It is true that when we take them down, all those people whose sole method of learning history is walking past statues of “great” men, looking up and then looking down again if there’s enough time on the tour schedule to read an inscription, will have to find another way of learning history.
Seattle got a little of this regional spirit, but never drank deeply. Our cultural institutions are instead quite derivative, which is more comforting for audiences and donors. Take away the New York dominance, however, and you might have more vitality at the regional level.
Deprived of their usual performance venues, artists have turned to the internet to make and disseminate their art. The art is evolving quickly
“Normally getting a project of this size done in the city of Seattle would have required months of bureaucracy, red tape, and writing grants, and trying to find the money, all of which can kill a creative vibe or project real quick.”
How to Train Your Dragon doesn't exactly live up to my memory of it. It far surpasses recollection, shrugging itself out of the familiar skin of animated fantasy action-movie and emerging as a noble allegory.
For more than three decades, Seattle has been earnestly shaping policy and procedure to get better downtown buildings, and fend off the worst. What have we got to show for it? Rainier Square Tower.
The show is a reminder of the power of still photos to explore and explain, especially events that blend history with natural phenomena. Much of the exhibit consists of photo essays reminiscent of extinct magazines like Life.
At REEL Grrls, all the hard drives we used to store our short films we made were named after female directors. By fate, I got “The Lynn Shelton” hard drive. I admired Lynn because she had the courage to take a leap of faith, shift gears, and begin a second life as a filmmaker.
Perhaps, they said, they might open again in the fall of 2021 in a new but still undetermined location. Either way, my heart is broken. Re-bar was like another home to me in a rapidly changing city that offers fewer and fewer places where it is possible to hold on to some of what once was.
"I cannot see these works now, nor look south from a ferry crossing, without recalling the landscape-shaping power of a melting glacier – in the Vashon case a massive river of receding ice that gave us the islands and waters of the Sound. I see Julie’s striking works as marvelous catalysts calling attention to larger surroundings, to the colossal reach of time."