Pinball Museum in Chinatown, photo by Ellen Whitlock Baker

Storefronts Seattle, in partnership with the Seattle Office of Arts & Cultural Affairs, seeks artists to develop art projects for vacant storefronts in various Seattle neighborhoods, including Pioneer Square, the Chinatown-International District, Capitol Hill, South Lake Union and Rainier Beach. The projects will be programmed in available spaces throughout 2012 and into 2013.

Storefronts Seattle is accepting applications in three tracks: Installation (two-dimensional, three-dimensional or new-media artworks); Artist Residency (meeting, rehearsal or studio space); and Creative Enterprise (retail art gallery, boutique, museum, etc.). Artists selected for the Installation track will receive $250 to $1,000 per installation. Participants in all tracks will receive the use of a retail storefront space at no cost for three months, with a possible extension in the Creative Enterprise track. All projects are subject to early cancellation with 30 days notice if the storefront leases during the project period.

Launched as a pilot in September 2010, Storefronts Seattle promotes neighborhood vitality by bringing art and creative enterprise to available storefronts.

For more information and to apply, visit the Storefronts Seattle website. Questions? Contact Matthew Richter with Shunpike, (206) 905-1026.

Jane Kies, Seed to Sound (c) 2011

Funding for King County-based Arts, Heritage & Preservation Projects

Five funding opportunities in the fields of arts, heritage and historic preservation have upcoming deadlines in February and March. Special Projects and Cultural Education funding is available for Heritage projects; Landmark Rehabilitation funding is available for Preservation Projects; and both Individual and Group Artist project funding is available through our Arts program. We encourage you to visit the funding program pages, read about eligibility and review past grantees. Free, weekly public workshops are scheduled throughout King County, offering prospective applicants an opportunity to meet with program staff and other applicants, understand specific guidelines, and go through a step-by-step review of the application process. These workshops are really helpful in the preparation of successful applications and we encourage you to attend if you can.

Applications and guidelines for each opportunity can be accessed online through 4Culture’s funding calendar or by going directly to the program websites listed below.

HERITAGE SPECIAL PROJECTS – February 29, 2012

Supports projects by organizations and heritage specialists that focus on King County’s historic resources and cultural traditions 

HERITAGE CULTURAL EDUCATION – February 29, 2012

Supports K-12 curriculum enhancement projects that focus on King County history and meet Washington State Assessment Standards

LANDMARK REHABILITATION PROGRAM – March 7, 2012

Provides funds to stabilize, assess, rehabilitate and restore designated King County Landmarks outside the City of Seattle

GROUP ARTS PROJECTS – March 7, 2012

Provides support for innovative arts projects by organizations and ensembles, and/or programs or events that stimulate cultural development

INDIVIDUAL ARTIST PROJECTS – March 14, 2012

Provides support for projects by artists working in all disciplines

Stephen Sewell, Growing a beard, Archival inkjet print (c) 2011

The exhibiting artists for Gallery4Culture’s 2012-2013 calendar have been selected. Exhibiting artists receive an honorarium, press opportunities and exhibition in the Gallery for a calendar month during the year’s schedule. From a pool of 160 eligible applicants, the following  artists were selected for Gallery4Culture exhibitions running September 2012 through August 2013:

Julie Alpert:  Installation/painting.

Gust Burns:  Sound artist /composer.

Klara Glosova:  Sculpture/installation (founder of NEPO House).

Matthew Hilger: Photomedia.

Tom Hughes:  Sculpture/installation.

Mario Lemafa:  Photomedia.

Mark Takamichi Miller: Painting.

Lorenzo Moog:  Mixed media assemblage.

Paul Rucker:  Sound/video installation.

Stephen Sewell:  Photomedia.

Rodrigo Valenzuela & Anthony Sonnenberg:  Photomedia collaboration.

Selected as Alternates:

Amanda Manitach: Video installation.

Sara Osebold: Sculpture/installation.

