Gallery4Culture: Emma Jane Levitt's art confronts loss head-on

© 2015 Emma Jane Levitt, Untitled (detail), fiber. Courtesy of the artist.
© 2015 Emma Jane Levitt, Untitled (detail), fiber. Courtesy of the artist.
© 2015 Emma Jane Levitt, Untitled (detail), fiber. Courtesy of the artist.

Emma Jane Levitt: In the Presence of Absence
May 7 –May 28, 2015
Opening: 1st Thursday, May 7, 6pm – 8 pm*

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© 2015 Emma Jane Levitt, Untitled (detail), fiber. Courtesy of the artist.
© 2015 Emma Jane Levitt, Untitled (detail), fiber. Courtesy of the artist.

Emma Jane Levitt: In the Presence of Absence
May 7 –May 28, 2015
Opening: 1st Thursday, May 7, 6pm – 8 pm*

Gallery4Culture
101 Prefontaine PL S
Seattle, WA 98104

Gallery4Culture is pleased to introduce Emma Jane Levitt in a solo installation that investigates the experience of loss, the process of grief, and the longing for connection. In the Presence of Absence explores (both literally and metaphorically) the ways we are connected to one another as well as to place. This body of work centers on a shattering experience that happened two summers ago. On a beautiful July evening in 2013, Emma Levitt returned home after being away for a few hours, to discover that her partner was not asleep atop their bed – but was, in fact, lying there dead. Chris was young and fit, but at 41 he had had a heart attack. His death sudden and unexpected.

Grappling for what might console her, Emma was determined to grieve in her own way and at her own pace. Finding a tactile expression for her loss, a method to hold her partner close, a manner in which to mark and to pass time, and a way in which to hold space for the grief, Emma decided to knit her way through the experience.

Emma Levitt’s mother and grandmother were long-time knitters, who had taught her how to knit when she was a child. Emma gathered together all of her lost partner’s clothing and began to cut every article – jeans to briefs-to shirts and ties – into narrow strips that would become a bounty of yarn. She acquired huge wooden needles, rolled the cloth ribbons into big balls, and began to knit. Fifteen months later, she had a mural sized rectangle, a gigantic comforter. In the Presence of Absence consists of a 14 by 16 foot hanging knit mural and a series of monochromatic white embossed works on paper that hold the shadowy imprints of handkerchiefs.

The show will hang in Gallery4Culture through May and will travel to the John Sommers Gallery at the University of New Mexico in September, 2015.

About the Artist: Emma Levitt is a Seattle based artist working in textile, printmaking, photography and artist books. She has been recognized with the Clowes Foundation Fellowship from the Vermont Studio Center, a 4Culture Individual Artist Project Award, and both the ArtBridge Fellowship and Seattle Print Arts Scholarship from Pratt Fine Art Center. Her artwork has been acquired by individuals and institutions including the Special Collections Library at Washington University in St. Louis, Seattle Print Arts, and, Dartmouth Hitchcock Medical Center. Ms. Levitt teaches at North Seattle College, Pratt Fine Art Center and the Frye Art Museum. Levitt earned a BFA from Washington University in St. Louis and is currently an MFA candidate at the University of New Mexico. View her work at: emmajanelevitt.com.

*Vouchers for free 1st Thursdays patron parking, 5 pm – 10 pm, at the Frye Parking Garage, 117 3rd Ave S, are available at Gallery4Culture on a first-come basis.

Of Small Means: Vertical Plank Dwellings in the PNW

Archival image of a vertical plank dwelling, Courtesy of Historic Seattle
Archival image of a vertical plank dwelling, Courtesy of Historic Seattle
Archival image of a vertical plank dwelling, Courtesy of Historic Seattle

Of Small Means is a presentation by local architecture historian and preservation consultant Kate Krafft, detailing her research findings about a construction method called Vertical plank construction (VPC). This method is distinct from the other methods commonly associated with Washington’s settlement era, such as full log, hewn log or balloon-frame, and is more prevalent in our region than had been previously recognized.

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5341 Ballard 1
Archival image of a vertical plank dwelling, Courtesy of Historic Seattle

Of Small Means is a presentation by local architecture historian and preservation consultant Kate Krafft, detailing her research findings about a construction method called Vertical plank construction (VPC). This method is distinct from the other methods commonly associated with Washington’s settlement era, such as full log, hewn log or balloon-frame, and is more prevalent in our region than had been previously recognized.

VPC is a relatively fast, easy and cheap construction method, often used for temporary buildings that could easily be dismantled and occasionally for small permanent dwellings. The presentation will be followed by a tour of the Pioneer Houses, nearby examples of this construction method. The houses were relocated to the Ballard Avenue Landmark District and preserved by Historic Seattle in 1976.

Saturday, May 23rd, 1-2 pm with tour of Pioneer Houses to follow
Ballard Public Library
5614 22nd Avenue NW, Seattle, WA 98107
Free & Drop-In

The research for this project was funded through Preservation Special Projects in 2013.

Kimberly Trowbridge offers a fresh approach to painting a personal narrative.

© 2015 Kimberly Trowbridge, Framing Perception, Installation shot. Courtesy of the artist.
© 2015 Kimberly Trowbridge, Framing Perception, Installation shot. Courtesy of the artist.
© 2015 Kimberly Trowbridge, Framing Perception, Installation shot. Courtesy of the artist.

