Thankfully, due to the author's eloquence and well researched and fully explained train of thought, as well as her unbiased and academic exploration of the definition of home in a variety of contexts and pointed lack of personal opinion, leaves me with nothing to argue or criticize, but certainly left me to wonder when I truly considered home 'home.'
In times of crisis, it's easy to discover 'home,' no matter which definition you choose. For me, home was discovered in my freshman year of college in Southern California. Home is culture. Home is family.
Tuesday, October 9, 2007
The Last Big Six -- Makeup Blog
The "Last Big Six" article by Matthew Kangas is an excellent history of how the arts really started to emerge as a recognized national market--though the apparent fact that Seattle's art galleries accept 'craft' as much as art was upsetting to me.
First of all, I believe it is unfair of the gallery owner and the author to imply that art, or should I say 'craft,' forms, which apparently include glass blowing and ceramics, as somehow less respectable than "fine arts." In actuality, their continued definition of "fine arts," which includes artitsts such as Hilda Morris and Jacob Lawrence, is anothere statement which makes me cringe. Are these modern works of abstraction considered "fine" because of public adoration? Market price? Or perhaps their conceptual innovation? ... or maybe the traditional nature of their chosen mediums? To me "fine arts" are not based on any of these factors. It is a term which describes either a broad artistic field, like music or dance, or a very narrow and specific classification of art which forms the foundations of these broad arts categories, pieces which demonstrate extreme technical excellence and sublime aesthetic appeal--pieces which are the manifestation of the pinnacle of said fine art form. That being said, I do not believe the term 'fine arts' should apply to the artists highlighted in the article.
One thing I did like however, was that Kangas chooses to conclude on a positive note, expressing his op[timism and vision for the Seattle art communitiy's future, and, upon learning about all the hard work, dedication, and initiative which created this culture, I agree with Kangas, the Seattle arts community has nowhere to go but up.
First of all, I believe it is unfair of the gallery owner and the author to imply that art, or should I say 'craft,' forms, which apparently include glass blowing and ceramics, as somehow less respectable than "fine arts." In actuality, their continued definition of "fine arts," which includes artitsts such as Hilda Morris and Jacob Lawrence, is anothere statement which makes me cringe. Are these modern works of abstraction considered "fine" because of public adoration? Market price? Or perhaps their conceptual innovation? ... or maybe the traditional nature of their chosen mediums? To me "fine arts" are not based on any of these factors. It is a term which describes either a broad artistic field, like music or dance, or a very narrow and specific classification of art which forms the foundations of these broad arts categories, pieces which demonstrate extreme technical excellence and sublime aesthetic appeal--pieces which are the manifestation of the pinnacle of said fine art form. That being said, I do not believe the term 'fine arts' should apply to the artists highlighted in the article.
One thing I did like however, was that Kangas chooses to conclude on a positive note, expressing his op[timism and vision for the Seattle art communitiy's future, and, upon learning about all the hard work, dedication, and initiative which created this culture, I agree with Kangas, the Seattle arts community has nowhere to go but up.
Kobe
It's nice to read such an inspirational story. It's wonderful to know that each and every field can be approached from a variety of different ways, and that Cornish can help no matter which approach one chooses.
Trimpin as a Rolemodel to Artists
I was sad when I looked at the date of this article and found it was from last year. After reading this article, I want to see this man’s work!
Also, Trimpin is an incredible role model for all of us artists. Instead of being upset that people just push a button and then walk away from all of his hard work, Trimpin actually decided to change his exhibit to ensure his audience would stay to watch. I feel like most artists I know would take the viewer’s apathy as personal insult and shrug their shoulders at a lost cause or destroy their creation in a fit of rage. Kudos to someone who does neither of the above and ALSO manages to alter their piece to counteract an apathetic generation.
Also, Trimpin is an incredible role model for all of us artists. Instead of being upset that people just push a button and then walk away from all of his hard work, Trimpin actually decided to change his exhibit to ensure his audience would stay to watch. I feel like most artists I know would take the viewer’s apathy as personal insult and shrug their shoulders at a lost cause or destroy their creation in a fit of rage. Kudos to someone who does neither of the above and ALSO manages to alter their piece to counteract an apathetic generation.