Special thanks go out to our 2012-2013 PANELISTS

Margie Livingston: Studio artist, 2010 Arts Innovator Award, Artist Trust, 2010 Neddy Artist Fellowship, 2006 Betty Bowen Award

Catharina Manchanda, Jon and Mary Shirley Curator of Modern and Contemporary Art, Seattle Art Museum

Jess Van Nostrand: Independent curator, founder of The Project Room   

James Hughes: Non-voting advisor from the Public Art Advisory Committee

Student at 826 Seattle reading, © Alicia Craven

Through the On-Site Review program, 4Culture evaluates arts and heritage organizations who receive Sustained Support funding. On-Site Reviewers attend events produced or presented by recipients and write up short reviews, which help to give the adjudicating Sustained Support panelists a patron’s-eye-view of each organization.  Each month, the 4Culture blog presents excerpts from these reviews.  This month’s review is by Cathy Fields.

A small group of parents, friends and tutors filled the chairs clustered around a microphone on one side of the Couth Buzzard, a coffee shop and bookstore. Alicia Craven, 826 Seattle’s after school tutoring coordinator, introduced each of six students who took turns reading from either their own writing, or something they had read and enjoyed. The students were all of elementary school age, and varied from the extremely shy child to the budding performance artist who read with a theatrical flourish. They all, however, received a hardy applause from their audience, including some store patrons that were shopping for books or sipping coffee.

A few 826 students that were not reading came to support their peers. One of these students sat beside me, and during the moments between readings, quietly filled me in on where the performing students had misread or misquoted a poem or story. In addition to a terrific memory, she showed a lot of interest in the program. One of the younger students, who was shy about reading to an audience, had selected a short story to share. When she got stuck on a word, she carefully sounded it out, and did very well for her age. Later I spoke with a tutor about the program and was told that this student had only been in the country a few months, having emigrated from Eritrea. I was amazed that she spoke without much accent, and read very well.

826 Seattle employs some creative ways of deflecting the negative stigma associated with needing help. The center shares space with a novelty shop named Greenwood Space Travel Supply Company that sells a quirky collection of space related items. It acts like a decoy to the real purpose of the building. In addition they have a Youth Advisory Board that serve as mentors and role models for the younger students. Although I only witnessed a small part of what 826 does, I could see that the students were interested, and proud of their accomplishments, and that the tutors were supportive and committed.

Enduring Clay at the Washington State Convention Center, Photo © Blake Haygood, 2012

City of Seattle & King County present ceramic works from their collections

‘Enduring Clay’ exhibition on view at Washington State Convention and Trade Center, in conjunction with National Council for Education for the Ceramic Arts’ convention

4Culture and the Seattle Office of Arts & Cultural Affairs present ceramic artworks from their public art collections in the exhibition “Enduring Clay: Four Decades of Collecting Ceramics by the City of Seattle and King County.” The show is on view at the Washington State Convention and Trade Center through April 9, and is in conjunction with the National Council for Education for the Ceramic Arts’ (NCECA) 46^th annual conference, March 28 through March 31. NCECA is an organization that fosters global education and appreciation for the ceramic arts and inspires advancement of the field of ceramics.

Both the city of Seattle and King County have collected artwork for more than 40 years. “Enduring Clay” showcases a total of 43 artworks by 28 regional ceramic artists including Howard Kottler, Robert Sperry, Akio Takamori and Patti Warashina. The exhibition demonstrates the diversity of expressions in clay and the various techniques that continue to expand ceramics as a fine art medium.

Artists included in the exhibition are Jenny Andersen, Clair Colquit, Baba Wague Diakite, Everett Dupen, Ellie Fernald, Margaret Ford, Jim Gale, Monad Elohim Graves, Lauren Grossman, Ann Hirondelle, Deborah Horrell, Kate and Will Jacobson, Malia Jensen, Howard Kottler, Julie Lindell, Michael Lucero, Joyce Moty, Richard Notkin, Lillian Pitt, Kirsty Robbins, Joellyn Rock, Glenda Scott, Patrick Siler, Robert Sperry, Akio Takamori, Patti Warashina and Kinu Watanabe.