Kimberly Trowbridge: Framing Perception
April 2 – April 30, 2015
Opening: 1st Thursday, April 2, 6 pm – 8 pm
Gallery4Culture

101 Prefontaine PL S
Seattle, WA 98104

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© 2015 Kimberly Trowbridge, Framing Perception, Installation shot. Courtesy of the artist.
© 2015 Kimberly Trowbridge, Framing Perception, Installation shot. Courtesy of the artist.

Kimberly Trowbridge: Framing Perception
April 2 – April 30, 2015
Opening: 1st Thursday, April 2, 6 pm – 8 pm
Gallery4Culture

101 Prefontaine PL S
Seattle, WA 98104

Gallery4Culture is pleased to feature Seattle-based artist Kimberly Trowbridge in Framing Perception, a solo exhibition that presents Trowbridge’s unique approach to image-making and constructing a personal narrative. Trowbridge’s art is self-referential, she synthesizes experience through multiple layers of perception and media. Trained as a painter, she has made a practice of breaking down that discipline’s customary constraints to combine set-like installation, video, and performance with traditional oils on canvas.

Framing Perception is grounded in a recent artist residency in Portugal. Capturing the magical light of a splendid rural setting, there is a Cézanne-like quality to Trowbridge’s plein-air paintings, paintings that serve as documentary footage to record her experience. Video, capturing the artist wandering through the gardens of the residency property, conveys the sublime experience of creating in this pastoral setting. The video imagery, in turn, provides rich source material for the paintings.

Artist Talk: Please join us for a gallery walk-through with Kimberly Trowbridge on Thursday afternoon, April 16, 2:00 – 3:00 PM. This event is free and open to the public.

Kimberly Trowbridge’s art practice ultimately examines the nature of presentation. She states “I am at an exciting moment in my career where I am using installation as a way to present my paintings within a specific context. By situating paintings within a larger theater of interactions I am able to grapple with and expand the capabilities of my vocabulary, and thus the scope of my content…. By pushing the boundaries of painting into installation, I am asking my viewers to step-into a space where they can engage with my process of building a visual language.”

About the Artist: Kimberly Trowbridge received her MFA from the University of Washington in 2006 and BFA in 2003 from Indiana University in Bloomington. She was a 2014 Neddy Award Finalist in Painting and a 2014 Artist Trust GAP recipient. She has had solo exhibitions at galleries including The Painting Center in NYC, and Blindfold Gallery in Seattle, and has been included in numerous group shows nationally. Trowbridge is an instructor and lecturer on figure painting and color theory. She has taught at the University of Washington, Western Washington University, and Gage Academy of Art. For the past six years she has run a private painting school called Top Hat Studio in south Seattle, and leads international plein-air painting tours in Spain and Portugal. Fall 2015 will be the launching of the Trowbridge Atelier, a contemporary painting intensive, through Gage Academy of Art, in Georgetown, Seattle.

From the April Issue of City Arts Magazine: The Unstoppable Kimberly Trowbridge by Amanda Manitach and Miguel Edwards

www.kimberlytrowbridge.com

Moisture Festival – the worlds largest festival of Comedy Varietè

Lelavision ©Michelle Bates
Lelavision ©Michelle Bates
Lelavision ©Michelle Bates

Featuring a Varietè of Touring Arts Roster and Other Regional Talent

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Lelavision ©Michelle Bates
Lelavision ©Michelle Bates

Featuring a Varietè of Touring Arts Roster and Other Regional Talent

Now in it’s twelfth year, Moisture Festival is the world’s largest festival of Comedy Varietè, Grand Varietè and Burlesque, presenting four weeks of shows at multiple venues in Seattle each spring. This intriguing assortment and variety of live entertainment presents highly skilled performances to delight audiences of all ages. Showcasing live bands alongside aerialists, jugglers, comedians, dancers, rope acts, bubble acts, clowns, acrobats, can can girls, strong people, tap dancers, drill teams, and more the tradition of Comedy/Varietè/Vaudeville is kept alive in the Northwest.

The festival’s Comedy/Varietè shows are at Hale’s Palladium, in the Hale’s Brewery warehouse located between Fremont and Ballard at 4301 Leary Way NW. Burlesque shows and Grand Varietè shows are presented at Broadway Performance Hall on Capitol Hill.

A Variety of 4Culture Touring Arts Roster groups are contributing to this year’s cultural extravaganza including performances thus far by Del Rey, Lelavision, Matt Baker and Uncle Bonsai!

Still to come:

Correo Aereo Trio w/Amy Denio
April 4, 2015 @ 7:30pm – Hale’s Palladium
April 4, 2015 @ 10:30pm – Hale’s Palladium

Splinter Dance Company
April 5, 2015 @ 3:00pm – Broadway Performance Hall

Christian Swenson
April 5, 2015 @ 3:00pm – Broadway Performance Hall
April 11, 2015 @ 3:00pm – Hale’s Palladium

The Bobs
April 10, 2015 @ 7:30pm – Hale’s Palladium
April 10, 2015 @ 10:30pm – Hale’s Palladium
April 11, 2015 @ 7:30pm – Hale’s Palladium
April 11, 2015 @ 10:30pm – Hale’s Palladium
April 12, 2015 @ 3:00pm – Hale’s Palladium
April 12, 2015 @ 7:30pm – Hale’s Palladium

And, don’t miss the Main Event: The MishMash Circus Bash in the gorgeous Teatro ZinZanni spiegeltent. Part circus, part dinner theatre, and always magical this three-hour whirlwind of entertainment promises to be a night out unlike any other. Tuesday, April 7th or Wednesday, April 8th.