Bravo Peter Boal...
First of all, I would like to say that I hate Peter Boal. While Seattle may have been a little behind the times with regard to Balanchine’s choreography, Seattle audiences were never screaming for more…which is probably why Kent Stowell and Francia Russell’s one night of Balanchine was limited to just that: one night out of their entire season. As I remember, Pre-Peter Boal, I was always excited to go to the Ballet. ‘Is it Cinderella? Is it Carmina Burana?’ who knows. It could be anything, but always something entertaining with classical dancing and beautiful costumes. Now, when my dad tells me we have a ballet on Sunday, I already know it’s Balanchine. Why? Because now it’s always Balanchine.
I groan aloud, and my dad takes this as a sign that I no longer want to be a part of this family’s ballet outing. I hurriedly explain that it’s because I know it’s another all-Balanchine performance. He actually tries to argue it with me, “No, it couldn’t be. There’s just no way.” Obviously, that Saturday, he was proven wrong. How many times can I sit through Jewels without banging my head on the wall? I was never a fan of Balanchine in the first place, and now, thanks to Peter Boal’s tenacity, my family, after subscribing to PNB for over a decade, will now cease their support because going to the ballet is no longer about beauty or technique.
Oh, and did I mention that Peter Boal refuses cast the best and most beautiful long-time PNB dancers like Olivier, Poretta, Stanko, in favor of the SAB immigrants he’s ushered here? He promises them that they will be stars and makes them principals as soon as they make the switch. Where does this put all of our hardworking soloist and corps dancers who have been working to earn those positions? In his own words when contrasting the two companies, SAB works you so hard that you wear your stage makeup to a 5 o’clock rehearsal so that you’ll be ready to be onstage by 7 the same night whereas apparently at PNB, the dancers cry if they don’t get their tea break, it’s little wonder that so many New York dancers are flocking our way, pushing old favorites out of the spotlight. Things have been getting so hard for the PNB principals that many are now moving away, Cristophe Marvaal for example. How many more of our true Seattle dancers will have to suffer at Boal’s hand? Thankfully, after this year, I won’t have to watch. Bravo, Peter Boal. Bravo.
I groan aloud, and my dad takes this as a sign that I no longer want to be a part of this family’s ballet outing. I hurriedly explain that it’s because I know it’s another all-Balanchine performance. He actually tries to argue it with me, “No, it couldn’t be. There’s just no way.” Obviously, that Saturday, he was proven wrong. How many times can I sit through Jewels without banging my head on the wall? I was never a fan of Balanchine in the first place, and now, thanks to Peter Boal’s tenacity, my family, after subscribing to PNB for over a decade, will now cease their support because going to the ballet is no longer about beauty or technique.
Oh, and did I mention that Peter Boal refuses cast the best and most beautiful long-time PNB dancers like Olivier, Poretta, Stanko, in favor of the SAB immigrants he’s ushered here? He promises them that they will be stars and makes them principals as soon as they make the switch. Where does this put all of our hardworking soloist and corps dancers who have been working to earn those positions? In his own words when contrasting the two companies, SAB works you so hard that you wear your stage makeup to a 5 o’clock rehearsal so that you’ll be ready to be onstage by 7 the same night whereas apparently at PNB, the dancers cry if they don’t get their tea break, it’s little wonder that so many New York dancers are flocking our way, pushing old favorites out of the spotlight. Things have been getting so hard for the PNB principals that many are now moving away, Cristophe Marvaal for example. How many more of our true Seattle dancers will have to suffer at Boal’s hand? Thankfully, after this year, I won’t have to watch. Bravo, Peter Boal. Bravo.
Monday, October 8, 2007
BALANCHINE: MASTER OF THE DANCE
By the time of his death on April 30, 1983, George Balanchine had created over 400 works and was recognized as a 20th-century master alongside Picasso and Stravinsky. Here is the story of how the man born Georg Melitonovitch Balanchivadze in St. Petersburg, Russia in 1904 went on to become the artistic director and primary choreographer of the New York City Ballet.The man who would one day rank among the greatest choreographers in the history of ballet came to the United States in late 1933 following an early career throughout Europe. His trip came at the invitation of Lincoln Kirstein, a Boston born dance connoisseur whose dream it was to establish an American school of ballet and company equivalent to those in Europe.