During the month of March, Gallery4Culture will host an exhibition of ceramic derived and related artwork by Brian Benfer and John Grade, curated by Ben Waterman.  In addition to First Thursday, a special open house will be held in the gallery March 27th.

“Enduring Clay” is on view in the Washington State Convention and Trade Center, 2^nd floor, North Gallery, 800 Convention Place. Gallery hours are 5:30 a.m. to 10 p.m., daily.

Foreground vitrine: Silent Sounds, Patti Warashina, 2004, porcelain, earthenware and glaze (4Culture); in the background, left is Hand from the Stigmatization, Gloria Grossman, 1998, Fired ceramic covered with lead sheet, eyebolt (City of Seattle)

Tess Martin, Plain Face, video still © 2011

Andrew Binkley, Crossings, video still © 2011

Andrew Binkley: Crossing

Binkley will present a four-channel video work entitled, Crossings. His work continually acts as a way to uncover and explore our notions of time and patterns of human behavior. Through the use of an overhead perspective and layering multiple videos of the seen and unseen links between people on the streets below, ‘Crossings’ works with the themes of intersecting or sharing paths, and integrating or transforming relationships, as well as the unknown or transient connections between people through time.  Echoing those passing by e4c, Crossings offers a new insight into one’s own relationship with time and the paths around us that we continue to cross.

Barbara Robertson, Blue Field © 2011, photo by Nancy Hines

Barbara Robertson: Three Phases, Trace & Linescape

Robertson is transforming her 2D print artwork into digitally generated, abstract imagery for video. e4c will feature three of her short, non-narrative experimental animation works. She writes, “My work explores ideas related to space, mapping, motion, and light, inspired by current scientific inquiry in the fields of physics, astronomy and biology…I am beginning to explore how to embed media art in an architectural space. I imagine that people will be attracted to it in the same way they are drawn to aquariums or planetariums.” The sound scores for the works, were composed in collaboration with sound designer Johanna Melamed. The sound scores, integral to each piece, deepens and enriches their expressive range.

Learn more about all three artists on our Galleries page.

Curtis Erlinger, Distant Shore (detail), Ink and rain on paper © 2011

Curtis Erlinger

After Another 

Dates: February 2 -24, 2012

Opening: First Thursday, February 2, 6:00-8:00 P.M.

Inspired by an ingenious safety device used by mountain rangers to prevent electrocution from lightning strike,  Seattle-based artist Curtis Erlinger created a series of three- dimensional “lightning” stools, incorporating glass insulators, and a selection of figurative drawings for his February exhibition in Gallery4Culture. The drawings, executed in a broad range of scale, are carefully rendered copies of photographic images, done in layered washes of acrylic ink.  Translated with the artist’s sensibility, the drawings amplify the lure of the photographs. Erlinger presents his drawings shrouded in an overlay of thin white cloth that is sandwiched between the paper and the glass.  The result is mysterious; it clarifies rather than clouds the images and transforms the drawings into objects.

Curtis Erlinger grew up in St Louis, Missouri.  He earned his BFA and MFA at the University of Missouri.  In 2009, after a stint in Buffalo, New York, Erlinger relocated to the Pacific Northwest.  Since coming to Seattle, he has taught at the Kirkland Arts Center, Pratt Fine Arts Center and at the Northwest School.  Erlinger is a member of the artist cooperatives Punch and SOIL.

Gears removed from the historic South Park Bridge, now at Jesse Engineering in Tacoma awaiting cleaning.

I took a little road trip with Tim Lane and Barbara Grygutis last week.

Tim is an engineer with King County Road Services supervising the South Park Bridge Replacement Project. Barbara is a public artist who has contributed ideas to the bridge design, serving with the team since 2008. She lives in Tucson, Arizona, but was in town for our initial meeting with the fabricators of the mile of artful railings that will lend rhythm and narrative to the pedestrian and vehicular experience of crossing the new bridge.

Barbara’s design, being executed by Tacoma’s Jesse Engineering, exemplifies the historic and cultural integrity of the 1931 bridge. Curved pickets echo the motion of the Duwamish waterway underneath while magnificent gears and original cast iron rail panels will be embedded throughout the span.