 

How many of us think of Seattle as home to a river?

Sharon Arnold is the guest curator of our current Gallery4Culture exhibit The Duwamish Residency: Process and Artifacts. We asked Sharon if we could post her gallery statement in time for the artist talk that will take place next Tuesday, March 24, 6-7:30 pm, where residency artists will share their experience and process. Please join us for this free and public event.

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Sharon Arnold is the guest curator of our current Gallery4Culture exhibit The Duwamish Residency: Process and Artifacts. We asked Sharon if we could post her gallery statement in time for the artist talk that will take place next Tuesday, March 24, 6-7:30 pm, where residency artists will share their experience and process. Please join us for this free and public event.

MacFarlane_Over_Georgetown_2013_Bret Corrington
© 2013, Stephen MacFarlane, Over Georgetown, Monotype and graphite on paper. 24″ x 18″. Photo: Bret Corrington.

 

The Duwamish River, flowing through the southern and southwestern reaches of Seattle, is out of sight to many city dwellers on a day-to-day basis. But it’s there, threading its body through the valleys of our industrial districts; its mouth yawning through bridges and around shipyards to pour itself into Elliott Bay.

The Duwamish has been shaped by humans, and its course changed over time. It is still wild in parts, in spite of urban development, holding some small refuge for birds of prey, waterfowl, fish, and a few mammals. As an estuary, it was once home to a complex ecosystem of this kind of wildlife and humans; a resident population of cedars, firs, and alders flanking its shores alongside tideflats, swamps, forest, and wetlands. It is named after the indigenous tribe who populated this region around the river and Elliott Bay and Lake Washington, and who are still fighting for federal recognition of their tribe.

Crites_3_20_Single_Moments_2015
© 2015, Chris Crites, Unidentified reeds at Herring’s House Park from 20 single moments along the Duwamish waterway, Mixed media on paper. 2.5″ x 3.5″. Courtesy of the artist.

 

This river represents the duality of both timelessness and change. It flows, relentlessly, through land and through time. It rises, falls, and shifts color depending on the season and the weather. And though it no longer meanders, its path is now held by the walls of its industrial bed and the manufactured island splitting its delta. No longer flanked by a forest of native deciduous and evergreen trees, it is adorned with great cranes, container ships, and industrial warehouses.

To most people, the Duwamish is an abstract idea: a historical artifact, a superfund site, an unrecognized people, a thing that is largely present and yet invisible. Ask a portion of the population what comes to mind when they think of Duwamish and most will say dirty water. Many will recall the local tribe after which the river is named, the People of the Inside, and their displacement. Oddly, few will mention the industry that has replaced the forests, wildlife, and people. Much of Seattle’s historic and present-day trade is seated here: shipyards, steel mills, foundries, steam plants, rail lines, container yards, the Port of Seattle, Boeing, cargo terminals, commercial moorage, garbage and recycle facilities, the Department of Homeland Security, and a few cruise ships. And to others still, the Duwamish is home to neighborhoods like Georgetown, South Park, and Allentown. Nestled in the curves of its banks, these neighborhoods portray a rare urban environment: river life, complete with docks, rowboats, and summertime swims.

This begins to give shape to the abstraction of a river. This river we can see but not see. This river that we know of, but don’t see much of. How do we see a river?

Shen_BankLines_2015_LynnThompson
© 2015, Juliet Shen, Bank Lines, watercolor over relief print, 11” x 17”. Photo: Lynn Thompson

 

In Process and Artifacts, the twelve artists of the Duwamish Artist Residency reveal their vision of the river when they’re working along its shores, hiking through green spaces, sketching among abandoned warehouses, and shooting film from across its bridges. Through their plein-air studies, landscape drawings and paintings, abstractions, rubbings, photographs, and observations of life along the river we begin to see this underrepresented region in a new way. Their bond with this untouristed district of the city is evident in their growing visual language around the river’s history and ecology.

What I felt strongly while viewing the collection of work from the Residency was an underlying connection and response to the enduring nature of the river, the objects alongside it, the blurring of past and present (as in I could not identify a specific time), the relentless flow and movement of the river, the light, the angles, and the color. There is a kind of quiet peaceful nature to this secret revealed through artist eyes. Each piece is like a stolen moment that if not documented, would slip past like a current in the river itself.

The work throughout this exhibition reflects the nature of the Duwamish River’s flux and feeling of lapsed time. It deftly captures this cinéma-vérité, which could be any point in time, not necessarily now, but also past and future. There are recursions in the entire collection of work throughout Process and Artifacts—patterns in composition, negative space, and form. Some pieces form a grid, alluding to the surrounding city blocks; and some exist in resolute denial of it. The artists reference nature, or industry, without falling into a precise narrative about either but instead pulling forward a tactile feeling of the place. The resulting artifacts leave us with a reflection of the timeless pattern of life along a river, looping back into itself, as we loop back around to it. The river calls, and we respond.

Sharon Arnold was invited to curate this exhibition by the Duwamish Residency artists. She is co-owner and director of Roq La Rue Gallery in Seattle, Washington.