The first result of the Balanchine-Kirstein collaboration was the School of American Ballet, founded in early 1934. It later became known as the premier American ballet academy and breeding ground for the New York City Ballet, which Balanchine and Kirstein were to establish together after 14 more years, in 1948. Balanchine’s first ballet in this country was "Serenade," set to music by Tchaikovsky, which was premiered outdoors on the estate of a friend near White Plains, New York, as a workshop performance by students of the school.
The first result of the Balanchine-Kirstein collaboration was the School of American Ballet, founded in early 1934. It later became known as the premier American ballet academy and breeding ground for the New York City Ballet, which Balanchine and Kirstein were to establish together after 14 more years, in 1948. Balanchine’s first ballet in this country was "Serenade," set to music by Tchaikovsky, which was premiered outdoors on the estate of a friend near White Plains, New York, as a workshop performance by students of the school.
In 1935, Balanchine and Kirstein set up a touring company of dancers from the school and called it the American Ballet. That same year the Metropolitan Opera invited the company to become its resident ballet, with Balanchine as the Met’s ballet master. On October 11, 1948, Morton Baum, chairman of the City Center finance committee, saw Ballet Society, formed two years earlier by Balanchine and Kirstein, in a City Center Theater program that included "Orpheus," "Serenade" and "Symphony in C" (a ballet Balanchine had created for the Paris Opera Ballet under the title "Le Palais de Cristal" the previous year).
Baum was so impressed that he negotiated to have the company join the City Center municipal complex. Balanchine’s talents had found a permanent home. That home was to become known as New York City Ballet and Balanchine would serve as its artistic director until his death in 1983.
With a company initially strapped for cash, Balanchine eschewed elaborate costumes and sets and presented his dancers in practice clothes, an innovation he continued to use for selected ballets long after money was no longer an issue. Among the “practice-clothes ballets” in the Balanchine repertory: "Agon," "Episodes," "Ivesiana," "Kammermusic No. 2," and more than 20 Stravinsky/ Balanchine collaborations.
At this time, he also choreographed "The Nutcracker," New York City Ballet’s first full-length ballet and an enduring popular success. Although it took a long while for New York City Ballet to become a popular company, by the time Lincoln Center for the Performing Arts opened in 1964, Balanchine’s reputation was established and he was ready to reach a larger audience on a larger stage.
To many observers who followed New York City Ballet through the lean years, the opulent and elaborate productions that began to emerge at the New York State Theater must have seemed out of character. For those, however, who realized that Balanchine had dreamed of creating for America what the Maryinsky had been for Russia, the development was perfectly logical, and ballets such as "Don Quixote," "Union Jack," "Jewels," and "Vienna Waltzes" soon followed.
The legacy left by Balanchine when he died remains as profound as it is extensive.
Peter Boal
For a dancer, his career is truly amazing. As chris has said before me, Peter Boal's career span is the dream of all professional dancers. And I truly agree with the boxed quote at the end of the article: It doesn't make nay sense to have a dance audience that says, " We only go to On The Boards" or "We only go to the PNB' or "We only go to Meany." I want audiences to support all of the dance in Seattle. - I hope more people feel the same way as Peter Boal does, because we as artists or part of the community can not be selective of what or where we support. Because art is all the same.
Peter Boal
This man in my opinion has the dream career span, for a dancer. To be at the hight of your career then to move to a creative director position is a dream. I hope to do some of the same with my acting career. I want to act for several decades then begin to direct as well, and even later in life I would like to be an artistic director so I can put together an amazing place for drama.
Sunday, October 7, 2007
Kobe to Broadway
Mikiko's story was incredible and inspiring. It was so interesting to hear about a Cornish student coming from such a far away place as Japan in order to pursue their dreams and artistic endeavors. I was also touched by what Mari London called Mikiko's "naivete", because it is so rare that someone has a strong enough will to go for something combined with the faith do go through with it, disregarding the odds that may be against them.
