Various schemes were proposed to save the rock garden that the Walkers built, a mosaic landscape of river rock, lava rock, agates, thunder eggs, petrified wood, quartz, beach glass, and whatever else caught their eyes. The Walkers’ vision was at once exuberant and serene, outsider art without the dark side. But now it is mostly demolished.
The structural bones are still there, but the terminal has been opened up and modernized by popping the ceiling way up so the original structure is now a low-lying frame.
The fact that a whole year has gone by, during which the public has heard and seen nothing, and a committee to “advise” on the future of Bumbershoot is only now being formed -- is an indication that there’s no creative spark at the center of this reinvention.
The new audiences raise an old anxiety for local arts groups, which is how they maintain a distinctive local focus.
The totem is a gift from the Lummis -- Lhoq'temish (people of the sea) -- to President Joe Biden. Carved from a 400-year-old red cedar tree, the totem will be displayed at the Smithsonian National Museum of the American Indian.
This year would have marked the beloved music and arts festival's 50th anniversary. Instead, owing to continuing virus concerns and insufficient lead time, Bumbershoot has been postponed until 2022.In typical Seattle style, the pathway ahead has been handed over to a committee.
Even today, the firm’s immense resources are organized—if that is the word—into categories—“Psychotronic” and “Literature” and “Live-Action Manga” are fair examples—which have more to do with desperate film-fandom than rational classification.
I think we should turn the Boeing plant in Renton into a fully fledged film studio. I worked as a Screenwriting Fellow at Universal Pictures for a year and there’s no reason why the Boeing Renton facility couldn’t be turned into a similar facility with a little time and investment.
The New York Times still claims to contain “all the news that’s fit to print.” But it also delivers a constant stream of individual...
Mark Morris created greatness early in his career. Though he then made plenty of memorable dances, observers wondered if he could ever create another to match his stunning debut. This work, set to Mozart, became that piece.
His pieno style was both universal and totally personal. At times he seemed to have sprung full-grown from an earlier generation of Seattle lounge entertainers--Overton Berry, Joni Metcalf, Walt Wagner, Betty Hall Jones.
Last March the Seattle Youth Symphony Orchestra – one of the country’s leading training grounds for young musicians – was rehearsing for a spring...
While most of the old Weyerhaeuser campus in Federal Way could well be demolished and replaced with pedestrian commercial uses, this building could instead be re-purposed and acquire a new life.
The keys to adapting to the pandemic are to complete unfinished tasks, to make Zoom work for you, to solve problems, and to keep creating and displaying art.
Wilson says he did not feel he was Black by nature. He had to learn to be Black, and his education, which began at the age of 20, with the discovery of Bessie Smith and the Blues, is the stuff he transformed with ever growing skill into the tissue of his work.
Of course some restrictions would be needed to keep them open, starting with the usual 25 percent capacity, six-foot distance, and masking requirements. But the fact that some institutions can’t operate safely in a pandemic shouldn’t doom those that can.
Made with determination and imagination against the most inimical conditions imaginable, it may come to be seen as one of the harbingers of a new era performance, when all forms of delivery to an audience are seen as equally valid.
ArtsFund's Michael Greer, Seattle Theatre Group's Josh Labelle and Post Alley editor Douglas McLennan talk about the state of Seattle's arts community seven months into the COVID lockdown.
In some ways, 2&U is a laboratory for cities of the future. It could show us how to activate the all-important ground floor after e-commerce and now the pandemic have dealt blows to downtown retail.
The Seattle Repertory Theater (as the name recalls) once deployed a repertory method. It commenced in 1963, right after the Seattle World's Fair, when the repertory idea was the hot idea for regional, non-commercial theater.
In this spare, intense revival from the Opera am Rhein in Düssedorf, it fits our current national mood like an Iron Maiden.
All philanthropic support is not equal. And the pandemic lockdown demonstrates different approaches.
Holl’s building remains the most important work of art in the collection of Bellevue Art Museum
Surprise: A new recording of JS Bach's Goldberg Variations shows Lang Lang in a new light.
It’s likely that many reading this piece were not among the audiences that made Stop Making Sense on of the most successful concert films of all time. I can only hope that they take advantage of the opportunity while it lasts.
Seattle will go from being an over-achiever in the arts (measured by our population) to something much closer to other mid-sized cities such as Phoenix, San Diego, Portland, and Milwaukee. Or not.
The orchestra opens its season with a socially-distanced performance. "Imagination is not the word I would use in describing the show, which put competence on view but nothing more. No surprise, no delight, no flair, no depth of feeling."
In the past you could go out for six weeks at a time. But now maybe you'll go out and work two or three jobs and you'll try to lump them together. But it's nothing to go to Florida for a one-nighter compared to the past. Really why I keep doing gigs now is because I think it's important to keep this music alive. It's part of the American heritage and it's part of history.
An interesting innovation in Atlanta is to create a new kind of local opera company, built around notable singers who live in Atlanta. This kind of repertory company has the flexibility to put on all kinds of imaginative performances.
"Theatres need to stop worrying about how they can reopen in a reduced form, and look out for other models of production in different spaces and to different audiences."