McGuigan_Pilings_2015_Art & Soul
© 2015, Fiona McGuigan, Pilings, Sumi ink and graphite on paper, 44” x 58”. Photo: Art & Soul

 

THE DUWAMISH RESIDENCY

The Duwamish Residency is an annual artist residency created in 2012 by Fiona McGuigan and Sue Danielson, two visual artists who sought to redefine the term residency to include and embrace their city of residence by stepping into and engaging with a part of the city that was unfamiliar to them. They chose the Duwamish River because of its economic and environmental importance, and for its visual and social diversity.

Mission Statement: To create a supportive environment for studio artists to work in a landscape of visual, historic and/or economic significance in a way that refreshes their practice while engaging in the artistic community. Education about both historical and contemporary issues is provided as part of the residency.

Learn more: www.duwamishresidency.com

On display through March 26:
The Duwamish Residency: Process and Artifact
Gallery4Culture
101 Prefontaine PL S
Seattle, WA 98104

Please join us in the gallery for a Duwamish Residency Artists talk on Tuesday, March 24 at 6:00 PM. This event is free and open to the public.

Touring Arts Roster has Never Been Sweeter

Photos Courtesy of Artist, (c) Gene Trent

Happy Sweet 60th Birthday to Elnah Jordan!

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Photos Courtesy of Artist, (c) Gene Trent
Photos Courtesy of Artist, (c) Gene Trent

Happy Sweet 60th Birthday to Elnah Jordan!

When Elnah sings, she lays it on the line – she moves you … you can’t help but listen!”  -Jeff Busch

Elnah Jordan’s passion for singing was ignited at an early age and nurtured throughout her childhood. As a young talent, her vocal gifts developed along a path that took her from the gospel choir stands of her Midwest hometown to adventures in San Francisco as a revered street performer to club gigs opening for the likes of Gil Scott Heron. She eventually found the theater stage, and in 1983, was awarded Vocalist of the Year for her portrayal of the legendary Bessie Smith in “The Evolution of the Blues,” written and produced by Jon Hendricks of Lambert, Hendricks and Ross. Later she starred in, “Street of Dreams,” an Off Broadway musical drama where she was awarded the prestigious, Cabaret Gold Award for outstanding performance.

Elnah has since made Seattle her home and become a treasured member of the local Gospel, Blues, R&B and Jazz scenes. She’s performed at almost every local jazz venue and collaborated with most of the heavy hitters, including two of her great supporters: Reggie Goings, whom she credits with connecting her to “everyone” and Eric Verlinde, who has partnered with her from the piano bench for many years.

Just off of an eight month performance sabbatical to re-evaluate her musical priorities, Elnah is moving toward a focus on producing multi-medium performance projects. “I want to really do something different. I’m not ready to retire. I need to use my mind, keep my brain active, and give my life purpose. In my shows I like to touch everyone’s senses—bring in Dancers and Spoken Word, use the Theater,” she shared. She also has a goal of becoming a substance abuse counselor for women of color, and is in her third year at Argosy University studying Psychology making that a reality.

This Friday, Elnah will celebrate her Sweet Sixty with many beloved friends and colleagues including Verlinde at the piano, Jeff Busch on drums, Osama Afifi on bass and many other special guests.

Shuga’s Jazz Bistro
317 Main Avenue S
Renton, WA 98057
Fri. 3/20 – 8:30PM
Reservations strongly encouraged (425) 274-3074
At Shuga Jazz Bistro, Chef Wayne Johnson whips up Southern, Cajun, and international comfort foods sourced from local ingredients; featuring live music Thursday – Sunday.

 

More Touring Arts Roster performances this weekend:

Greta Matassa Trio
Osteria La Spiga
1429 12th Ave Seattle, WA 98122
Thur. March 19th – 7:30-10pm Reservations Suggested

Sonando
Fred Hoadley (piano & tres), Ben Verdier (bass), Tom Bergersen (congas & percussion),
Ricardo Guity (drumset, timbales & percussion), Jim Coile (saxophone & flute) & Nathan Vetter (trombone)
Tulas
2214 2nd Ave, Seattle WA
Thur. March 19th – 8pm & 9:30pm $10 Cover

Uncle Bonsai
Moisture Festival at Hale’s Palladium
4301 Leary Way NW, Seattle WA
Fri. March 20th 7:30pm & 10:30pm Tickets $10-$25

Greta Matassa Quartet
Darin Clendenin (piano), Clipper Anderson (bass), and Julian MacDonough (drums)
Tulas
2214 2nd Ave, Seattle WA
Sat. March 21st 7:30pm $16 Cover

Del Rey
Moisture Festival at Hale’s Palladium
4301 Leary Way NW, Seattle WA
Sat. March 21st 7:30pm & 10:30pm Tickets $10-$25

Rouge
Festál’s French Fest: A Celebration of French-Speaking Cultures
Seattle Center Armory
Seattle WA
Sun. Mar 22nd 5pm FREE

Thistle Theatre presents “Momotaro (Peach Boy)”
Magnuson Park Theatre, Building #47
7120 62nd Ave NE, Seattle WA
Sat Mar 21st & Sun. Mar 22nd – 1pm & 3pm Tickets $10

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4Culture is proud to host the eclectic talent of the region on our Touring Arts Roster website where you may explore and discover artists just for fun, or contact them for your performance needs.