Four rockers and guide tracks, originally obscured from view as they raised the bridge, will flank the approaches and create powerful visual gateways.  All elements will be painted metallic silver, reflective by day; the rockers will be dramatically lit at night.

Looking out from the old bridge to the new and down the Duwamish, as we visit the massive rockers and guide tracks that once opened the bascule span.

Andre Feriante, Sleeping Lady Mountain Resort © 2010, Michael Doucett

In The Theater of Love

February 11, 2012     8:00 pm.

Benaroya Hall’s Nordstrom Recital Hall, with Guest Artists: Overton Berry, Jeff Davies, Swil Kanim, Steve Thoreson, Stella Rossi and Whitton

2012 marks the 14th year that guitar virtuoso Andre Feriante will host his annual Valentine’s Day Concert at Benaroya Hall’s Nordstrom Recital Hall. Reacting to 2011 news reports referencing the “The Theater of War” Andre puts his own spin on this powerful catch phrase by titling his 2012 concert, In the Theater of Love.

After 25 years of performing, this Seattle-based, award-winning, neo-flamenco/classical guitar virtuoso has left his musical mark on the classical, world music, and fusion scenes. His fans savor the soulful and seductive harmonies his music embodies and, in the spirit of other crossover artists like YoYo Ma or Sting, Andre’s performance program represents a bold but fluid musical fusion. Feriante will perform a musical mix of fiery flamenco, classical guitar standards and spoken poetry  in the style of Neruda and Rumi, set to his original compositions,  followed by a series of romantic favorites performed in the classical and jazz styles and a special tribute to his legendary mentor, Andres Segovia. This concert is all about romance, and his melded styles and multi-guitar format keep the evening lively and upbeat. Although soft and easy is definitely the theme, things will get a little spicy when Andre introduces his ukulele for some pieces off his newest album Novella Ukelele Mosaique.

Andre’s artistic path frequently crosses with other Seattle-based musicians. His annual Valentines concert affords these friends and fellow musicians the once-a-year opportunity to perform all together. This year’s concert includes: operatic tenor Steve Thoreson, piano legend Overton Berry violinist Swil Kanim, dancer Stella Rossi, vocalist Whitton, and bassist Jeff Davies. It is during the second act when Andre introduces this eclectic mix of musical professionals for an improvisational set sure to dazzle.

Andre Feriante In the Theater of Love is Saturday, February 11, 2011 at 8:00 p.m. in the Nordstrom Recital Hall at Benaroya Hall. Tickets are $40 and are on sale now through the Benaroya Hall Box Office, at 206.215.4747 or online at www.benaroyahall.org.,  Andre Feriante

Weatherwax High School, ca. 1910. University of Washington Libraries, Special Collections, WAS1780

J.M. Weatherwax High School, a historic building in Aberdeen, WA was destroyed by a fire in 2002. The 1909 building facade’s architectural sandstone blocks survived, and were salvaged for reuse. A meaningful artifact to the local community, the stones serve as a reminder of the local family for whom the high school was named, and also symbolize strength and survival, rising from the ashes, and resilience – qualities that Aberdeen residents see within themselves.

The City of Aberdeen, in cooperation with the Grays Harbor Community Foundation, is seeking an artist to create a significant three-dimensional artwork that will honor the Weatherwax family legacy and inspire both generosity and commitment to community in local residents and those that pass through the City. The artwork will be of a scale and level of detail to support both motorist drive-by and up-close viewing experiences, and will incorporate the architectural standstone blocks in a meaningful and visually engaging way. The artwork will be sited at the Simpson Triangle, a highly traveled site between the business districts of Aberdeen and Hoquiam, WA.

This artwork opportunity is an exciting step in the City’s efforts to revitalize major arterial routes within the city and create a vibrant civic space that will set the tone and design standards for future development and public art integration.

The artist for this commission will be selected through an open call process, with the final artwork decided on the basis of paid, competitive proposals. Professional artists residing in Washington, Oregon and British Columbia are invited to visit our Opportunity Listings and apply.