Sweet Home
This made me consider my own idea of home and prompted me to question what the true meaning of home is, realizing that it means something so different for everyone. After reading Sweet Home, I reflected alot on the different forms that security and comfort can take, whether it be a physical location or a single person. One quote that especially struck me was Louise Erdrich's quote in which she compares the inhabitants of urban environments to "hunter gatherers" and the context that bounds us together, specifically brands that have been made infamous and more than just the companies they represent. Although I agreed with her in the sense that our culture puts an excessive amount of stock in these symbols, I did not agree with this bold generalization that these symbols make up the context for who we are and where we live.
Question for Chris
Hi Chris,
I have a question about what is supposed to be read by Monday, October 8th. Are we supposed to read Artopian Seattle and Profile: Peter Boal? Did we skip one? I'm not sure, so if you could clear that up, that would be great.
-Stacy
I have a question about what is supposed to be read by Monday, October 8th. Are we supposed to read Artopian Seattle and Profile: Peter Boal? Did we skip one? I'm not sure, so if you could clear that up, that would be great.
-Stacy
Friday, October 5, 2007
Ten Tips for a Better Interview
International Center for Journalists, www.icfj.org, October 2, 2007
1. Be prepared. Research the subject you are reporting about and the person you are interviewing. Your source will appreciate your effort, and you will be able to skip questions that could be answered by an assistant, book, or document. Make sure your tape recorder has batteries that work. Bring an extra tape as well as pens and notebook.
2. Set the expectations for the interview right up front. Be sure your subject understands the purpose of your interview (this will help keep the conversation on track).
3. Be on time. By beginning and ending the interview on time, you express your respect for your interviewee.
4. Be observant. Observe details of the place and of your interviewee; this can add color to your story. If you are interviewing people in their home or office, be sure to get a good look around and note what you see. For example, they may have some old photos that show them in a more personal light. You may start an interview with assumptions about a person and leave with a completely different impression. Talk to colleagues or friends of your source to get a bigger picture.
5. Be polite. Establish a polite rapport and a level of comfort for the interviewee.
1. Be prepared. Research the subject you are reporting about and the person you are interviewing. Your source will appreciate your effort, and you will be able to skip questions that could be answered by an assistant, book, or document. Make sure your tape recorder has batteries that work. Bring an extra tape as well as pens and notebook.
2. Set the expectations for the interview right up front. Be sure your subject understands the purpose of your interview (this will help keep the conversation on track).
3. Be on time. By beginning and ending the interview on time, you express your respect for your interviewee.
4. Be observant. Observe details of the place and of your interviewee; this can add color to your story. If you are interviewing people in their home or office, be sure to get a good look around and note what you see. For example, they may have some old photos that show them in a more personal light. You may start an interview with assumptions about a person and leave with a completely different impression. Talk to colleagues or friends of your source to get a bigger picture.
5. Be polite. Establish a polite rapport and a level of comfort for the interviewee.
6. Listen. Focus on your subject and listen carefully to what he/she has to say rather than thinking about your next question.
7. Don’t be afraid to interrupt when you don’t understand. One reason you are conducting this interview is to explain the subject to your readers. If your interviewee uses language only his/her peers would understand, politely interrupt and ask for further explanation. Never be embarrassed about not knowing something.
8. Maintain eye contact. While taking notes and/or recording the interview, maintain as much eye contact as possible. Try taking abbreviated notes, looking down only once in a while, so you can focus on your interviewee. This will make the interview more conversational.
8. Maintain eye contact. While taking notes and/or recording the interview, maintain as much eye contact as possible. Try taking abbreviated notes, looking down only once in a while, so you can focus on your interviewee. This will make the interview more conversational.
9. Before you leave... ask your source if there is anything that you might have forgotten to ask. Perhaps the interviewee is burning to tell you useful information, but you did not even think to ask that question. Ask for a contact number or e-mail address and a good time to call with follow-up questions. Thank your source for spending time talking with you before you leave.