March gallery exhibit shines a light on the Duwamish Artist Residency

© 2015 Gene Gentry McMahon, Water Watcher, watercolor and charcoal on paper, 30" x 44". Photo by Michael Seidl
© 2015 Gene Gentry McMahon, Water Watcher, watercolor and charcoal on paper, 30" x 44". Photo by Michael Seidl
© 2015 Gene Gentry McMahon, Water Watcher, watercolor and charcoal on paper, 30″ x 44″. Photo by Michael Seidl

Gallery4Culture
Duwamish Residency Artists
The Duwamish Residency: Process and Artifacts
March 5 – 26, 2015
Opening: 1st Thursday, March 5, 6:00 – 8:00 pm
4Culture is located at 101 Prefontaine Street South in Pioneer Square, Seattle

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© 2015 Gene Gentry McMahon, Water Watcher, watercolor and charcoal on paper, 30" x 44". Photo by Michael Seidl
© 2015 Gene Gentry McMahon, Water Watcher, watercolor and charcoal on paper, 30″ x 44″. Photo by Michael Seidl

Gallery4Culture
Duwamish Residency Artists
The Duwamish Residency: Process and Artifacts
March 5 – 26, 2015
Opening: 1st Thursday, March 5, 6:00 – 8:00 pm
4Culture is located at 101 Prefontaine Street South in Pioneer Square, Seattle

 

The Duwamish Residency: Process and Artifacts is a group exhibition featuring twelve notable local artists who together comprise the Duwamish Artist Residency. Since summer 2012, these artists have gathered together to learn, experience and create along the shores of the Duwamish River. Guest curated by Sharon Arnold, this exhibition offers a beautifully distilled collection of visual interpretations of the river and its environs. The works Arnold has chosen were thoughtfully culled from aftermath of recent residencies. While some pieces are directly related to days on the river, others represent the consequence of a slow and subtle infiltration of the Duwamish experience into an individual artist’s visual vocabulary and studio practice.
Residency artists Ethan Bickel, Chris Crites, Sue Danielson, Linda Davidson, Jessica Dodge, Emily Gherard, Robert Hardgrave, David Kane, Steve MacFarlane, Fiona McGuigan, Gene Gentry McMahon and Juliet Shen work en plein air and (more-or-less) together for eight consecutive days each August. To deepen their bond with the site, every year involves learning some new aspect of Duwamish River history, culture and ecology. Last summer’s residency began with an on-site lecture about native plants led by Jim Demetre, urban gardener, plant authority and long-time editor of Artdish. On previous summers the group toured the Duwamish Long House; cruised the river with the Duwamish Cleanup Coalition; and visited the CleanScapes facility. The historic 1906 Georgetown Steam Plant, located along an oxbow of the originally meandering Duwamish has, over the past few years, become a favorite haunt of the artists. Elements from the plant appear in the imagery of several artists in the exhibition.

The ongoing experience of learning and creating together, in the complex and seemingly contradictory environment of the Duwamish River – where industry, neighborhoods and habitat restoration co-exist, has resulted in strong ties among the residency artists; ties to both this unique site and to each other. 4Culture is proud to have this opportunity to share the work of this this unique community of visual artists.

There will be an Artist Talk on Tuesday, March 24, 6-7:30 PM in the gallery. Residency artists will share their experience and process, including notes on historical context, maps, sketchbooks and documentation of temporary installations. This event is free and open to the public.

About the artists:
Ethan Bickel earned a Master’s degree in landscape architecture from Rhode Island School of Design. He is interested in cultural landscape and nature. Photography is his medium of choice.
Chris Crites is a painter (most recently known for portraits painted on paper bags) with a background in graphic design and fine arts. He was awarded an Artist Trust Fellowship in 2013. He is represented by G. Gibson Gallery.
Sue Danielson is a Seattle-based painter who is co-founder (and co-administrator) of the Duwamish Artist Residency. Danielson is a Washington native; her works on paper and paintings focus on way memory becomes altered over time.
Linda Davidson earned a BFA in illustration from Rhode Island School of Design; she moved to Seattle in 1997. While known as a painter, Davidson has used the residency to explore working in photography. She is represented by G. Gibson Gallery.
Jessica Dodge works in the unusual medium of reverse glass painting; her work has been exhibited internationally. She is also a designer/painter of theater sets.
Emily Gherard is a painter who earned a BFA from the Rhode Island School of Design and MFA from the University of Washington. She was a 2013 Neddy finalist and a 2014 Genius Award nominee at the Stranger.
Robert Hardgrave is a Seattle-based artist painting in wildly divergent scale. His work appears in the 2014 Pacific Coast issue of New American Paintings #115. He is represented by Cullom Gallery.
David Kane is a figurative painter and enjoys a cult following for his painted narratives of an imaginary retro/futuristic world.
Steve MacFarlane is a printmaker with a foundation in figurative painting and drawing. His works on paper are primarily monotypes. He is a graduate of Grinnell College in Grinnell , Iowa.
Fiona McGuigan is co-founder (and co-administrator) of the Duwamish Artist Residency. She is a figurative painter whose work explores the process of memorization through recollecting, layering, cutting and the reassembling of one image into many.
Gene Gentry McMahon is well known in the regional art scene; her work is represented in many public and private collections.
Juliet Shen, a New York native, has lived in Seattle since the late 80s. Coming from a background in design, her drawings often incorporate letterpress printed elements. She is represented by Cullom Gallery.