4Culture Public Art is managing the artist selection process, final design development and artwork implementation process for this artwork opportunity.

Century 21 Exposition, study for the Space Needle restaurant, ca. 1960, by Earle Duff, courtesy of University of Washington Libraries Digital Collections

The Washington Museum Association Conference at Seattle Center, June 13-15, is shaping up to be an exciting event. From the opening reception and exhibit, Tutankhamun: The Golden King and the Great Pharaohs, at Pacific Science Center, to the awards program and keynote address at EMP, rare opportunities to experience the 1962 World’s Fair grounds turned vital cultural center await conference goers. But, the conference will not be complete without your input.

With the conference theme, “The Next 50: Innovation, Inspiration and Sustained Futures for Museums,” the WMA is seeking session proposals that explore subjects concerning museums today, and pose concepts for museums of tomorrow. The conference provides a chance for you to showcase your expertise and experience in the museum field among your peers from around the state and region. To access the Session Proposal form, go to http://washingtonstatemuseums.org/annualconference. For more information, contact Angela Neller. The deadline for session proposals is February 25, 2012.

Section of triptik map showing transportation options in Des Moines, 1921, published by Automobile Club of Western Washington (AAA)

Join the Des Moines Historical Society at the Des Moines IOOF Hall, Wednesday February 8th at 7pm to hear the fascinating story of “Des Moines Transportation From the Beginning” as told by Al Ramey, President and Founder of the Northwest Public Transportation Historical Group. Mr. Ramey will present a program on the history of public transportation between Des Moines and Seattle, from early boat travel to motor vehicles and road development. Bring your questions, and stay for refreshments and stimulating conversation afterwards.

“Des Moines Transportation from the Beginning” lecture by Al Ramey
IOOF Hall, 728 S. 225th Street, Des Moines, WA
Wednesday, February 8th, 7 – 9 p.m.
Questions? Call (206) 824-52226

Sculptural Collage (detail) by Rickie Wolf, Photo courtesy of artEAST

The artEAST Art Center in downtown Issaquah has announced its Winter Quarter 2012 education program, offering workshops for students of all levels from beginning to advanced, as well as professional development sessions, writer’s workshops, and open studio opportunities.

Winter quarter begins January 9, and online registration is now available. Workshops include watercolor, drawing, painting, jewelry making, encaustics, ceramic handbuilding, photography and more. We’re kind of excited to see Poetry Writing on offer and buzzed about Social Media for Artists. There’s a structured Art Critique Group as well. Lots going on on the Eastside!

A complete schedule and descriptions of workshops and events can be found at www.arteast.org.

The art center is located at 95 Front Street North in downtown Issaquah. For more information about workshops, call 425-392-3191.

Middle School painting studio during Explorations @Al McCleese

Guest blogger Martha Worthley is the Program Manager for The Young Artists Project at Centrum Foundation, which is located in historic Fort Worden in Port Townsend, Washington. In addition to presenting conferences and festivals in the arts, Centrum has both a residency program and a very active education program. Applications are open for the 2012 program and scholarships are available (scholarship application deadline is January 16th).

At Fort Worden State Park in Port Townsend Washington, Centrum offers programs in the arts for youth from 5^th through 12th grade. The programs have a long history of support from the Office of the Superintendent of Public Instruction and the Washington State Arts commission. Students come from all over Washington State, and King County students are encouraged to cross the water!

During week-long full immersion experiences, young people stay on the Fort Worden campus, housed in dormitories and attending workshops in the historic Fort buildings. At Centrum an old hospital wing with a beautiful wooden floor becomes a dance studio, the USO is the taiko studio and theater is taught in an actual theater! Old school rooms become art studios and the beach becomes a classroom for young marine scientists. It’s a great setting, with 440 acres of park, forest and coastline to explore.