10. Review your notes right after the interview. Don’t wait to review your notes. Go over them right away, while everything is fresh in your mind.
10. Review your notes right after the interview. Don’t wait to review your notes. Go over them right away, while everything is fresh in your mind.
Wednesday, October 3, 2007
Kobe to Broadway
This article was inspiring, she was able to focus on her goal and make it happen. No matter how many times she was told no she kept trying and made it into Cornish. With her passion she could do anything and I think that is amazing.
Kobe to Broadway
I like how this shows that if you have enough passion to pursue your art form it can take you to the top of your carrier. It also shows that we are all in the right place to start are artistic carriers here at Cornish. It's reinforcement for me, to remind myself that I came here to pursue my dream of being an actor. If I'm not willing to throw 100% of myself at it why bother. I can't believe where all here.
Sweet Home and Mikiko's Story
Sweet Home
For the reading on Sweet Home, overall I thought that all these articles about life-place and what we call home is beneficial by opening our eyes to our personal issues, experiences, and becoming more aware of what's happening in our lives if we weren't already. Honestly, having these readings and then having our discussions about them in class have made me perceptive and observing of what has been happening in my life. I keep acknowledging that everything that I might have considered in one way with one opinion is changing and shifting to a new definition. I already knew this, but it didn't really register in my mind until I began to really analyze passages in the articles we have read and relating to my life.
Mikiko's Story
I really found myself admiring her passion, bravery, and dedication to accomplish her dreams and amazed at how she overcame the hardship having a language barrier and being foreign in Seattle. The article outlines her in my mind to be logical, smart, and a person with a good head on her shoulders. Being foreign and coming to America in pursuit of your dream career is not an easy thing to do, a person has to be extremely disciplined and great and taking care of themselves and what they need. Her success is truly the prime example of working hard to get what you want. Enduring college for just a slight portion of your life can give you a lifetime of happiness and success in the long run. That's what I always remind myself.
For the reading on Sweet Home, overall I thought that all these articles about life-place and what we call home is beneficial by opening our eyes to our personal issues, experiences, and becoming more aware of what's happening in our lives if we weren't already. Honestly, having these readings and then having our discussions about them in class have made me perceptive and observing of what has been happening in my life. I keep acknowledging that everything that I might have considered in one way with one opinion is changing and shifting to a new definition. I already knew this, but it didn't really register in my mind until I began to really analyze passages in the articles we have read and relating to my life.
Mikiko's Story
I really found myself admiring her passion, bravery, and dedication to accomplish her dreams and amazed at how she overcame the hardship having a language barrier and being foreign in Seattle. The article outlines her in my mind to be logical, smart, and a person with a good head on her shoulders. Being foreign and coming to America in pursuit of your dream career is not an easy thing to do, a person has to be extremely disciplined and great and taking care of themselves and what they need. Her success is truly the prime example of working hard to get what you want. Enduring college for just a slight portion of your life can give you a lifetime of happiness and success in the long run. That's what I always remind myself.
From Olympia to Broadway: The Romeo Story
This has to be one of the few inspirational pieces we've read so far. I think we all click with this article because this is the story we all want to make for ourselves. Go to school for the thing we love. Get a job for the thing we love. Finally, be known for the thing we love. Even with her language barrier, Mikiko Suzuki still succeed in her field. In a way, we all have some barrier keeping us from pursuing what we love. Whether it be money, a disability, or even a lack of support. From Mikiko's story we see that perseverance can et us through it.
Yeah, yeah, cliche I know.
But it's what we were feeling when we read this article in one way or another.
By the way, Robbie's lame =]
-romeo
Yeah, yeah, cliche I know.
But it's what we were feeling when we read this article in one way or another.
By the way, Robbie's lame =]
-romeo
From kobe to broadway
Reading this gave me inspiration to be better in my field of work. Just reading about Mikiko's journey from Japan to New York to Seattle the determination of her is incredible. Her struggles with the English language and trying to get into Cornish is just wow taking three times to get in and dealing with the frist two years of sturgling with English. I have some of the same problem i have a money problem instead of a language, i can only take out up to $25,000 in student loans and that is the limit with my co signer and then i don't have one anymore and it is going to be a big deal to keep it under that for my 4 years hear but i know i can over come that. I only need the concertation of Mikiko to get through these years.