About the Guest Curator: Sharon Arnold is a Seattle-based curator, artist and writer. She studied at Pratt Institute in New York and Seattle’s Cornish College of the Arts, focusing on sculpture, art history and philosophy. In 2010 she launched Bridge Productions/LxWxH, a publication company focusing on artist catalogues, literary chapbooks, and a quarterly subscription project. Progressive and inventive, LxWxH quickly grew into a highly regarded exhibition venue. In 2014, she became director and co-owner of Roq La Rue Gallery in Pioneer Square. Ms. Arnold writes about contemporary art for her blog Dimensions Variable and on occasion for various Seattle publications such as City Arts Magazine and Art Nerd.

So Much Love, So Many Lovely Events

Alma y Azucar by Teddi Yaeger (2010)
Alma y Azucar by Teddi Yaeger (2010)
Alma y Azucar by Teddi Yaeger (2010)

Valentines Day and 4Culture’s Touring Arts Roster

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Alma y Azucar by Teddi Yaeger (2010)
Alma y Azucar by Teddi Yaeger (2010)

Valentines Day and 4Culture’s Touring Arts Roster

Still looking for something to do on the upcoming “Day of Love”? Perhaps one of these great events is just right for you and yours!

SATURDAY, FEBRUARY 14th, 2015

Mary Margaret Moore + Kris Wheeler + Vanessa DeWolf provide the perfect activity for your little ones —  “And Then They…” a performance for kids… Travel into and out of stories and dances and through the opening of poetic free-association… Who are these creatures? And where are they? A part of the Project Winter series.

Studio Current
Pike/Pike corridor in the heart of Capitol Hill
11am-noon
$10-$20 suggested donation. No one turned away due to lack of funds. (limited space – Reservations Recommended)
email
More info

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Northwest Tap Connection — Celebrate your Valentine’s Day at an EMP Black History Month event. The EMP STARS presents a program of captivating choreography performed by some of Seattle’s top young talents. Followed by a discussion on the transformative power of dance in urban communities.

EMP Museum Sky Church
321 5th Avenue N
Seattle, WA 98109
1pm-2pm
Free and open to the public.
More info

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The Steve Griggs Ensemble — performs the “Panama Hotel Jazz” a program that tells the story of Seattle’s Japanese Americans during WWII. The work was commissioned through a 4Culture Historic Site Specific grant, won an ASCAP-Chamber Music America award for Adventurous Programming of Contemporary Music, and is supported by a National Park Service Japanese Confinement Sites grant. Featuring saxophonist Griggs, trumpeter Jay Thomas, guitarist Milo Petersen, vibraphonist Susan Pascal, and bassist Phil Sparks.

Panama Hotel Tea Room
605 S. Main Street
Seattle, WA 98104
2pm
Free and open to the public.
More info

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Barbie Anaka with Eugene Bien – A special performance open to military personnel only at Joint Base Lewis-McChord. “Barbie Anaka is a more angelic Streisand with a sultry, resonant, rich voice that turns old-fashioned classic jazz into living magic.” -Indie-Music.com

Bistro at Russell Landing (JBLM)
Bldg 8981 American Lake Ave
JBLM Lewis North, WA 98438
5pm-8:30pm
(253) 964-2813

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Bonnie Birch — Seattle’s treasured virtuoso accordionist will transport you from the Pike Place Market to a Parisian Café! Enjoy her lovely strolling bistro set at one of Seattle’s most romantic French restaurants.

Maximilien-In-The-Market
81a Pike St
Seattle, WA 98101
6pm-9pm
reservations: 206-682-7270

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Mercedes Nicole & Her Jazz and Blues Band — “Remembering Bobby Blue Band,” a great night of live Blues Bobby’s Way: straight ahead, straight Up and unshaken end! With classy, sexy, sassy, Mercedes Nicole, the one & only Delvon Larmar on keys and the comparable D’Vonne Lewis, on drums (special guest on electric bass).

The New Rose Petal
9801 16th Avenue SW
Seattle, WA 98116
7pm
$20
More info

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Alma y Azúcar Quintet — featuring: Alma Villegas on vocals, Fred Hoadley on piano, Steve Okimoto on bass, Ricardo Guity on congas, Steve Mostovoy on trumpet, Lance Lu on percussion presenting the best in Latin ballads and rhythms for your Valentine’s evening! Great music, dancing and a chance to win Alma’s delicious homemade flan.

Egan’s Jamhouse in Ballard
1707 NW Market Street
7pm-8:30pm
$12 Cover (Reservations Recommended)
(206) 789-1621
More info

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Greta Matassa Quintet with Susan Pascal on Vibes — Two of Seattle’s Jazz Greats partner up for a fine night in Bellevue. Hear beautiful renditions of your favorite classic love songs by request!

Bake’s Place
155 108th Avenue NE
Bellevue, WA 98004
8pm
$20

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Suzanna & Friends – Suzanna channels the cupid spirit with a belly dance show featuring live music by MB Orchestra! A romantic night of delicious cuisine, dance, and multicultural live entertainment in a social atmosphere. You can even join a mini-lesson on the dance floor, with lots of additional time to freestyle with the band. (Families Welcome).