Rex Kinney teaching a Centrum hip hop class, Photo @Al McCleese

Centrum has a long history of bringing working artists to teach young people. The passion and vibrancy of artists deeply engaged with their work translates to students in a way that is transformational. The list of faculty alumnae stretches far into the cultural scene of King County. From early days with Buster Simpson, David Mahler and Mary Ann Peters to more recent times with artists like Zoe/Juniper, Sierra Nelson and Mandy Greer, Centrum has sought artists from King County and beyond to come and teach what they know, as well as inspire young artists to become the next generation of creative thinkers.

For 2012, the youth programming begins in March with Explorations, a multi-genre, multi cultural arts experience for students from grades 7-9. Each day is divided into four workshop sessions. Choose from drawing, writing, dance, theater, taiko, singing & songwriting, marimba or jewelry making as your core subject, and learn about other art forms in your other three classes.

Taking time for writing reflection during Water World @Martha Worthley

In April, Water World combines art with marine science in a hands-on integrated week of learning for 5^th & 6^th graders. For Explorations and Water World, students sign up (register) in groups of 4 to 6 with an adult chaperone. Tuition, room, and board is FREE for chaperones, but each chaperone needs to be registered.

This summer we’re excited to present two new programs for High School students. Young writers can now attend the Advanced Writers’ Studio at the Port Townsend Writers’ Conference in July, or visual artists can study painting in the Advanced Visual Art Studio.

In August, high school dancers of all levels get a rigorous education in multiple dance styles and choreography at the DANCE This! Camp at Centrum.

Ballet class at Dance This Camp, photo by High School photography student

Registration and scholarship application.

Young Artists Project
Explorations;
March 4-9, 2012, Grades 7-9

Water World;
April 22-27, 2012,  Grades 5-6

High School Writers’ Studio;
July 8-15, 2012, Grades 9-12

High School Visual Art Art Studio; July 8-15, 2012, Grades 9-12

DANCE This;
Aug. 5-11, 2012, Grades 9-12

For more information, contact Martha Worthley  or call 360.385.3102, ext. 120.

5834 Party at the Paramount, © 2011, Photo by Scott Squire

As is its custom, Time magazine’s final issue of the year names its Person of the Year.   This year: “The Protester.”

That got me to thinking.  What if 4Culture started an annual tradition deeming an artist or a historian (and I admit this is a bit clunky) “The Cultural Worker of the Year” in King County?  Who would it be?  Would it even be possible to honor a single individual from the thousands of cultural workers in King County?  They are painters and sculptors, dancers and choreographers, musicians and composers, actors, directors, writers, curators, volunteers.   They are preservationists, historians, museum directors, administrators and critics.   All dedicated to the simple proposition that culture matters to people, neighborhoods, cities and beyond.

With that preface and taking my cue from Time, I will now boldly name “The Cultural Worker of 2011.”

The Advocate.

Something magical happened in 2011.  The cultural community raised its collective voice to achieve a legislative victory in Olympia that many thought impossible.   Literally hundreds of advocates decided to take action, emailed their legislators, attended hearings and Town Hall meetings, left messages with aides and staff asking the legislature to support arts and culture.   With a stunning determination, the Advocates were relentless, increasing the volume as the session wound down. They organized themselves with impressive strength.  And they won.   They learned their voices do matter.

But their work is not done.

If they choose to remain active, secure in the notion that they have a collective power to affect change, there are many battles to be fought in the future.

The state arts commission will be fighting for its life in the next few years.   Budget deficits and a reluctance to implement new taxes mean additional state services will be reduced or cut.   Will Washington follow the path of Kansas?

Building for the Arts and Heritage Capital programs, by far the largest public commitment to cultural support made by the State of Washington throughout the past two decades, was reduced by tens of millions of dollars last year, with devastating impact to the organizations and communities who would have benefitted from jobs those cultural facilities would generate.

The City of Seattle has an ordinance directing 75% of admission taxes to the Office of Arts and Cultural Affairs.   In the past two years, the city’s adopted budget directed that some of these funds go to the Parks Department for art programs in the parks that were previously funded out of the Parks budget.

There may be bills introduced in Olympia to eliminate the state Percent for Arts Program (again) and/or remove the property tax exemption currently in place for non-profits who own or rent real estate.

