note: This interview has been edited for clarity. For permission to cite from this interview, please contact [email protected]. JF: Jackson Frost (Interviewer) JL: Jacob Lawrence GKL: Gwendolyn Knight Lawrence This interview was conducted in consultation with Elizabeth Hutton Turner, former Senior Curator, The Phillips Collection [BEGINNING OF TAPE ONE] JF: My first question is, do you have any memory of Atlantic City? Or when is your first memory of being interested in art that you can recall? JL: Is this from Atlantic City that [you’re] speaking of? JF: Even before, but when— JL: I would say my first awareness or interest in color and art and so on was when I was in Philadelphia. My parents were part of the black Migration, moving up from the South. I was exposed to a settlement house, in the Harlem community, where we were given materials and poster color and paper and brushes. And there was a counselor or a teacher, he was a much older man. I realized much later that he was really a college student and he received this job. We were like 12, 13 years of age and he supervised the department. That was my first awareness of working with color, using color as a means of expression. JF: And his name? JL: Charles Alston. JF: And was that the Utopia House? JL: Utopia House. That’s right. JF: This was in New York, in Harlem—did everybody go? I mean, did all the kids go? Were you unique in that way, Jake? Or did everybody want to go, spend their time after school in this child care? JL: I don’t know what percentage, I couldn’t say that. -
Meany Hall Northwest Art Collection
MEANY HALL NORTHWEST ART COLLECTION MAIN LOBBY Guy Anderson Sacred Bundles, 1979 Koren Christofides Mise en Scene, 1991 George Tsutakawa War Mother, 1947 EAST LOBBY Guy Anderson Sacred Pastures, 1978 Francis Celentano Steps of Isis Asymmetric in Grey and Purple, 1985 Francis Celentano Steps of Isis Asymmetric in Grey and Brown, 1985 Alden Mason Sockeye, 1986 Morgan Padelford Edmond Meany portrait Patti Warashina White Cap, 1991 WEST LOBBY Dale Chihuly Seven Starbursts, 1996 William Ivey Untitled, 1981 Jacob Lawrence Theater, 1985 Robert Rauschenberg Doubleluck, 1995 BALCONY Wendell Brazeau Still Life with Primary Colors, 1954 John Geise Circum Okto, 1964 Richard Gilkey Landscape, 1978 Boyer Gonzales Jagged Scarp, 1962 Walter Isaacs Gypsy Camp, 1962 Thelma Lehman Garbed in Shining Dress, 1989 Manfred Lindenberger Jazz 13, 2006 Lubin Petric Untitled, 1968 Michael Spafford Four Swimmers, 1977 BALCONY STAIRS Windsor Utley Tribute to Beethoven, 1960 LOWER LOBBY Kenneth Callahan The Pit, 1960 MEANY STUDIO THEATER LOBBY Richard Gilkey Dying Crane, 1963 MEANY HALL NORTHWEST ART COLLECTION MAIN LOBBY Guy Anderson Sacred Bundles, 1979 Oil on roofing paper Gift of SAFECO Insurance Company Anderson was a major figure in the style of painting closely linked to this re-gion after World War II. Identified in a 1953 Life magazine article as the “Northwest Mystics,” Anderson, Mark Tobey, Morris Graves and Kenneth Callahan became known for creating work influenced by particular characteristics of the Pacific Northwest: subdued light, muted earthy colors and the influence of Asian culture. Aside from private study with the Alaskan painter Eustace Ziegler, Anderson was self-taught. His work has been widely collected and exhibited and he is considered by many to be one of our most important regional artists.