Harissa Mediterranean Cuisine
2255 NE 65th Street
Seattle, WA 98115
8pm until late
Dinner for Two – $75 plus $5 Cover (Reservations recommended)
(206) 588-0650
More info

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Andre Feriante – Moving from Benaroya Hall to the Eastside, Feriante celebrates 20 years of showcasing his blend of flamenco, classical and Brazilian music on Valentine’s Day joined this year by: tenor, Steve Thoreson; pianist, Overton Berry; and dancer, Stella Rossi with Steve Kim on the bass and Anil Prasad on the tabla.

Kirkland Performance Center
350 Kirkland Avenue
Kirkland, WA 98033
8pm
$25
(425) 893-9900
More info

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The Lonely Coast – the popular folk duo fronts for their larger pop band Eurodanceparty USA for a fun night of Balkan/Dance/Folk/Klezmer/Pop/Everything .

Triple Door’s Musiquarium
216 Union Street
Seattle, WA 98101
9:00 PM (21+)
No cover
(206) 838-4333

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Karin Kajita – a heart warming duo night of jazz piano and vocals with Emily McIntosh.

Infusion Bar and Grill
7727 Center Blvd SE
Snoqualmie, WA 98065
(425) 292-3576
More info 
reservations

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Gin Hammond – Actress/Storyteller, Hammond is part of the Book-It Theatre cast in “Dog of the South.” This comic road-trip adventure has been called Portis’s real masterpiece. When protagonist Ray Midge follows the trail of his missing wife, her lover—and most importantly his blue Torino—he’s besieged by tropical storms, scammers, and hippies as he makes his way on a wild ride from Arkansas to Belize. Opening Night!

The Center Theatre
305 Harrison Street
Seattle, WA 98109
7:30pm
$25
More info

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MariAnna Trio — bring a special Valentine’s Day performance of love songs from Russia and around the world two days in a row! Join the residents, friends and family members of Aegis Living on Madison Avenue, or catch them for a post-Valentine’s repeat performance will be offered at Seattle’s Central Library on Sunday.

Aegis Living
2200 Madison Avenue
Seattle, WA 98112
1pm (February 14th)
Free and open to the public.

Seattle Public Library
1000 Fourth Avenue
Seattle, WA 98104
206-386-4636
2pm (February 15th)
Free and open to the public.

***

4Culture is proud to host the eclectic talent of the region on our Touring Arts Roster website where you may explore and discover artists just for fun, or contact them for your performance needs.

February is Museum Month

Screenshot from Visit Seattle’s Museum Month website.

February is Museum Month in Seattle, a new and exciting cultural tourism initiative being launched for the first time by Visit Seattle. How it works – visitors staying at any of 54 participating hotels will receive a 50% ticket discount on admission to 42 area museums. A pocket passport provides the visitor with all the info they need to have a great visit – museum events info, directions and logistics. Visit Seattle has cast a wide net in selecting museums, including the Northwest Railway Museum in Snoqualmie and the Kids Discovery Museum on Bainbridge Island.

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MuseumMOnth
Screenshot from Visit Seattle’s Museum Month website.

February is Museum Month in Seattle, a new and exciting cultural tourism initiative being launched for the first time by Visit Seattle. How it works – visitors staying at any of 54 participating hotels will receive a 50% ticket discount on admission to 42 area museums. A pocket passport provides the visitor with all the info they need to have a great visit – museum events info, directions and logistics. Visit Seattle has cast a wide net in selecting museums, including the Northwest Railway Museum in Snoqualmie and the Kids Discovery Museum on Bainbridge Island.

Live here and feeling left out? There’s a program for locals, too. STQRY, a free mobile phone app is the official guide to Museum Month. It will help you learn about museum collections and activities, and plot your adventures.

The marketing campaign is eye catching, embracing Seattle’s moody winter sky with the tagline “GRAY is just our BACKDROP.” The campaign is national with a focus on Vancouver BC, Portland, San Francisco, Los Angeles, Denver, Chicago and the rest of Washington state. In February, when you are strolling through your favorite museum – make sure to say hi to all our new visitors taking in Museum Month in Seattle.

More info on the Museum Month website and Tracey Wickersham’s blog post.

Gallery4Culture: sculptor John Radtke's solo show

© 2014 John Radtke, Buried. Photo credit Betsy Mobbs
© 2014 John Radtke, Buried. Photo credit Betsy Mobbs
© 2014 John Radtke, Buried. Photo credit Betsy Mobbs

John Radtke: /N.
February 5 – February 26, 2015
Opening: 1st Thursday, February 5, 6pm – 8 pm

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© 2014 John Radtke, Buried. Photo credit Betsy Mobbs
© 2014 John Radtke, Buried. Photo credit Betsy Mobbs

John Radtke: /N.
February 5 – February 26, 2015
Opening: 1st Thursday, February 5, 6pm – 8 pm

Gallery4Culture welcomes John Radtke in his first solo exhibit, /N. Radtke’s show consists of sculptures and drawings produced during the past year, including a recent residency at Jentel Artist Residency Program in Wyoming.

Radtke’s 3-dimensional work is constructed from raw materials: extruded steel, wood and various other media, minimally processed. Each work addresses different aspects of space, with multiple elements interrelating to form an object which is interdependent and supportive of itself or (depending on one’s perspective) of the elements, for mechanical function to complete the phenomena.

Besides constructing objects, Radtke works with and within existing space, approaching it as a puzzle with infinite possibilities for intervention. Employing space for its inherent structure, Radtke expands it, utilizing its surface and dimensions, , bringing it to a point of function beyond pure exhibition space.