Many of the suburban city arts commissions are seeing staff reductions and funding cuts, eliminating local festivals and free performances in parks.

Advocacy on behalf of the things you believe in never ends.

Jim Kelly

P.S. Advocates looking for causes in 2012 are invited to turn to the Washington State Arts Alliance website for more info about the issues, and/or attend Arts and Heritage Day in Olympia on February 1st.

Akio Takamori, LOVE (detail) © 2006, King County Public Art Collection

The new year brings changes in our communications department we are excited to share. Sara Edwards, 4Culture’s current Communications Manager, has opted to take a reduced schedule at 4Culture to have more time to pursue artistic work outside the agency. With her 60% schedule, she will develop a new focus of leading 4Culture’s overarching outreach strategy, communicating 4Culture goals, programs and impact to constituents, partners and legislators, while working to create new outreach opportunities among those identified in King County’s Equity and Social Justice ordinance of being particularly in need of our services.

Additionally, Tina Hoggatt (former Outreach and Education for 4Culture’s Public Art program) will be returning to 4Culture in 2012 to join Sara as an integral part of the communications team. Tina will work on a 75% schedule to maintain a high level of service and communications, overseeing our website, enews, blog, social media, rich content and press relationships.

This dynamic duo look forward to maintaining and evolving 4Culture’s communications tools and broadening our reach to serve even more King County residents and visitors.

Civic Center/Candy Chang, Before I Die, © 2011

Think of your favorite works of public art that you have experienced or know of.  What qualities make these pieces stand out to you as successful projects?

As part of the Public Art 2012 annual planning process, staff and members of the advisory committee asked ourselves these questions and selected three of our favorite projects in the categories of Best Public Art 4Culture Project; Best Public Art Project Anywhere, Anytime; and Doing the Most With the Least.  Much of our December meeting was dedicated to presenting these projects in the style of a PechaKucha, (a slideshow with 20 seconds to describe each image), followed by spirited conversation.  The salient points from this exercise will help frame our direction in the coming year, as we determine how to continue the outstanding legacy of our program in this time of severely reduced revenue.

Olafur Eliasson, Green River © 2000

Qualities we are most passionate about in Public Art include work that is transformative, confrontational, accessible and that challenges the current ideas of what Public Art can be.  Transformative work spans many avenues of thought, from transforming a physical place to transforming how a community interacts with each other and their local artworks; transforming materials through repurposing, and transforming how we see the world through the content of the artwork.  Bringing art to the people is one of the main tenets of public art, but what form this takes continues to evolve.  Projects that are participatory are important, whether the involvement is with their design, creation, or end experience. Nurturing projects in underserved areas and with underserved populations, especially youth, was a recurring idea in our discussion.

Work that serves as a catalyst with interesting and relevant subject matter continues to be evocative and fresh as it evolves over its lifespan.  We are dedicated to supporting the risks necessary for artists to produce their best work, as well as developing new areas of engagement for public artists, such as Artist Residencies with various County departments; and continuing to place artists with design teams working on overarching community plans, urban design, and specific development sites. We strive to create opportunities for artwork to be embedded in the natural environment, our infrastructure, and our built environment in ways that give high visibility and iconic identity to a site, while combining art with function. Permanent artworks must be durable and are most successful when exhibiting a high level of craft, or pushing the boundaries of craft.

Carol dePelecyn, Re:cycle © 2009

Artwork that promotes interaction is important to us, whether this is between the audience and the work; the street and the community; the community and the commissioned artist; or the artwork and the commissioning client’s work.  Interaction can take the form of an experience that surprises, reveals the known in an unusual way, or helps us reinterpret our world in the way we see the public, our resources and ourselves.  Confrontational artwork can provide vital social commentary and engage in political activism, as well as generate participation through conversations, while questioning what it truly means to communicate.  We are interested in promoting work that tells a story; whether of a place, a community, or something that makes the personal public.

The value of big ideas and big impact for a modest budget was a recurring theme.  Artworks that connect people at a root level, that engage people in ways that are not condescending, that make people laugh, that are radical and surprising are needed to ensure lively, open and safe communities which continue to honor the creative spirit that animates us all.

