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

The Paramount Theatre, Courtesy of Seattle Theatre Group (Sustained Support Recipient)

Some organizations have been confused by the announcement about application deadlines for Sustained Support, thinking that these deadlines were for 2012 funding.  This confusion stems from 2010, which was an atypical single year of Sustained Support; many organizations who received Sustained Support that year didn’t realize, when they applied for Sustained Support funding in 2011, that it was for a two-year award.  If you received Sustained Support funding in 2011, you will receive the same award in 2012.  The September 26 (for Arts) and December 5 (for Heritage) deadlines are for the 2013-14 cycle of Sustained Support funding.  We hope this clears up any confusion!

© Cris Bruch, South Branch, North Fork, Puddles, 2011, Photo by Benjamin Benschneider

Public Art Director Cath Brunner led reporter Gary Faigin on a tour of Brightwater’s public art last week. His review of three of the artworks installed at the Environmental Education Center will air on NPR station KUOW, 94.9 FM, between 12:00 and 2:00 p.m. on Saturday, February 4. The artworks discussed are South Branch, North Fork and Puddles by Cris Bruch; Collection & Transformation by Ellen Sollod; and Circulator by Jim Blashfield. All of the artists who created artwork for Brightwater were also interviewed by 4Culture at the time of the opening about their work for the treatment plant. You may listen to and download edited audio on our website.

We look forward to hearing the review, which should be available for download and streaming as well.

June Sekiguchi: Within/Without

ArtXchange Gallery through February 25th

 Artist Talk Thursday, February 2 at 3:00        Reception to follow 5:00-8:00

June Sekiguchi was a 2011 recipient of an Individual Artist Project. We’ve invited her to share the artist residency that the award funded as well as the artwork that resulted from her residency experience.

My sculptural installation, Within/Without,  represents a set of opposite experiences: the most wonderful opportunity I’ve had in my life for my art, and the worst time in the pain of loss. From the outside, this work was created in response to an artist residency I had in Laos at the invitation of Prince Nithakhong Somsanith. Funded in part by a grant from 4Culture, the residency goal was to observe Lao art practices in order to inform new studio work. From the inside, it’s a temple to honor my mother. My time in Laos coincided with what turned out to be the process of my mother dying from injuries from a car accident.

Luang Prabang is Laos’ cultural capital and was designated a UNESCO World Heritage Site in 1994 because of the many temples that exist in the small town. Exiled to France, Prince Somsanith has returned to Luang Prabang in recent years to help revive the traditional arts that were dying out since the communist government takeover in 1975. The sensory experience in the meditative atmosphere of monks chanting compelled me to make something for my mother in reverence.

I approached the residency free from preconceived direction. I was ready to abandon the tool I was predominantly using, to find new methodologies and new directions. Prince Somsanith fast-tracked me to artisan workshops in silversmithing, weaving, ceramics, woodcarving, papermaking and stencil making.  As I absorbed various techniques and mediums, I came to value why I had been drawn to pattern and surface in the first place. It was the appreciation of the hand in a knowing-ness and an aesthetic fed by history, linking these arts to a living, breathing tradition.  I realized that rather than abandoning my previous practices, I needed to push my medium to its ultimate conclusion.

I found many opposite notions throughout the Lao culture. Theravada Buddhism can exist and thrive under a communist government and co-exist with spiritual animism. Rich, sumptuous temples have existed over centuries, housing the Buddhist precepts of impermanence and non-materiality while the rest of the country lives in the raw beauty of bamboo.    In my responsive work I use contrasting materials and construction as a metaphor to convey the opposites I was feeling internally and what I was observing externally as an outsider looking in. Fragility and stability; life force and collapse; complexity and simplicity exist within and without.

The next deadline for Individual Artist Project applications is March 14. June Sekiguchi’s artwork will be on exhibit through February 25th, ArtXchange Gallery, 512 1^st Ave. S., Seattle, WA 98103

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.

Improsia (l-r: Jana Hutchison, Joel Dale, Andrew McMasters, and Doug Willott), photo © Erica Nomura

Seattle Festival of Improvisational Theater

February 15-19

Seattle is home to some outstanding improvisational theater. 4Culture provides Sustained Support funding for two improv organizations, Unexpected Productions (which operates out of the Market Theater and is probably best known for presenting the popular competitive improv format TheaterSports) and Wing-It Productions, which (among other shows) produces the upcoming Seattle Festival of Improvisational Theater (or SFIT). SFIT features not only a wealth of local improv troupes—including Interrobang?!, the Great Puppet Happiness Machine, Funbucket, Super Mega Art Show, and the remarkable Improsia—but also groups from Chicago, Austin, Honolulu, Vancouver, B.C., and Paris, France! Running from Feb 15-19, with performances at both Wing-It’s home space the Historic University Theater (5510 University Way NE) and the Ethnic Cultural Theater (also in the U-District at 3940 Brooklyn Ave NE), SFIT has both performances at 8 and 10:30 and improv classes and workshops for newcomers interested in learning from local and visiting improv veterans.  To learn more, go to www.seattleimprov.com.