***** I LOVE ROMEO******
***** I LOVE ROMEO******
Home Sweet Home
I'm not really sure what to say about this article. Our discussion on Monday really cut deep as I am moving out of the house I've lived my whole life in on Friday. I think that home is a passionate feeling I get when I feel safe, loved, and comfortable. It's interesting for me to note that when I'm at my house I don't always feel like I'm home simply because I don't feel those specific qualities at all times. "Home" is undoubtedly different for everyone and it will be interesting for me to see if I will feel "home" in my new apartment.
Mikiko
Wow, it was really amazing to read about the courage and drive Mikiko had! And it was so inspiring to me that she was able to work on Light in the Piazza. Very impressive. Her language boundaries didn't stop her and that is a HUGE boundary. To me, this article gave me hope to not let the small stuff get me down in my work toward improving my discipline because other people have much bigger issues to overcome.
Artopia and Artopia Speaks - Quick Comments
I found this article to be incredibly helpful for giving me a arts checklist for places to visit or revisit in the city. I'm happy that most of the interview answers were positive and based on things that the interviewees were grateful for instead of how hard life is in the arts or how their work goes unappreciated by the population because of lack of arts education, etc. It's not like those negative aspects, mostly highlighted through the actual article, aren't true; everyone knows about the artist's plight...and that's the problem. When articles like this come out, I think it actually negatively impacts the art world. Maybe a few of the points will stick (the quote about the mixed pros and cons about charity auctions was especially memorable to me), but generally, even though I'm an artist who must deal with the same problems, I tend to roll my eyes, turn down the volume and try to chill out. In fact, articles that just complain about how the world isn't doing enough for artists would be like a group of Fred Hutchinson doctors creating a commercial blaming America's citizens for getting cancer in the first place; point being--you know what you're getting into when you decide to do what you love, and for better or for worse, for financial gain or no, one has to proactively fix one's problems. When I watch tv, I see ads or news stories on the incredible advancements in medicine (which is, unfortunately, also largely underfunded), I feel excited and want to stand up and donate or join a marathon or support them in some manner because they are targeting and advertising the public. Conversely, I see relatively little in the way of encouraging the public to attend galleries, museums or private showings...and while it may be beneath artists to band together to make advertisements appealing to the general public, it would certainly attract a larger crowd than giant theses of complaint ever will. Truth be told, no matter what they say, I believe that art really does demand a certain level of education--not the kind you learn in school or from one's monetary value, but rather a baseline level of manners and etiquette of how one should behave. I think that proactively targeting the public would draw a crowd that artists simply could never tolerate. People who yell at, touch, or thow things at their creations. Artists would prefer to complain and whine than have to EVER deal with that.
Anyway, the thing I felt was lacking with the interviews was a classically trained interviewee. That being said, I am going to be a person of my word and not just sit here complaining. I’ll answer all of these questions as the missing link.
Which local artist do you feel is the most underappreciated? Why?
I would have to say Juliette Aristides. She’s an incredible artist who has even published her own amazing book. She’s worshipped among all the classical artists yet completely and totally ignored in the Seattle Arts scene? How can someone who has hoards of artists signed up on a mile long waiting list to be among her elite group of students really only deserve a ‘huh?’ anywhere else in the Seattle arts community?
What is your favorite local art space? Why?
I love the Frye Art Museum. They are always bringing interesting and exciting exhibits to Seattle while maintaining an incredible collection that you can really feel close to. When I go there to look at the Bougereau paintings, I truly feel like I could do anything. It’s personal enough and quiet enough that you actually can feel a rush of inspiration…instead of a sterile hush that I feel in other galleries and museums.
What is the most interesting new trend in the Seattle art scene?