John Radtke is a Seattle-based mixed media artist working primarily in the discipline of sculpture. He was born in Carson City, Nevada in 1982. He studied at Cornish College of the Arts where he earned a BFA in 2013. He has worked as a studio assistant to the sculptor Malia Jensen in Brooklyn, NY as well as for Whiting Tennis in Seattle. He also spent time working at Art Works Foundry in Berkeley, CA. He has shown locally at SOIL Gallery and recently with SEASON Gallery. In late 2014, Radtke had the honor of spending time as a visiting artist at the Jentel Artist Residency Program in the Lower Piney Creek Valley outside of Banner, Wyoming.

First Thursday Parking: Vouchers for free art walk patron parking at select Pioneer Square garages, including the Frye Parking Garage, 117 3rd Ave S, will be available at Gallery4Culture on a first-come basis.

Letter from the Director: A Tale of Two Cities – Denver and Seattle

Local students at MOHAI on field trip © 2014 Daniel Sheehan
Local students at MOHAI on field trip © 2014 Daniel Sheehan
Local students at MOHAI on field trip © 2014 Daniel Sheehan

(RVSP for Cultural Access Washington (CAWA) Coalition Meeting – Thursday, January 15 at 4 PM)

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Local students at MOHAI on field trip  © 2014 Daniel Sheehan
Local students at MOHAI on field trip © 2014 Daniel Sheehan

(RVSP for Cultural Access Washington (CAWA) Coalition Meeting – Thursday, January 15 at 4 PM)

No, this isn’t about Super Bowl XLVIII. And it isn’t about our joint predilection for recreational activity.

This is a tale about how one community embraced a slight tax increase to support its cultural organizations, large and small, and the resulting impact of that investment in transforming the City of Denver and it surrounding counties. It’s the story of thinking regionally, not parochially; of acting collectively for the betterment of the cultural ecology and for the citizens of Denver and the surrounding counties. The impetus for this effort was the total elimination of state funding for the arts in Colorado in 1982.

The Denver Scientific and Cultural Facilities District (SCFD) was authorized by a vote of the public in 1988, during the worst regional recession in decades. The 1988 vote was extraordinary for three reasons. First, it was counter-intuitive that citizens would vote for a tax increase in such dire economic times. Second, most pundits doubted the public’s willingness to support culture with tax dollars. Third, the vote established a regional approach to funding cultural organizations, the majority of which were located in the core city.

In November on 1988, more than half a million voters said, “yes,” (by a ratio of three to one.) The tax has been re-authorized twice in the intervening years with the percentage of voters approving the tax extension increasing each time.

In 1988 the new tax generated $13 million for distribution to eligible organizations in three tiers, for the most part defined by budget size and attendance. In 2013, the SCFD awarded $40 million to a list of grantees that has more than doubled in the past twenty years.

From the SCFD website:

“The distribution budget for scientific and cultural organizations in the seven-county area is approximately $40 million annually. And we’ve discovered that funding on that scale, delivered to a local area, makes a profound impact. As a result, the Denver Metro area is now in the national spotlight and has been elevated in stature to a world-class cultural center.”

In 2013 alone, Denver metro area residents made over 14.6 million visits to organizations funded by the SCFD and 8,174 schools visited SCFD organizations. No, there aren’t more than 8,000 schools in the District. The number indicates that schools in the District made multiple visits to cultural organizations.

Before its authorization, some argued that the SCFD would disincentive private giving to arts and culture. In fact, the opposite occurred. Private giving to the arts in Denver and surrounds grew to its current level of $120 million. It turns out that business giving and private philanthropy like to be associated with success.

Not a bad return on investment.

Denver and Seattle have a lot in common. The population of both cities is around 600-650,000. The Denver metropolitan population (taking into account the population of surrounding counties) is about 2.5 million. King County’s population is 1.9 million. Both have seen dramatic population growth in the past decade and a half.

That leads to the obvious question: are SCFD’s, or similar entities, possible in communities in Washington State?

For the past seven years now a statewide coalition of arts, heritage and science organizations has been seeking authorization in the state legislature for a voter approved ballot measure that would allow counties in Washington state to create Cultural Access Authorities which would dramatically increase opportunities for K-12 students, and for that matter every resident of the state, to engage in arts, heritage, cultural and science experiences through a .1% sales tax increase. Just like in Denver. It would enable organizations to expand programs, stabilize operating budgets, increase employment in the arts and collaborate more effectively on marketing and promotions.

Cultural Access Washington would benefit all arts, heritage and scientific organizations in the state. Contrary to the belief of some, it is not only about the largest cultural institutions. In fact, a better case can be made that smaller community-based organizations will benefit from CAWA disproportionally in comparison to large institutions.

Passing a bill in the legislature that authorizes counties to put a tax measure on the ballot will not be easy. It wasn’t easy in Denver. But Denver was successful, because the cultural organizations raised their collective voices and worked together. We can do that here!

I invite you all to attend a meeting at 12th Avenue Arts on January 15th at 4:00pm to discuss the bill. RSVP here. It is particularly important to have small and mid-size groups represented at the meeting to dispel myths that have arisen over this effort. No matter what your organization’s budget is, no matter what arts discipline you work in or where you’re located geographically, CAWA is good for you. 

But it won’t be successful without your help. Join CAWA leadership on January 15th to learn how.