Smokestack Arias promo © 2011 courtesy of Robin Holcomb

4Culture is excited to announce the premier of Smokestack Arias – a song cycle inspired by the labor uprising that culminated in the events of November 5, 1916 known as the Everett Massacre. Composed by Wayne Horvitz with text by Robin Holcomb, the work will be performed by Maria Mannisto (soprano voice) and Cristina Valdes (piano). Each song assumes the perspective of a different woman affected by the tumultuous occurrences, creating an intimate and personal account of this seminal event in the history of the labor movement in the Pacific Northwest. Dayna Hanson, experimental stage artist and choreographer, will direct. Eight performances are scheduled for February 2 – 12 at ACT Theatre in Seattle. This is a Central Heating Lab Event, funded in part by 4Culture’s Individual Artist Projects program.

For more information visit acttheatre.org or call (206) 292-7676.

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.

Dancer Emilee Putsche of The Stone Dance Collective, Photo © Zebra Visual

Chop Shop:  Bodies of Work

February 11^th, 2012 at 7:30pm and February 12^th, 2012 at 3:00 pm

The Theatre at Meydenbauer, Bellevue

Eva Stone, Producer/Curator for Chop Shop: Bodies of Work, has received support from 4Culture through the Group Arts Project  program for the past three years, 2009, 2010 and 2011. The deadline for the 2012 GAP program application is March 7. We invited Eva Stone to write a guest blog post about this exciting project.

I admit it.  I am obsessed.  And you should be, too.

There is amazing caliber of choreographers and dance artists that will be presented in this year’s installment of Chop Shop: Bodies of Work, an annual contemporary dance festival held at the Theatre at Meydenbauer over second weekend in February.  I started this event five years ago because of my deep passion for contemporary dance and the brutal realization, after 25 years in this field, that 98% of the people in the world don’t care about or understand this art form.  I still have family members who have no idea what I do for a living.  I’ve come to peace with that knowledge, but have made a personal vow to make and keep dance alive and relevant in our current culture.

Chop Shop is unique in its approach to brining new audiences to dance through a wonderful series of free deconstruction lectures (on how choreography works and what it all means) as well as introductory modern dance classes open to all levels and ages.  These events serve as companion classes to the dance festival itself in order to give participants a first hand experience in dance.  And out of all the classes I teach every year, the outreach classes are some of the best for me.  I get whole families (Dad, Mom, the two kids and even Grandma) who come to class with a lot of interest and a bit of hesitation and by the time class is over they are ALL flying around the room.  It’s a terrific experience!

This year’s performing artists are some real heavy-hitters.  I am so excited to be presenting a new up-and-coming choreographer from New York, Adam Barruch, in his West Coast Premier (this guy is going to be huge one day) as well as Northwest Dance Project from Portland and a rare solo by the legendary Donald Byrd!

And as a celebration of five years of hard work, brilliant dance and outstanding success (every show has been a sell-out) I am offering free cake in the lobby after the performances.  Come and celebrate!  All the info is here, as well as a cool promo:  www.chopshopdance.org

Dancer Emilee Putsche of The Stone Dance Collective, Photo © Zebra Visual

February 11^th, 2012 at 7:30pm and February 12^th, 2012 at 3:00 pm

The Theatre at Meydenbauer, Bellevue.  Tickets on sale at www.brownpapertickets.com.

But most importantly, my deepest and sincerest thanks to 4Culture for helping me make a lifetime passion become reality.  Here’s to more cake and more great dance for our city and it’s people!  Cheers!

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

Public School Teacher Jed Dunkerley, Seattle, © 2012 Erin Shafkind

Seattle’s Public School art teachers protest the district furlough this afternoon, at Pacific Place Mall in downtown Seattle. Pictured is Jed Dunkerley, one of several who provided free drawing lessons to members of the public. Dunkerley says of the mall protest/display, “Too cold and wet to have class outside…not allowed to have class in my classroom due to state budget cuts in education.”

Learn more about the benefits of art in public schools via the 4Culture supported group Arts Ed Washington