I would have to say the revitalization of classical art, thanks to Gary Faigin and Pamela Belyea. Thanks to all of their hard work starting and running the Seattle Realist Academy (later the Seattle Academy of Fine Art, now the Gage Academy of Fine Art), artists like me can finally have a chance to learn like the old masters.
Also, the rise in free teen programs is incredible. I think that the art community is finally realizing that if they don’t provide a decent art education for the next generation, there may not be a next generation! Gage, SAM, and other institutions now offer free classes with free supplies which allows anyone, no matter financial background to learn art techniques and history, as well as become part of a thriving new art community.
What’s the most worrisome new trend in local art?
The idea that if its representational, it’s bad. So what if it’s representational, it doesn’t mean that a piece isn’t conceptually strong, just as it doesn’t mean that a piece is technically strong either.
What’s your most and least favorite piece of public art in Seattle? Why?
My favorite piece is the whale fins at the Seattle Center. Because they’re around many large scale pieces of public pieces of art, they often get ignored, but when I see those giant fins poking their way out of the grass or over the heads of dancing hippies, I can’t help but smile. They also tell a Native American Story, but I’ll leave you to research that J Things are never as fun if they’re just given to you.
My least favorite piece of art is the Calder Eagle. I think it’s ugly and I have no idea why it attracts so much attention. In fact, none of the curves complete themselves, and I can’t find anything aesthetically redeeming in it. I feel like it’s the emperor’s new piece of art of sorts. If you’re not saying it’s incredible, you get the label of a fool, but nobody can really quite tell you why. So what. Label me fool. I hate it.
Anyway, the thing I felt was lacking with the interviews was a classically trained interviewee. That being said, I am going to be a person of my word and not just sit here complaining. I’ll answer all of these questions as the missing link.
Which local artist do you feel is the most underappreciated? Why?
I would have to say Juliette Aristides. She’s an incredible artist who has even published her own amazing book. She’s worshipped among all the classical artists yet completely and totally ignored in the Seattle Arts scene? How can someone who has hoards of artists signed up on a mile long waiting list to be among her elite group of students really only deserve a ‘huh?’ anywhere else in the Seattle arts community?
What is your favorite local art space? Why?
I love the Frye Art Museum. They are always bringing interesting and exciting exhibits to Seattle while maintaining an incredible collection that you can really feel close to. When I go there to look at the Bougereau paintings, I truly feel like I could do anything. It’s personal enough and quiet enough that you actually can feel a rush of inspiration…instead of a sterile hush that I feel in other galleries and museums.
What is the most interesting new trend in the Seattle art scene?
I would have to say the revitalization of classical art, thanks to Gary Faigin and Pamela Belyea. Thanks to all of their hard work starting and running the Seattle Realist Academy (later the Seattle Academy of Fine Art, now the Gage Academy of Fine Art), artists like me can finally have a chance to learn like the old masters.
Also, the rise in free teen programs is incredible. I think that the art community is finally realizing that if they don’t provide a decent art education for the next generation, there may not be a next generation! Gage, SAM, and other institutions now offer free classes with free supplies which allows anyone, no matter financial background to learn art techniques and history, as well as become part of a thriving new art community.
What’s the most worrisome new trend in local art?
The idea that if its representational, it’s bad. So what if it’s representational, it doesn’t mean that a piece isn’t conceptually strong, just as it doesn’t mean that a piece is technically strong either.
What’s your most and least favorite piece of public art in Seattle? Why?
My favorite piece is the whale fins at the Seattle Center. Because they’re around many large scale pieces of public pieces of art, they often get ignored, but when I see those giant fins poking their way out of the grass or over the heads of dancing hippies, I can’t help but smile. They also tell a Native American Story, but I’ll leave you to research that J Things are never as fun if they’re just given to you.
My least favorite piece of art is the Calder Eagle. I think it’s ugly and I have no idea why it attracts so much attention. In fact, none of the curves complete themselves, and I can’t find anything aesthetically redeeming in it. I feel like it’s the emperor’s new piece of art of sorts. If you’re not saying it’s incredible, you get the label of a fool, but nobody can really quite tell you why. So what. Label me fool. I hate it.
Subscribe to:
Posts (Atom)