You will have noticed by now that Blog4Culture has a fresh new design. We’ve revisited both the look and the functionality of the blog with an eye to getting the reader more quickly and intuitively to the content they want to see. We’ve also simplified and updated our enews to read more clearly on mobile devices as well as on your computer. Let us know what you think.

Don’t receive the enews? We can fix that. Sign up  here to have the monthly enews delivered to your inbox. While you’re there you can also sign up for our public art opportunities and Site Specific event notifications.

Some of you follow us on Facebook – we’d love to see more of you in the house. On our 4Culture Facebook page we post reminders, events, links to the blog and general goodness. We welcome posts on our wall from the cultural community that share what’s happening in Arts, Heritage, Preservation and Public Art in the county, and projects generated by those who live here. Have you received a grant from us? Project funding? Our project managers love to hear your good news but we encourage you to post it on Facebook as well.

Have you discovered the info-stream that is Twitter? Some folks find Twitter overwhelming but really, it’s just conversation, community and links to things you might want to know about, 140 characters at a time. That’s bite-size. We have two Twitter streams where we tweet about our programs, share links of interest, make friends and converse with our folks. If you’re looking for an update about what we had for lunch you won’t find it on either stream, but if you want to discover what all the fuss is about or if you are already on Twitter, follow us up. Come on in, the water’s fine.

@4Culture (Arts, Heritage, Preservation and Public Art content) and @pa4culture (Public Art’s stream that features design, technology, architecture and public art).

Twitter illustration by Philip E. Pascuzzo, 2010

Have you heard of  Tumblr? This micro blogging site has hosted Public Art’s informal studio blog for the last year or so – what’s new, what’s in process, things we’ve been thinking or talking about. We will maintain the Tumblr site for the next quarter and may then move such content over to our other sites. In the meantime, check out our current and archived posts, and if you are on Tumblr give us a follow. You never know, we might be encouraged and stick around on this platform.

And finally, let us speak of Google+. Though we admire its circles, its clean design and its lack of overt advertising we are holding steady with the social media we already have going. Are you committed to Google+? Do you think we should build a page and presence there? Let us know, our outreach is always evolving.

Of course, if you don’t hold with things digital (or even if you do) you can always find us in the office. Visit Gallery4Culture and watch the e4c screens, browse our resource room, help yourself to the brochures and cards at the front entrance and say hello to staff.

101 Prefontaine Place South in Pioneer Square is an especially robust platform, and it’s not going anywhere.

]]> http://blog.4culture.org/2012/01/find-4culture-online-were-everywhere/feed/ 0 http://blog.4culture.org/2012/01/quixote-and-panza-homeless-in-seattle/ http://blog.4culture.org/2012/01/quixote-and-panza-homeless-in-seattle/#comments Tue, 03 Jan 2012 17:38:50 +0000 Heather Dwyer http://blog.4culture.org/?p=18219 In 2011, Rose Cano received a 4Culture Individual Artist Projects award for her new play, Don Quixote and Sancho Panza Homeless in Seattle. She is currently developing the script, and has conducted several community readings ... Continue

Rose Cano, Courtesy of the Artist © 2011

In 2011, Rose Cano received a 4Culture Individual Artist Projects award for her new play, Don Quixote and Sancho Panza Homeless in Seattle. She is currently developing the script, and has conducted several community readings at sites including: CASA Latina, Consejo Counseling, Compass Center and the Union Gospel Mission, Spanish Chapel.

Rose Cano was born in Peru, raised in King County, and is a graduate of Cornish College of the Arts in Seattle.  She went back to South America for ten years – gathering stories, songs and myths of the many cultures within Latin America. She returned to King County to live and perform. She presents her work bilingually, in both English and Spanish. Cano uses traditional instruments, from around the world, to tell stories and songs from Latin America.

Real Change, a publication that provides a voice for low-income and homeless people, has recently published an article about Cano’s project.  Check out this map to find a Real Change vendor near you.

 

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